In Tianshui and even in the painting world of Longshang, the painter Zhao Hui deserves our attention, his dedication and diligence to painting, and his dedication and responsibility for youth art work are awe-inspiring.
When talking about Tianshui painters, we can't help but talk about Zhao Hui, so when we talk about Zhao Hui, we have to talk about his art of landscape painting.
As early as 2005, the Tianshui City Cultural Center held an exhibition of five outstanding young painters to commemorate the 70th anniversary of the "12.9" Movement, which gave a small impact on the Tianshui calligraphy and painting circles at that time. Among them, the landscape paintings created by Zhao Hui are magnificent and magnificent, which impressed me the most. Time flies fast, 15 years later, Zhao Hui's "Jiangnan Qingming Map", "New Domain", "Mai Ji Zen Snow", "Water Tower and Underground Passage" and other ink landscape paintings, once again bright, the perfect combination of pen and ink, the simplicity and elegance of the artistic conception, so that the work picture appears natural and comfortable, seeking a kind of tranquility and comfort in the objects that are about to leave.
From an aesthetic point of view, Zhao Hui's landscape paintings are subtle and distinct, the meaning is deep and vague, it is neither a reproduction of the retro atmosphere of traditional literati paintings, nor a reproduction of modern art abstraction and exaggeration, but he always follows the creative direction of exploring new development and pursuing new realms from traditional brush and ink, and seeks the harmonious language of art between hills and brush and ink. At the first Chinese Landscape Painting Art Biennale, his work "Shange Linxi Evening Better" was selected thanks to his different interpretation and aesthetic expression of traditional culture and modern taste, and practice proved that his attempt was successful.
Zhao Hui's landscape paintings focus on the writing of the dots and lines of the picture, the pursuit of the unique solemnity and ancient changes of calligraphy, which can be said to be an important point of Zhao Hui's superiority over other painters. He has a profound understanding and understanding of the high antiquity, vastness and thickness of the stele, as well as the delicacy, proficiency and bookishness of the post. He has a strong ability to control lines, whether it is wet or dry, thick ink or light ink, which can make him show vigorous vitality. This kind of "written painting" greatly enriches the readability of the language, and this kind of spontaneous writing form, willful and spontaneous, lush and unrestrained, ancient and clumsy, all of which have laid a very solid foundation for Zhao Hui's landscape painting creation.
Zhao Hui pays special attention to sketching, he has gone deep into the surrounding areas of Tianshui many times, especially in the cold winter, the trees are depressed, its structure and texture are clear, he often uses this period of time to trek through the mountains and waters, look at its shape, write its qi, use his unique perspective to discover new pen and ink forms, while integrating traditional methods to refine, and finally explore the painting form that not only belongs to its own expressive language but also promotes the spirit of the times, so that the work presents the artistic effect of the overall fresh breath, the atmosphere and vitality. His ink landscape paintings construct the picture with multi-level sketching scenes, with many elements of life and rich changes in ink composition. In the process of sketching, Zhao Hui strengthens the characteristics of life, the levels are changeable, and the pen and ink and charm are both obtained, creating a natural and harmonious beauty.
The composition of Zhao Hui's landscape paintings emphasizes the general trend and weather and strives to avoid complexity, and the hills and ravines in his pen are mostly the hills and ravines in his chest, rather than the specific landscapes and rivers. Reading Zhao Hui's landscape paintings, we will unconsciously follow the rhythm of his brush and ink to enter his unique realm - the mighty mountains that come to the surface, the vast and thick and magnificent ravines, the simple and scattered villages that are not very specific, specifically he strengthens a certain potential sense of modernity or modern composition consciousness in landscape painting works, and finds a turning point in the form of abstract pen and ink to express new images and artistic conceptions. Piled up and stacked mountains, stacked and stacked jungles, coupled with repeated rubbing and sweeping rendering, the temperament is thick, high, far-reaching and profound, and finally gathered into a vibrant landscape space.
To achieve great works and make them rich in cultural connotations, it is impossible to learn from the strengths of all the families and painstakingly temper them. It is through the in-depth study of the style of landscape painting, combined with in-depth life and experience of the spirit of the times, that Zhao Hui explores the pen and ink language suitable for expressing his aesthetic pursuits, so as to construct the hills in his chest and show the great beauty and majesty.
The art is endless. In particular, the discussion of landscape painting is even more dangerous. Zhao Hui still has a long way to open up the landscape road, and he is thinking about how to further improve the artistic style of his works and further sublimate the inner spirit. We believe that with the nourishment of Longdongnan, a particularly rich and fertile cultural motherland, his landscape paintings will certainly have a new leap forward.
Zhao Hui is the lord of Nanyuxuan, a native of Tianshui, Gansu. He graduated from the Academy of Fine Arts of Tianshui Normal University in 1995, studied in the Ninth Calligraphy Advanced Study Class of china academy of art (formerly Zhejiang Academy of Fine Arts) from 1999 to 2001, and studied at Tianjin Academy of Fine Arts and Wang Xuezhong Art Research Institute of Tianjin University from 2001 to 2003.
Zhao Hui is currently a member of the Creation Committee of the Dunhuang Creation Center of the China Artists Association, a researcher of the China Ink Painting Research Institute, the vice chairman of the Tianshui Artists Association, the chairman of the Tianshui Youth Artists Association, the honorary chairman of the Tianshui Qinzhou District Artists Association, the standing committee member of the CppcC Committee of Qinzhou District of Tianshui City, the executive vice president of the Tianshui Chinese Painting Research Institute, the executive director of the Tianshui Poetry Calligraphy and Painting Research Institute, and the honorary president of the Gansu Branch of the Beijing Contemporary Hanmo Culture and Art Institute.