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Preface
On the occasion of the 100th anniversary of the founding of the Communist Party of China, the Calligraphy and Painting Channel ushered in the 15th anniversary of its broadcast, and calligraphy and painting artists from all over the country expressed their congratulations on the 100th anniversary of the founding of the Communist Party of China and the blessings for the 15th anniversary of the founding of the Calligraphy and Painting Channel, and created exquisite works of art with special feelings to express their affection. It shows the artistic style of calligraphy and painting artists, and is also another artistic feast dedicated by artists to tv audiences across the country. We thank the artists, it is you who are heart-to-heart with the channel, arm in arm, so that the channel's programs are colorful and ever-changing; we also thank the vast tv audience, it is you who watch the calligraphy and painting channel every day, so that we can do every program with passion.
The calligraphy and painting channel will always be everyone's channel, and we are willing to work with artists and the masses of the people to run a calligraphy and painting channel, and may the calligraphy and painting channel truly become a lifelong friend of the vast number of audience friends who love culture and art.
Appreciation of works
Wang Xuehui: Director of the China Artists Association, Director of the Chinese Painting Society, Chairman of the Shanxi Provincial Artists Association.
Summer Mountain House, 138x69cm
In the work "Summer Mountain Residence", the painter inherits and develops the traditional landscape painting pattern, integrates his own understanding of landscape painting, and creates a unique brush and ink program with contemporary spirit of landscape picture scroll. The composition of the work cleverly divides the tree scene and the mountain view into two parts, the pine trees in the foreground tend to the left side of the work, and the peaks in the back scene tend to the right side in general, so that the front and back scenes form a contrast, so that the picture of the work produces visual tension. In the depiction of the treescape, the painter uses thick and wet brush and ink to outline the canopy and stones, and the thick and light ink brushes combine with the rubbing and dyeing technique to create a rough texture of the mountain stone. The painter uses a light color halo on the trunk, so that the whole pine tree appears to be clumsy and upright. On the mountain peaks in the background, the painter uses close brushstrokes, and the ink color of dry and wet combines to shape the layers and sharp appearances of the peaks, and the brushwork is particularly ever-changing, reflecting the painter's profound pen and ink skills. The work as a whole expresses the unique aesthetic principle of combining landscape and ancient Chinese philosophy in the artist's heart, and also shows the magnificent scenery of the motherland's rivers and mountains in the new era.
Li Geng: President of the Heshan Painting Society of the China Artists Association, President of the Li Kejian Painting Academy.
Untitled, 138x68cm
In this work, the painter depicts a picture of mountains and mountains with dense and compact brush and ink, rich in change, and small freehand expression techniques, and the works show vitality everywhere. Using the mountain peak as the bone, the painter first sketches the winding and winding mountain form, and then depicts other elements on the basis of the mountain, enriching the picture of the work layer by layer. Painters mostly use ink accumulation techniques, thick and light brush and ink, vigorous and short lines, light turquoise color, and the combination of points, hooks, dyes, wrinkles, rubbing, halos and other techniques to shape the close layers of mountain stones and rough textures, this kind of pen and ink with close characteristics, reflecting the painter's concept of "pen and ink when the times are contemporary". In terms of brushstrokes, the painter blends calligraphic brushes into it, so that the shape of the mountain stone can see the variety of brushes. The overall work presents a kind of Zen and tranquility of "winding paths through the quiet place, deep flowers and trees in the Zen room", which makes the viewer feel the tranquility, and also induces the viewer to think deeply and find true peace and tranquility in the depths of the heart. The works express the painter's ability to control the changes of brush and ink, and also convey the solid strength existing in the natural ecology, the vigorous spirit of life, and the harmonious relationship between contemporary natural landscapes and human beings.
Kong Zi: Researcher of the Chinese Academy of Painting of the China Academy of Art, director of the 6th, 7th and 8th Sessions of the China Artists Association, chairman of the China Women Painters Association.
"The Rain on The Street is As Crisp as Crisp" 69x68cm
In the work "The Rain on the Sky Street Is Moist as Crisp", the painter uses the expression technique of large brush strokes to depict the scene of the girl watching the rain under the tree, and the overall tone is warm, making the work as a whole have a warm and melting feeling. In the portrayal of the characters, the painter takes the method of stick figures, the brush strokes are soft and gentle but vigorous, the lines of a few strokes outline the overall outline of the girl, and the shape of the folds of the costume, the painter concentrates on the pen and ink to shape the innocent and lively appearance of the girl, so that the work adds a youthful atmosphere. For the depiction of plants and bamboo leaves, the painter uses scorched ink to shape scattered bamboo leaves, and uses light green to wipe and dye plants that resemble banana leaves, and things are between similar and dissimilar, reflecting the painter's emphasis on depicting the image in his heart. Dots of turquoise color sprinkle on the picture, prompting the work to present a rhythmic beauty, and the work seems to be composing a song of spring. Through his works, the painter creates "the rain on the sky street is as wet as crisp, and the grass color is close but not there." The most beautiful spring of the year, the best than the smoke and willows full of imperial capital" poetic meaning, profound meaning, showing the female painters for the observation of nature of the delicate humanistic feelings, and the natural vitality of the touch, as well as the beautiful yearning for contemporary life.
Guo Xianlu: Director of China Artists Association, Chairman of Shaanxi Artists Association, Former President of Xi'an Academy of Fine Arts.
"Mid-Autumn Colors" 138x69cm
"Guanzhong Autumn Colors" this work, the painter with a large freehand expression technique, depicted the fruitful hawthorn tree, two cows leisurely passing by the scene, the cows in the work seem to be amazed by the scenery of Yingying Autumn, temporarily slowed down the pace of looking up at the hawthorn on the tree, very vivid and interesting, the painter focused on creating a guanzhong autumn scene with a strong local atmosphere. The painter uses a top-down perspective to depict hawthorn trees and cattle, and the position management of things makes the work picture appear a sense of layering and enriches the content of the work. In the depiction of hawthorn trees, the painter uses wet and thick brushstrokes, thick and light ink colors, and clumsy lines to form meandering branches, and the lines of the branches seem to be disordered but have their own rules, showing the vigorous vitality of hawthorn trees, and also set off the richness of hawthorns. For the shaping of the cow, the painter combines painting, dyeing, rubbing, rubbing and other techniques to form the skeleton limbs and fur of the cow, and the painter pays attention to the depiction of the cow's demeanor with pen and ink, giving the cow a humane color, so that the work shows a deep artistic appeal. The bright colors of hawthorn are the finishing touches of the work, prompting the picture to present a rhythmic beauty and appear vibrant. The work as a whole expresses the painter's concern and yearning for pastoral scenery and rural life, and also shows the different scenery of the well-off life in the motherland.
Lv Pintian: Former executive vice president of the China Academy of Arts, dean, professor and doctoral supervisor of the Graduate School, director of the China Artists Association and deputy director of the Theory Committee.
"Aoyama Femininity" 67x45cm
"Qingshan Femininity" this work, the work picture is concise, the theme is clear, the painter abandons the superfluous colors and elements, only in the form of pure ink to depict the graceful and colorful qingshan, quite meaningful and long-term, but also shows the unique oriental charm and charm of pure ink. The painter uses a refreshing brush and ink to outline the sharp form of the mountain peaks, as well as the branches that are growing vigorously, and the overall picture is particularly wet, highlighting the characteristics of the spring mountain scenery. The painter uses the brush method to use the dry brush to extract the texture and layer of the mountain peak, and the brush stroke change technique, the ink color between the thick and light, the layers of stains to dye the form and light and shadow effect of the leaves, which also reflects the painter's profound brush and ink kung fu. The surface of the work seems monotonous, but the details see the changes, and the precise freehand brush and ink allow the viewer to concentrate on the changes in the brushstrokes. The works express the painter's new understanding of traditional landscape painting under the modern aesthetic and perspective, as well as the unique understanding of contemporary green mountains and rivers, and also express the painter's infinite yearning for natural life.