There is truth in this
I want to discern what has been forgotten
One by one Tao Yuanming
The frost falls on October 23, 2021, the last festival of this autumn, and from this day the weather is getting colder and the long and cold winter is coming. However, on this day, Taihe Art Space was warm as spring, the voices were boiling and the people were very lively, and 400 to 500 people from Dalian, Qingdao, Jinan, Binzhou, Taiyuan, Shanghai, Guangzhou, Yinchuan and Beijing gathered at Taihe Art Space to participate in an exhibition called Forgotten Words, which was the fifth solo exhibition held by Taihe Art Space after the first exhibition "Pen And Ink Quiet" in 2010. This exhibition exhibits more than 50 calligraphy and painting works, which is the largest exhibition of Mr. Gongzi in more than ten years, focusing on mr. Gongzi's more than 60 years of brush and ink achievements.
Teacher Gongzi exhibited posters five times
Exhibition Name: Forgotten Words - Gongzi Painting Exhibition
Curator: Jia Tingfeng
Exhibition time: October 23, 2021 - November 12, 2021
Exhibition venue: 798 Taihe Art Space
Take a group photo in front of the Taihe Art Space
Left: Teacher Jia Tingfeng, Right: Teacher Li Xianting
The work behind it is a masterpiece of Teacher Gong zi published in the "Fine Arts" magazine 40 years ago (Taiping Ruiwu is not easy to obtain), and it was Teacher Li Xianting who was the art editor at that time
2010 Zi Zi exhibition site
From left: Mrs. Gongzi (Teacher Zhang), collector He Zuoru, artist Li Xiaolin, artist Deng Lin, Gongzi, guqin master Li Xiangting, and the family of Jia Tingfeng, founder of Taihe Art Space
Guqin: Tang Dynasty Nine Xiao Huan Pei
2012 Zi Zi exhibition site
Couple Jia Tingfeng and his wife
2014 Gongzi exhibition site
From left: Artists Li Wenliang, Guo Mingfu, Gong Zi, Founder of Taihe Art Space: Jia Tingfeng
The scene of the 2017 Zizi exhibition
Founders of Taihe Art Space: Jia Tingfeng, artists Gong Zi and Li Xiaolin
The scene of the 2021 Gongzi exhibition
Guest check-in
Guest: Teacher Li Xianting
Guest: Teacher Chang Dao
Guest: Teacher Yan Binghui
Guest: Teacher Bu Xiyang
Curator: Teacher Jia Tingfeng
Old friends are very kind to each other
Opening scene
Gong Zi's painting talent is high, his skills are deep, and his character is superb. On the picture, the old pen is full of spring rain and vibrant; the ink color is clean and rich and reckless, and the vitality is dripping; the artistic conception is ethereal and full of profoundness, and the true power is full. At this time, a grass and a tree, a flower and a bird, a water and a stone, a worm and a fish in his heart are clear and pure, and the illusion of a world that belongs only to him is pure and pure, and it is dusty. He put down his pen and brought these full, inner, free lives to the paper with his rhythm, his rhythm, his form. Such notes are naturally his heart traces, which are Chinese paintings based on the "Six Laws". This is the silent poem. As Shi Tao said: "Neutralize the spirit in the sea of ink, decide life under the pen, replace the hair and bones on the scale, and release light in the chaos." "I hope that in his ink world, He will create more, breath-taking silent poems."
- Bu Xiyang
In the tradition of pen and ink, Hezi has always sought the freedom and creativity of personal feelings. He will change different pen and ink tastes according to different flower objects and scenes, according to the feelings of that time and place, such as the vase flower brushwork of different periods, some few strokes, dry and moist, if the mind is quiet, the feeling of time and space disappears, clean and ethereal; some branches are jagged, such as the whispers of several people in the bucket room, lively and warm; some ink and colored water milk blend, such as the young woman waiting for the wife of the deep boudoir brocade, although calm, but also reveals a light and elegant shyness... No matter which kind of brushwork and ink color Gongzi uses, the pen is fine, the ink color is calm, and there is no sense of floating smoke and miasma, just because Gongzi can be undistracted and concentrate wholeheartedly on his inner feelings and the creation of the picture mood. Throughout his life, Hezi was indifferent to fame and fortune, and for decades he was calm and calm, living in a fighting room, and his paintings were outstanding, although he was not widely accepted by the customs, he was well-known among his peers, and he was not able to explain it thoroughly. Fortunately, the works are all there, and it is also my blessing and fate to have the privilege of sharing and judging with my peers.
—— Li Xianting
Mr. Gongzi has inherited the excellent tradition of Chinese literati painting, and has deeply understood the spirit of Western modern art, more than 60 years of indifferent fame and fortune, leisurely, hidden in the brush and ink life of Chinese painting, with calligraphy, poetry through painting, his works reveal the spirit of Chinese culture, showing the Chinese elegance, wisdom, depth, simplicity, beauty of the mind and unique aesthetic concepts, representing the height of contemporary Chinese brush and ink, but also a model of Chinese and Western integration, contributing to the development of freehand painting. Looking back on the path of Chinese painting traveled by Mr. Gong Zi today is of great benefit to us in reflecting on the shortcomings in the education and creation of Chinese painting and opening up the future. Mr. Gongzi has been outside the academic community for a long time, not being concerned by critics, and being little known to the world for a long time, not pandering to the aesthetics and secular politics of the mediocre in his loneliness, standing outside all current sects, Tao Ran in his own spiritual world, like a heroic man, and like an empty valley youlan, admirable and fascinating.
—— Zhu Jingsheng
I think that the painting of Gongzi, which I think is outstanding, is to be able to get the original taste of the literati painting and find out why it is so, and strive to look at the tradition from the original place and make a new one. Gong Zi tried his best to capture the vivid and vibrant imagery in the "Cheng Huai Taste Elephant", and transformed it into a "pen and ink elephant" that could be written and written, so that all kinds of things such as bamboo branches, fish and birds, their twists, setbacks, points of Buddha, and reflections, could be used as calligraphy. His calligraphy laid the foundation in his early years, and with the deepening of his education, the simplicity and frankness of the Yebei Monument and the spirit of the Southern Ti were sprinkled in one furnace. Its use of pens such as "lonely self-vibration", after the flower nails, the old pen is covered, natural ups and downs, like a strange anyway; with ink is thirsty and suitable, especially good at water, pure thirst pen does not lose its rhyme, a large piece of wet ink does not hurt the bone. The shape, force, rhyme, and grid of its ink-colored pen marks are especially subtle. Sometimes "transport ink and five colors", sometimes the whole width is light ink. Light ink is difficult to use, the disease is thin, gray stagnation, the seed can make it thick and smart, and the reflection is clear and refreshing. Taste the self-titled "Simple and light, the beauty of pen and ink is so", is his experience. His chapters and regulations are sometimes integrated into the modern constituent elements, but he never abandons "writing" to seek innovation, so his works, like not hindering writing, writing can show the image, the book is the painting, the painting is the book, and the whole is integrated.
—— Li Runsheng
Gongzi's paintings, mainly refer to the painting of flowers and birds, my personal superficial opinion, the push of the world alone, at least so far, no one has compared with it. This is not a conclusive conclusion, I myself am not qualified for this, nor is it a boast of Heaven, and I have no deep friendship with him. His pen and ink consciousness, including the subject matter he paints, is just "the way that everyone can do", and what is important is the "righteousness" or "reason" of "doing whatever is appropriate", which he deeply understands. Therefore, his life feelings and life thinking are not separated from "painting theory" and "chemical theory", naturally adjusted to the relationship between heart and hand, and presented as the breath of the work, which is obviously related to the tone of human character, plain, serene, calm, concise and concise, and straightforward. Only such people can have such paintings. There is no painting outside the person, no one outside the painting, people see it with the painting, the painting is passed on by the person, the pen and ink is himself, the face is himself, and the heart is himself, so he is different from others. Without opposing others, I call this "difference between harmony and difference", or "the degree of recognition of the week incomparable". Gentle to the extreme, subtle to the extreme.
—— Hanbi
Mr. Gongzi is not yet a member of the Art Association, but he has been widely praised by people in the art world, and it is unanimously believed that he is a master of Beijing freehand flower and bird paintings, and the pieces of calligraphy and paintings are all eager to appreciate. Now Chinese critics and painters are based on the question of whether the members of the Art Association and the Book Association are based on works, and I think this question needs not be said in the eyes of clear-eyed people, and China's exaggerated style not only exists in social life, but also prevails in the field of art. Loneliness is always the best soil for artists to grow, and true artists will not avoid loneliness, or even seek loneliness, Mr. Gongzi is the sticker of loneliness.
—— Lin Kai
I always believe that Gongzi's painting is another peak of contemporary literati painting after Xu Qingteng, Zhu Yun, Wu Changshuo, Qi Baishi and other ancestors, on the basis of traditional Chinese "wild yi" literati painting, he integrated his personal understanding of nature and life, and created a style of ink that is free and warm. In terms of pen and ink, shape, emotion, and artistic conception, he reflects the unique style of "not with the ancients, not with the predecessors, not with the present". Looking at his works, pen and ink, put the pen straight, arbitrarily vertical and horizontal, freehand wind god, the composition is full of natural interest, ancient and simple, not trapped in the law, not with the shape of obstacles; emotionally, plain and simple, with the individual's subtle care for natural creation, for the visual objects of the picture infused with fresh vitality, the smell of water vapor outside the image, refreshing, warm and harmonious; artistic conception, not similar to Zhu Yun's coldness and arrogance, Ni Zhen's depression and remoteness. Gongzi's paintings run through the simple fragrance from the countryside and a vigorous and upward derivative of vitality, in addition to fun, Gongzi pays more attention to catching innocence in the ordinary, and conveys warmth in calmness.
—— Jia Tingfeng
From left: Curator Jia Tingfeng, Artist Prospect, Critic Li Xianting, Artist Song Yonghong
Some of the works on display
· Vertically illuminated ink on paper 70x138cm
· Penmanship in unpredictable ink on paper 60x35cm
· White Lotus Ink on paper 35x46cm
· Pucao Ink on paper 34x30cm
· Peaceful ink on paper 69x69cm
· Wind and Snow Think Thousands of Miles Ink on Paper 70x35cm
· Hollyhock Ink on paper 90x94cm
· Da Li Zi inscription ink on paper 71x138cm
| Artist |
ARTIST
Dragon (Great Dragon)
Born in Beijing in 1940
In 1956, he studied calligraphy and painting orchid bamboo with Mr. Zhang Huizhong
In 1958, he studied freehand flowers and birds with Mr. Wang Xuetao and Wang Shensheng
He graduated from Beijing Arts and Crafts School in 1964
In 1967, he taught Chinese painting and calligraphy at the Beijing School of Arts and Crafts. The work "White Lotus" won the second prize of the Second National Art Exhibition
In 1988, "Vase Flower" won the Excellence Award of the International Ink Painting Exhibition