The relationship between man and nature is the deepest relationship in the heart of landscape painters.
Luo Bing's landscape cares for this eternal content, and in the atmosphere of his ink blending, he has long been looking for spiritual experiences outside the realm. That is the brush and ink consciousness of a modern landscape painter in the face of the intersection of the ancients, creation, and self. It is also a valuable pen and ink exploration with a strong personal temperament.
Luo Bing was born in 1970 in Hengyang, Hunan Province, self-signed ByeXian, Tianyao, Dian peng shanfang, in 1989 was admitted to the Department of Chinese Painting of Guangzhou Academy of Fine Arts, in 2005 Guangzhou Academy of Fine Arts Chinese Painting Department graduated from the Landscape Painting Graduate School, under the tutelage of Professor Li Jinkun, is now serving in the Guangdong Provincial Museum Collection Management and Research Department Of Calligraphy and Painting Group, is now the Ministry of Culture and Tourism China International Calligraphy and Painting Art Research Association director, Guangdong Provincial Chinese Painting Society director, Guangdong Provincial CPPCC Calligraphy and Painting Institute director.
Luo Bing
Appreciation of works
Art appreciation
Luo Bing is a painter with poetic feelings. In his light ink, thick ink haunting atmosphere, his subjective emotions are sent from the inside out. It is not a state of sketching scenery, but a spiritual experience that emphasizes the temporal and spatial induction of the changes in the four hours of heaven and earth, and is the sublimation of the realm of foreign images.
The breath of Luo Bing's paintings is ethereal and expansive, and the picture with the most primitive strength in the desolate flood and the profound and cold imagery always seems to make people immersed in the scene and hear their true voice. In fact, this is the charm of Chinese painting, the extension of the spirit of Chinese painting. It should be said that Luo Bing came all the way from Dong Yuan, Juran, Li Cheng, Fan Kuan, Ma Yuan, Li Tang, and Yuan Sijia, and came from the depths of tradition, so that he could calmly use the pen and ink of the ancients and taste the most subtle charm of traditional pen and ink. From the state of the mind and the height of thought, to the artistic creation of the self, this of course flows from the bottom of the heart.
In this state, Luo Bing completed the remembrance of the ancients, and here he completed the feeling of creation. When you actually paint, these things are intricate. The ancients, the creation, the individual are an inner source of mind, which is constantly changing, constantly alternating. The pursuit of the peaceful and quiet atmosphere of the ancients is consistent, but the way to express one's emotions is still the expression of the free temperament of pen and ink.
In the creation of landscapes, Luo Bing is not only a scene, but also a sublimation of imagery. Returning to the landscapes and waters of nature, materializing in the integration into nature, and personifying it in the performance of nature, this state of interaction and affinity between man and nature is also the "landscape spirit" that most represents the characteristics of oriental culture.
Luo Bing, an ink painter who pays attention to pen and ink, can be seen that his thinking and vision are very pioneering, paying attention to many new phenomena that have occurred in contemporary art, so he also feels the reality of today, especially some new changes that have taken place in art today, which seem to be far away from traditional things, but on the spiritual level and at the key level of painting, many things are connected. Therefore, the style of his paintings and the ideas he expresses are also relatively contemporary.
In Luo Bing's paintings, we see the existence of various relationships between man and nature, tradition and modernity. Among them, there are close intentions and close intentions. But in any case, Luo Bing Landscape has shown his pen and ink artistic conception as a scholar-type painter, his attitude towards nature and tradition are clear, and the traditional language is put into modern aesthetics, so as to achieve a smooth creative mentality, and we look forward to his more perfect and further sublimation.
— Text / Lu Hong (excerpt)
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