<h1>Interpretation of the National Expo Exhibition | Appreciation of works by Jia Haoyi, Yan Zhenduo, Li Xiaoke, Yang Gang, Ai Xuan, Wang Mingming, Wang Yidong, Yuan Wu and Bai Yuping</h1>
Original Beijing Academy of Painting
The following order is arranged by age size
The beginning of man Jia Haoyi
68cm×68cm 1987 Color on paper
The picture of "The Beginning of Man" is extremely simple: under the background of a red sun, there is a naked boy standing on the ground, and he pees on the side, and there is no other trace. The work is ethereal, transcendent and profound. When we face it, the first thing that comes to mind is a sentence in the Three Character Sutra: "At the beginning of man, nature is good." The painting, titled "The Beginning of Man", depicts a new life, facing nature and society, with a pure and flawless heart, raising the sails of life's journey. This also indicates that the painter Lao Jia began to make a breakthrough in the traditional Chinese painting language. (Excerpt from "Essays of Contemporary Chinese Calligraphers and Painters" edited by Jia Weiqing)
Introduction of Jia Haoyi
Jia Haoyi (1938-), born in Zunhua, Hebei. He graduated from the Fine Arts Department of Beijing Academy of Arts in 1961. In 1978, he was transferred to the Beijing Academy of Painting. He is currently the director of LaoJia Art Museum and a member of the China Artists Association.
He Yan Zhenduo
95.5×106cm, Oil on canvas, 2002
In the chinese oil painting world, Yan Zhenduo's paintings are unique, he is a pioneer, creating his own artistic style. In Yan Zhenduo's artistic practice for more than 50 years, the painting style has changed from figurative to abstract, from realistic color grasp to strong and powerful color control, through these changes we can see Yan Zhenduo's continuous exploration and pursuit of formal beauty.
Since the 1990s, Yan Zhenduo's works have slowly ceased to have complete concrete images. For example, he painted the lotus pond in autumn, wanting to express the feeling of a ruined autumn, but he did not want to only let the audience see the demise of the lotus, but also wanted to present the feeling of giving birth to a new life, so in his pen, the autumn lotus in the spirit does not feel decadent and sad, the use of lines in the picture, the treatment of color, all indicate a sense of new life, the broken lines also have a power, and have not been extinguished.
Yan Zhenduo believes that to express spiritual aesthetics, it is necessary to enter with the help of objective objects in order to let people appreciate and feel. But pure abstract expression, that kind of spiritual direction is very vague, it is difficult to capture that spirit and shocking power. In a sense, the spiritual aesthetic of Chinese art expression is not to force the audience to see anything, but to be inspired, a subtle, silent feeling. This is the essence of Chinese philosophy, humanities and Chinese culture. For example Chinese pay attention to not the sword, but a process of slow immersion, with the evolution of the times, people slowly feel its beauty, not preaching. It is constantly infiltrated, constantly revised, and the people who create art are constantly modifying themselves, and they are constantly creating an art that is more in line with their ideals. (Excerpt from previous interviews with teacher Yan Zhenduo)
Introduction of Yan Zhenduo
Yan Zhenduo (1940-), a native of Jixian County, Hebei Province. He graduated from the Oil Painting Department of the Central Academy of Fine Arts in 1967. He was the deputy director of the Art Committee of the Beijing Academy of Painting. Deputy Secretary-General of China Oil Painting Society, Member of Oil Painting Art Committee of China Artists Association, Member of Beijing Art Series Senior Title Jury, Professor of Xu Beihong Art College of Chinese Min University, Deputy Director of Painting Department, Member of China Artists Association.
Homeland Li Xiaoke
180cm×97cm, 2006 Ink on paper
In the view of the painter Li Xiaoke, the "homeland" is not only the nature we live in and rely on for survival, but also the traditional culture is also a kind of "homeland". When you walk in, it will bring you deep touch and unlimited space for expression: "Father Mr. Li Keyan said that 'a thousand difficulties and one easy' bitter school' and 'practical wisdom' show the hardships of this process. 'Toddler', 'Asking', 'Learning as Progress' are my insistences. And 'absorbing' and 'using for me' is my attitude towards foreign cultures and contemporary visual experiences. Li Xiaoke sought his own way of language, in the gradient to seek a qualitative leap. This flows with the blood of the "Li Family Landscape" created by his father Li Keyan, and more is Li Xiaoke's own hair and tempering of pen and ink, he has been working hard to connect tradition with nature and life, and constantly looking for new possibilities for ink expression.
In a previous interview, Li Xiaoke interpreted his work "Homeland" in this way:
Beijing is a home where memories and reality intertwine. When I was a child, my family lived in No. 2, Dayabao Hutong, the faculty dormitory of the Central Academy of Fine Arts. In fact, humanities, history and emotions are linked, and Beijing is not only my life home but also my spiritual home, people's memory of Beijing's past history, and also the symbol of Beijing. Some contemporary visual experience is also used here, and the language is rich and orderly. Chinese pen and ink are expressive, such as this composition, I think if you use oil painting to paint, use Western painting or take a photo to express, there will be no such concentration. "Qi" is like this road, this cyclist, so that there is a kind of breathability in the picture that is very full, there is a kind of anger. This is a kind of tranquility that I understand as a Beijing feature. The Beijing I know has a kind of quiet vitality. In the past, Chinese paintings were generally a little bit of xanadu and relatively cold, but this work has a sense of life, and I transform the artistic symbols of Beijing that I feel into a pen-and-ink language. (Excerpt from teacher Li Xiaoke's previous interviews)
Li Xiaoke introduction
Li Xiaoke (1944-2021), a native of Xuzhou, Jiangsu Province. In 1979, he entered the Beijing Academy of Painting. He was the director of the art committee of the Beijing Academy of Painting, a member of the China Photographers Association, and the vice chairman of the Li Keyan Foundation.
Figure skating Yang Gang
9.9×7cm 2014 Sketch on paper
Yang Gang (1946-2019), as a professional painter of the Beijing Academy of Painting, has been studying business all his life, and has profound artistic attainments and extensive knowledge. He combines Chinese and Western, ancient and modern, and has a deep understanding of Chinese painting, oil painting, sketching, printmaking, comic strips, and calligraphy. He pays attention to the innovation of pen and ink language and form, writes the typical characteristics of the painted object in stick figures, and the contemporary ink expressive painting language he creates is unique; He creates a wide range of subjects, combining figuration and abstraction, pen and ink are unrestrained and rough, and the picture always shows the state of thinking of rational and emotional integration; He emphasized the chinese and Western Geyi, and created works such as "Wangchun Gui", "Drizzle", "White Hair Wind" and other works that integrate Chinese and Western freehand and freehand oil paintings, which are important achievements in painting creation since the encounter between China and the West.
Grassland is the main theme of Yang Gang's paintings, the grassland life in his youth and his work experience in Inner Mongolia have opened up his channel to explore nature, life and art, making his life more abundant, and the painting path has become more extensive, where the blue sky, white clouds, grassland, cattle and sheep, horses, and felt houses have always been frozen in his memory and become the inexhaustible source of his creation. Starting from the details of life, he portrayed the beauty of the world, customs and customs of the steppe and the changes of the times in multiple dimensions, and created a large number of grassland style works. These in-depth, vivid and unique works are particularly dazzling in the contemporary painting world. He is also good at expressing music, dance, sports and other themes, showing the rhythmic posture of the human body with simple and charming lines, showing different dance styles with rough or slender lines, basketball, football, swimming, table tennis, skating, tai chi and other themes of creation, can take the general body, get its god.
Yang Gang profile
Yang Gang (1946-2019), born in Henan. In 1978, he entered the postgraduate class of the Central Academy of Fine Arts. Before his death, he was a painter of the Beijing Academy of Painting, a national first-class artist, and a member of the China Artists Association.
Snow covered Mount Mira Ai Xuan
100×100cm, 2003 Oil on canvas
The biggest feature of Ai Xuan's style is "borrowing scenery to express nostalgia". His paintings of Tibetan plateau scenery and lonely figures are mainly expressing the feelings of his inner world, so his works are not so much Tibetan style paintings as his inner monologues. In each painting, there is a shadow of Ai Xuan. Silent and quiet thinking, the nameless loneliness permeates the image of the characters in the painting and the entire atmosphere of the picture. Alone in the endless meadows, snowy fields, and wastelands, they live and nature to avoid the viewer's eyes. In rare cases, the image of the audience is also used to look at the world that is estranged from them with indifferent and unfamiliar eyes. Ai Xuan pinned his thoughts and feelings on realistic objects, and he used the method of borrowing scenery to create a picture of blending scenes and rich in artistic conception. There is also a point worth mentioning in Ai Xuan's style, that is, the condensation and refinement of his painting language, and the acquisition of this painting language is not only related to the technology of production, but not all the technical problems of production. He carefully arranged his vulgar life into "Ya" and deliberated on it. The clarity of the contour line, the large effect of the outer contour, the spatial division formed by it, and the subtle relationship within the contour all fascinated and intoxicated him. But he handled it cautiously and measuredly, retaining feelings from life while giving rational order while avoiding traces of "doing." Ai Xuan's goal is both clear and hazy, he is very good at thinking, and he will follow the path he has chosen. As for what was at the end of the road, he himself seemed to be unclear. He wants to keep changing and innovating. (Excerpt from Mr. Shao Dazhen's "Ai Xuan: An Inner Monologue Of Borrowing Scenery")
Ai Xuan Profile
Ai Xuan (1947-) was born in Jinhua, Zhejiang. He graduated from the Affiliated High School of the Central Academy of Fine Arts in 1967. In 1973, he was assigned to the Creative Group of the Ministry of Culture of Chengdu Military Region as an art creator. Painter of Beijing Academy of Painting, national first-class artist, member of the beijing municipal government senior literary and art title evaluation committee, member of China Artists Association.
Xiao Shuang was silent and silent, and Wang Mingming
210×145cm, 2003 Color on paper
Jing xin zhai was formerly known as Jing Qing Zhai, on the north shore of the North Sea, adjacent to the Heavenly King Hall in the west, the main gate and Qionghua Island across the water, surrounded by short walls, and the south side is a hollow flower wall, and the internal and external scenery are blended. The Bixian Pavilion is close to the outside of the flower wall, starting from the eye-catching. The scenery is full of Taihu Lake stone mountain scenery, exquisite and transparent, and the pavilions, Xuanxuan and bridges hidden in the green bamboo flowers and trees reflect each other, and the scenery is elegant, known as "Little Qianlong Garden".
This work depicts a meditation festival on an autumn morning, and the tiles on the stone and even in the air seem to be shrouded in a layer of frost, flashing a subtle light in the morning light. The cluster of red autumn leaves in the vicinity seems to be getting colder and more colorful, echoing the red lacquered pillars in the distance, but it sets off the cold silence of this autumn morning, reminiscent of Cao Pi's poem: "The autumn wind is cold, and the grass and trees are shaken and dewy." "Perhaps this is the meaning of painting, Yu Jingyu painting into the poem, painting in the love of its own poetry, painting meaning evokes poetry, poetry into the painting realm, the viewer is looking at the painter's spiritual realm, and thus evoking the sublimation of their own spirit, and jointly taste the beauty of poetry and painting.
In the creation of flowers, birds and landscape paintings, Wang Mingming emphasized the return to nature and the return to simplicity, pointing out that flowers, birds and landscape paintings should not be a single expression of "high-profile elegance", but also express real life and nature, and have a national spirit and the atmosphere of the times. In his flower and bird paintings, he preserves the traditional calm and elegance, but the combination of abstract concepts and colorful color blocks that appear in the background is his bold attempt at the expression of flower and bird paintings, and he can freely grasp a degree so that it does not deviate from the track of traditional Chinese painting. On the basis of traditional composition principles and pen and ink programs, his landscape paintings boldly absorb the concepts of light and shadow, modeling and perspective of Western paintings, with a broad field of vision, a grand scene, and a full composition, conveying a sense of rhythm like travel clouds and water in his works, allowing the human body to experience the aesthetic orientation of "the unity of nature and man, the unity of things and me", reflecting his realistic thinking on traditional painting.
Wang Mingming profile
Wang Mingming (1952-), born in Beijing, Penglai County, Shandong Province. Since childhood, he has loved painting, and in his youth, he consulted Wu Zuoren, Li Kuchan, Jiang Zhaohe, Liu Lingcang, Lu Shen, Zhou Sicong, Yao Duo and other famous artists. He once served as a member of the Standing Committee of the National Committee of the Chinese People's Political Consultative Conference, vice chairman of the China Artists Association, chairman of the Beijing Artists Association, president of the Beijing Academy of Painting, and is now the director of the Art Committee of the Beijing Academy of Painting. In 2004, he was awarded the honorary title of "Advanced Individual of the United Front who has made outstanding contributions to the construction of the capital" by the Beijing Municipal Party Committee.
Noisy room Wang Yidong
90×90 2005 Oil on canvas
Artistic creation also needs to be discovered from my own familiar life, and childhood memories are beautiful and sweet for me, so my creation is to actively choose this part of myself that I am familiar with and love. The red clothes, black clothes, black soil, and white snow in the northern countryside that I summarized are all preserved for hundreds of years, this thing is not whether you want it or not, this occasion will precipitate these few colors, and the visual image summarizes it to the extreme. If the artistic creation focuses all on trivial matters, the painter will never see this layer, which is a great loss to the creation of visual art.
For a painter, my work is actually what I want to say. I had the heart to create a vague emotional world, a scene built up in the language of oil painting. This language has been proved by countless artists in the long river of history: it is an artistic language that is different from other literary and artistic disciplines, according to this unique and irreplaceable image logic, oil painting has a great space for expression, and therefore has extraordinary artistic charm. I hope that the emotions I express, you and I have both had. I want to express an emotion with the help of the characters and environment in the painting - either a little sadness implied in the elation, or a hint of thought lurking in the calm atmosphere, or a certain degree of uneasiness in an emotional red, or a desolation suppressed in the brilliant sun... I aspire to express these feelings and feelings precisely in the simplest colors and the simplest language. I hope that every friend who cares about my work can use their own experience as a background to easily enter the world I have created and resonate with remote sensing because of my work. I firmly believe that good things need to be shared and can be shared. Everyone is a member of society, and although they exist as unique individuals, they are similar and common in human nature and aesthetics. If you feel the yearning, praise and worry that I convey in my work, you are my confidant. (Excerpt from Wang Yidong's previous interviews)
Wang Yidong Profile
Wang Yidong (1955-), born in Penglai County, Shandong Province, graduated from the Fine Arts Department of Shandong Art School in 1975 to teach in the Fine Arts Department, and graduated from the Oil Painting Department of the Central Academy of Fine Arts in 1982 to teach at the school. He was a professor at the Central Academy of Fine Arts, the director of the Basic Department of the School of Modeling of the Central Academy of Fine Arts, and since October 2004, he has been a painter of the Beijing Academy of Painting, a national first-class artist, a member of the Art Committee of the Beijing Academy of Painting, and a member of the China Artists Association.
Peace Dove Yuan Wu
217.5×108.5 2015 Color on paper
Created in September 2015, this work was commemorated as a military parade to commemorate the 70th anniversary of the victory of the Chinese People's War of Resistance Against Japanese Aggression and the World Anti-Fascist War. A few days before the parade, planes often lined up in the beijing sky to practice flight drills, and pedestrians on the streets looked up at the roaring planes in the sky from time to time. I suddenly wondered if old Mr. Qi Baishi was still alive, would he also lean on the door frame to watch the plane? This brings me to mr. Qi's painting of the dove of peace and the title of "May everyone in the world be so bird" in the painting. In fact, people in daily life should calmly appreciate the flight of the peace dove, which is a happy life. So I created this "Peace Dove" work, which is the third draft. (Yuan Wu)
Introduction of Yuan Wu
Yuan Wu (1959-), born in Jilin City, Jilin Province. He graduated from the Art Department of Northeast Normal University in 1984 and graduated from the Chinese Painting Department of the Central Academy of Fine Arts in 1995 with a master's degree. Painter of Beijing Academy of Painting, former executive president of Beijing Academy of Painting. He is a national first-class artist and a director of the China Artists Association, and enjoys special government allowances from the State Council.
CBD Shirahadaira
130×250cm oil on canvas
The large-scale oil painting "CBD", completed in 2008, is one of the works in the "New Look of the Ancient Capital" series of works, and it is also the only urban landscape creation in my landscape creation. CBD is the capital's international business center and is the most vibrant and modern area. At that time, when I created this painting, the Beijing Academy of Painting only gave me a title "CBD", and I immediately began to prepare, collect materials, and quickly drew a sketch. How to represent the grand CBD scene, first of all, must be to use the alpine horizon to disappear the overpass in the distance of the building complex, only in this way can the representative buildings of the CBD be included. More important is the overpass, which has a strong symbolic significance, representing the speed of modernization and so on. Of course, in 2008, the CBD was still under construction, in order to be able to photograph a more complete information, my lover and I ignored the advice of the site management and climbed to the top floor of the soho construction site without an elevator, and now look back on it is very excited, and immediately have confidence and grasp of the CBD creation. Around 9:00 a.m., light and shadow played a great role in the composition of the picture, so as to break the architectural pattern of the flat plate, on the basis of the sense of scene, give full play to the expressiveness of the oil painting language, many painters know that proposition painting is difficult to create, both have a sense of reality and painting language, the two are often contradictory, which is also a good breakthrough opportunity for me. (Bai Yuping)
Introduction to Bai Yuping
Bai Yuping (1960-), Manchu, born in Shanxi. He graduated from the Fine Arts Department of the Central College for Nationalities in 1988 and graduated from the first senior training class of the Central Academy of Fine Arts in 2004. He is a painter at the Beijing Academy of Painting and was the director of the Oil Painting Creation Studio of the Beijing Academy of Painting. He is a national first-class artist, a member of the China Artists Association, a director of the China Oil Painting Society, and a researcher of the Oil Painting Institute of the National Academy of Painting of China.
(Note: The picture and text are from the artist)