Jiang Kun's artistic world is full of color and glitter, unique and charming, and has a distinct difference from other painters of the same era, becoming one of the most representative figures among Huxiang painters.
His works are atmospheric and longitudinal, the ink is dripping, and there is always a majestic, wanton and dexterous atmosphere that comes out of the paper and points directly to people's hearts, making the viewer moved by it, contemplated by it, and applauded by the case.
Jiang Kun: Born in 1940 in Shaoyang, Hunan, born in a handicraft family, graduated from the Fine Arts Department of Hunan Normal University in 1963, majoring in Chinese painting. He is a member of the China Artists Association, a national first-class artist, and a librarian of literature and history in Hunan Province.
His works have participated in the 4th, 5th, 6th, 7th, 8th and 9th National Art Exhibitions, and since 1989, he has held solo exhibitions in Japan, the United States, Singapore and Taiwan, and has been invited to the United States and Singapore to study and lecture. In September 2007, the National Art Museum of China held the "Shan Wai Shan Jiang Kun Zheng Xiaojuan Painting Exhibition". In November 2011, Zhongnan Media Group hosted the "Jiang Kun Painting Series - Tracing the Origin of the Yangtze River" boutique exhibition. His representative works have been compiled into the Complete Collection of Chinese Modern Art, the Complete Collection of Chinese Contemporary Art, the Collection of Masterpieces of Contemporary Chinese Painting, and the Collection of Works of Famous Artists of Chinese Painting.
Academic monographs include "Famous Mountain Painting Manuscript", "Chinese Painting Body Art", "Contemporary Artist Painting Library Jiang Kun Scroll", "Jiang Kun Chinese Painting Collection" (Collector's Edition), "Jiang Kun Works Collection", "Jiang Kun Painting Collection", "Jiang Kun Zheng Xiaojuan Works Selection • Mountain Outside the Mountain", "Jiang Kun Painting Series - Traceability of the Yangtze River" and so on.
In 1964, he created "New People in the Mountains" to participate in the national art exhibition, which became popular throughout the country, and many newspapers and periodicals competed to publish it, becoming a well-known young painter in the country. As early as the age of 17, he made a name for himself in the province with his print "Catch Up with Him". Because of his hard work, he has participated in more than ten major national creative activities and created grand and excellent structures.
Jiang Kun has repeatedly waded into the river to explore the source, in order to paint the Yangtze River. It has been 43 years since his first trip to the Three Gorges and the publication of the album "Tracing the Origin of the Yangtze River", which shows how serious and rigorous the creative attitude of this 79-year-old painter is.
Jiang Kun's exploration of the source of the river is both "walking thousands of miles" and "reading thousands of books". He walked the long river of culture and history of the Chinese nation and read the natural man documents of the Chinese land. His 15-year river trip can be called a special form of "reading" to feel nature, and it can also be said to be a unique way of "writing" close to life. It is in this kind of "reading and writing" that Jiang Kun realizes his multi-faceted exploration of the pen and ink language, spatial structure and spiritual character of the Yangtze River.
As far as the exploration of pen and ink is concerned, Jiang Kun is like stepping forward with heavy or light steps, focusing on the way of "external teacher creation, middle gain of the source" to open the law, and at the same time did not give up the road of "fagu people, participation in creation" to become the law. In fact, he carried a rich "traditional" burden, walked with arduous steps of "teacher creation", and walked in the long history of Chinese painting and ink to find another way, in order to open up the feat of self-innovation.
His "TongtianHe" and "Qutang Gorge" are exquisite and exquisite, even in the glorious halls of Chinese landscape painting. The Northern Song Dynasty Han Humble said long ago: "The pen stands in its shape, the ink divides its yin and yang, and the landscape is made of pen and ink." "Jiang Kun is fully familiar with the aesthetic value of pen and ink as the flesh and bones of landscape painting. "Tongtian River" uses very skillful brushwork and very refined color ink to express the blue sky, white clouds, snow mountains, meadows and flowing waters on the land of Jiangyuan, all of which make people feel the pure beauty of green mountains rolling white clouds and green water panning and clear waves.
The pieces of emerald green, a touch of sky blue and a piece of tender yellow are written in the way of "bone method with a pen", which naturally blends into the main form of the landscape composed of scorched ink rubbing and outlining, which is particularly rich, clear and bright, with the charm of watermark woodcut, but does not lose the charm of "pen and ink". This is where Jiang Kun excels in his pen, ink, color and water.
His ink and colors seem to have been distilled countless times by the plateau sun to become particularly clear and clean, so that the picture can always appear as bright and clear as the green mountains after the rain.
Jiang Kun's exploration of pen, ink and color has stepped out of the tradition of Chinese green landscapes, and undoubtedly broadened the "red and heavy color ink paradigm" that extended in the second half of the last century. The "Qutang Gorge" uses thick pen and ink to sprinkle out the mountain stones standing on the wall, lays out the bright brown cliffs with the principle of coloring with the class, and then cleverly creates a mysterious wonderland surrounded by clouds and mist on both sides of the river in a clever way of splashing ink, and uses concise ink lines to write about the nearby hills and boats in the river.
"In the past, I always took two or three months a year to go to the ethnic minority areas on the border of Sichuan and Qianxi to inspect and sketch and carefully observe the landscape and people there." The famous mountains and rivers in the north and south of the motherland were all taken into his heart and painted in his pen.
Elder Jiang said, "It is also the experience of wading through mountains and rivers that tells me that the mountain is high, don't be too anxious to walk, turn over this mountain, there will be the next mountain in front, just want to rush forward, often miss the beautiful scenery along the way, with a normal heart to walk slowly, in order to have the heart to feel the magnificence of heaven and earth, the spirit of all things, will chew, taste and find out what they feel, when it comes to creation, it will not open its eyes, inspiration will grow." ”
Jiang Kun's stilt house and cottage woman, whose artistic charm and cultural character are refreshing, trivial wooden pillars, wooden planks, and fences are highly summarized, appealing to the meaning of writing, relying on the undulating free shape of his heart. It is precisely because he put himself into painting that his mind is metaphysically expressed, highlighting the deep meaning of life.
Whenever he paints a figure painting, he always writes his pen, and when it is not much, a Dong girl shoulders red fruits, holds a goat, and the scene of stepping on the country road is displayed in front of him, and the upper part of the painting frame is painted with purple flowers, which makes the spring color in the world more intoxicating.
The pink, color, and ink mixed girl's skin color is cold and feminine, pure and simple, which is surprising. Now when people talk about Chinese paintings about stilt houses, they always think of him first. Jiang Kun's artistic world is full of color and glitter, unique and charming, and has a distinct difference from other painters of the same era, becoming one of the most representative figures among Huxiang painters.
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