Yang Biwei, born in 1945, is a member of the China Artists Association and a painter of the "100 Masters of Chinese Painting in the 97 Chinese Painting World" awarded by the China Federation of Literary and Art Circles. He once served as the vice chairman of the Chongqing Artists Association, the new first and second members of the ninth, tenth and municipal committees of the CppcC Chongqing Municipality, the member of the Chongqing Municipal Federation of Literature and Literature, the member of the Chief Editorial and Publishing Committee of the China Artists Association's "Selected Works of Members" and the chief editor of the Chongqing volume, a member of the Art Committee of the National Art Exhibition welcoming the return of Hong Kong, and the executive deputy director of the Chongqing Creation Center of the China Artists Association.
Yang Biwei's works have participated in many national and domestic and foreign exhibitions and won many awards. He once held an exhibition of modern Chinese paintings with six people in Seattle, USA, and in 1989, he went to Japan to hold exhibitions and lectures in Mie, Ise, Shichiri, Matsuzaka and other cities. Many of his works have been collected by the General Office of the State Council, Zhongnanhai Ziguang Pavilion, Great Hall of the People, Tiananmen, Central Party School, Jingxi Hotel of the General Staff, China Federation of Literature and Literature, National Art Museum of China, Peking University, and some works are collected by Sichuan Art Museum, Jiangsu Art Museum, Hubei Art Museum, Heilongjiang Art Museum, Shenzhen Museum, Qingdao Museum, and The Prefectural Government of Sanchong County and Yamanashi County in Japan.
His works have been included in the "Selected Collections of the National Art Museum of China", "Fifty Years of Tiananmen Square Treasure Painting Collection", "Chairman Mao Memorial Hall Collection of Paintings", "Century Glory" of the Central Party School, "Modern Landscape Painting Library", "Collection of Heavy Color Landscape Painting Works", "Contemporary Art Teaching Imagery Landscape Fan Collection", "Contemporary Famous Landscape Paintings", "Contemporary Famous Artists' Works Selection", "Chinese Painting Works in the New Era", and "Chinese Masters Painting Collection" published in Japan, "Modern Chinese Art Exhibition Works Collection" and dozens of large hardcover art collections. Fine art works and theoretical articles have been published by dozens of magazines such as People's Daily, Fine Arts, Chinese Art, Chinese Painters, Chinese Paintings and Calligraphy, Collections, and Sino-Foreign Exchanges. He has published "Selected Works of Baijie Painter Yang Biwei", "Selected Works of Famous Artists of Western Chinese Painting", "Collection of Famous Paintings". Yang Biwei Chinese Painting Collection" and so on.
In cooperation with the China Artists Association, he has hosted and organized the "Xu Beihong Art Exhibition" and "Zhang Daqian Painting Exhibition" in Chongqing, the famous Chinese painters have comforted the workers of the Three Gorges Construction, the famous Chinese painters have entered Chongqing to paint Chongqing, the Wujiang River has walked into Wujiang to paint Wujiang, and 160 famous Chinese painters have gone to Yongchuan to participate in the construction of the Chen Zizhuang Memorial Hall. It also planned and hosted large-scale art activities such as the 18th National Congress of the Communist Party of China and the first exhibition of works by famous Chinese painters in Chongqing.
Works ordered: 13651213773
Senyan Jingxiu Magic Pen Divine
—A brief discussion on the poetic rhymes in Yang Biwei's landscape paintings
—Yang Yu
The author has always thought that a good Chinese landscape painting can always let people get beautiful enjoyment from the gentle and rich rhythmic changes between the clouds and the flowing water. If the viewer can sink into it, he will ripple with emotion and linger. The thousands of forms created by the ups and downs of the rhythmic changes in landscape painting are not just the simple flattening and patterning of natural mountains and valleys and pingyuan valleys, but the painter shows the uniqueness of interest, the twisting of emotions and the level of artistic cultivation through his unique style, so as to realize his extraordinary aesthetic pursuit.
Plateau snow map
There is no doubt that the painter Mr. Yang Biwei is such an artist who is good at learning, affectionate and sensitive to thinking. He has been exposed to a large number of elegant classic paintings, and has realized how to use the painter's own cultural qualities to complete the spiritual shaping of the work and reflect the personal emotional state of mind. It is not difficult to find out from the rich interest emitted by his deep and natural tone: this is a profound understanding of the art of painting obtained by perseverance, and an artistic experience born from his own sense of reality. This kind of work that combines simplicity and wildness, chooses elegance and subtlety, and blends affection and painting, is the embodiment of his pursuit of flexible expression and making the work enter a better state. When he condenses freedom and simplicity into the tip of the pen, and integrates what he feels and realizes into the painting, the pen and ink without distraction will jump out, retract freely and full of affection, and a vivid charm will also be generated.
Jinggang Mountain Song
The Ming Dynasty thinker Li Yan wrote in "Burning Books. The Miscellaneous Commentaries mention that "the wise are not confused, the benevolent are not worried, and the brave are not afraid." If you think that talent, courage, and knowledge are complete, your eyes will be wide open, and only by being fearless can you open up your style and level the world. He also said, "Talent and courage are filled with knowledge because of knowledge, and the world is only embarrassed by knowledge." Mr. Yang Biwei persistently starts from the most difficult "knowledge" word, on the one hand, actively appreciates a large number of classic paintings of predecessors, but also devotes himself to traveling through natural scenery, in the process of continuously improving artistic understanding, with "knowledge" to give birth to "courage", from "courage" to "enlightenment", and finally so that artistic talent can be freely exerted. This can even be proved by his book "The Spring and Autumn Collection of Painting Eyes". In the book, he proceeded from "knowledge" with a sharp eye, and with unique insights, he re-sorted out the concept of "Chang Shen" proposed by the Southern Dynasty painter Zong Bing in the "Preface to Landscape Painting", and reinterpreted the concepts of "meaning, rhyme, qi, potential", "emotion" and "nature". The book suggests that only by combining poetic beauty and natural beauty to form a rhyme and beauty, and regard it as an important aesthetic pursuit of painting, can the picture be smooth and pleasant. Because he studied ancient and modern times, and always adhered to the artistic concept of learning to cultivate painting, he finally made his artistic ideas appear distinct and strong in his works, and was also praised by collectors of landscape painting who loved him as "a scholar-type artist who pays attention to learning".
Ancient village clear sound
Through mr. Yang Biwei's long-term contact, the author found that he has a special love for the Taihang Mountains and the Three Gorges of the Yangtze River, which are facing each other from north to south. He does not depict in detail the morphological characteristics of Taihang and the Three Gorges in his works, but in the natural scenery, starting from the spirit to reflect the broad natural spirit and rich personal feelings. The spectacular Taihang and Three Gorges are indeed a symphony of life and strength, and a poetic form of human life. Therefore, Mr. Yang Biwei also expresses his majestic and tall style in his works, and uses the dialectical relationship of "mountains as waves and waves like mountains" in "Shitao Painting Theory" to express the mountains and waters with rich charm. Thus the rhythmic beauty and structural beauty between the momentum are formed, so that whether it is the mountain peaks or valleys, stone walls and mountains in the painting expression, it can become the kind of rhythmic symbols rich in the rhythm of life that he needs. He also gave these symbols a certain non-figurative musicality, forming a poetic picture, so that the viewer can get the enjoyment of oblivious enjoyment from the beauty of the rhythm, the beauty of the rhyme, and the beauty of the shocking general trend.
Wind and rain pavilion under the spring and autumn
Painters cannot paint without the mobilization of brush and ink. The picture cannot be without the tension change of the brushstrokes and the vivid ink rhyme penetration. Whether the pen and ink rich in rhythmic changes can form a continuous trend in the picture, and whether the natural brush and the painter's heart can be coordinated, is the key to whether the painter can grasp the initiative. So that we can talk about whether it is smooth and charming. When painting, Mr. Yang Biwei often uses the methods of ink accumulation and ink breaking to pursue a sense of dripping in one go in the dry and wet transformation and ink superposition; in the mottled inkblot, he pays attention to the various important links of artistic expression such as the virtual reality of painting, the gathering and dispersion, the help of ingenuity, and the complementarity of coarse and fine. Therefore, no matter how big or small, the painting can show ups and downs of rhythm and change, and can also form a plain and subtle, reserved and introverted peaceful posture. When he pursues the vivid changes that come and go in an orderly manner in the thousand emotions and thousand rock competitions, the elegant rhyme and interest also come into being. A good painting reasonable opening and closing layout, placement of objects, mobilization of pen and ink, coordination of pictures, etc., are inseparable from the grasp of the rhythm and the formation of vivid rhyme, which is an important basic understanding of the painter, but also the most insightful experience of Mr. Yang Biwei.
Looking back at Qianjiang Qiu
The spirit of traditional culture is often internalized in the work through the process of painting, and it is also expressed in pen and ink, and exists in the combination of form and content. Therefore, from the use of painting symbols to the reflection of the spirit of the picture, it can reflect the painter's knowledge and understanding of traditional culture, and also present the painter's artistic temperament and aesthetic interest. The paintings nurtured by the profound and elegant traditional learning also bring people a simple and simple humanistic scene. Mr. Zong Baihua said in the book "Aesthetic Dispersion": "Enjoy its hue, order, rhythm, and harmony, so as to glimpse the reflection of the deepest soul of the self; turn the real scene into an imaginary realm, create an image as a symbol, and make the highest human soul concrete and fleshed, which is the 'realm of art'." The realm of art is dominated by beauty. Mr. Zong Baihua concisely summarized the true meaning of art, and elevated the beauty of the artistic conception to the realm of culture, which means that the painter's inner psychology and the aesthetic interest in the pictorial works should also develop in the direction of poetry and artistic conception. In the process of learning and inheriting traditions, Mr. Yang Biwei naturally immersed himself in it, and threw his personal affection and spirit into the pursuit of the realm. He did not blindly toss and turn at the technical level, only to honor the "Law" and "mean", nor did he categorically deny it, to honor the "ancient" and "present", but to seek a new life by pursuing the noble traditional spirit. He combines pictorial expression with mental expression, realizes the beauty of the dynamic rhythm of life from the natural landscape, finds the beauty of the artistic conception with the virtual reality in the life of pen and ink, and confirms the artistic conception and the traditional leisurely beauty suggested by Mr. Zong Baihua with his own practical behavior. He also realized through the practice of painting that it is more difficult to learn to subtract in painting expression than to do addition, and it is more difficult to do subtraction of the mind than to do visual subtraction. And this subtraction is not to subtract the essence, but to subtract the branches, to subtract the fence and baggage to make the mood reappear. This experience is the embodiment of the painter's personal education.
Overnight the autumn breeze is full of pond fragrance
Although Mr. Yang Biwei is based on tradition, he knows that he should not be stuck in tradition. In order to take his own artistic road and create the novelty of the times, he pursues the longevity of a good environment with a fearless spirit. He took Shi Tao's theory of "pen and ink as the times" as the basis for personality painting ideas, and from the "Treatise on Shi Tao Painting", "those who regret their mud and ancient times are also knowledgeable." Knowledge is not widespread, so the gentleman can only borrow the ancient to open up the present" in the incisive exposition that there is no way out for contemporary artists to seek a life in the narrow circle of ancient thought, and it is the road to be able to take their own road by the ancients. Therefore, like a practitioner, he pondered and pecked in the face, deeply explored the mysteries in order to break through the barriers of pictorial art, and through the accumulation of spring and winter, he finally understood that the meaning of culture lies in the transformation of the state of mind in nature, the perfection of beauty in the perfection of feelings, and the use of external images to send spiritual wisdom.
The geese rise and fall
Mr. Yang Biwei, who has passed the age of ear shun, has entered the mature stage of his artistic life with his experience, experience, consciousness and experience. His artistic creation also entered its peak. In addition, he is a diligent person who is not satisfied with himself, so it is a natural thing to open a new chapter of art and go out of his own way. At this time, I thought of the poem of the Tang Dynasty poet Du Xunhe, "Since I was a child, I have been deep in the grass with thorns, and now I am gradually aware of basil." When people don't know Lingyun Wood, they wait until Lingyun starts to be high." While deeply admiring the poet's unique vision, I also want to borrow this poem to express my concern about the thriving trend of Mr. Yang Biwei in art.
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