Cui Zhenkuan was born in Xi'an in 1935, graduated from the Chinese Painting Department of Xi'an Academy of Fine Arts in 1960, and is now a full-time painter of Shaanxi Provincial Academy of Chinese Painting, a national first-class artist, a director of the Shaanxi Artists Association, and a visiting professor of Xi'an Academy of Fine Arts. In 2002, he successively held the "Meteorological Cangmang Cui Zhenkuan Landscape Art Touring Exhibition" at the National Art Museum of China, the Shanghai Art Museum, the Guangdong Museum of Art, the Chengdu Museum of Modern Art and the Jiangsu Provincial Art Museum, and in 2005 held the "Fifty Years of Art From Art to Cui Zhenkuan Landscape Art Retrospective Exhibition" in Xi'an, and published several kinds of "Cui Zhenkuan Painting Collection".
Cui Zhenkuan's artistic achievements mainly rely on those magnificent and vast masterpieces. The land of the Emperor who gave birth to him and raised him also nourished his art. Jia Fangzhou once said in an article that Cui Zhenkuan's art is based on Huang Binhong's pen and ink, creating a simple and reckless atmosphere in the Great Northwest. This side of the water and soil in his heart is not only his living reality and experience world, but also the sacred mountain and holy water he admires. Therefore, his paintings cannot but be shocking and moving.
Cui Zhenkuan often uses the scorched ink of "dry crack autumn wind" to express the landscape in the north, highlighting the great landscape weather of the great northwest. It is the depth, vastness and tragedy unique to this great realm that has become a kind of subjective spiritual construction in Cui Zhenkuan's art, and has also become an aesthetic ideal he pursues.
Cui Zhenkuan depicts his beloved northern Shaanxi plateau with affectionate pen and ink. The vast loess plateau stretches for thousands of miles, with mountains and beams, vast and longitudinal, rolling and rolling, and the weather is endless. In Cui Zhenkuan's eyes, the Loess Plateau is not only a geographical symbol in the eyes of ordinary people, it carries the historical civilization of this land, carries the dreams of people in this land, and witnesses the changes of history, it is thick, rich and affectionate.
In order to depict the scenery of the northern Shaanxi Plateau and express his heartfelt feelings, Cui Zhenkuan used ingenious pens. Undulating mountain beams, thick loess layers, upright trees on the plateau, cave dwellings of people in northern Shaanxi, every scene and everything are presented in the most appropriate pen and ink language. The thickness and density of the loess soil, the trees rooted in the thick soil, the momentum of upright and upward growth, and the warmth and simplicity of the cave people all go straight into the viewer's heart.
The use of pen and ink hooks, wrinkles, dots, and dyes complements the combination of dry and wet. Mountain beams, cave dwellings, trees are simply outlined with lyrical lines, and the continuous loess layer is dyed with light ink dots, and then rubbed with dry pens, which is very realistic and has the meaning of traditional pen and ink, which is self-evident. This unique artistic expression conveys its unique artistic spirit and artistic expression, and highlights Cui Zhenkuan's personal experience of ink painting and the life perception of natural landscapes in the deep and powerful tradition of Chinese ink painting.
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