Member of the Steering Committee of Art Design Specialty of People's Republic of China (PRC) Ministry of Education, member of China Artists Association, deputy director of the Art Committee, judge of the 11th National Art Exhibition, Four Treasures of the Study Senior Consultant of China Research Association, and member of Shanghai Artists Association. Executive Director and Chairman of China Fashion Designers Association. Visiting Professor of Xi Academy of Fine Arts, Shenzhen University and Qiqihar University. Distinguished professor, Sunshine Scholar, wuhan textile University. Consultant professor of Huizhou University, etc. He used to be a member of the National Undergraduate Teaching Steering Committee of Fashion Design and Engineering and the director of the Education Committee of Shanghai Fashion Industry Association. )
He has been a senior visiting scholar at the School of Textile and Apparel of the Hong Kong Polytechnic University. He also gave lectures at Prague Academy of Fine Arts and Charles University in Czech Republic, and was invited to visit and give lectures at Gerberach University of Applied Sciences in Munich, Germany. As the artistic director in the "China Cultural Visit to the United States" sponsored by the Press Office of the State Council, People's Republic of China (PRC) and the Ministry of Culture.
He has served as Brother Cup, China International Youth Designer Competition, China Cup China Fashion Design Competition, Newcomer Award China Fashion Designer Competition, China Model Star Design Competition, China Top Ten Designers, Jinding Award, Dalian Cup China International Youth Fashion Design Competition, China Institute of Fashion Technology Outstanding Graduates Creative Design Competition, and China International Disabled Persons. Judge of the National Hao San Cup Student Dress Design Grand Prix, Judge of the National Miss Courtesy Selection Competition for Urban Girls, Judge of the First China International Youth Fur Dress Design Competition, Judge of the Dress Design Planning and Evaluation of the China Sports Delegation for the 2008 Olympic Games. He has been interviewed by CCTV, Fashion Times, China Fashion Daily, China Talent and other domestic media for many times, and gave special lectures.
Published China clothing higher education "Tenth Five-Year Plan" teaching material "Clothing Pattern Design and Application", "Clothing Painting Techniques Course", "Clothing Modeling Aesthetic Design", "Clothing Painting Techniques Course", "Fine Arts College Entrance Examination Highlights" and other monographs. The audio teaching material "A Course of Clothing Painting Techniques" won the second prize of the "Second National Excellent Educational Audio Product Award" by the Ministry of Education and the State Press and Publication Administration. In addition, he has published papers and works in such magazines as Decoration, Art Observation, China Painter, Dunhuang Studies, China Calligraphy and Painting Newspaper, Art Circle, Art Research, Popular Colors, Youth Vision, Charm, Art and Design and Art&; ; Design, Shanghai today, decoration technology, clothing and textiles, life guide and other magazines. "The Dimension of Ink and Wash"-Chen Jianhui Contemporary Ink and Wash Painting Exhibition was grandly exhibited in China Art Museum from September 65438, 1965 to September 26, 1965. More than 30 carefully crafted ink paintings have brought a visual feast to art lovers. This paper interprets the vitality, order, pattern and internal rhythm of the universe from the painter's unique perspective. Among them, Dust, Life's Journey (I) and Life's Journey (II) were officially and permanently collected by China Art Museum, which drew a perfect ending for this solo exhibition.
These three works present the unique style of Mr. Chen Jianhui's ink painting. Between bold blank and thick ink and light color, the reality and reality coexist, the phonology runs through, and the brushwork is leisurely and carefree. As Shao Dazhen, a famous critic, commented: "His modern ink painting not only accepted many elements of western abstract painting, but also absorbed nutrition from traditional painting, forming a schema with its own features. His paintings are between rational abstraction and perceptual abstraction, and also have obvious image characteristics of traditional Chinese painting. Some metaphors, hints and symbolic symbols or images in his pictures are intrinsically related to China's natural, philosophical and cultural classics. " In 2000, he served as the artistic director of the "China Cultural Visit to the United States" sponsored by the Press Office of the State Council, People's Republic of China (PRC) and the Ministry of Culture in new york.
1998-2003 Dean of tianjin polytechnic university College of Art and Design.
1998, gave lectures at Charlayne university in 2000.
1995- 1997 gave lectures at Charles University in Czech Republic and Prague Academy of Fine Arts.
1988- 1990 Senior Visiting Scholar, Hong Kong Polytechnic University
1977- 198 1 graduated from Tianjin Academy of Fine Arts; 1. Member of the Teaching Steering Committee of Art Specialty of the Ministry of Education.
4. Member of China Artists Association, Vice Chairman of Fashion Art Committee.
[14] (Zeng) Member of the National Undergraduate Teaching Steering Committee of Fashion Design and Engineering.
4. Executive Director and Chairman of China Fashion Designers Association.
(Former) Director of Education Committee of Shanghai Garment Industry Association
[6] (Former) Member of the Evaluation Committee of the Master of Arts and Design of the Ministry of Education.
He used to be the editorial board member of the national-level "Teaching Material of Fashion Design for Higher Education Self-taught Examination".
⒏ Editorial Board of China Textile Education Society and Textile Industry Press.
Member of China Artists Association Shanghai Branch.
⒑ Member of China Tianjin Young Artists Association.
(1) (former) member of Tianjin Municipal Education Commission's Senior Professional Title Evaluation Committee.
5. (Former) Executive Director of Tianjin Packaging Technology Association and Design Committee.
⒔Xi Academy of Fine Arts, visiting professor of Shenzhen University and Qiqihar University, sunshine scholar distinguished professor of wuhan textile University, consultant professor of Huizhou University, etc.
⑷ Judges of the 11th National Art Exhibition 20 1 1 year, the dimension of ink painting-Chen Jianhui Contemporary Ink Painting Exhibition (China Art Museum).
Dust, A Journey of Life (I) and A Journey of Life (II) were officially collected by China Art Museum.
In 2009, Chen Jianhui Contemporary Ink and Wash Exhibition (Liu Haisu Art Museum)
In 2008, Chen Jianhui Contemporary Ink and Wash Exhibition (Cao Zhou Painting and Calligraphy Institute, Shandong)
A San shui mo space (Shanghai art Jing center)
In 2007, China Contemporary Art Painting Exhibition-Chen Jianhui's New Works Exhibition (Portman Ritz-Carlton Shanghai, Art Site Warehouse).
Chen Jianhui's solo exhibition (YEMAC Gallery)
Chen Jianhui Ink Space (Japan)
Chen Jianhui's solo exhibition (Shanghai Art Scene Center)
In 2006, Chen Jianhui solo exhibition (Shanghai Art Scene Center)
In 2004, solo exhibition (Lyon Museum, France)
1996, solo exhibition (Prague Museum, Czech Republic) 20 1 1, Nature and Modern Forms Mingyuan Art Exhibition (Mingyuan Culture and Art Center).
The 7th Shenzhen International Ink and Wash Biennale (Guan Shanyue Art Museum)
20 10, the first contemporary art exhibition of Pudong Airport (Pudong International Airport)
Shanghai Artists Association "Horizon" Abstract Art Exhibition (Shanghai Oil Painting Sculpture Institute)
World Expo China Art Exhibition (Shanghai Art Museum)
Exhibition of Fine Paintings by Famous Contemporary China and Italian Artists
In 2009, the 60th anniversary of the founding of People's Republic of China (PRC) was celebrated and the 5th Shanghai Art Exhibition was held.
2009 13th Shanghai Art Fair (Hengyuanxiang, Xiangshan Painting and Calligraphy Institute)
The 11th National Art Exhibition Series Exhibition of Chinese Painting Exhibition Area —— Exploration Exhibition of Ink and Wash Art of Shanghai Art Institute
The 5th Shanghai Art Exhibition (Shanghai Art Museum)
2009 Contemporary Art Exhibition (Seoul, Korea)
In 2009, Mr. Sun Qifeng taught for 70 years —— 90th birthday joint exhibition of teachers and students' works (Art Museum of Tianjin Academy of Fine Arts)
In 2008, the National Young and Middle-aged Artists Recommendation Exhibition (Shanghai Mingyuan Culture and Art Center)
China Contemporary Art Group Exhibition (Art Scene)
Chen Jianhui Fengfeng Biennale (Shanghai Art Scene Center)
The past is not far away —— Classic Sketch Exhibition of "Home Collection" Artists (Shanghai Dongfanghong Art Salon)
In 2007, Korean-Chinese Painting Spirit Exchange Exhibition (Seoul, Korea)
Shanghai Young and Middle-aged Artists Recommendation Exhibition (Shanghai Mingyuan Cultural Art Center)
True feelings and originality-sketch exhibition of outstanding artists at sea (Shanghai Mingyuan Culture and Art Center) in 2006.
Recommended Exhibition for Young and Middle-aged Artists (Shanghai Art Fair)
In 2005, the Feeling of Freedom —— Exhibition of Eight Contemporary Works (Shanghai Mingyuan Culture and Art Center)
Recommended Exhibition for Young and Middle-aged Artists (Shanghai Art Fair) 1. The course of clothing painting techniques —— published by China Textile Industry Audio-visual Publishing House 1996, won the second prize of the textbook "The Second National Excellent Educational Audio-visual Products" by the Ministry of Education and the State Press and Publication Administration in 1998, with ISRCC CN-C11-96-00065438.
2. A course of clothing painting techniques-published by China Textile Publishing House1June 1998, ISBN 7-5064-1357-41TS.1KLOC-0/56 (second author).
13. appreciation of western paintings-published by China textile industry publishing house 1998, isrccn-c11-98-0003-0/v.tno.v123.
4. Western painting forms-published by China Textile Industry Press 1998, isrccn-c1-98-0004-0/v.tno.v124.
5. Sketch Course-published by China Textile Publishing House 1999, ISBN 7-5064-1455-4/J.0044 (edited and published).
[6] Chen Jianhui's Works of Art in 2000-published by Sanxi Hall Publishing House of Taiwan Province Province in 2000, ISBN 9191231T0080 (independent author).
⒎ Sketch Test —— published by China Textile Publishing House in 2000, ISBN7-5064- 1879-7/J 0080 CIP Data Kernel (2000) No.44006 (independent author).
⒏ Collection of works by famous modern painters in China-New Chinese Painting in Chen Jianhui-Shanghai Post Office, published in August 2005 (independent author).
⒐ Collection of Art College Entrance Examination-Painters-Anhui Fine Arts Publishing House, February 2005, ISN7-5398- 1504-3.
⒑ Clothing pattern design and application (10th Five-Year Textbook for Clothing Higher Education) —— China Textile Publishing House, ISBN7-5064-3935-2, August 2006 (independent author).
(1) Collection of Modern Ink and Wash Works in Chen Jianhui —— Anhui Fine Arts Publishing House, published in 2006 (independent author).
5. Art Site China in Chen Jianhui-Art Site Warehouse, June 5438+ 10, 2006 (independent author).
⒔ "Writing Spirit with Emotion and Ink" Album-China International Airlines China Civil Aviation Magazine, March 2007 (independent author)
14. Home Clothing Design —— "11th Five-Year Plan" textbook —— China Textile Publishing House, 2008 (independent author)
15. Clothing painting techniques (CD attached)-Higher Education Press, September 2009 (independent author) 8-7-04-02744.
16. Chen Jianhui Modern Ink Works Collection-Jiangxi Fine Arts Publishing House February 20 10 (independent author) comments on ISBN978-7-5480-0099-0 (He Jiaying, vice chairman of China Artists Association and famous painter).
Clouds on Handrails —— On Chen Jianhui's Painting.
Anyone familiar with Chen Jianhui knows that his ink painting can be divided into two parts: one is the traditional theme, and the other is the modern ink painting. I graduated from Tianjin Academy of Fine Arts in my early years and naturally completed my training as a painter in this institution with profound traditional cultural heritage. What is commendable is that he was not satisfied with this, but took a big step, using traditional materials for abstract expression, seeking individual expression in * * *, and his exploration far exceeded our expectations. The unique "Northern School Thought" of Tianjin Academy of Fine Arts and the "Shanghai School Spirit" of China, the largest city where he works, nourished him and made him appear in ink painting: highlighting himself, infecting the audience, embodying the spirit and upgrading the realm.
Kant, a great philosopher, said: "Without abstract vision, it is called blindness, and without abstract vision, it is called emptiness." A good work is precisely the unity of opposites between subjective and objective. Add abstract factors to concrete factors. How to make the connotation and formal meaning in the picture richer and more aesthetic, and provide a broader imagination space for the audience, is an important topic of Chen Jianhui's modern ink painting exploration. From his works, we can easily see that these explorations are carried out in two steps. The first step is objective observation and the second step is subjective expression. Especially in the second step, Chen Jianhui paid more attention to the pursuit of his own unique inner feelings, perceived the essence of art, and raised the objectivity of description to the pursuit of personality creation and spiritual expression. Freehand brushwork uses the image of the immediate scenery, subjective feelings use the objective scenery, making his works a self-track, such as a pool of autumn water, concise, round and true. It should be said that these paintings have no frame, no joke, no skill, no ridicule, but they have vision, courage, understanding and charm. This direct, simple, concise and rich contemporary ink and wash conveys to us not only Chen Jianhui's rational thinking, but also his keen thinking. His early schooling experience and many lectures and visits abroad left him a deep impression on the expressive language of western art. I think this is also why he cleverly chose the two basic elements of abstract painting "black, white and gray" and "point, line and surface" to construct his ink world. The western composition theory has been skillfully integrated into China's pen and ink in his works, one by one. In his pen, it can be said that it is spontaneous, and the Zen machine is there. The abstract beauty of pen rhyme is presented to us carefully and patiently. While reading these works, it also reflects the talent, mind and dream of being an artist.
As an old classmate and good friend of Jianhui, I am sincerely pleased with his outstanding achievements in various fields. I wrote to some wishful friends: gentlemen should work hard, persevere, take their hair lightly, take their essence, have boundless thoughts, be open-minded and create more good works with the help of clouds!
Shao Dazhen's Rebellion and Inheritance —— Chen Jianhui's Modern Ink Painting
Chen Jianhui's ink paintings can be roughly divided into two categories: the early works belong to one category, and the form is close to the traditional landscape flowers and birds; The experimental abstract ink painting created in recent years is another type. Chen Jianhui graduated from Tianjin Academy of Fine Arts, received systematic art education and traditional painting, and dabbled in many classic Chinese paintings. These influences are reflected in his early works, and the theme, composition and interest of pen and ink generally belong to the category of traditional ink painting. I say "roughly" here because, strictly speaking, even in his early works, on the one hand, he retained his persistence in the traditional ink painting form, on the other hand, he began to show some rebellious spirit. He gradually and consciously relaxed the structure of traditional ink painting and deconstructed its program appropriately, which shows that he will surpass the rules of traditional ink painting and give full play to his creative wisdom and talent. Summarizing this transformation process, he said: "I personally think that the gradual transformation from the inheritance of a traditional art to a modernist trend of thought is not a sudden and jumping process, but a gradual transformation process." Yes, Chen Jianhui moved from traditional ink painting to modern ink painting step by step.
In painting creation, the expression medium and means of ink and wash seems to be the simplest and most convenient: water and ink are mixed moderately, sometimes supplemented by mineral pigments, and painted on rice paper, which causes various traces preset or unexpected by the author, forming some kind of image modeling or expressing some kind of image ... Only the medium is simple and the means are convenient, but it is not easy to really control. There is a lot of knowledge about the dry, wet and dark colors of ink painting; The relationship between black and white on that plane has infinite implications; All kinds of images caused by the flowing, soaking, infiltrating and dyeing of ink on rice paper, as well as the dialectical relationship between the priority of pen power, the shade of ink color, existence and non-existence, emptiness and reality, and the meaning of "Zen" contained in this simple ink language directly affect the generation and existence principle of all things in the universe, and also directly affect people's complex and rich spiritual world. The concept of "elephant invisible" explained by Taoism and the theory of "meaning" and "implication" advocated by traditional freehand brushwork art give ink painting great freedom. These undoubtedly have great inspiration for Chen Jianhui. However, I think that his earliest motivation for taking the road of abstraction was not influenced by China's traditional philosophy and literary theory, but western modernist art, especially abstract painting. However, after a period of abstract art practice, combined with my own research on traditional philosophy, I began to get through the relationship between the two, and realized it and resorted to new creation. As he himself said: "I personally admire the metaphysical structuralism theory and rational spirit of the western abstract core, and I know the essence of China's traditional Zen and Taoist thought."
It is the goal of Chen Jianhui's experimental abstract ink painting to try to freely combine the rigor of reason with the unrestrained sensibility to express his thoughts on life, nature and the universe, and to express them in the graphic language of ink painting. His modern ink painting not only absorbed many elements of western abstract painting, but also absorbed nutrition from traditional painting, forming a schema with its own face. His paintings are between rational abstraction and perceptual abstraction, and also have obvious image characteristics of traditional Chinese painting. Some metaphors, hints and symbolic symbols or images in his paintings are intrinsically related to China's natural, philosophical and cultural classics.
Generally called abstract art, it is a symbol and image extracted by artists from objective images and constructed by artists from abstract rational concepts and thinking. Chen Jianhui's painting has two ways, but the former is mostly, so many of his works are between image and abstraction, and there seems to be a hidden line, which is essentially related to traditional Chinese painting. As for his ingenious use of the unique flavor of ink and wash, it gives his works a unique national artistic style.
There are two main ways for the modern transformation of ink painting. One is to explore the tradition on the basis of the original quality, give new meaning to the traditional language, and take the road of making the past serve the present; One is to introduce foreign cultural and artistic resources, change the old composition and form a new structure and content of ink language. Chen Jianhui chose the latter way. He is not only a rebel of traditional literati ink painting, but also undertakes the mission of inheriting the essence of traditional ink painting.
(Mr. Zhang Xiaoling, Vice President of China Academy of Art, Dean of Graduate School, Researcher and Doctoral Supervisor) Comments
Emotion in Writing and Interest in Writing —— Impression of Chen Jianhui's Works
Since the 20th century, Chinese painting has been entangled in three issues: how to make pen and ink have a modern sense and taste, the relationship between pen and ink and realistic modeling, and the expression and subject spirit of pen and ink. The last question can be extended to the reconstruction of the realistic function of Chinese painting. These three points can be used as the criteria to consider the quality of China painters. In this context, reading Chen Jianhui's works, we have some experience. In his flower-and-bird paintings, you can read endless new ideas, such as abstract pen and ink, spiritual images, contemporary spirit, experiments, individual mind, boldness and delicacy, and so on. In his own way, he quietly returned to the above three questions, and his works were brand-new and built a brand-new realm of flowers and birds.
Chen Jianhui devoted himself to the research, reflection and summary of traditional pen and ink for a long time. At the same time, the systematic study in the college also made him have a good realistic painting accomplishment. On this basis, he has been looking for a creative way to integrate the two and open up a new pattern. His attention to the rhythm, strength and change of pen and ink in his works reflects his inner admiration for the traditional spirit of pen and ink. In Chen Jianhui's creation, the role of pen and ink has been fully exerted. Under the guidance of the painter's passion, the pen's lifting, pressing, stumbling and falling, and the ink's thickness, lightness, dryness and wetness have produced multi-level changes, and the brushwork is natural and ink and water blend. Chen Jianhui's flower-and-bird paintings are as free and easy as literati's ink paintings, and have the light sense and color of modern western paintings. Most of his flowers, birds, insects and fish are mainly ink, supplemented by color, and at the same time pay attention to the contrast and contrast of ink color. Ink is bright and beautiful because of color, and color is calm because of ink. Moreover, the color in the painting is not limited by objective conditions, and the light and color change according to the needs of the picture. Sometimes they are gorgeous, sometimes they are fresh and elegant, or they are all wonderful in color or pure ink, which shows the beauty and unique charm of China's paintings. Chen Jianhui's flower-and-bird painting has absorbed many elements of western painting, especially Chen Jianhui's flower-and-bird painting has experimental characteristics. This personalized pen and ink with the spirit of experimental exploration makes Chen Jianhui's flower-and-bird image not stick to tradition, but also different from the simple ink and wash experiment. While absorbing the advantages of traditional modeling, it also shows quite avant-garde aesthetic characteristics.
It is the fundamental transformation of Chen Jianhui's pen and ink experiment to establish the sense of the moment and the modern spirit in pen and ink and complete the modern transformation of pen and ink. Because of the great difficulty, we can get a glimpse of Chen Jianhui's painstaking efforts from his changeable language. Sometimes his pen and ink are very simple, a few strokes, and he holds the loom directly; Sometimes large-scale rendering, carefully outlined; Sometimes the picture is carefully designed to take care of the composition of objects; Sometimes return to the traditional freehand brushwork, tracing back to the source. The leap of this language is a remarkable feature of exploratory thinking, which is the most precious quality of artists.
"Expressing one's will by supporting things" is a common creative technique used by painters in China, especially flower-and-bird paintings. China's flower-and-bird paintings not only express the beauty of flowers and birds, but also express the author's thoughts, feelings and character by depicting flowers and birds. It represents the painter's unique process of observing, feeling, remembering and expressing the objective world. Through the free writing of pen and ink, it expresses the painter's thinking and questioning about nature and life. Therefore, many flower and bird painters often create artistic images that entrust the painter's subjective feelings. This artistic image is not only not limited by natural images, but even completely inconsistent with nature, just like the fish of Badashan people, the peacock and the lonely vulture squinting at the sky, thus fully showing the painter's mind and character. Chen Jianhui knows why and captures the essence of China's freehand brushwork in his flower-and-bird paintings. He vividly depicts the characteristics of objects with concise and vivid pen and ink, and reflects the painter's inner personality and interest with clever composition and ethereal artistic conception. Chen Jianhui chose the image of snail, which symbolizes many noble qualities in his artistic language. The image of snail appears repeatedly in his works. This seemingly tender and petite mollusk is depicted in Chen Jianhui's works as an explorer who walks forward with a heavy load, defying difficulties and groping among grass and stones, showing exuberant vitality and vigorous life ideals. At the same time, the elegant expression of the snail also reveals Chen Jianhui's free and easy natural character, and also endows the picture with a transcendental aesthetic mood.
There are many traditional traces of flowers and birds in Chen Jianhui. Even though he has a tendency to experiment with pen and ink, he can still clearly realize his accurate grasp of the "business position" in Chinese painting. Composition is one of the essences of Chinese painting, and the management of picture position is also an important standard of Chinese painting. The Corner of the Horse and Xia Banbian is talked about by later generations for its unique composition method and profound brushwork skills. At the same time, the painters' deliberate pursuit of the rhythm, image and position of the picture, as well as the in-depth discussion of composition and layout by the painting theories of past dynasties, are the best examples of Chinese painting attaching importance to composition. Influenced by western painting modeling and design art for many years, Chen Jianhui paid special attention to the pursuit of formal beauty of pictures. In his works, there is an unconventional way of inscription, which crosses the center of the picture and breaks the slightly dull calm, novel and free; The simplicity of ink painting is also full of vitality because of the careful arrangement of seals. Keeping black and white is the tradition of China's painting. Blank is not a lack, but a sign of "implication" The most important feature of composition in Chen Jianhui's works is the grasp of the rhythm of the picture and the profound experience of keeping black and white. In his works, the faint pen and ink and the postscript of personality are bold and unique because of the blank space in the big picture.
Of course, Chen Jianhui's new pen and ink and new pattern are still maturing and developing in constant artistic practice and exploration. We have reason to believe that through his persistent pursuit and efforts as always, he will open up a unique artistic road, and Chen Jianhui, who is also stumbling along this road like a snail, will also move towards his artistic ideal.
Zhang Xiaoling (Assistant Dean of China Academy of Fine Arts, Dean of Graduate School, Researcher, Doctoral Supervisor)
(Lady Catherine, Canadian art critic) Comment-Return to Nature
Chen Jianhui's application of modern ink painting is both bold and aesthetic. His works contain rich emotions and feelings. The contrast between light and dark colors stimulated the imagination of the audience. His gloomy palette combines dots, intermittent lines and faint strokes with black, gray and white, while weaving mysterious scenery and abstract fantasy. Chen Jianhui is an artist and philosopher. His works show the audience an explanatory world. His expression is purely subconscious. Chen Jianhui's paintings have an introverted and meditative temperament. In those delicate lines and faint ink bubbles, the viewer can feel a kind of tenderness that soothes the soul. Staring at his works, we seem to feel the movement of the picture and a rhythmic flow similar to water.
The audience can even imagine these tiny curved lines bending slightly in the wind. This gives his ink painting a quiet Zen. Some of Chen Jianhui's paintings have only a few strokes, while others have very complicated line arrangements. These fine lines interweave with each other to form an intricate cobweb pattern. Careful observation shows that some snails sometimes appear in the works. These little creatures appear in the form of stars in the artist's abstract landscape paintings, as if looking out in these unpredictable chaos. Looking at them, we can't help but think that we are just observing the outside world in this vast world. His expression of the state of elements in his works not only has his own originality in technique, but also embodies profound insight. His works used modern elements gracefully and boldly, so he entered another field of China ink painting. Chen Jianhui's composition is different. When viewers watch his paintings, they will find that large areas of blank space and heavy ink outlines are as intriguing as lines. He made great efforts in the arrangement of space, and let the audience feel the classical meaning in his works with a kind of intelligent language.
Chen Jianhui reveres traditional China graphics and flower-and-bird paintings, but his paintings are unconventional, unique and refreshing. The juxtaposition of various elements makes his paintings more meaningful. In this respect, we can say that he is a visual poet. The audience may think that his works are experimental, but this is not only the superficial expression of traditional media with modern methods. Chen Jianhui's works are full of introspection and meticulous care. He pays great attention to details, and the influence of university background on his works is obvious. While possessing superb ink painting skills, Chen Jianhui also developed his own unique modern expression technique: presenting many objects without modification, as if they didn't need explanation at all. It is worth noting that Chen Jianhui delicately balanced these two expressions. Although the connotation is complex, his works are as light as weight. In this sense, Chen Jianhui may want to emphasize the simplicity of reality itself.