Basic introduction Chinese name: Source nationality: China birthplace: Hangzhou date of birth: 1974 Occupation: China Academy of Fine Arts, painter graduation institution: China Academy of Fine Arts, Shanghai Normal University representative works: silent blowing series, diffuse series, on the road series, etc. Personal participation, participating in projects, publishing papers, important publications, institutional collections, comments by famous critics, and creative opinions. The winning situation is 2011165438. The oil painting "How much is gone, how much is left in the third place" won the Excellence Award (the highest award) in the 4th National Youth Art Exhibition (20 1 165438). In September, 2009, Man won the silver prize in the 12th Zhejiang Art Exhibition. In February 2009, Man was nominated for the 11th National Art Exhibition. In 2009 10, Dai Xiao won the Excellence Award of Zhejiang Oil Painting Exhibition; In 2005, the oil painting "Open Space in the City" won the Excellence Award in the Landscape Exhibition of China Oil Painting Society. In July, 2004, he won the bronze award of the 11th China Oil Painting Association Collection Zhejiang Art Exhibition, and in September, 2004, he won the bronze award of the 10th National Art Exhibition. And won the Bronze Award for Collection in China Art Museum. The oil painting "Crossroads Series-Taian Road" was selected for 20 12 China Baijia Jinling Oil Painting Exhibition. -20 13.4 The oil painting "How Much Disappeares, How Much Remains One", "How Much Disappeares, How Much Remains Three" and "How Much Disappeares, How Much Remains Four" participated in the roving exhibition "Focus-New Changes of Realistic Painting in China" held by Today Art Museum, successively in Beijing Today Art Museum. Exhibition 2011.11oil painting "Silent Blowing Four" "How much has disappeared, how much is left? Participated in the 1 south of humanity oil painting invitation exhibition sponsored by China Artists Association, and the oil paintings were selected for the 20 10 China Hundred Jinling Oil Paintings Exhibition on the road, and the oil paintings disappeared somewhat on 20 10.09. How many relics are there? was selected in the oil painting art and contemporary society organized by China Oil Painting Society-China Oil Painting Exhibition 20 10.06 Oil Painting Dai Xiao participated in the Return to Classic Oil Painting Exhibition organized by Beijing Mobile Art-Tracing back to the source of Beijing Huantie Times Art Museum in July 2009-Oil painter Xian Mangyao's works exhibition-Shanghai Xuhui Art Museum was invited to participate in Shanghai Huacui Art Exhibition 2009 .0 1. 2008 portrait oil painting exhibition. 1 1 Invited to Shanghai Pudong Biyun Cultural Center 2008. Impression-Shanghai Young and Middle-aged Realistic Oil Painting Exhibition 2008.0 9 Invited to Shanghai Apparent Vision Art Museum Opening Exhibition 2006./KLOC-0.2 Invited to Zhejiang Famous Artists Series Exhibition-2006./KLOC-0.2 Invited Oil Painting Exhibition "Silent Strike II" was selected as China Contemporary Realism Research Exhibition "Spirit and Character" sponsored by China Oil Painting Society 2006.05' Hangzhou Contemporary Art Exhibition 2006. Joint Exhibition-Shanghai Apparent Horizon Gallery 2005.03 "05 Oil Painting Exhibition of Contemporary Realistic Young Painters with Neo-realism Tendency"-Shanghai Apparent Horizon Gallery participated in the project and participated in the national project in September 2009; Participated in 2∕4. Xu Mangyao presided over the major national historical and artistic creation project "Battle of Axles", and published 20 1 1 .03 "Light and Shadow Modeling Language in Painting", published in Art Nouveau and published in the editorial department of Journal of China Academy of Fine Arts. Published in 20 1 1. Volume 32 Rank1∕1201.07 My humble opinion on painting creation method, published in Oriental Art Forest, China Times Weekly, July issue, 20. The Institute of Chinese Studies edited and published 2009. 12 "Fine Analysis of Master Sketch". Light and Shadow Modeling "Shanghai Painting and Calligraphy Publishing House originated from 20 1 1.05" Collection of China Contemporary Oil Painters-Source "Jilin Fine Arts Publishing House originated from the collection of China Art Museum and Jiangsu Artists Association, and was commented by famous artists. In the early 1960s, when he first entered the middle school attached to Zhejiang Academy of Fine Arts, a graduating class senior named Wenyang was outstanding in his major. His paintings are full of aura. My classmates and I sincerely admire and sigh. Secretly set an example for yourself and set the goal of catching up. Forty years later, his son suddenly broke into my teaching career and became one of my graduate students. His name is Yuanyuan. Source was admitted to the middle school attached to Zhejiang Academy of Fine Arts, studied for 4 years, and then entered the oil painting department to complete his bachelor's degree. After eight years of college training, he was admitted to our school. When I first met the source, my first impression was that he was as inarticulate as his father, but very alert and intelligent. At the beginning of the third semester, he suddenly showed extraordinary sensitivity to character modeling in sketch practice, and his study suddenly changed. He has made a leap on the basis of the original solid modeling, and his pursuit of exploration has gradually improved. During that time, he finished the oil painting "Silent Blowing" after school. Submitted to the 10th National Art Exhibition Selection Committee for review, and finally selected and won the bronze award. When some judges talked about this person afterwards, they thought that he was extraordinary and had great potential. One year later, I finished my master's oil painting graduation creation "Silent Whispering II". Obviously, he has made new progress. He has completely mastered the techniques of some outstanding painters in France, Germany, Spain and Italy in the19th century. Coupled with his convincing sketching skills and extraordinary color literacy, he can combine the picture and color reasonably, harmoniously and skillfully. Source, 32 years old. He has just begun to embark on the road of art. With his wisdom, perception and talent, as long as he is willing to study hard and persevere; As long as his art is as important as his life, he will have a bright future. Xu Mangyao's perception of creation "The Diffusion of Silence" On the existence in the time dimension My view on painting is that the author's source is the painting of revelation, and I understand painting as some kind of revelation as an important creed of my creation. When the plane defined by canvas, paint and frame blended with each other to construct a complex and incredible new video, it exceeded my initial expectation. The picture is not the final effect of my writing, but the embodiment of some truth and existence I appreciate. This can be seen from my naming a series of works. For example, The Blow of Silence, How much remains and how much disappears, and Diffuse all more or less express some insights I have glimpsed from my own pictures. "Quiet" is the purity after all the daily chores and noises are eliminated, and "blowing" is the washing of memory by time, which filters out the clutter of the world like an hourglass, thus condensing the thickness of time. I don't want to simply freeze my creation in a picture, nor can I simply understand it as my expression of some existing feelings, but I want to express some real existence and taste of life. Realism and Reality alberti once compared a painting to a window for us to observe the world. With the establishment and application of perspective rule, we can expand our field of vision to the plane picture. Painting simulates realistic images of everything in nature, including our own portraits. The verisimilitude of painting made it an encyclopedic annotation until the invention of photography. We are often fascinated by the authenticity of the details of the objects expressed in painting, and painting attracts us. I often think about this problem. In a sense, my painting is also a question about the definition of painting itself. In my opinion, painting is not a simple visual description of the world. The picture is not so much an open window to show the world we know, but more like a mirror behind the window, taking care of our understanding of the world in front of the picture. My paintings are realistic, not because realism is closer to the real appearance, but because of my long-term sketching experience. In the process of accepting long-term college sketch, realism is the main means to understand the object of expression, and I also have a special liking for it. First, I am fascinated by the infinite approximation of realism to real simulation, and more importantly, the restoration of reproduction urges me to constantly think about the internal relationship between me and this method. Melo-Ponty once said, "These objects sought by painters are not real beings, just like those ghosts, they only exist visually. "I can't help but feel that the closer I get to the appearance of things, the more I doubt the authenticity of the appearance, and even look forward to discovering the truth buried under the appearance, making it a visible person, wandering between visual function and physical and mental experience, and becoming a dual role of realistic methods for me. Therefore, when I paint, the brush strokes become a whisper between my heart and the outside world. I seem to be able to penetrate the surface of things in the interweaving of softness, gentleness and overlapping brushstrokes. I use brush strokes to build things, as if I were building my own internal structure. I am not satisfied with the feeling brought by video, but look forward to understanding things through the intuitive sense of wholeness brought by repeated visual care. This understanding is not limited to rights. So in my picture, there is no real theme, and there is no so-called picture protagonist. People, things and space are in the same important or unimportant position. My attention to the dim light on the wall in a corner and the folding tablecloth on the dining table is never less than my interest in character performance. It's that my paintings show all beings, and these beings don't lack charm because of their humble understanding of people. On the contrary, they have always been. As a realistic painting, my understanding of objects, pictures and me also prompted me to choose some of the simplest contents to express it. For me, the object is not a landscape in my life, and the picture is not the carrier to reproduce this landscape. As a painter, I am not a commentator with a brush. The scenery in front of me always exists in the most comfortable and simple way, and is unknown, so the characters, utensils and environment in my picture seem to be in a state of silence and hypnosis, as if sleeping in eternity. Characters have been divorced from physical experience and completely lost their individuality, while things and appliances seem to have stolen people's souls. Characters become unfamiliar, while objects become familiar. My paintings have leveled everything in our consciousness and understanding, and some universal characteristics have gradually penetrated into people, things and the environment. And the environment is completely dissolved in the definition of space here. There seems to be no physical and visual spatial distance in the picture, and the environment is only expressed in its various colors. I intend to eliminate one-sided and established knowledge of the environment. In the process of sketching and getting along with the environment, the environment and space do not stand out from our vision as an object, but more naturally wrap us and become the surrounding environment. Our trajectory, even the objects we touch, are changing the shape of space and environment, and the momentum of the environment also affects us, causing depression, laughter and even anxiety. Accurately speaking, the environment, us and objects are more like a seamless realm, we. The analysis of spatial distance has also become a pun, which completely eliminates the opposition between the picture and the canvas itself while pulling away from the space. Therefore, painting really becomes its own plane object. The texture of the pigment, the vertical and horizontal strokes of the image in the picture and their respective outlines are all attached to the flat canvas material, thus announcing the establishment of another world, which has become a special newborn with my information and the imprint of the surrounding things. It is not a simple reflection of a world image, but a real thing with rich texture, in which the password of life appears and connects reality, me and even the viewer. Thus, the picture is like an extension of the real world, reconstructing a lot of life information surging under the realistic appearance on the natural canvas. Put things back to the way they were. Solidification Time I really appreciate the description of the "decisive moment" by the famous French photographer henri cartier bresson. Photography is a means to solidify the movement of things, but it is not just the image preservation of athletes. Bresson realized this. He is convinced that there is an internal connection under seemingly ordinary and unrelated things, and this connection is the code of endless life. How to make this code visible or even readable depends on capturing the decisive moment. The movement of everything makes the perfect form of life appear at a certain point, and he has been pursuing such a moment all his life. Different from Bresson's instantaneous freeze on eternal change, in my picture, time seems to be still, and everything condenses like a fossil, as if it has existed for a long time and will be eternal. I don't want to show specific moments, and painting is not to slice life into images. In my picture, people, appliances and even the form of the environment are not a record that just moved to that moment. It can be said that my "decisive moment" presents a calm moment, which is a link in the time chain in which I, my object and my surroundings reminisce and care about each other. The time in the picture is still, but it shows the memory we may or have, and it is also the basic feature of the surging life. The floor in the painting may be the familiar floor in my studio, and the twilight splashed into the picture also appeared in a lazy evening in my childhood bedroom. The glass on the table is also accidentally broken in my memory, and that woman's posture is more like her mother's gentle face or her attachment face in ignorance. All associations are not specific, but often general. This is everyone's journey or expectation. Busy with the world, we are unaware of it on weekdays, but perhaps at such a static moment, memories gradually diffuse and evaporate, drowning the simple gaps between people and things close at hand and far away. Reconstruction of Order French artist Pu Sang established the pursuit and reconstruction of ideal order in his paintings, which was activated by later artists such as Cezanne in his natural sketches. They firmly believe that there must be some checks and balances under the complicated appearance of things. Although people and things familiar with daily space or life often appear in my pictures, they do not appear in the form and position of visual perspective, and the characters do not schedule the pictures as the subject in the space. Everything has become a prop shaped by nature. In the process of painting, I can't express the differences between them, but try my best to bring them into some kind of harmony, which is not only the dominance of composition and composition, but also a call for things to return to their proper position. This is why my works always reveal the lack and absence of the subject. The subject is hidden, and the subjectivity of everything slowly spreads from my face, such as tables and chairs, lattice windows, backpacks, books, cups, steps and tulle, and my expectations for the picture are relieved. If Pu Sang's reconstruction of order follows the ideal form of ancient Greece, then in my paintings, it is more an attempt to rearrange the visual habits. Just as Cezanne built a flat world with his unique broken pen matrix, I put a formal coat on my landscape. In the picture, they anonymously pretend to be points, lines and faces, making love to each other and looking for their final destination. In this coordinate that belongs to them, they are known to us again. Therefore, everything in the picture seems to be as stubborn and firm as it grows from its respective positions. Even the hurricane can't shake it at all. The soul has already left its shell, but it is at arm's length. The compressed space of the picture also takes away the physical time, leaving a fossil of a thing. I seem to find traces of time in these fossils. As an artistic technique, for a long time, the outside world has formed a prejudice against realistic painting, thinking that painters only rely on skills to reproduce objects, and meticulous depiction seems to be the only reason and pleasure of realistic painting. Based on empathy, I disagree with this view. I first understand painting as a skill. Balthus said: "Art is first and foremost a craftsman's skill, and art begins here. Although art is not just a skill, it cannot be accomplished by invention alone. " Art is a kind of giving, the heart gives the wrist, and the wrist gives the hand. As a terminal, the hand carries the function of integration and expression, so it is the most important link. The difference between a work and other handmade products is that it conveys the skills of painting. Without skills, painting cannot exist independently, and skills provide the possibility for the generation of forms. In addition, skill itself is expression itself, and it is hard to imagine how painting would exist without the most technical features such as strokes, colors and lines. Art itself is a kind of existence, just as works are the earth where truth exists. Our feelings are always integrated with expression, and it is difficult for us to reach the meaning behind them through the language of expression. In painting, all this touches us in a collective way. Therefore, art itself should be understood as both the expression and the content itself. It will express the whole story of form and theme and become the umbilical cord connecting artists, works, audiences and the world. The dispute between form and content in the west for a hundred years is precisely the separation of language and existence itself, which makes art go further and further on the road of concept presentation and pure expression. In my painting, technology is not just a means. If language is just a way, we will never reach the truth itself, let alone realistic painting. Because in that case, "words" are just "reality" on the surface of the object, or even this is not enough. We just simulate the shadow that reality itself casts on the object. In my view of reality, technology is the continuation of my body and mind, and I touch the real taste buds. The reason why I show the richness of things delicately is not because I am attached to the table, but actually a concentrated communication, or a layer-by-layer questioning that throws away all established concepts and understandings. I tap gently on the surface of things with a gentle brush and open my heart at the same time. Every time I put pen to paper, it is a touch of emotion that I expect, and it is also a connection between my heart and the world. I wove a net of time with a few dense strokes, which penetrated into the linen of nature and was born in it. Every observation, experience and stay is like dew condensed in the pen and disappears into the color and texture of the picture. For a realistic painter, there is no more intoxicating and expectant way than this pious painting that brings the truth of things with respect. " The blow of silence blew the river of time flowing through my heart, and the silent thing itself quietly came to an end, and the truth moved forward. From Hangzhou