Published by Shanghai People's Fine Arts Publishing House in February 2005. Zhang got 108 papers, 160 essays, 100 poems, 100 pastoral poems, and 12 calligraphy. Inscriptions by Gao Guanhua and Lu Yifei, and inscriptions by Shao Dazhen, Song Li and Shao Luoyang.
Mr. Zhang dabbled in Chinese and Western painting, literature and history, specializing in pastoral landscape painting creation for nearly 20 years, and studied historical theory and creative methods. He found that the pastoral scenery in landscape painting is like scattered pearls, which can be finished; The contemporary concept of "rural beauty" is growing, and the creation of "rural scenery" is also growing; They have relatively independent artistic value, modern aesthetic value and social value, and have a good social response, so they are named "pastoral landscape paintings". In the style of prose, this book expounds the concept and historical framework of pastoral landscape painting, as well as various artistic viewpoints. Ma Hongzeng and other experts verified that this is the first monograph on rural landscape in China. [attention]
[Note] Ma Hongzeng, deputy director of the Theory Committee of China Artists Association, and deputy curator of Jiangsu Provincial Art Museum. His article "Pastoral Scenery: Zhang's New Development" was written in 2006, and was first published in China Calligraphy and Painting Newspaper (No.1654) in 2007.
(2) Monograph "Pastoral Landscape Painting Method"
Published by Shanghai Education Press in July 2009 by Zhang. This book consists of four parts: introduction, pastoral landscape painting, pastoral landscape painting and appreciation of pastoral landscape works, with a total of 240 paintings, with an inscription by Wang Qi and a preface by Shao Dazhen. In the process of writing this book, historians such as Shao Dazhen, Wang Bomin, Ge Lu and Ma Hongzeng reviewed and guided the manuscript.
Shao Dazhen said in the preface: "The Pastoral Landscape Painting Law is a good book to provide creative guidance for pastoral landscape lovers. He listed four branches of China's landscape painting, and "pastoral landscape painting" is one of them. Such systematic research is of positive practical significance for opening up new horizons of Chinese painting, promoting the discipline construction of pastoral landscape painting, exploring the way out for the development and innovation of landscape painting, improving the vitality of landscape painting in society and promoting the prosperity and development of Chinese painting.
This book systematically and deeply expounds the creative methods and techniques of pastoral landscape painting, which runs through the basic ideas of pastoral landscape painting. It not only draws lessons from the achievements of predecessors, but also has the experience and methods explored by the author in long-term practice, which has brought selfless artistic dedication to landscape painting creators. Illustrated with pictures and texts, it is both operable and ornamental. It is not only the explanation and research of techniques, but also the appreciation of excellent works, which is close to practice and readers.
Brief description of pastoral landscape painting:
I. General introduction
Second, pastoral landscape painting creation
(1) life and emotion (2) conception (3) plot (4) composition (5) framing (6) perspective (7) depth of field (8) pen and ink (9) color (10) light perception (1 1)
Third, the painting method of pastoral scenery
(1) Four Seasons Painting (2) Bamboo Painting (3) Bamboo Garden Painting (4) reed painting Painting (5) Reed Flower Painting (6) River Reed Painting (7) Empty Branch Tree (8) Point Leaf Tree (9) Sandwich Leaf Tree (10) Cluster Tree Painting (/kloc-
Iv. Appreciation of pastoral landscape works
(3) China pastoral landscape painting history monograph.
Tianjin People's Fine Arts Publishing House published the first volume in September 1 Edition 20 12. The book has ten volumes, the first four are comments, and the last six are contents. Picture 10500, with about 400,000 words. Zhang wrote, inscribed, and Xue Yongnian prefaced.
This book is the first history of rural landscape painting in China. Starting from the opportunity of rural landscape painting, tracing back to the source, this paper reveals the origin, existing conditions and development motivation of rural landscape painting in detail, lists the ups and downs of historical development, and points out the present situation and development direction of contemporary rural landscape painting. The sketch briefly reveals the development of painting history and the research ideas of painting theory.
From the time when agriculture became the main mode of production to the time when The Book of Songs came into being, the rural beauty gradually entered the aesthetic vision of China people. But its development track has never been noticed and recognized by the society, and it has never been regarded as a branch of landscape painting; No one has set foot in its historical research, so this book has original academic significance. Historian Wan Xinhua wrote: "In the past, researchers in the history of painting never specifically talked about pastoral landscape painting. It was not until recent years that Mr. Zhang, the president of Haimen Painting Academy, formally put forward the title and theory of' pastoral landscape painting', insisted on writing and arguing again and again, and sought, explored, discriminated and verified from the complicated literature and image historical materials, and gradually sorted out a history of China pastoral landscape painting. " [attention]
The book review proves the existence of the creative team and working group of pastoral landscape painting with a lot of materials, and explores the specific category, connotation and extension of pastoral landscape painting through extensive comparison; This proves the necessity of rural landscape as "painting eyes" and writes "the history of rural landscape painting in China"; And put forward a new aesthetic proposition "pastoral beauty"; Put forward the theory of "aesthetic taste" of the origin of painting.
This book shows the charm and richness of pastoral landscape painting, which will make more painting lovers who participate in the creation of pastoral landscape painting enter a conscious state and provide reference; At the same time, it will also promote the development of new fields of Chinese painting.
According to Mr. Xue Yongnian's articles and seminars, the value of the book "The History of China's Pastoral Landscape Painting" is: "It not only fills the academic gap, but also has practical significance" and "explores new ways to open up China's traditional landscape painting to keep pace with the times." The publication of this book, together with the first two monographs, laid the academic foundation for the discipline construction of pastoral landscape painting. Brief directory:
Comments on the first part
volume one
Inscription by Wang Bomin
Xue Yongnian's preface "Tracing back to the source, exploring the old and learning the new"
The author prefaces Fantasy Outside the Garden and introduces "half answer sheet".
The first chapter is the origin of pastoral landscape painting.
The second chapter is the pastoral scenery in China's ancient landscape paintings: Six Dynasties, Sui and Tang Dynasties, Five Dynasties and Song Dynasty.
Volume binary Ming and Qing dynasties
Volume III
The third chapter is the theme of rural landscape in China's modern rural landscape painting and modern folk painting.
Volume iv
The fourth chapter is the developing contemporary rural landscape painting in China.
The fifth chapter is China's pastoral landscape painting theory.
Next directory
Volume V-Volume IX China Pastoral Landscape Painting Catalogue.
Index and Postscript of Volume 10
[Note] Zhang China, deputy director and associate researcher of the Institute of Art of Nanjing Museum, published his Brief History of Pastoral Landscape Painting for the first time in the 7th issue of China Calligraphy and Painting, 20 128.
(4) Prose "From Hometown Complex to Pastoral Landscape Painting"
(The full text was published in Dongzhou Art 1996 edited by Zhang. )
Excerpt: My hometown is in the Jianghai Plain, deep in the countryside. The winding path is bright with water; Bamboo houses, green trees like clouds. Neighborhood laughter, the sound of chickens and dogs. I spent my childhood in such an environment. Today, in my dreams, there are always scenes of old people in my old house, like endless movies. My brush, I can't help but draw my hometown. I once wrote a poem: "When the river enters the sea, the two banks are flat; Saltiness means no painting, and it is biased towards secluded places; Bamboo thatched cottage, shallow water reflecting grass; The bright moon in the sky is even more nostalgic. "I can't get rid of my love for my hometown!
……
My nostalgia for my hometown and my love for nature coincide with a social and cultural significance. This kind of meaning is different from the quiet taste of ancient pastoral poetry, but is the aesthetic ideal of modern people. People always like sunny fields, clear running water, fresh air, lush trees and crops. Draw these landscapes with our traditional Chinese paintings. This is an idyllic landscape painting. Let's call it "pastoral landscape painting". Pure beauty in painting can arouse people's nostalgia and yearning for beauty, and leave the pastoral complex of hometown in painting.
(5) The paper "Pastoral Landscape Painting in Past Lives"
(The full text was published by Zhang in China Pictorial. Similar papers are "Talking about Pastoral Landscape Painting" and "Introduction to Pastoral Landscape Painting")
China landscape painting has a long history. The development of agricultural production was thousands of years earlier than landscape painting, but it was not until the Sui and Tang Dynasties that painters began to pay attention to pastoral scenery and entered the embryonic stage of pastoral landscape painting. Typical pastoral landscape painting appeared in the Five Dynasties. By the end of the 20th century, the name and concept of "pastoral landscape painting" came into being, the painter's concern was greatly awakened, the creative theme also developed, and it began to enter a new period of prosperity. In the past 20 years, the number of creations has advanced by leaps and bounds, exceeding the sum of works left over from previous dynasties.
For thousands of years, pastoral landscape painting has formed its own category, connotation, extension and aesthetic tendency. Although pastoral landscape is influenced by poetry, it is a branch of landscape painting after all, so it is more dominated by landscape spirit. Pastoral landscape should add "the beauty of neutralization" on this basis. The aesthetic characteristics of pastoral landscapes should take "the beauty of neutralization" as the soul core, and have the following characteristics: first, the pastoral scenery is the main image; The second is to draw a picture of China's accession to the WTO with the attitude of being close to nature and publicizing the beauty of the ecological environment; The third is to express the beauty of life and ecology with the concept of "the unity of things and me", and to create a warm and harmonious poetic environment with the spiritual vision of literati; Fourthly, on the basis of Chinese painting, we should properly absorb the advantages of western landscape painting and construct a unique artistic language schema.
Keywords pastoral landscape painting history, cultural origin, aesthetic connotation, significance of the times, one core and four elements
(6) My opinion on the branch of landscape painting.
(The full text was published in China Calligraphy and Painting Newspaper, No.2329, 20 13, by Zhang. )
Summary: The initial stage of any painting theme is always chaotic and inseparable. When it reaches a certain stage and has the conditions for independent branches, branches will be independent. The classification scheme of subject matter was formulated by painting historians on the basis of a lot of research, and it showed a stable state in several years. The division of subjects has played a positive role in promoting the development of painting and improving the artistic characteristics of various categories.
Pastoral landscape painting has made great progress in contemporary times. When determining the discipline orientation of this branch, we found that it has two other "brothers": seascape and city. The original "master" mountain landscape painting has become a big brother. Fengling Landscape Painting is a landscape painting with peaks and mountains as its main images and rocks and waterfalls as its constituent elements. "Pastoral landscape painting" is a landscape painting with pastoral scenery as its theme. Seascape Landscape Painting is a landscape painting with waves and coastal scenery as its theme. "Urban Landscape Painting" is a landscape painting based on cities, market towns and man-made gardens.
Keywords: landscape painting Kefeng landscape painting pastoral landscape painting urban landscape painting seascape landscape painting
(7) The paper "Between WTO Entry and Birth"
(The full text was published in the 6th issue of Art Watch 20 10 by Zhang. )
Summary: The topics of "pastoral landscape painting" are classified according to the subject matter. There are several ways to explain it, and content and theme are one of them. This paper traces the origin of painting and the evolution of its function from the perspective of China's entry into WTO and the birth of painting, and reveals the characteristics of the times of pastoral landscape painting content. Because pastoral landscape creation pays attention to people's living conditions, we often see the artistic conception of natural tranquility, which not only keeps the painting facing the world, but also has the side of being born. Therefore, the essence of pastoral landscape should be between entering WTO and being born, which is determined by the characteristics of the theme. The entry of the world and the birth of the world have positive significance for painting. In contemporary times, homeland complex and ecological ideal naturally become two important themes of pastoral landscape painting.
Key words: pastoral landscape painting, survival aesthetics painting, WTO entry and birth; Home complex between entry into WTO and birth; The ideal of building an ecological paradise