Appreciation of the works of Zhao Qingguo, a famous flower and bird painter.
People who follow the art are rooted in their hearts and send their flowers and ink on lilies. Man and God can't do nothing, thinking easily, sorrow and joy changing, and feelings are born of ambition and solidified in the studio.
Geng Yinchun (2065438+00) (May 15) At an auction in Beijing, many paintings of flowers, birds and Chinese paintings by Zhao Qingguo, a famous flower and bird painter, won bids from online photographers from all over the country and off-site, among which a Doufang grape set an auction record of 250,000 yuan.
In May, Beijing was chilly in spring, and people who were not afraid of the cold came to visit and bid with great interest. The four walls of the exhibition hall are covered with works by masters of Chinese painting at home and abroad, and Mr. Qing Guo participated in ten Chinese paintings. The exhibition "Chunhua Qiushi" with the theme of grapes is magnificent, magnificent and full of ink!
Zhao Qingguo, a native of Xu Shui Town, Zhengzhou, Henan Province, was born in an ordinary peasant family in 1954. Five brothers and sisters are the youngest. Influenced by their brothers and parents, they like reading, writing and drawing. His greatest ideal is to be a painter in the future.
When he was studying in middle school, his cultural and artistic achievements were excellent. However, the Cultural Revolution ruined the dream of painting. 1970, when he was just sixteen years old, he had to join the army with a pen and came to an engineering unit of the Wuhan Military Region of the China People's Liberation Army. Engaged in heavy physical construction in the tunnel during the day, and went back to the barracks to burn the midnight oil to read and write at night. The hard living environment honed Qing's will and strengthened his determination to learn painting and become a painter. Since then, he has developed the habit of sketching. He said that he never smoked or played cards, which was directly related to his ideal pursuit of painting when he was young.
Zhuangzi's Waipian said: "Fools think tools, craftsmen think they are guilty. Destroying morality means righteousness, and saints are also wrong. "
In the youth of the Qing Dynasty, self-improvement, construction projects, cultural propaganda, everything ahead, did a good job. He said that no matter what people do, they should have an upward spiritual pursuit. The more difficult the environment is, the more independent they should be. "Tian Xingjian, the gentleman is constantly striving for self-improvement." ("Zhouyi? He often takes the words of the ancients as his motto, from the ordinary builder to the clerk and then to the steward.
When Qing was in the army, he liked reading and had a wide range of interests. He can play, play and sing anything. But his favorite is painting. He is not only fond of meticulous sketches of flowers, birds, fish and insects, but also keen on large-scale masterpieces depicting panoramic views. He sometimes paints oil paintings and calligraphy, which covers a wide range and has no fixed pattern. He finally got on the right track of painting and took Pan Tianshou's disciple, Professor Zhu from Zhejiang Academy of Fine Arts (now China Academy of Fine Arts) as his teacher, but it came from an accidental opportunity. In the late 1970s, the material system of the Qing Dynasty, which had been transferred to other places, received artists such as Mr. Zhu and Mr. Zhu in Luoyang and watched a famous work "Luoyang Flowers Like Brocade" jointly produced by them. Gorgeous ink color, standing strange stones, swaying pines and cypresses, gorgeous peony, day lily and imposing composition made the Qing Dynasty stop for a long time. Originally, Chinese painting was OK. He made up his mind that he must learn Chinese painting from Professor Zhu. Coincidentally, Mr. Zhu met a famous flower and bird painter in Henan. His family has collected more than a dozen large-scale flower-and-bird paintings of Mr. Zhu, which have continued from the 1960s until recently. The Qing dynasty regarded it as a treasure and borrowed it to copy it carefully and systematically. He deeply felt that his original painting skills were insufficient. During his MBA at Tianjin University, he went to Tianjin Academy of Fine Arts and Mr. Ji Junyao, Mr. Li to systematically study traditional painting theory.
1April, 1992, on the recommendation of Mr. Wang, Qing took dozens of works and drove thousands of miles to Mr. Zhu's home near the West Lake in Hangzhou for advice. Mr. Zhu has read the works one by one, praised the aura of Qing painting, and wrote an inscription on the works: "The spirit is commendable, and you must work hard." In his spare time, Mr. Zhu writes a letter, with a picture at hand and word of mouth. That year, Mr. Zhu was 7 1 years old and 43 years old. He was a disciple in his later years.
"Zhu's first understanding of life and art is reflected in his three basic viewpoints: artistic style should be in harmony with personality, the perception of life is the source of creation, and the pen and ink of Chinese painting is an art that can be continuously inherited and developed. He fully demonstrated the quality of a careful and confident contemporary China painter. "
Mr. Zhu's apprenticeship is very rich. He studied under Yan, Lin Fengmian, Sun Wenlin, Ni Yide, Li, Cai Zhuoqun, and Pan Tianshou. He is good at absorbing the nutrition of Chinese and western paintings, combining academic teaching with traditional mentoring training, and implementing it in teaching as a pupil rather than an old gentleman. Mr. Zhu often said: "It is far from enough to use the pen and ink of the ancients. We should learn from the artistic conception and conception of the ancients. "
Mr. Zhu attaches great importance to the interaction between master and apprentice and the three links of copying, sketching and creation of ancient famous paintings, and advocates learning from ancient times (that is, karma) and sketching and creating (that is, creating modern people) by copying and reading paintings. Learn from the past, in order to achieve the purpose of opening up the present. Sketching is the practice of learning from the ancients and the only way to create. Creation is the refinement and sublimation of sketch, and it is also the touchstone to learn from the ancients and nature and discover their own defects and deficiencies through practice. In fact, in the whole process of learning painting, copying, sketching and creation are repeated alternately. Under the guidance and inspiration of teachers, the Qing dynasty gradually understood these truths and re-emphasized the relationship between copying, sketching and creation. Generally speaking, before the 1990s, the creation of Qing Dynasty was mainly based on copying and sketching. In the later period, sketch and creation were the main tasks. Throughout the Qing Dynasty, painting was copied, sketched and created alternately. After nearly 30 years of unremitting efforts, the Qing dynasty gradually embarked on the road of learning painting since the enlightenment.
In the Qing Dynasty, he studied painting with many teachers, such as Professor Zhu, who was pious and persistent. Gentlemen also try their best to teach them without reservation, whether from subject matter or pen and ink. Young people study hard and learn flexibly. We should not only look at it from a macro perspective, but also pay attention to the overall situation. And from the micro-start, a painting, subtle. He has a strong interest in learning, not only trying to figure out the main points of the teacher's teaching, but also paying attention to studying the teachers' respective painting methods and materials, and combining their own characteristics, making targeted reference.
Since 2005, the Qing Dynasty has entered the heyday of creation, and completed a number of large-scale paintings with grapes, peonies, lotus flowers and various crops as themes, such as Lotus Pond with Wind and Rain, Hope for a Good Year in the South Wind, Only Tea and Smoke in the Mountains (2006), Spring Rain, Qingxi Tea, Pomegranate Rhyme and Qiuxiang.
Looking at the works with flowers and birds as the main scenery in Qing dynasty, the early works are more realistic, "taking the beauty of things, taking the reality of things, taking the reality" and pursuing simple natural beauty. Recent works are gradually exaggerated, with certain symbolic significance, revealing more rational spirit. It can be clearly seen from the above works that the painter has gradually entered a new stage of subjective fabrication from "objective" description.
In the composition of his creation, Qing deliberately pursues a broad artistic conception, strengthens it with a large angle of view and close-ups, exaggerates the wonders of flowers and trees and majestic branches, thus narrowing the distance with the audience, causing a strong visual impact with generate's works and making people feel lofty. Mr. Lu Xun, a famous flower-and-bird painter, art critic and people's artist in China, wrote an inscription in his work Plum Blossom: "Snow is flying all over the sky, and an independent ice cliff smiles; The roots are like vermilion flowers, and it is necessary to warm the world with light and heat. "
In the Qing Dynasty, in order to better express and adapt to the needs of large-scale painting creation, extensive brushwork and colorful Jiao Mo were used to spill out the lofty spirit in the chest, thus pursuing simple and focused artistic effects. This grand aesthetic orientation indicates that artistic creation in Qing Dynasty is gestating a sudden change.
In order to meet this long-awaited change in artistic creation, the Qing State successively accepted the invitation of World Knowledge Pictorial, Science and Technology Man and state organs, and went to Beijing to create huge grape-themed paintings such as Zhu Ji Tu, Zi Qi Dong Lai, and Autumn Garden Looking for Poems and Sentences. He told me that in the near future, I will selectively reread some theoretical books and poetry collections, expand artistic conception and nourish pen and ink, and then change my style after I am 60 years old, so as to explore the expression of flower-and-bird humanistic painting, show the thinking of blending cultivation and ability, and achieve the artistic style and theme ideological quality of freehand brushwork in ink and wash.