Chen Jialing first studied figure painting. In 1980s, he began to absorb the techniques of China ancient murals and foreign watercolors. After repeated research and practice, he created a new school of modern Chinese painting with the characteristics of China's philosophy, impressionism, abstraction and expressionism.
Among the painters who became famous around 1970s, Chen Jialong was a very different person. Mr. Jia Ling was not young when he made his mark in the painting world (according to the standard of holding a solo exhibition in his early twenties), but he was able to show the sensitivity and advanced consciousness of young talents in his artistic creation career for more than ten years, completed a great leap from technique to concept, established a strong personality, and became a modern China ink painting school in Shanghai in the early 1990s, and was indeed a quite avant-garde painter at that time. Mr. Chen's pen problem is also of great interest to people in the industry. If you see Mr. Chen's work for the first time, you may also be curious. Are those mottled and strange lines and transparent ink (color) blocks really the result of using a pen? If you use strokes, how do you operate them? According to Mr. Chen's own statement, all his paintings use strokes, but the specific painting methods are varied. Walking, keeping, leaking, penetrating and walking is to let water and color flow naturally; Keep it, keep it to a certain extent, and don't let it flow (the above two methods are similar to the painting methods of Lingnan Painting School); Leak, let the above color pass through the back of the paper and leak to the next layer of rice paper; Transparent, or two sheets of paper, or two backs. Teacher Chen thinks that his techniques are not profound, but fully tap the potential of rice paper. Some people may do it, but if they leave it alone, everyone will do it. It is his success to organize colors properly. However, if it is required by the standard of traditional pen and ink, the naturalness of Mr. Chen's pen is inevitably suspected of craftsmanship. Therefore, it is inevitable that someone will criticize Mr. Chen. Hearing these remarks reminds me of a story I heard when I was a child. The story tells that after Columbus completed his voyage, the Spanish royal family held a grand celebration banquet for him. At the banquet, some people made a fuss, thinking that it was just a new continent. As long as they passed through that waterway, they would find that it had nothing. Captain Columbus heard this, so he quietly took an egg and asked the dignitaries present to try to stand it up. Everyone thinks this is impossible. Columbus smiled, picked up the egg and knocked on the table. The eggshell at the bottom was broken, and the egg naturally stood up. All the people present burst into laughter. What's the big deal? Some people laugh at it. It's nothing, Columbus replied, but why don't you do that, sir? Columbus's rhetorical question is also suitable for those who are dissatisfied with Mr. Chen's success-it is normal and even gratifying to have negative opinions in the comments, but if it smells like sour grapes, it will make people feel bad.
Inheriting Pan Tianshou's Chinese composition theory, coupled with ingenious (sometimes free) painting methods, Mr. Chen's pictures are different from those of his peers who use classical techniques for the purpose of adhering to tradition, and even different from those of young painters who use radical westernization techniques for the purpose of transforming Chinese paintings, which naturally shows something different. In addition, Mr. Chen is a painter with more intention than pen (Mr. Chen has evaluated himself many times on various occasions), so his Chinese painting creation is even more mysterious. In order to uncover this mystery and get a deeper understanding of Mr. Chen's creative motivation and ideological trends, the author once had a conversation with Mr. Jia Ling in the quiet Chen Yu on Wu Kang Road, and was able to ask some questions in my heart, which benefited a lot. Mr. Chen's residence is as spotless as expected. By spotless, I mean not only the surface, but also the light and quiet atmosphere conveyed by the topography of the top floor, the location arrangement of furniture, the indoor light and the decoration on the four walls. In this atmosphere, the author and the host started a dialogue. Because Mr. Chen graduated from Zhejiang and America, he must have received very strict basic training. The first topic we talked about was about Mr. Chen's years in Zhemei (now China Academy of Fine Arts). In 2007, Professor Chen Jialong, a famous painter and a leading figure of New Shanghai School ink painting who had great influence on China painting in the new period, celebrated his 70th birthday. From August 9, 2007 to August 26, 2007, China Art Museum held "Lingbian-Chen Jialong Works Exhibition", which comprehensively summarized his artistic career for more than 40 years.
Professor Chen Jialong 1963 graduated from the Department of Chinese Painting of Zhejiang Academy of Fine Arts and studied under Mr. Pan Tianshou. 65438-0963 teaches at Shanghai Academy of Fine Arts, and 65438-0983 teaches at Shanghai University Academy of Fine Arts. In the 1970s, I studied landscape painting and calligraphy with my husband. His works have won the Sixth National Fine Arts Award and the Silver Award of the Seventh National Fine Arts Exhibition, and he has held solo exhibitions and group exhibitions in Japan, the United States, Germany, Singapore, the Netherlands, China, Hongkong and Taiwan Province provinces.
After the reform and opening up, Professor Chen Jialong has formed his own unique style of quietness, loftiness, quietness and lyricism through hard exploration and innovation. His works combine personality, nationality and sense of the times, which has played a leading and promoting role in the development of Shanghai style painting. The Shanghai Peninsula Art Museum and "Ling Yao" Ceramic Studio, which were mainly planned and established by him, are committed to promoting traditional culture and promoting artistic innovation, and their fame has spread far and wide overseas, becoming a banner of the artistic spirit of Shanghai style.