I first met Liu Xin at the end of 2007. Several friends of calligraphy and painting got together for tea. A young man who pours tea, stands well and cleans the table is always busy around us. His decent service is naturally in place, and everyone talks about everything. It is essential to show paper and play with ink, but the two old people let the young man write first. He didn't refuse, dipped his pen in fragrant ink and painted on the rice paper that had already been set. I saw that he had a plan, put pen to paper, sometimes sketched lines, and sometimes splashed ink to reproduce life scenes, and Mo Yun was full of awe. The people present held their breath and appreciated the completion of this northern scenery map. At this time, "I don't know the true face of Lushan Mountain" and "sit up and take notice" became people's first impression of him.
After several contacts, I realized that Liu Xin was not "as good as his word", but actually "not angry but powerful". He pays more attention to painting and personality, and has a high literary style, good personality and ideological pursuit. He was born in a peasant family and liked painting since he was a child. When he was naughty, he never forgot to draw a picture on the ground with branches, and then he became fascinated with children's books, picture books and the like. His love was not moved by his new clothes and delicious food. Under the careful instruction of Mr. Zhou Ding, the first teacher, he was determined to draw all the beautiful scenery in the world, indulge in painting, run a bookstore, consult materials and invite teachers to visit friends. Whenever there was an art exhibition, he would rather scrimp and save.
With this persistent spirit, 1983 was admitted to the fine arts major of Xingtai Normal University. After sketching, sketching, color, landscape, flowers and birds, figures and other systems and learning, he chose landscape. So he made a thorough and detailed study on the primitive painted pottery and bronze art, sculpture and painting in the Qin and Han Dynasties, and then to the culture of the prosperous Tang Dynasty, from Dunhuang murals to the Five Dynasties, and the heyday of landscape painting in the Song Dynasty, as well as the styles and development of Zhao Mengfu and Yuan Sijia in different periods, such as "painting and calligraphy are of the same origin", "Ming Sijia", "Four Monks of Qing Dynasty" and "Four Kings". He studied Hao Jing. From this, we can find out the painting characteristics of "being good for Genting and being handsome on all sides", and express the author's aesthetic taste through plain scenery such as snow and cold forest, so as to strive for originality and originality in painting. Drawing lessons from Zhao Mengfu's theory of emphasizing artistic conception creation and advocating "preserving ancient meaning", he tried to solve the problem of pen and ink in the next few years, that is, after understanding the shape and quality of objects, he sought "spirit" and "qi". He tried the joy for the first time, but it was more about the hardships of exploration and the distress of failure. He often paints until midnight, hungry and cold, looking around, and the taste is hard to say.
When he came to Beijing in 2004, his pen and ink gradually matured, and more cultivated his mind, cognition and ideas. Therefore, he pays attention to the cultivation of "environment", "meaning", "potential", "trace" and "image". Chinese painting always expresses the artist's mind and realm with the help of pen and ink materials. Painting starts from the heart, poetry starts from the heart, and the spiritual realm determines the artistic style. Traditional Chinese painting is a heart painting, the embodiment of the artist's mind that connects with the times and thinks about everything, the process of sublimation in the eyes, and the realm that can only be reached after "the nature of foreign teachers is the heart source of China". In the past hundred years, the west wind has gradually spread eastward. He deeply understood Mr. Lin Fengmian's assertion of "reconciling Chinese and Western arts and creating natural art" and made bold innovations. The integration of the virtual environment and the real environment of his pictures has become a phenomenon. The splash of light ink in one go makes the picture full of chaos and emptiness; Heavy ink dyeing, dry pen wrinkling, random sketch, heroic, dripping and carefree, and strive to get home "empty and quiet" spiritual portrayal.
"Tao does not pass on, but people can pass on." He has made great achievements through hard work. Liu Mu and Li Xiaoke thought he was "thoughtful and valuable". In order to further his studies, he went to China National Painting Academy and studied under Lu Yushun, Ceng Laide and Liu Mu. He is honest, low-key, thoughtful and noble, and has won high praise from teachers and peers.
During this period, he cherished every moment, absorbed nutrition, and created more mature pen and ink language and symbols. As a mainstream art, we must first inherit the traditional pen and ink, have profound cultural thoughts, and always stand on the road. He deeply realized that works should have eternal vitality. There are many beauties between heaven and earth. "Tao often does nothing, but does nothing. If the marquis can keep it, everything will be self-contained. " He found his own meeting point, reflected the mental outlook of all beings with subjective thinking intention, interpreted society and vented his feelings.
Taking Tao Yuanming's poems as an index, it is a paradise to find a leisurely life that is peaceful, far-reaching and self-cultivation. Treat her as a beautiful dream and get rid of the troubles, pressures, confusion and anxiety in real life. From his paintings, we can see quiet, peaceful and diligent life scenes, which make people think, relax and feel comfortable. This is called beauty. As an artist, it is commendable to use his own art to understand society and life and actively guide the audience's value orientation. He named this painting "Dream of Taoyuan", and this series of works were analyzed and commented in detail by Lu Yushun, who has been guiding the formation and said, "Still capable"!
Maybe he was enlightened, and his inspiration followed him all the time, and he came up with a work called "There is a Tao at the beginning". Creative inspiration comes from Tao Te Ching, and its theme is extended by teacher Lu Yushun's meditation on the eight great wastes. Hu Yangshu depicted in the picture symbolizes tenacious vitality and unyielding will, melts into the vast sky and boundless land, follows the laws of nature in the interactive nature of Yin and Yang, shoulders their respective responsibilities and obeys them silently, and is also a beacon to inspire people to forge ahead! Liu Xin and I met on the recommendation of a friend, and it's very predestined. His sincere, persistent and indomitable learning spirit deeply touched me. He has no good study conditions and living environment, but he is determined to walk in the inheritance, innovation and development of national cultural traditions. Persistence, persistence, bold practice, exploration and attempt. He has a profound knowledge of traditional pen and ink and an objective understanding of the real social and cultural fields. While fidgeting, he has a silent, calm and thoughtful inner attitude that reflects the characteristics of the times. His idea of "dream of paradise" stems from his hope for spiritual home, and his works define the theme and inject humanistic spirit. Pursuing a distant, mysterious and quiet realm will bring people infinite beauty of reverie and yearning for beauty! Spirit is the internal support of a good work, and he has this consciousness.
May Liu Xin stick to this pure land and paint the beauty of heaven and earth with pure heart and smart spirit, and may Liu Xin achieve better results in continuous exploration!
-Lu Yushun, a painter from Nangong, Hebei Province, came to the National Academy of Painting for further study in painting and calligraphy, and made great achievements in landscape painting. It's really gratifying.
The academic pursuit of contemporary Chinese painting can be divided into two situations: one is to seek tradition. The tradition of seeking pen and ink, the tradition of style and the spirit of tradition. This kind of painters pay attention to copying, the source of pen and ink, and the inheritance of style schema, and think that maintaining the style of pen and ink is to maintain and maintain the traditional spirit; The second is to seek innovation. Seeking brand-new pen and ink, even not afraid to abandon the traditional pen and ink language system to find another way, abandon or completely abandon the traditional style and schema, create a brand-new schema, and pursue the modern spirit of advancing with the times. Bi Shitao's "pen and ink should follow the times". The former embodies inheritance and continuation, while the latter embodies integration and development. In fact, tradition is not only static, in a sense, change is the fundamental law of tradition. Wang Shizhen discovered this truth long ago in the Ming Dynasty. He said, "Scenery, customs, Dong, Ju, Li Cheng, Fan Kuan, Liu, Li, Ma, Xia, Da Chi and the Yellow River are all changing." What Wang Shizhen said is that the painter pursues change in the same tradition, and seeking change is the fundamental method of tradition, and tradition is enriched and wonderful because of change.
Liu Xin's pursuit of landscape painting belongs to the first category. He respects tradition and strives for change. He once spent a lot of time studying traditional brush and ink and traditional landscape style, and integrated them into his research. He also found his own way, accumulated some experience and gradually formed a face. He is more changeable, pursuing new landscape images and styles in line with the times in his sketching, and has made remarkable achievements. Before coming to the National Academy of Painting, he was confused about how to further sublimate. A year's study made him suddenly enlightened, gradually enlightened and gradually realized. He knows more clearly that the firm tradition should be to seek the law and the spirit, rather than the combination of ink and ink traces and images of the ancients. A year's study, copying, sketching, creating traces, creating images, creating a new experience and a new realm began to be born. Liu Xin said that he re-recognized the ancient propositions of fishing, firewood, ploughing and reading from the humanities, geography and history of his hometown, and realized the pen and ink different from the traditional ones from the vigorous development of the times. He has a batch of new works. Compared with the works before coming to the Chinese Painting Academy, the new works should have changed by leaps and bounds.
Looking at Liu Xin's landscape paintings will make people look forward to his future development. The elders in his hometown have high hopes for him and are proud of his achievements. I hope he can come to by going up one flight of stairs and paint better works.
Liu Mu 2065438+2002 1 month