Gu (formerly known as Gu) was born in Lianyungang, Jiangsu, 1963, doctor of fine arts. At present, he is a professor of fine arts at Nanjing University of the Arts, a tutor for master students, and the executive dean of the Chinese Painting Research Institute of Nanjing University of the Arts. Editor-in-chief of Chinese Painting Research, member of China Artists Association.
Chinese name: ancient (ancient)
Nationality: China.
Ethnic group: Han nationality
Place of birth: Lianyungang, Jiangsu
Date of birth: 1963
Occupation: professor, artist
Graduate school: Nanjing Art Institute
Masterpiece: Collection of Gu's Works
The life of the character
1963 was born in Lianyungang, Jiangsu Province. He graduated from the Academy of Fine Arts of Nanjing University of the Arts with a bachelor's degree, and successively obtained a master's degree and a doctor's degree.
He has served as assistant to the president of Shanghai University Art Research Institute, vice president of Shanghai University Art Research Institute and director of the editorial department of China Art Research.
Vice President, Professor and Master Tutor of Chinese Painting College of Guangxi Arts University. Director of the Art Museum of Guangxi University of Arts, leader of art history. Executive director and secretary general of Lijiang Painting School Promotion Association.
Professor and master tutor of Nanjing Art Institute, Executive Dean of Chinese Painting Research Institute of Nanjing Art Institute, and Deputy Director of Preparatory Committee of Academy of Fine Arts for the centenary of Nanjing Art Institute.
work of art
theory
He has published many monographs, such as Artistic Realm, Research on Painting of Qianhai School, and Research on Brush and Ink of Chinese Painting.
He has published dozens of academic papers in professional journals such as Art and Design, China Painter, Pictorial, Art Exploration, New Visual Art, China Art Research, Art Grand View, and many special research papers in the proceedings of academic seminars.
He is the leader of art history in Guangxi Arts University.
draw
Moon Lake, Weaver Girl, Dan Xin, etc. Participate in national and provincial art exhibitions and win prizes. Their works were presented to foreign leaders as national gifts.
20 12 12 held a solo exhibition in Jiangsu Provincial Art Museum.
The People's Fine Arts Publishing House published the Collection of Gu's Works. Landscape paintings include Guangxi sketch series, Huangshan sketch series, Taihang sketch series and Wan Yu sketch series. Flowers and birds include Yunnan sketch series, including figure sketch and calligraphy.
Evaluation and appreciation
Wu Changjiang (Party Secretary and Executive Vice-Chairman of China Artists Association) advocates the true nature of foreign teachers and travels around famous mountains and rivers. Because of his work needs, he teaches in Beijing, Shanghai, Nanning, Nanjing and other places, and is deeply influenced by Beijing School, Shanghai School, Jinling School and Lijiang School. This large-scale cross-regional cultural experience and thinking will inevitably enrich his knowledge, temper his character, accumulate his thickness, and make his artistic creation and achievements have distinctive personality characteristics.
On the whole, Wei's traditional Chinese painting works pursue plain taste, seek elegance and calmness among men, and strive to build a win-win realm of Chinese painting charm and charm. As far as landscape is concerned, Weixi has constructed a vigorous artistic realm with clumsy lines, which embodies the spirit of epigraphy with pen and ink. Wei's flower-and-bird paintings are devoted to the spirit of freehand brushwork in Chinese painting, creating rhythm and rhythm and constructing the mysterious realm of Chinese painting in wanton brushwork.
Huang Gesheng (Vice Chairman of Zhi Gong Dang Central Committee, Vice Chairman of China Artists Association, Vice Chairman of Guangxi Political Consultative Conference and President of Guangxi Art College) Wei has made great efforts in tempering Chinese painting. He extensively studied the classics of traditional painting, especially the landscape paintings of Song people. I have sketched in Huangshan Mountain four times, and I have traveled all over three mountains and five mountains. In calligraphy, he studied traditional classics, such as Cong Baozi Monument, Zhang Qianbei, Ode to Shimen, Zheng Wengong Monument and Yuelu Mountain Temple Monument by Li Beihai. Painting creation is mainly based on flower-and-bird painting and meticulous figure painting. In his artistic creation, he faces life directly and makes his brushwork lively and interesting. His pen is thick and old, and what he pursues is majestic atmosphere and distant weather. The long-term tempering and cultivation of Weixi's calligraphy seal cutting, as well as his systematic study and theoretical thinking on the theory of painting history, make his works contain more traditional and ideological connotations. He didn't "get rid of it prematurely" in the formation of painting style and pursued the so-called "schema" personality, but he could stand loneliness and didn't relax his demands on himself.
Ruan Rongchun (member of the State Council degree evaluation group, tutor of Ruan Rongchun Studio of China National Painting Academy, director of Art Research Institute of East China Normal University, doctoral tutor, famous art theorist and painter).
Weixi has been "constantly changing" for nearly 30 years, and its geographical area is in Beijing, Shanghai, Jiangsu and Guangxi. Spread and influenced by Beijing School, Shanghai School, Jinling School and Lijiang School. In the academic field, he is immersed in art history and aesthetic research, and his paintings are more compatible with figures, landscapes, flowers and birds, and calligraphy seal cutting. Wei's observation and research experience of different regional cultures, as well as his long-term exploration, pursuit and experience in the depth, breadth and depth of artistic research and practice, make his artistic creation and works present a unique and distinctive personal style, thus standing out in the increasingly prosperous and colorful artistic field.
Wei was good at painting when he was young, but later he made a systematic study of steles and harmony, involving four famous artists in the Song Dynasty: Su, Huang, Mi and Cai. In 1980s, Wei became fascinated with three generations of inscriptions on bronze, devoted himself to the study of seal script, Yan and Yan Baozi, and finally landed in Lushan Temple Monument, forming his simple and vigorous lines, which were integrated into his flowers, birds and landscape paintings, and had an important influence on the formation of his painting style.
Wei's flower-and-bird paintings are far away from the simple atmosphere of Song people, but close to the vitality of Shi Tao and the Eighth National Congress. Their painting style is vigorous and unrestrained, and Xu Qingteng's influence is obvious. Weixi's pictures are not only atmospheric, rich and vivid, but also elegant and elegant, which makes him jump out of the traditional cave, make it conform to the traditional moment, have distinct flavor of the times and contemporary characteristics, and highlight his own style characteristics. Make his works unique in contemporary flower-and-bird painting, marking a new height of contemporary exploration of freehand flower-and-bird painting.
Wei's landscape paintings are few in number, but they can be magnificent and magnificent. Investigating its origin, on the one hand, it is obvious that Song paintings were built by Song people, which can draw the interest of calligraphy and the stone of seal cutting. Secondly, Wei's landscape painting creation is obviously in the process of exploration and development from learning from nature to learning from nature. The sketching of Huangshan Mountain and the observation and understanding of the unique terrain of Shiwan Mountain in Guangxi have had an important influence on the formation of his landscape painting style.
Zheng (member of the Standing Committee of Chinese People's Political Consultative Conference, vice president of Guangxi Academy of Arts, vice president of Guangxi Artists Association, and a famous painter in China)
Wei's flower-and-bird paintings have three main characteristics: first, innovation based on the inheritance of traditional flower-and-bird paintings. Wei's flower-and-bird paintings are obviously benefited from Xu Qingteng's wantonness and Chen Chun's calmness in composition setting and expression methods, and their richness and simplicity are obviously influenced by Liu Haisu, while their overall simplicity "digests and absorbs" Qi Baishi's formal purport and forms its own characteristics. Secondly, the modeling ability, composition setting ability and pen and ink skills presented by the author in his works. His works such as Autumn Fun, Rainy Season and Autumn Wind are characterized by his enthusiasm and interest in epigraphy, and his vivid brushwork undoubtedly embodies these characteristics. Thirdly, his works show an elegant and agile style in vigorous and vivid freehand brushwork, which is a very rare and precious painting style, and also a successful example of his works expressing his facial expression with "Jiangnan scenery" as the material.
After 2000, Wei devoted himself to studying the structure of rocks and appreciated the ways and means of expressing objects with pen and ink. This process of thinking and exploration contributed to another transformation of Weixi's landscape painting. The representative works mainly include Chengzhai Poetry, Rain Scenery of Huangshan Mountain, Bailongtan of Huangshan Mountain, Tang Poetry, Landscape People in Southern Anhui and so on. After a period of thinking and practice, he turned to Li Keran's massiness and volume, Huang's simplicity and small three, and the grandeur and sublimity of Song people's landscapes. "With a firm and vigorous outline and the setbacks of lines, we can appreciate the spiritual humor of nature and show our indomitable personality spirit and heroic passion for life with simplicity, boldness and vastness." His recent works, Thinking of Fantasy Stone Valley in Fangchenggang and Laoshan Boundary, reflect the style characteristics of his works in this period. It marks that his landscape painting art has reached a new realm and height.
Wei's Chinese paintings are always rooted in tradition and follow the right path of "Chinese painting". Both artistic creation and theoretical research have made certain achievements and formed their own style and characteristics. His ability, talent, works and theoretical thinking have expanded the development space for his painting art. His artistic style of "connecting the past with the future, casting the present", his artistic pursuit of "simplicity" and his academic proposition will surely make him constantly leap to new heights and achieve greater success.
Yin Shi (vice chairman and secretary general of Jiangsu Artists Association, director of China Artists Association, national first-class artist and famous painter in China)
The styles and features of Wei's recent works are far beyond my expectation. In the current environment of seeking schema characteristics in artistic creation, Wei is in no hurry to find a "schema personality" that is unconventional and flaunting himself. Instead, he took the right path of "Chinese painting" more firmly, climbed silently, constantly honed his pen and ink language, and refined and cast his own artistic style.
In his recent landscape works, he changed the style orientation of seeking texture and "visual tension" by ink dyeing, but built a magnificent landscape with spicy and vigorous outline and the rush of innovation, showing the spiritual and cultural significance carried and conveyed by pen and ink. However, his flower-and-bird works have completely got rid of the pursuit in the form of colored ink stains and alum splashing, and returned to the traditional "pen-and-ink paradigm". He himself told me that the recent painting is "more painting and more soil", but I think it is more and more returning to the essence of Chinese painting and embarking on a road of inheritance, exploration and innovation.
Wei's recent landscape works "Thinking of Fantasy Stone Valley in Fangchenggang" and "Laoshan Boundary" are simple and magnificent, and they are eight-foot-long large-scale works, which show his personality characteristics in the language style and scene creation of landscape paintings, which are quite different from his previous landscape works' excessive pursuit of texture and schema characteristics of pen and ink, showing his consciousness and achievements in artistic pursuit. A number of his flower-and-bird works are also very targeted, and great efforts have been made in composition design and the escape of pen and ink.
Gao Yun (deputy director of Jiangsu Provincial Department of Culture) can be summed up by "three ones": he is an excellent painter, an excellent scholar and an excellent organizer of university work.
Comrade Wei is an excellent painter. I graduated from Nanjing University of the Arts with a bachelor's degree in Chinese painting, and then studied for a master's degree and a doctor's degree. Liu Haisu and other famous teachers have excellent college education background and solid painting skills. Adhering to Mr. Liu Haisu's spirit of "keeping constant while changing", he has extensively dabbled in China's traditional painting and calligraphy art, and is eclectic. We should not only learn from the ancients, but also learn from nature. Song and Yuan schools, Ivy League, Bai Yang and Shi Tao are all teachers of other methods. Huangshan Mountain, Taihang Mountain and Yuntai Mountain all have their sketches. In addition, he attaches great importance to "painting with books", works hard on epigraphy, and has a deep foundation in calligraphy. It is these unremitting efforts that make his personal painting style full of charm and charm in recent years, simple and clumsy, gradually emerging.
Comrade Wei is an excellent scholar. As a doctor of fine arts, Comrade Gu paid more attention to his academic accomplishment and theoretical construction while devoting himself to China's painting and calligraphy creation. He has published many monographs such as Art Status, Shanghai Painting Research, Inheritance and Creation, and published more than 0/00 academic papers/kloc in professional journals such as Art and Design, Pictorial, Art Exploration and Art Grand View, and presided over many topics. He is an academic leader in the discipline of art history in Guangxi University of Arts. This long-term commitment to the study and thinking of theory and painting history enabled him to analyze and sort out China's paintings from the perspective of both longitudinal history and horizontal comparative analysis and rational judgment of Chinese and Western paintings. At the same time, it also makes his paintings and calligraphy works more profound and elegant in spirit.
Comrade Wei is an excellent university administrator. Comrade Gu is not only a scholar painter, but also an excellent manager. From the establishment of the Art Research Institute of Shanghai University to the perfection of the Chinese Painting Institute of Guangxi Art Institute: from the successful holding of Nanyi Centennial Painting and Calligraphy Exhibition to the establishment of Nanyi Chinese Painting Research Institute, Comrade Gu has made great contributions, which fully embodies his strong organizational ability, sense of responsibility and artistic responsibility.
In a word, Comrade Wei is a scholar painter with a high sense of responsibility. It is precisely because of the existence of such outstanding painters as Gu that Jiangsu's cultural and artistic undertakings can be revitalized and take off.
KATTO (Director of Fine Arts Department, School of Fine Arts, Nanjing University of Arts, doctoral supervisor)
I think Chinese painting has risen from ancient times to now, spanning the mountains of Sui and Tang Dynasties, Song and Yuan Dynasties and Ming and Qing Dynasties. Through the analysis of court painters, literati painters and artisans, the works of art handed down by them inevitably contain these three meanings, namely, the meaning of art history, the meaning of sociology and the meaning of commodity science. In today's society, what kind of meaning ultimately affects the painter is still the painter himself. After reading Wei's paintings, I am very happy, because I can't see the utilitarian heart in his paintings at all, and I just use paintings to express my thoughts and artistic opinions. His paintings draw nutrients from the mountains and rivers of the Song Dynasty, and he has a deep understanding of the artistic creation of mountains and rivers in the Song Dynasty. His brushwork is vigorous and skillful. But his freehand brushwork of flowers and birds is very literati, quiet and peaceful, full of vitality. He can combine these two artistic qualities well and form his own artistic style language, which is a new development of China traditional painting.