Meng Weidong, 1960, whose real name is Qingpu, is from Atu. Born in Tangshan, Hebei Province, with a university degree. Member of China Artists Association, member of China Calligraphers Association, vice president of Beijing Oriental Xianghe Painting and Calligraphy Institute. Good at flower-and-bird painting, landscape painting and seal cutting.
Chinese name: Meng Weidong.
Alias: word: Qingpu. No: Artu
Nationality: China.
Ethnic group: Han nationality
Place of birth: Anhui
Date of birth:1March 960
Occupation: painter
Main achievements: Member of China Artists Association and China Book Association.
Representative works: flowers and birds, landscapes, life, Spring Festival, etc.
Brief introduction to art
Meng Weidong, born in Qingpu,No. Atu, born in Tangshan, Hebei Province, has a university degree. Member of China Artists Association, member of China Calligraphers Association, vice president of Beijing Oriental Xianghe Painting and Calligraphy Institute. Good at flowers and birds, landscapes and seal cutting.
There is no faction alone, and there is no teacher. In creative projects: self-discovery, self-cognition and self-expression. Explore a new way of modern painting with traditional pen and ink, based on the thought of Chinese studies, take garden-style flower-and-bird painting as the prototype, take the totem natural statue of the zodiac as the prototype, create a painting method with both form and meaning, and strive to create new concepts of humanistic spirit and philosophical thought.
Meng Weidong has his own sober judgment and choice on the road of art, especially the fresh breath of modern society and cultural variation give him new enlightenment and touch, which makes him change his way of thinking, understand things with new ideas, explore new ways of speaking in artistic practice, and show new aesthetic ideals and charm. It should be said that this is the responsibility and mission of Meng Weidong's generation of painters, and it is also the conscious requirement for painters to face the rich and vivid real world.
Criticism of art
Cultural awareness
Cultural Consciousness of Contemporary Aesthetics
Chinese painting is one of the most representative concrete cultural styles in China culture, so its existence and evolution can be regarded as the abbreviation of the existence and evolution of China culture. As a contemporary painter, how to promote and embody his artistic style in inheritance and make his artistic works meet the requirements of the current aesthetic context is a * * * problem faced by contemporary Chinese painting. "Cultural consciousness" is the self-awakening, self-reflection and self-creation of culture. From a certain point of view, Meng Weidong's 40-year artistic path and mental journey not only have confusion about "cultural consciousness", but also benefit from the spirit of "cultural consciousness".
Meng Weidong's confusion about "cultural consciousness" is because in artistic practice, he has been confused about how to inherit and carry forward the excellent quality of Chinese painting; It is said that he benefited from "cultural consciousness". After decades of repeated thinking and continuous exploration, he finally found a creative path, or an artistic style, that suits him, does not completely violate tradition, and conforms to the current aesthetic context and interest.
First, creative thinking close to context and nature.
Guo quoted a famous sentence from The Analects of Confucius in Lin Zhi, which is a recognized value in Chinese painting creation. As a contemporary painter, Meng Weidong certainly thinks about his own artistic path all the time. Meng Weidong's Chinese paintings, whether flowers, birds or landscape paintings, all embody the typical spirit of China culture, and the picture is quiet and beautiful. In the process of changing the artistic conception of traditional culture from "literary thinking" to "artistic conception of pen and ink", good cultural literacy has transformed the individual spiritual accomplishment of Confucianism, Taoism and Zen into wonderful ink and wash patterns, brought the ancient ecological aesthetics into full play, and showed the exotic flowers, flowers, birds, fish and insects on the hot land where the Chinese nation recuperated. The experience of living and traveling in Lingnan in southern Anhui greatly enriched Meng Weidong's creative source. Close to the context, so that his works do not lose the elegance of pen and ink, and pursue the eternal realm of "vivid charm"; Be close to nature and keep a distance from mainstream cultural consciousness and theme creation direction.
Second, pursue the spiritual dimension of "inner beauty" and "outer beauty" of Chinese painting.
Chinese painting is philosophical, paying attention to "inner beauty" and "formal beauty" of the work itself. This artistic quality of "learning from the outside" makes all people with China cultural genes have a special liking. Intrinsic beauty, of course, refers to the beauty and vividness of Chinese painting, which has special cultural meaning. Song Nian once described the words "pen, hook, brush, silk and dot" in detail in "On Painting in the Art Garden". What pen can do and colored ink can help its charm is nothing more than "using pen, ink and water". Meng Weidong studied painting under the guidance of a famous teacher. After years of creative practice, he experienced the "Fiona Fang style" in which the center and the winger used pens, which produced the aesthetic effect of strength and beauty. I have mastered Chinese painting, mainly the "water-gray" tone of landscape painting, in thousands of experiments of breaking ink. This "unsaturated" ink technique adds a lot of spirituality to Meng Weidong's landscape painting, which is faint and magnificent. However, the experience of painting one by one in the process of landscape painting, in the process of his bold attempt to do flower-and-bird painting, has achieved unexpected visual effects. For example, his trunk was chopped with the axe of landscape painting, which increased the green of the forest, and the branches were interspersed densely but not casually, which reflected his ability to grasp flexible lines in the theme of service creation. There are mountains in the chest and things in the heart, so his paintings give you a sense of unity. Blanks or clouds in the picture are more vivid because they are intentionally written first. "Let the charm flow in the picture" has become a typical artistic style of Meng Weidong. However, Meng Weidong's schema style is also strong in form. He likes full composition, pays attention to color embellishment and black-and-white contrast, and boldly adopts "plane composition" and "image composition" in western painting, which enhances the visual impact of the picture.
Thirdly, romanticism has a strong color and pursues maximum "spiritual freedom"
Meng Weidong worships the great French artist Delacroix and attaches importance to nature, emotion, form, contrast and ancient absurdity. We appreciate Meng Weidong's Chinese paintings. No matter the flowers, birds and landscapes, it is not a simple behind closed doors, but a feeling in life. Mountains and rivers, flowers and birds, and trees all like to use exaggeration, which has divorced from the primitive nature and returned to the essence of Chinese painting-image. Artists do not simply describe nature, but express their feelings about life, nature and art through certain artistic means and forms, and fully express their feelings about life and personal feelings in their creations. He never cares about the general gains and losses of pen and ink, but pursues the greatest freedom in his mind. "Looking up at the autumn clouds, soaring in the sky, facing the spring breeze and thinking immensely", we can appreciate his frankness and mind from his works.
Mountain hug review
Self-learning without a teacher —— Reading Meng Weidong's works.
Knowing Meng Weidong started with his paintings, and entering his heart also started with his paintings. Mr. Weidong often sighs: "Finding yourself, knowing yourself and expressing yourself may be the true meaning of creation, but it is not easy to do it."
As a result, this pursuit has permeated all his works, whether painting flowers and birds or splashing mountains and rivers, showing a distinctive and rich "self" in a slightly winter style. This capitalized "self" makes flowers and birds flash beyond the secular aura, and makes the landscape reveal a magnificent and unrestrained heroism.
Although he was influenced by his father-in-law when he set foot on the road of painting, what really guided him was a kind of love from the bottom of his heart and an innate infatuation. He is so obsessed with it that he can't leave it. He searched for "self" in his obsession. Only by holding a brush can his heart be truly calm. During this period, he was excited, he was proud, he hoped, he was confused, he was depressed, but he was not discouraged. He constantly denies himself, constantly seeks for himself and freedom, and condenses them in his paintings.
Wei Dong's creative thought is deeply influenced by Lao Zi, which is fully reflected in his works. "No matter what school it is, as long as it can be used by me, it will be absorbed and digested and carried forward." Although Weidong has no nominal teacher, everything in nature and every bit of life is his teacher, which affects him all the time and inspires his creative inspiration. He believes that everything is two sides of an organic whole, and everyone has his own unique space, vivid pictures and places worth appreciating.
There is no faction alone, and there is no teacher. Although his works range from flowers and birds to landscapes, and then to landscapes and flowers and birds at the same time, the only constant is his persistence and pursuit of painting. In his own words: only do one thing in life. He developed his painting style with diligence and enriched his totem with innovation. It is this persistence and pursuit that has created a poetic, fresh, elegant and colorful spiritual home and soul wealth for this impetuous real world.
I can always feel this easygoing and calm when I look at paintings in winter. The benevolent Leshan, the wise happy water. Into the winter, I can't feel his impatience. He is a gentle and wise man, like a friend, like a brother, simple and kind. He put his emotional heart in the picture and showed it in the fog and the nature of Shan Lan.
Let's stop in the noisy world, sit in front of the picture of mild winter, listen to the sound of running water, listen to the petals cut through the air and fall quietly.
Shanbaocong
Beijing in late summer of 2009
Comments by Jiang Tianbao
Heart, Heart and Image —— Reflections on Meng Weidong's Landscape Paintings
An excellent artist must have his own creative ideas and artistic ideals. And practice their ideas and ideals in many years of creative activities, constantly revise and enrich their painting language, and form their own artistic style. Meng Weidong tends to the theory of "image" in the essential characteristics of Chinese painting. That is to say, the essence of Chinese landscape painting is freehand brushwork, which is the mental process that the painter perceives nature, turns "object image" into "mind image" after getting close to nature, and then restores the mind image to rice paper. The scenery we appreciate on Xuan paper is no longer natural, but the spiritual image, that is, the image, which is described after the emotional intervention of the painter, the creative subject. It's an image other than an image. This creative process conforms to the second leap of cognitive process, and there are both rational description and perceptual imagination in the creation. There is both philosophical induction and poetic eloquence, and the whole creative process is full of life sentiment. It is not only the realistic works of several landscape masters in the Song Dynasty, but also a simple description of the real landscape, just a more detailed painting. Due to the intervention of Neo-Confucianism advocated by Neo-Confucianism in the Song Dynasty, there was a tendency of realism. Inheriting tradition means inheriting the "freehand brushwork" spirit of Chinese painting. This spirit of freehand brushwork is full of the philosophy of China's ancient sages, including the Confucian life realm of "a gentleman is superior to virtue", the Taoist "simplicity" thought of returning to simplicity, and the Buddhist "quietness, emptiness and emptiness" detachment. Chinese painting is called one of the three national quintessences of China traditional culture, and this is the reason.
Meng Weidong appreciates the "return to classical beauty" advocated by teacher Fan Ceng in his landscape painting creation. In other words, China's traditional freehand brushwork landscape painting is full of philosophical rationality and poetic romanticism. The painting language has the aesthetic feeling of China's calligraphy, and the works should be touching and reflect the author's outlook on life and life sentiment.
It is said that "Chinese painting has philosophy". After years of creative practice, Meng Weidong deeply realized that traditional works of art, especially the works of famous artists in Song and Yuan Dynasties and the works of Xin 'an Painting School in Qing Dynasty, all revealed the philosophical thought of "harmony between man and nature". Some of this philosophical thought is positive, which shows that classical ecological aesthetics is suitable for travel life and full of poetry. Some works are secluded and have lonely and cold pictures, but one thing is unified. People are full of awe in front of the natural landscape. The essence of China's traditional culture runs through his works, and the simple philosophical thought of "Taoism is natural" has deeply influenced painters of all ages. As a contemporary artist, there is no doubt that it also carries the social function of "helping others". The creation of landscape painting should arouse people's love and protection of the ecological environment, and the environment on which human beings live is our common wealth. Therefore, Meng Weidong's landscape paintings always like to decorate several houses or huts in the green mountains and green waters, and the quiet picture is full of life breath because of the intervention of "people". And this fairyland-like realm has given urbanites more yearning.
It is said that "Chinese painting is poetic". Meng Weidong set foot in landscape painting more than ten years ago, taking the mainstream road of China literati painting and freehand brushwork painting. He opposed the simple description of the real scene, that is, the description of the scenery, but paid attention to the inner feelings of "seeking beauty and creating truth" and tried to create artistic conception. Only the beauty of artistic conception can produce poetry, in other words, only poetry can create imaginative and charming works. When we appreciate Meng Weidong's works, there is always a kind of "artistic conception" that touches us: green mountains, beautiful distant mountains, flowing bridges, lush trees, clouds and fog, and several houses looming in the mountains. As far as the specific writing style is concerned, Meng Weidong is best at "leaving blank", and the sages also skillfully used the technique of "counting white as black". Flowing spring and white clouds are just eye-catching paintings, which make the whole picture look quiet and dynamic. "Let the verve flow in the painting" is his artistic pursuit and also his artistic feature. Li Rihua in the Ming Dynasty said: "Anyone who has something can get its shape but not its potential;" If you get its momentum, you can't rhyme it; Get its rhyme, not its sex. "Meng Weidong is good at interpreting the natural spirituality of landscape and endowing it with poetry, so his works are readable, durable and memorable. It is said that "Chinese painting is calligraphy". Since the independence of the Tang Dynasty, China's calligraphy art has been very developed. The involvement of the aesthetic feeling of calligraphy undoubtedly adds unparalleled vitality and aesthetic feeling to the creation of landscape painting. The aesthetic height of China's landscape paintings has improved a lot. Adding "artistic conception of pen and ink" to the "artistic conception of pen and ink" of landscape painting has added many cultural functions to the modeling function of landscape painting. Wu Changshuo, a modern painter, said, "The Five Mountains deliberately took off their pens. "To appreciate China's landscape painting, the first of the six methods is" vivid charm ",but if you leave the" brush bone method ",I'm afraid your work will be discounted. Meng Weidong was a member of the early China Calligraphers Association, and was good at seal cutting. His mastery of brushwork, brushwork and brushwork makes his landscape painting a little tired of literati. "The brushwork should be healthy, the pen and ink should be alive, the mountains and rivers should be strange, and the charm should be elegant." This is what Gong Xian said in Qing Dynasty, which shows the importance of pen and ink in landscape painting creation. Meng Weidong has always regarded "elegance and agility, elegance and charm, seamless use of pen, wonderful ink, changeable layout and high color" as his artistic pursuit. Height determines vision. Meng Weidong has a correct understanding of the key points of landscape, so his landscape paintings are both ancient and cool.
"Chinese painting originates from life", which is perhaps Meng Weidong's deepest feeling. Meng Wei mainly lives in Chuzhou, a scenic spot in Jianghuai in winter. It is the beautiful Chuzhou written by Ouyang Xiu, which is surrounded by mountains and waters. Influenced by the beauty of nature and rich and prosperous culture, Meng Weidong loves nature and traditional culture more than many artists of his time. This kind of feelings made him more passionate when he traveled across the country as an adult. His love for nature and passion for pen and ink are unforgettable. "The ancients sent their feelings, meaning to write first, and their interest was vivid and handy (Shen Xiang's Ci in Ming Dynasty). Because of creative passion, the works are full of life feelings. Because of my understanding of life, there is a saying that "writing is latent in all things, and all money is swept away in one stroke" (Han Yu in the Northern Song Dynasty). Many of his small mountains and rivers in the south are painted as "Spring Mountain is like a beauty, Summer Mountain is like a warrior, Autumn Mountain is like a master, and Winter Mountain is like an old woman". This is the artist's feelings, but also the artist's artistic achievement after integrating individual life into nature. Beauty is profound, and charm is meaningful.
"Pen and ink should keep pace with the times" (in Shi Tao's words) is a topic that is always new. Artists of every era will naturally be influenced by the background of the times in their creative process. Today, the writing brush has been far away from our daily life, and its core function has deteriorated. However, it is indispensable to engage in Chinese painting creation. It is a kind of collective helplessness for artists to pursue the Song and Yuan Dynasties with pen and ink, which is self-consolation. How to change Chinese painting from traditional painting form to modern painting form is a problem that artists must think about and can't avoid. Meng Weidong knows that he must start from two aspects: one is to improve under the pen and ink, and to have his own pen and ink personality; the other is to develop schema personality and make the composition novel. Frankly speaking, the innovation of Chinese painting is nothing more than the exaggeration of form and the publicity of pen and ink. This creative activity is carried out on the premise of learning from the ancients and nature. We are glad to see some landscape paintings in southern Anhui created by Meng Weidong. They are rich and colorful. "I see how charming Castle Peak is, and I expect Castle Peak to see me like this", and my creative passion is undiminished; In those works that reflect the western region, the bitter pen and ink and desolate pictures obviously add some thoughts about life and society-"Castle Peak can't bear too much sorrow", which is the embodiment of the artist's humanistic care spirit in his works and the demand of the times of art itself.
media coverage
Painter Meng Weidong: Garden Flower-and-Bird Painting
Q: Teacher Meng, please talk about your new understanding of traditional flower-and-bird painting.
A: Flower-and-bird painting originated from the mainstream of Chinese painting-landscape painting. It is actually a derivative of landscape painting. It really became an independent painting. From Li Yu in the Southern Tang Dynasty to Xuan Heti founded by Zhao Ji in the Southern Song Dynasty. These two painters are emperors, so they can dominate the fate of painting and even form a style or genre. Xuan Heti gave priority to meticulous brushwork, combining the previous method of folding branches, which has been used ever since. During this period, many predecessors wanted to make breakthroughs and innovations on the basis of tradition. Especially in modern times, it may be even worse if it is earlier than the Yuan Dynasty, because foreigners entered the Central Plains in the Yuan Dynasty, so they didn't know much about China culture. That period was the low point of Chinese painting. Chinese painting is from the court to the folk, and then from the folk to the court, plus the use of religion. It is the scale and genre formed by people's continuous summary and accumulation in daily life and labor process. On the one hand, it is the role of royalty, on the other hand, it is religion. All kinds of paintings in the world originated from religion, including oil painting, and gradually formed a system.
Q: Please talk about the characteristics of modern flower-and-bird painting.
A: In modern times, many painters are thinking about change. Among them, a number of great flower and bird painters appeared in modern times, such as Pan Tianshou, Qi Baishi and Ren Bainian. During this period, Chinese painting was undergoing reform. The most representative ones are Pan Tianshou and Guo Weiqu, who moved flower-and-bird painting to the wild and nature, and carried forward innovation. What they want is to inherit the tradition and improve it. During the Cultural Revolution, some painters integrated the production of workers, peasants and soldiers into their paintings. For example, flower-and-bird painting, with a pile of bumper fruits, a bamboo basket, a stone mill, a shovel and even straw sandals worn by workers, was integrated into the flower-and-bird painting system in China, which was the style of that particular period. These themes are really in line with the social environment at that time, and people feel very cordial when they understand them. The ancients said that pen and ink should conform to the times, apply the social background and historical conditions at that time, and then conform to the environment of the times. At that time, it was not a sect, but it kept pace with the times. This style remained in use until the early 1980s.
Q: What do you think of the innovation of modern flower-and-bird painting?
A: Modern society is already an information age, and the material conditions are incomparable in the past. We should change and innovate. Every painter who devotes himself to painting is thinking about change and innovation, and there are many kinds. Some learn from foreign countries and combine Chinese and western. As a modern painter, I am no exception. I am also thinking about exploring new ways of modern painting with traditional pen and ink language. After the mid-1990s, various forms and styles appeared. A large number of painters advocate form, such as symbolic form, and use their own imaginary form to shape it, which has become a fashionable fashion in a period and has driven a large number of people to do so. Why is this kind of thing popular? Really played a role in the real society. A very fresh thing, after being fixed, will be repeated and publicized everywhere, which will always arouse people's * * * and recognition. To sum up, this can be regarded as a way for modern people to become famous quickly. Many painters do this, drawing almost the same, and are very skilled. This is symbolic and influential. If they tell too many lies, they will also be recognized. I used to want to use this method in this team, but walking around felt something was wrong. From the seriousness and attitude of painting, it doesn't match my personality, so I'm thinking about the flower-and-bird painting I want to show. Previous painters put the big scene of flowers and birds in the rivers and lakes of nature, and I use today's wisdom to standardize and landscape it. You are what you show. A complete picture, either a forest or a meadow, plus air, is difficult to show in a realistic way. Which one should be real and which one should be empty, it will be dull if you are not careful, so I put the fog in the picture to show the new composition charm through the fog.
Garden flower and bird
Creative Aesthetics of Garden-style Flower-and-Bird Painting
Chinese painting, mainly literati painting, has changed from traditional painting form to modern painting form after a hundred years of turmoil. This is the evolution of itself in the process of artistic development, and it is also the objective requirement of social change or aesthetic progress. Creation should keep pace with the times, and Shi Tao's "pen and ink should keep pace with the times" is of great significance today and even in the future. Traditional literati painting has long been favored by people because of the intervention of calligraphy aesthetic feeling and the free play of creators' intentions. However, in today's society, the "pen-and-ink-centered theory" obviously restricts the creative innovation of creators and cannot meet the broader aesthetic needs of contemporary people. As an art developed from traditional deduction, inheritance is understandable, but innovation is also necessary. It is necessary not only to dispel the tension and interest of Chinese painting, but also to have the formal beauty, creative connotation and spirituality of the aesthetic needs of the times. This is the problem and difficult problem faced by Chinese painting creation at present. Like many artists, after years of exploration and thinking, Meng Weidong found his own creative path. This artistic road with distinctive artistic personality and style, though bumpy, looks more and more smooth and brighter today. He is a versatile painter with many achievements in flower-and-bird painting and landscape painting. Here, I will analyze his creative aesthetics and the aesthetic characteristics of his "garden-style flower-and-bird painting".
China's flower-and-bird paintings have adapted to the social aesthetic needs of China people in the long-term historical development, forming a tradition based on sketching and taking fun and freehand brushwork as a refuge. They vividly and abnormally convey the vitality and different characteristics of flowers, birds and animals through the description of their creative objects, and convey the author's unique feelings, which are similar to the artistic means of "Fu, Bi and Xing" in poetry. Emphasizing the leading role of "meaning" and expressing emotion like calligraphy art, this artistic essence determines that traditional flower-and-bird painters appear in the form of "private space", that is, the communication and play between literati. Today's Chinese painting has already moved from the "private space" of painting to the "public space", that is, from the study to the art of hall and court. This major change in aesthetic style has forced artists to create works of art with larger scale, richer connotation, rich life flavor and spirit of the times. As we all know, the innovation of Chinese painting is essentially nothing more than the exaggeration of form and the publicity of pen and ink. In the difficult artistic exploration, Meng Weidong found that the ideal places for urbanites to spend their holidays are parks and gardens. Garden is the perfect unity of harmony between nature and humanistic thought, and the perfect combination of natural beauty and artistic beauty. China's garden architecture aesthetics almost absorbed the essence of China's traditional culture, and it is a materialized culture and art. How to learn from the aesthetic characteristics of garden aesthetics in ancient and modern times and at home and abroad to open up a new way for his flower-and-bird creation? Meng Weidong combined the artistic creativity of predecessors and contemporary famous artists about "big flowers and birds" and created a garden-style flower-and-bird painting.
China Gardens can be said to be the perceptual manifestation of China's classical cultural spirit, including aesthetic spirit. This is inseparable from the comprehensiveness of the garden. Bridges, pavilions, terraces, buildings, pavilions, famous flowers, famous grasses, strange stones and ancient trees are all in the garden. The gardens in the south of the Yangtze River in Ming and Qing Dynasties became a wonderful flower in the history of architectural art in China and even the world. You can travel, you can live and you can have both Confucianism and Taoism. Elegant style, vivid charm, focusing on charm. Beautiful women from all walks of life gather together to transcend pleasure and look forward to echoing. The harmony between man and nature is a fairyland on earth. Today's urbanization process and pressure from all sides make people more and more divorced from nature and enjoy the beautiful scenery of nature, including the beauty of gardens, which becomes more and more luxurious. Although urban landscape gardens and zoological and botanical gardens can solve or meet some requirements, anxiety and confusion cannot be eliminated from the perspective of glass windows. Reinforced concrete jungle is rarely poetic. Meng Weidong tried to create a "big flower and bird" painting with the aesthetic characteristics of classical gardens and ecological aesthetics of modern urban gardens and urban botanical gardens. This kind of garden-style flower-and-bird painting is not to paint the picture as a garden or botanical garden in China, but to draw lessons from artistic symbols such as artistic conception, layout, structure, composition, pen and ink in the creation of flower-and-bird painting, so as to make the traditional cultural elements and artistic symbols of China in the picture harmonious and unified, enhance the visual effect of the picture and enrich the connotation of the artistic ontology.
Li Yu, a famous artist in the Qing Dynasty, thought in his monograph "Self-Presentation" that the landscape architecture in China should be "conscious, elegant and popular" based on painting, with structure first. Conversely, we think that the reason why gardens are pleasing to the eye is related to their richness and layout structure. The disadvantage of traditional literati painting is that it overemphasizes the lyricism of the creator and the picture is too simple and cold. Therefore, when Meng-style flower-and-bird painting shows jungle fruits, the picture is full, the branches cross each other, and it is complex and dense, which enhances the impact and visual effect of the picture. Increase sketch relationship, enhance color tension and strengthen visual contrast.
Ji Cheng, an architect in the Ming Dynasty, emphasized in his monograph "Garden Governance" that the idea of garden architecture is: "Gardens are skillful in borrowing ideas and are good at body", "The composition is unqualified, and the scenery is used as the reason, and the small view is big and integrated." "Gardens should be elegant, and elegance should be refined", which is the embodiment of China Confucian culture in garden architecture. Elegant style leads the social fashion at any time. "The garden should be clean, and the dust will come out when it is clean" is a typical Taoist thought, and the pursuit of "under the forest" is the transcendental character of China literati. Meng Weidong was deeply inspired by the aesthetic characteristics of garden architecture which accepted both Confucianism and Taoism. China's flower-and-bird creation must not lose the beauty of China's traditional Chinese painting. His double hook flower-and-bird freehand brushwork is fascinating because of his profound pen and ink skills. The reason why his works are enduring is that there is always a "pure spirit" and a detached and elegant style in his works.
China's classical aesthetics generally regards "verve" as a kind of life form, while Shaikh in the Southern Dynasties regards "vivid" as the first requirement of Chinese painting aesthetics. This aesthetic feature is also reflected in the landscape architecture of China. "Qi" focuses on the exposed side, while "rhyme" focuses on the hidden side of life, the quiet side and the infinitely divergent side. "Qi" is the form, "rhyme" is the aftertaste, "rhyme is extremely beautiful", paying attention to the meaning, the virtual and the real are born together, and the winding path is secluded, creating a unique world. Meng Weidong pays special attention to the alternation of reality and emptiness and blank space in flower-and-bird creation, so his paintings are complex and unharmonious. Let "the charm in painting flow" has always been his more important aspect; "Painting and poetry set each other off", painting has poetry to produce artistic conception, and artistic conception has charm, and all this is inseparable from formal beauty. To some extent, Meng Huidong's flower-and-bird paintings have the formal beauty of urban landscape gardens and the internal beauty of China classical gardens, which makes them beautiful outside and wise inside.
Perhaps, the idea of garden-style flower-and-bird painting is accidental, but as an artist who actively explores painting, it is reasonable to always integrate innovative thinking into his creation. Meng Weidong is a contemporary painter with romanticism and extraordinary imagination. We can deeply feel his artistic characteristics in a large number of flower-and-bird paintings; He is a painter with obvious expressionism, emphasizing subjective feelings and natural feelings in his artistic creation. The newly created works boldly unify the freehand brushwork spirit and abstraction of Chinese painting in the picture, which is unique. He is always thinking and exploring. His flower-and-bird painting combines the brushwork, perspective and modern color sketch of China traditional painting, and has obvious modern "composition". He is one of the few artists in contemporary painting who has both the charm of traditional Chinese painting and the sense of modernity. He rarely retains the golden stone flavor of calligraphy on the lines of calligraphy.
(Jiang Tianbao/Wen)
art exhibition
origin
On March 8, 2009 15-18, the exhibition of "fresh and elegant" Beijing painter Meng Weidong China was held in the third floor of the old library in Xiamen, and it was open to the public free of charge.
develop
February 10,12,2065438 On the occasion of the Spring Festival, the "Meng Weidong Chinese Painting Exhibition" hosted by Chaozhou Culture, Radio, Film and Television Press and Publication Bureau and undertaken by Chaozhou China Painting Academy held an 8-day opening ceremony of his personal Chinese painting exhibition in the cultural corridor of the central square. Chen Xiaoli, Deputy Secretary-General of Chaozhou Municipal Government, Lin Guangpeng, Director of Chaozhou Municipal Bureau of Culture, Radio, Film and Television Press and Publication, and other leaders and guests attended the opening ceremony.
August 20 12 17 to August 19, Meng Weidong China Art Exhibition was organized by Shenzhen Artists Association, Shenzhen Baoan District Government, Beijing Oriental Xianghe Painting and Calligraphy Institute, Guangdong Chaoshan Chinese Painting Academy and Shenzhen Caihua Moyun Culture Co., Ltd., with the assistance of Guangdong Smith Barney Furniture Industry Co., Ltd.
20 13 On March 27th, Meng Wei's winter flower-and-bird landscape painting exhibition was held in Chaozhou Guopintang Cultural Exchange Center. The exhibition shows nearly 100 flowers, birds and landscapes recently created by artists.
Miao-Zao Nature Meng Weidong Art Exhibition opened at Guan Shanyue Art Museum on February 24th, 20 13 15: 00. Li, former deputy secretary and secretary general of China Artists Association, honorary president of General Chinese Painting and Calligraphy Institute, former deputy commander of jinan military area command, commander of Jinan Air Force, representative of 18th CPC National Congress, Guo Yuxiang, political commissar of Chongqing Armed Police Corps, CCTV news anchor Zhang, director of China Calligraphers Association, vice chairman of Guangdong Calligraphy Association, vice chairman of Shenzhen Federation of Literary and Art Circles, chairman of Shenzhen Calligraphy Association, etc.