House 2021
Shi Wu Xuan 2021
Wenjia City 2021
Looking at the Liuyang River from West Lake Mountain, 2021
I like "breathy paintings".
I often tell my students that a good painting should have a flowing "qi" in the picture. I remember that Mr. Zao Wou-Ki told us the most about "qi" in Hangzhou, and "qi" here refers to an intangible thing that flows in space. In the eyes of the ancient Chinese, qi is an existence that pervades heaven and earth, and everything that exists between heaven and earth is made of qi. Qi is the basic substance that sustains life activities, and it is also a subtle substance with vitality that is constantly moving, and the human body is full of qi, which communicates with the qi outside the body. It is because of this power of qi that life can continue. If the painting is regarded as the externalization of the artist's spiritual life, then a painting that can move the audience should also be alive, a good painting, and the picture should breathe and flow, rather than be rigid and rigid. The gathering and dispersion of qi forms the universe, and qi changes and becomes tangible, and deformed and life. The same is true for a painting, only with qi can it penetrate, be smart, and be elegant. The realm of painting that I have always longed for is to create a breathing picture with a relaxed brush and simple shape, so that there is a flow of "qi" in the painting. The painter has been cultivating for many years, cultivating the mind and temperament, and cultivating the qi in order to obtain the qi in the painting, that is, the life of the painting.
(Wen Sun Jianping).
Tibetan Seclusion" 80cm 120cm
Clearsky Temple" 80cm 120cm
Magnificent Still" 80cm 120cm
Landscape series
An artist must respect the unique feeling of the objective world, such as the barbarism and vastness of the northwest desert and the beauty and tranquility of the southern landscape. If a painter can't paint the unique flavor of each place, what is a painter called? Another example is painting people, some people feel simple and kind, some people feel smart and clever, if every painter paints like a mold carved out, then painting is meaningless.
In the past ten years, I feel that I have benefited a lot, and I feel that I have tapped a lot of my potential, first of all, I did not have the conditions to draw large works on the spot, but now the conditions are good, there are container trucks to follow, and no matter how big the frame can be placed in the first scene of sketching. When facing nature, the heart is surging, the emotions are moving, and the big pen is written, which is very happy. This was not possible before. Writing on a small canvas doesn't work. In addition, in the past few years, I have been sketching in places that I have not been to before, such as those places in Guangdong, where the plants are very lush and vibrant, and the fresh scenery makes you excited, and many new aspects of you have been developed on the screen, which has never appeared in the previous picture. The third point is the most important. Friends can learn and discuss together, push each other, and bring out everyone's talents and inspiration. Therefore, I would like to thank sketching, which has brought me happiness, beauty, and many unexpected things and surprises, and I am still tapping into my potential.
To find yourself, leave yourself on the canvas!
(Wen Sun Jianping).
Appreciation of Sun Jianping's works
The wind and rain are coming" 150cm 100cm
The House by the River
120cm×90cm
The River Under the Gram Palace
100cm×80cm
Plains in the Rain" 120cm 90cm
Suzdari's Creek
150cm×100cm
Xikou Ancient Camphor 120cm 80cm
Tangxi Ancient Town" 120cm 100cm
Sketching in Erquan".
120cm×100cm
Qing Ming Qiaotou 130cm 100cm
Stone Forest People" 80cm 80cm
Historic Monuments Spring" 80cm 80cm
Bingling Wind Strength" 80cm 80cm
*: Sketch Studies).
Artist Profile
Sun JianpingBorn in December 1948, a native of Tianjin, he was admitted to the Tianjin Academy of Fine Arts in 1978, majoring in oil painting. He graduated from Tianjin Academy of Fine Arts in 1981 and studied for a master's degree in 1987. In 1985, he participated in the Zao Wou-Ki painting workshop of Zhejiang Academy of Fine Arts, in 1993 he participated in the 7th Oil Painting Workshop of ** Academy of Fine Arts, and since February 1994, he has served as the director of the Oil Painting Department of Tianjin Academy of Fine Arts, and since March 2002, he has served as the vice president of the School of Fine Arts of Tianjin Academy of Fine Arts. He is currently a professor at Tianjin Academy of Fine Arts, a member of the Chinese Artists Association, the vice president of the Beijing Contemporary China Freehand Oil Painting Research Institute, a director of the China Oil Painting Society, and an executive director of the Tianjin Artists Association.