Brief introduction of calligraphers and painters
Gao Zongyuan was born in Shenyang, Liaoning Province, and his ancestral home is Changli, Hebei. He was the 5th director, the 6th director and a member of the presidium of the Chinese Artists Association. He is currently the vice president of the Chinese Society of Editors, the director of the Art Editorial Committee of the Chinese Society of Editors, the consultant of Rong Baozhai, the deputy director of the Art Committee of the China Artists Association, the member of the Art Committee of the ** Painting Academy of the Revolutionary Committee of the Chinese People's Revolution, and the member of the Art Committee of the ** Art Institute of the Museum of Culture and History.
He graduated from Beijing Institute of Education with a major in fine arts. He entered the publishing industry in 1978 and successively served as the director of the art department of the Encyclopedia of China Publishing House, the general manager of Rong Baozhai, the president of the People's Fine Arts Publishing House, and the president of the China Art Publishing Group. In 1991, he was rated as an art editor, and in 1992, he began to enjoy the special allowance. He presided over the editing of important art publications such as "Fifty Years of New Chinese Art", "Fifty Years of Publishing in New China" and "Encyclopedia of Chinese Art". Planned the first.
1. The 2nd China Art Publishing Art Exhibition.
His works have participated in important exhibitions such as the Centennial Chinese Painting Exhibition, and he has held many solo exhibitions at home and abroad. His works "Waterfall" and "Boat on the Gorge River" were collected by the National Art Museum of China. He has published personal painting collections, including "Gao Zongyuan's Works" and "Gao Zongyuan's Paintings".
"The Mountain is High and Far Away".
28cmx45cm
Lang Zhao mountains and rivers "read" the sound of springs
Wen Feng Yuan.
The historical trend of the transformation of Chinese painting art from traditional types to modern forms has unleashed the innovative consciousness and creative desire of contemporary Chinese artists, and the diversified exploration of contemporary landscape painting has gradually matured, the space for artistic creation has been continuously expanded, and the form and language have become more colorful. Among them, a considerable number of middle-aged artists who have been immersed in traditional art for many years and have been trained by colleges and universities, starting from the aesthetic experience of tradition and realism, actively absorb new creative concepts, strengthen artistic practice, highlight personal visual experience and creative style, and strive to create a unique art form.
As a young man, Gao Zongyuan studied oil painting, and like the scholars and teachers who were deeply influenced by the Russian realist art style of that era, he was able to depict beautiful, tranquil and romantic poetic scenes in a freehand and lyrical tone. "Sunset of the Forbidden City" and "Winter Snow in the Drum Tower" have become a pleasure, which not only cultivates Gao Zongyuan's spiritual connotation of dispatching colors to express emotions and revealing passionate pursuit in rationality, but also forms his artistic temperament and work style of consistently focusing on analysis, rigor and restraint in his creation, and not being publicized in writing scenes and feelings.
I don't know what kind of chance and motivation prompted Gao Zongyuan to turn to Chinese landscape painting. The concept of landscape is naturally classified as landscape (picture) in the classification of Chinese art. Interestingly, masters like Lin Fengmian, Xu Beihong, Liu Haisu, including Wu Guanzhong, who studied in the West and studied Western painting in their early years, all converted to Chinese painting art in their later years, and were determined to pursue the highest level of Chinese artistic spirit. This seems to confirm an intriguing rule: that is, if a Chinese artist born and raised in Sri Lanka cannot establish the cultural and artistic ideals of his mother country with the artistic language of his mother country, it seems that it is difficult to establish his true artistic value. For people like Gao Zongyuan, who have the opportunity to enjoy the art of different nationalities from all over the world and be able to communicate with them through his own works, the choice and setting of his ultimate artistic goal must be gradually established in the process of continuous revision. In fact, everyone's life experience and artistic experience are very different, but the influence of people's temperament and experience on art thinking and the connotation of the work will be inseparable for life. Therefore, this has his experience of teaching Li Tianxiang and Zhao Youping first, followed by Song Wenzhi, and transferred to Duoyi in work and study, winning Yinghua, and teaching skills, teacher creation, and teacher heart. At the same time, it also makes him show a certain natural and logical characteristics in the transformation of creative materials, technical languages and tools. The mountains and clouds in nature are from portrait to freehand, the rich and changeable colors of Xiushi forest are harmonized to the mother of all colors, the true color of ink is transformed by the water and the atmosphere is born, and the heavy color is dotted with lush vegetation, and he transforms the mountains and rivers into mental images. Gao Zongyuan harmoniously reconciles his own spiritual experience, the inheritance experience of his predecessors with the wind and spirit of nature, but still shows his own subjective expression, and retains as much of his own imprint as possible, which is indeed the work of a painter with great ingenuity.
Among these works, I appreciate his works with the themes of "waterfalls" and "mountain springs", and I think these works can fully represent his artistic pursuit and academic style. First of all, in terms of its selection of materials, although there are many portrayals of flowing springs and waterfalls in the landscape paintings of the past dynasties, it is rare to really express the waterfalls and flowing springs in a close-up view, and to be able to write lively, and to form a series of thematic topics. The "spring", the "waterfall", the spirit of nature, the root of life, its blessing of all things, Zhong Lingyu beautiful, and long-standing, expressive, this is a unique one. I even thought that I could continue to deepen and expand the theme. Secondly, the square composition, which is contrary to the business position of traditional Chinese painting, is the most taboo structural style. Gao Zongyuan deliberately did the opposite, taking the middle and positive perspective, and focusing on the waterfalls and flowing springs with different postures in the middle and close scenes, showing the balance of the center of gravity, the four corners are stable, the cohesion is full, and the tension is extended. The blank space forces out the various shapes of the spring, the waterfall, which is very eye-catching, and the sense of form and visual effect are distinct, which is unique. The rushing water in Gao Zongyuan's treatment is deeply rendered one by one, with the intention of conveying the spirit. It not only writes about the rushing and jumping of water, but also makes the trickle of water; There is not only the momentum of the water, but also the low chanting and singing of the water; It not only paints the sound of water, but also presents the long rhyme of water. Then use thick ink clumps as the background of the mountain rocks, or accumulate ink, or heavy ink; or splash color, or scorch; The water halo is ink, the mountain and the water are set against each other, and the god of the waterfall and the flowing spring is alive, which is the unique three. Gao Zongyuan's works with waterfalls and springs not only draw on the advantages of many techniques of traditional and contemporary masters, but maintain a distinct difference from tradition and others. He re-taught and took the meaning from life, but this waterfall and this spring are not a specific waterfall and a certain spring in nature. He eulogizes the image of the mind through the objects in his pen, creating an ideal realm that can be lived and traveled. Therefore, there are no restrictions on programs, rules, and moments here. Those who use it adopt it, and those who do not use it discard it. Write to the place where the temperament is open, and the pen and ink are all pen and ink where there is no pen and ink, which is the unique four.
Gao Zongyuan entered the publishing industry from an art teacher who taught and solved doubts, started as an editor, and worked hard for decades until he served as the general manager of Rong Bao Zhai, the president of the People's Fine Arts Publishing House, and the president of the China Art Publishing Group. He dedicated the wisdom and time that belonged to the artist's creation and life to the prosperity and development of the art industry, and the hard work was far from being busy. In a sense, Gao Zongyuan is not organizing the creation of a great work that belongs to the cause completed by the joint efforts of the majority of artists and editors. If an artist can be respected as having a unique personality and style by unscrupulously uncaring and unscrupulously excavating his or her own "creation" and "wealth", then the role of an art administrator is to promote his career through creative planning, effective organization, and savvy marketing. This requires Gao Zongyuan to have a high degree of artistic discernment and academic vision, prudent decision-making ability and organizational management ability, and a large amount of work will undoubtedly occupy the most precious time in his life and the most experienced and wise age. There is no regret for "loss", but "gain" is also unattainable for ordinary people. At the same time, he has gained the improvement of his artistic vision and life experience, and reading thousands of paintings has nourished the meaning and connotation of his landscape paintings, but the probability of catharsis is much lower than that of ordinary people. Therefore, when other people's pastimes, entertainments and dreams are the opportunity for him to work hard and construct the ideal kingdom of art. One by one, the hills and mountains are stacked, and the mountains and waters are colorful; The peak is connected to the peak, and there is a sky outside the sky; The sun is shining; High and far, all over the world, the beautiful scenery is set under the end. Tao Taoran is about to expire in the year. He deleted the dazzling and enthusiastic "halo" color in his works, filtered out the appearance of restlessness and flashiness, omitted the ever-changing details and carvings, and left the harmony and maintained the dignity.
Relying on the amateur accumulation of far less time to create and accumulate works that can be used into a collection, it goes without saying that Gao Zongyuan has consumed a lot of hard work, and it is gratifying that Gao Zongyuan has achieved gratifying results on the road of artistic pursuit. I wish Mr. Zong Yuan will continue to have more and better works.
The author is the deputy director of the ** Research Museum of Culture and History and the honorary chairman of the Chinese Artists Association.
The editor of this article has been deleted.
Work appreciation
"Infinite Scenery".
59.5cmx24.5cm
"Waterfall".
23.5cmx42cm
"Ambition for a Thousand Miles".
25cmx52.5cm
"Quiet in the Mountains".
60cmx20cm
"Quiet in the Mountains".
23cmx28cm
"Infinite Scenery".
37cmx30cm
"The Mountains Are High and the Water Grows".
32cmx27cm
"Waterfall".
65cmx36cm
"Full House of Gold".
65.5cmx33cm
"Riding the Wind and Waves".
65.5cmx33cm
"Full of Green Mountains".
65.5cmx33cm
"Guotai Min'an".
65.5cmx33cm