The Direction of the Great Landscape, ink and color on paper, 34, 68cm, 2016.
"Pinwen Reading Painting" crumbs
1.Read the "Preface to the Knowledge". Zhitang pushes the Ming and Qing Dynasty essays, the text is like speaking, eloquent, very relaxed, some topics, around a big circle, seems to be off-topic, in fact, it is borrowed from the topic to play, want to left and right, left and right, at this time, the farther and wider, the wider and deeper, the deeper and more wonderful, and finally to the wonderful. There is no reason in the whole article, but there is reason everywhere, every sentence is about feelings, and only when there is little reason is business interest, and only when there is interest can it be memorable.
2.Mr. Sun Li said it well: the way to write an article is one. When the heart is bright, there is inspiration, and when it is reasonable, it becomes art. Remember, remember.
Big Landscape No. 3, Ink on paper, 68, 136cm, 2009.
3.Reading Dong Qiao's "Story", the text goes straight in and out, without summarizing it, it is natural to run through the front and back, echoing inside and outside, the pen is clean and neat, the brushstrokes are light and free, and ordinary things are written brightly.
4.After all, I am a person who lacks details, and I also read with style. Reading is the flow of rhyme and rhythm changes, and it is most appropriate to read poetry. I also took out a copy of Cai Tianxin's "100 Modern Chinese Poems", published in triptych, I don't know how many times I read it, there are many good poems in it, although the styles are different, but most of them are written mellow and chic, the taste is enough, and I never get tired of reading.
Landscape Diary No. 56, ink and color on paper, 34, 136cm, 2009.
Landscape Diary No. 79, ink and color on paper, 34, 136cm, 2011.
5.The text should not be obscure and difficult, and so should the painting, which should be understood. This point, the old man Baishi did the best, elegant and vulgar, and everyone knows it. As for the contribution to art history, Mr. Huang Binhong and Mr. Lin Fengmian, in my opinion, are the greatest.
6.Writing articles does not need to be too refined, too refined, can not be written, because too much scrutiny, will squeeze out some fresh and rich things, in vain on the words and sentences, but not the words and sentences, only in the usual health of the belly of the poems, follow the trend, the natural pen has a germination, the heavenly fake hand, not refining but refining, is for the environment. The same goes for painting.
Landscape Diary No. 68, ink and color on paper, 34, 136cm, 2011.
Landscape Diary No. 87, ink and color on paper, 34, 136cm, 2011.
Landscape Diary: The Wilderness, ink and color on paper, 34, 136cm, 2011.
7.Around 2003, I chatted with Mr. Han Yu about writing, and he was very interested in literary language, and he used the words "to help him mourn" to summarize a certain story, and it may take a few crosses to describe it in the vernacular, which inspired me a lot. The intermingling of white and white, the mixture of elegance and vulgarity, and the consistency of written and spoken language are also Mr. Yu Guangzhong's literary style, which is not shallow. And the beauty of the words is also in the sentences, looking at it like looking at a painting.
8.I value Mr. Huang Binhong's advocacy of "Yilin", to its general meaning, to find its structure and flavor rhyme, to feel the metaphysical meaning, the painting is like this, the same is true of reading painting, reading is no exception, I am reading the beginning and end of the article, the fluidization of the rhyme, reading its rhythm, rhyme, weather and realm, and not paying much attention to its story and plot ......Painting and literature are one of the originals, and Chinese painting is the most influenced by literature in the world. The text is the secret of my landscape painting.
Landscape Diary: Dawn, Ink on paper, 34, 136cm, 2012.
Landscape Diary: Twilight, ink and color on paper, 34, 137cm, 2014.
9.The so-called sinicization of literature and art is more affectionate than reasonable, is the intervention of "me", and has a tactful and roundabout style, such as the words of Zhou Zuoren and Wang Zengqi, and the paintings of Bada Shanren and Huang Binhong. The structural language is not as rigid and straightforward as in the West, but scattered and orderly, soft and powerful, some ambiguous, and some if it is detached.
10.In the traditional Chinese painting appraisal industry, there is a saying of "hope style", just like the breath of people can draw more accurate conclusions, which seems to do things by feeling, but in fact there is an inner deep logical support. Qi is the surface, but also the inside, when the thick.
Landscape Diary: Sunset, ink and color on paper, 34, 136cm, 2013.
Landscape Diary, ink and color on paper, 34, 136cm, 2013.
11.Everything has pros and cons, and so does the style of painting, so when looking for its beauty between rigidity and softness, the text is not weak, wild but not vulgar, not only rigid, Zhang, not only soft, Chi, but soft and rigid, rigid and soft, loose but not scattered, tight but not board, in which there is its own aftertaste, and there is an aftertaste prescription that can be called art.
12.At present, perfection is a set and a kind of tiredness for everyone, once people shape themselves or are shaped to perfection, they are close to machinery and molds at the same time, and then there is a loss of growth vitality.
Landscape Diary: Skyclave, ink and color on paper, 34, 137cm, 2014.
Landscape Diary: Autumn Hope, ink and color on paper, 34, 136cm, 2014.
13.Artistic creation should be closed and immersed; You also have to face all kinds of sounds, and you can understand by listening.
14.Chinese painting is difficult to do, the difficulty is that there are too many shackles, and once it is broken, there is the problem of naming, and the Chinese attach too much importance to names.
15.Critics focus more on the new, painters focus more on the good. The new is different from him, and the good is to pay attention to the home.
Landscape Diary: Yuan Dai, ink on paper, 34, 136cm, 2012.
Landscape Diary: Recent Spring, Ink on paper, 34, 136cm, 2014.
16.It is appropriate to engage in literary and artistic creation, and it is appropriate to engage in literary and artistic research. kinetic energy generation, imagination; Static energy is in-depth and insightful, of course, there is stillness in motion, and movement in stillness is the best.
17.I am trying to find a formal language that is consistent with contemporary aesthetic culture and does not lose the transcendent spirit of traditional literati painting. In other words, it not only does not lose the essence of traditional brushwork, but also embraces the general meaning of contemporary art, which can be regarded as a contribution.
Landscape Diary: No Wind, ink and color on paper, 68, 45cm, 2014.
18.Aesthetic judgment is too important, look at the old paintings, there is a problem, I didn't find it at the time, after a while, the problem came out, how did the problem come out, after a thousand songs, then Xiaosheng, watch a thousand swords and then recognize the device, Dong Qichang said better, travel thousands of miles, read thousands of books, and then the vision is self-growing, and the rhyme is self-generated. In the final analysis, it is cultivation and knowledge that play a role. Chinese painting is self-cultivation, and if you can't improve your cultivation, it's all in vain.
19.Whoever paints must have a core, a line, from which the core draws and dominates the others, and extends along that line in order to draw better and better. Some people paint, a hammer in the east and a stick in the west, without the core and clues, they can't improve, from gradual cultivation to epiphany, the heart and line are indispensable. And the process itself is impressive.
Landscape Diary: The Western Slope, ink and color on paper, 68, 45cm, 2014.
20.Painting relies on a keen sense of emotion, not dominated by a knowledge system, which only helps to establish the direction (such as the awareness of art history) and improve the aesthetic judgment (such as the acquisition of legal resources), only when the rational judgment is transformed into an "artistic sense", the saint is free and random, and the painting can be vivid and full of tension.
21.Talking about the mood in the chest, the intention is not to seek color - it is a breakthrough in the literati painting in the square **, with the text leading the painting, the calligraphy into the painting method, and the literati painting is inseparable from the Chinese way of thinking, aesthetic orientation and concept of survival.
Landscape Diary: Skyclave, ink and color on paper, 68, 45cm, 2014.
22.The crowd looked for him thousands, but the man was in the lamplight, and the painting was the same, and when he painted to a certain extent, he suddenly found that this was what he wanted, and it seemed to be an epiphany, but in fact it was a gradual enlightenment, and again, suddenly, gradually, how had he been separated?
23.The essence of painting lies in poetry, poetry, whether modern poetry or classical poetry, as long as it is deep and timeless, and the same is true of painting.
Landscape Diary: Green Water, ink and color on paper, 68, 45cm, 2014.
24.It is the best choice to seek the common ground between the ancient and the modern, and once the problems of the past and the present are solved, they can be appreciated by both the elegant and the vulgar, and the visual tension and spiritual appeal go hand in hand. I'm seeing more and more possibilities, and it's becoming clearer and clearer.
25.The formal tension of Chinese painting is often obtained through exaggerated deformation, such as the figure paintings of Chen Laolian and Ren Bonian, and the flower and bird paintings of the Bada Shanren, which are injected by the author with personal emotions to highlight the meaning of the object, which is based on legal principles and is a real sense of modeling. Creation is the organic unity of subjectivity and objectivity.
Landscape Diary: The Hidden Pool, Ink on paper, 68, 45cm, 2014.
26.For the method of art, in the eyes of the Chinese, it is a flower and a world, deriving lines and surfaces from points, and triggering the universe through a scene, so this flower must be extremely concentrated and typical, refined and refined, and simplified and simple. The pivot of Chinese painting is also infused with rich and profound cultural information in a single stroke. The form is simple, but the meaning is far-reaching, and it is the best quality.
27.Dong Qichang has a lot of disdain for the paintings of the Southern Song Dynasty, in fact, the paintings of the Southern Song Dynasty are a reversal of the panoramic composition of the landscapes of the Northern Song Dynasty of the Five Dynasties, dissolving the grand narrative, and at the same time gradually making the paintings more simple, simple is not easy to obtain, and there is Zen, mystery, and deep thinking in the simplicity. Without this link, I am afraid that Dong Qichang's pen and ink will have to be pushed back.
The Great Landscape: The Hidden Pool, ink and color on paper, 68, 45cm, 2014.
28.Ming and Qing paintings have similar orientations and connotations to Ming and Qing essays. The literati painted to the Ming and Qing dynasties, there are more things that enter the WTO, although some works still pursue the beauty of the loneliness of the five dynasties and the two songs, but in the bones they have lost the solemnity of the two songs, the loneliness is still a little lonely, often in the leisure and naïve place to add the joy of the world, the pen and ink also tend to be absurd, it is really to talk about some of the spirit in the chest.
(Text, Han Dynasty).
Appreciation of Korean and Korean works
Landscape Diary: The Dawn, Ink on paper, 68, 45cm, 2014.
Landscape Diary: The Rain Comes, Ink on paper, 68, 45cm, 2014.
Landscape Diary: Winter Solstice, Ink on paper, 68, 45cm, 2014.
King of the Night Mountain, Ink on paper, 136, 68cm, 2015.
Winter in the Night Mountain, ink on paper, 136, 68cm, 2015.
Night Mountain Series: High Slope, Ink on paper, 136, 68cm, 2016.
Night Mountain Series: Moon White, Ink on paper, 136, 68cm, 2016.
*: Shuyu Art Gallery).
Artist Profile
Han Chao (real name Han Lichao).He is currently a professor at the Academy of Fine Arts of Capital Normal University and a graduate tutor; Member of Chinese Artists Association; Director of Beijing Artists Association; Researcher at Wu Guanzhong Art Research Center, Tsinghua University; Researcher of Li Keran Painting Institute; Member of the Culture, Sports and Art Working Committee of Farmers and Workers, Executive Director of the Academy of Painting and Calligraphy; Vice President of Beijing Oriental Painting and Calligraphy Research Association; Executive director of Beijing Gongbi Heavy Color Painting Association. His works have participated in dozens of national art exhibitions and academic invitational exhibitions. He has published nearly 20 academic works and personal collections, such as "The Reality of Presence: A Study of Landscape Painting from the 20th to the 60s of the 20th Century", "The New Ink and Wash Series: Korean and Korean Volumes", and "Wu Guanzhong's Theory of Art Form".