-Zhang Yidan's painting art
Zhang Yidan is a versatile female artist. Her paintings cover meticulous figures, green landscapes and ink landscapes, and have made remarkable achievements in these aspects. In 2009, Confusion was selected into1/National Art Exhibition, and Butterfly and Xiang, which were created in 2008, won the Plastic Arts Award of China Federation of Literary and Art Circles. At the same time, she has made great achievements in theory. Once published, her book "A Study of Badashanren's Landscape Paintings" was widely praised by the art world and even the society. Diligence, humility and showing off wisdom are my basic impressions of her.
In creation, she adheres to the concept of melting the west into the Chinese, melting the ancient into the present, and forming her own family, and makes unremitting efforts to gradually form a quiet, natural, simple and heavy surrealist style. Under the guidance of Mr. Tang Yongli, the president of China Academy of Fine Arts who teaches meticulous figures, she takes the images of urban figures and Tibetan people as the theme, presenting meticulous and neat descriptions and rigorous and accurate modeling in a magical way. The protagonist in the painting is full of meditation or some confusion. For example, the girl in the house and the young men and women outside the house form a diagonal vision in confusion, and the doubts in the girl's eyes form a connection with the anxiety of men and women outside the house, which makes people feel infinite significance. Heart Shadow depicts a flying bird, but another bird is faintly visible inside and outside the frame of the picture. Here, the painter seems to have made some symbolic arrangements between real birds and virtual birds. Here, the heart is far away, and the changing space is full of unpredictable hearts. Seeking emptiness in reality and incorporating the changes of psychological images into the real scene will bring the viewer into an erratic inner sense and a world that makes people feel quiet.
Zhang Yidan studied under Mr. Long Rui, a master of landscape painting, and his conception and brushwork of landscape painting were deeply influenced by Mr. Long Rui. Through Long Rui, thanks to Mr. Li Keran's kindness, and then remote contact with Badashan people's pen and ink, it can be said that learning is unique. His works include Mountain Scenery (2008), Rain is Coming (2009), Mountain Rhyme (20 10), Far Mountain (20 10) and An Autumn Night in the Mountains (20 10). In recent years, Zhang Yidan has made green mountains and green waters and painted many slow valleys and dense forests. The painting style is clean and neat, and the image is barren, full of ancient and modern interests. Different from meticulous figure painting, Zhang Yidan's green landscape is completely based on tradition, with flexible and dense lines, beautiful and clear colors, correct composition and elegant style. Green mountains and green waters (2009) and endless mountains and rivers and hearts (20 1 1) are typical. The heart of the world, written on 20 1 1, is bright in color and secluded in the realm. The painter outlined the outline of the rock with long lines, and then applied excellent tone by layer-by-layer dyeing method to smudge the outline repeatedly, making the picture smooth and heavy, and the composition stable and lively. It is particularly noteworthy that there are traces of decoration hidden in the paintings of Luan Shushi in Zhongshan. He is not afraid of pure colors, but he is not impetuous. On the contrary, it makes people feel quiet because of the cool color and lonely space.
Regardless of meticulous figures, green landscapes or ink landscapes, Zhang Yidan's paintings will give people a faint and fragrant feeling. Her sensitivity to various art forms has opened up a very broad creative path for her; And her gentle and calm creative mentality and rich theoretical accumulation have also created the elegant and meticulous style and meaningful quality of her works.
I look forward to greater achievements in Zhang Yidan.
Yang Xiaoyang commented on Zhang Yidan's paintings.
In the summer of 2004, my first batch of doctoral students in landscape painting started school. There are three students, two men and one woman. The girl is Xi En, whose real name is Zhang Donghui. As my female disciple, and studying the direction of "landscape painting practice and theory", she is the first person.
At the teacher-student meeting, her silence was natural and delicate, which made me doubt whether she could be competent for the momentum of "scenery". However, after a long time, I found that she was generous in restraint and calm in Shu Lang ... Before her debut, Xi En had rich artistic experience, dabbling in oil painting and fashion design, involving a wide range of fields and winning awards frequently.
However, landscape painting started with me. Her nature and temperament also told me that she should start by learning the landscape paintings of "Badashanren". As the most outstanding representative of China's "abstract landscape", "Badashanren" undoubtedly has a glorious position in the history of China painting, so that many landscape paintings in later generations have inherited their spiritual purport and context. Among them, it is very important to spread the "big eight" figures. I really hope Xi En can participate, because this is the eternal source of landscape painting. As for the landscape painting style of contemporary China, I have always advocated "uprooting" and emphasized the idea that "national rejuvenation and advanced cultural construction cannot be separated from combing and inheriting the traditional context". Of course, it is also my responsibility to practice it and demand it. After several spring and autumn periods, among the disciples, those who hold pen and ink are more important, those who think like a flood are less, and those who find the authenticity of paintings are even rarer! Xi En should be one of the best.
When Heen piled a thick stack of first drafts of doctoral thesis on my desk, my heart was relieved! Because: first, she learned that this paper is her real experience of learning "Badashanren" and has academic "original" power; Secondly, when we look at his paintings again, we inadvertently get a subtle taste, with fine days and fine months, prominent figures and extraordinary bearing; Third, I learned smoothly and wrote down the essence, spirit and verve of the "Eight Mountains and Rivers". The texture of learning and self-cultivation has become more and more moist, and I have a good grasp of the dimensions of "painting" and "theory". I am very satisfied with this paper, not only that, but also my colleagues in the field of art history.
In 2007, in the same summer, Heen graduated. She got her doctorate with the "double prize" of excellent thesis and excellent graduate! Today, she is still drawing and writing very hard under my command. ...
On the eve of the Olympic Games on August 6th, 2008.
Long Rui (doctoral supervisor) Zhang Yidan, as a doctor of landscape painting, can combine research and creation perfectly, which is commendable. Through the development of China's painting and the study of "Eight Mountain People", she applied the development and transformation of Chinese painting to her own creation, and at the same time pushed the connotation of "Eight Great" to a new situation of meticulous green landscape painting. Her meticulous figure painting can reflect her beauty and goodness as a female painter and show a Chinese dream. She can pay attention to research and explore national folk art resources and grasp the significance of painting innovation from the perspective of painting development.
—Pan Yao Chang, Professor of Shanghai University.
Of course, the ultimate goal of "crossing the border" is to "alienate" all beings and obtain the truth in an upward way. Looking at Zhang Yidan's paintings, the word that comes to mind is "crossing the line". It reminds me to watch, and it also corresponds to things that can't appear, such as Zhang Yidan's thinking and pen and ink breath. Far from reality. No anxious mood, no noisy voice, no superfluous words, no affectation at all. On the pen, easy; On meaning, profound and simple; On the border, it is subtle.
—— Gong Zheng, researcher at the Institute of Fine Arts of China Academy of Fine Arts.
Zhang Yidan's paintings have their own style. Her landscape paintings have the flavor of "Southern Sect" and bold lines. Her meticulous figure painting is contemporary and can be created in a short period of time, which shows her talent. The study experience of design major provides another creative perspective for her Chinese painting creation. Her monochrome works are rich in pictures, meticulous in painting and green in color, which will probably be the development direction of Chinese painting. For example, Jiangshan has constantly broken through the tradition, integrated into the contemporary color of Chinese painting, and found the development direction of Chinese painting. From the oriental point of view, Zhang Yidan's works can perfectly combine tradition with contemporary, which is very innovative.
—— Han Changrun, Deputy Director of Gwangju Art Museum, Korea
Zhang Yidan's works are rich in appearance, in which we can see that they have absorbed the essence of tradition, especially the freehand brushwork of landscape, skillfully used ink, lush vegetation and rich traditional pen and ink. The charm of pen and ink is relatively heavy, giving people a heavy feeling. Her green landscape painting, clean picture with exquisite decoration, overall style of clouds and smoke, vivid picture. Full of the breath of nature, you can travel, live and enjoy. His figure paintings are fresh and pure, showing modern scenes, simple and natural, poetic and euphemistic, with lines and shapes in place. I think his paintings are full of delicate feelings of female painters and poetic expression of life.
—— Ren Daobin, Professor of China Academy of Fine Arts