1979 won the second prize of the provincial art exhibition.
1984 "People's Hero Liu Zhidan" won the Excellent Art Award of Gansu Province 1980 to 1984.
1986 My Home won the first prize of the provincial art exhibition.
1986 won the National Genre Painting Grand Prix Excellence Award sponsored by China Art Museum and China Folk Writers Association, and was exhibited in the United States, Japan, Singapore and other countries.
1987 The work "Mountain Man" won the second prize of the provincial art exhibition.
In the same year, "On the Folk Consciousness of Qingyang Folk Crafts" was published in "China Folk Crafts".
1989 The work "Welcome Parents" won the second prize of the provincial art exhibition.
In the same year, he won the Excellent Organizational Work Award of China Arts Festival.
199 1 published a paper on Qingyang folk arts and crafts and the implication of ancient bronze mirrors in China folk arts and crafts.
1992 The work "Loess High Slope" was selected for the national art exhibition commemorating the 50th anniversary of the publication of "Speech" and won the first prize of the provincial art exhibition.
1993 The work "Longdong Liaochuang Festival" won the first Dunhuang Literature and Art Award issued by Gansu Provincial Party Committee and Government.
1996 The work "Living and Working in Peace" won the second prize of the provincial art exhibition and was selected as the national star award.
1997 The work "Villa" was selected for the 4th China Art Festival Exhibition.
1999 The Winter Mill was selected for the 9th National Art Exhibition and won the first prize of the Provincial Art Exhibition.
In 2000, the work "Folks" won the provincial Stars Award.
In the same year, he was elected as the director of Gansu Artists Association.
In the same year, he joined China Artists Association.
In the same year, he won the third Dunhuang Literature and Art Award in Gansu Province.
200 1 The work Autumn was selected for the national art exhibition of the 80th anniversary of the founding of the Party and was permanently collected by the Guangdong Provincial Art Museum.
In 2003, he won the 4th Dunhuang Literature and Art Award in Gansu Province.
In 2007, his works won the national "Jin Hui Cup" gold medal.
In 2009, his works participated in the invitation exhibition of famous painters and painters of Love in the West.
In the same year, the album was broadcast on Gansu TV "Today's Longyuan".
On 20/0/0, Kloc published a paper "On the Enlightenment of Northern Grottoes Statues to the Creation of Figure Paintings" in Gansu Wen Yuan magazine.
artistic style
Li Yiping pays attention to the tempering of painting language, devotes himself to the imitation of Badashan people, and reflects the inspiration of Badashan people's smooth, strange, simple, generalized, arrogant and open lines from the picture. He incorporated the method of calligraphy into painting, which greatly improved the quality and readability of lines. Every piece of his work is supported by a cable length. The lines are dull and pungent, yin and yang are frustrated, and the disease is mild. In addition to the expression of the picture, the abstract beauty of his lines has further sublimated his painting expression and connotation.
At the same time, the uniqueness of Mr. Li Yiping's figure painting language lies in the implication of ink and the elegance and simplicity of color. Because of his efforts in artistic conception and modeling for decades, as well as the maturity and perfection of pen and ink techniques, the characters in his works consciously entered a new pen and ink schema, and the illusion of ink and ink met the needs of book pictures. In dealing with the background of figures' clothing, the fruit-throwing method is adopted to make the ink blocks with different rhythms have triple functions of shape, color and space, giving people an abstract visual effect in form, making the ink blocks surpass the concrete and making the picture full of energy. In the application of color, simple and auxiliary theme light color is adopted. The simplicity of color, which makes the complexity simple, highlights the natural aesthetic of the original color change of ink and wash, and gives the people who watch the painting a pure aesthetic feeling.
In the research and creation of figure painting, Li Yiping's deepest experience is that the most important thing in figure painting is to depict the thoughts, emotions, spirits, souls and verve of characters. Only by grasping the characters aesthetically as a whole, establishing their position in art and pursuing their value can figure painting be vivid and vivid. With a positive attitude towards life, he repeatedly observed and thought, and created a dynamic and complete artistic image through emotional injection and experience. Works such as Under the Sun, My Family of Three, Rest, etc. It reflects the farmers' yearning and pursuit of a happy life inspired by the party's policy of benefiting the people, and just depicts the simple, simple, simple and kind character of Longdong people. "Xintianyou" describes a sheep herder named Sheep Feet, driving a flock of sheep and yelling at Xintianyou in front of the mountains. The works are natural and smooth, free and easy to use ink, the characters are dynamic and lifelike, and both form and spirit are combined, which shows the optimistic, carefree and tenacious life feelings of Longdong people. His figure painting is flexible and free. Through the changes of line strength, straightness, length, thickness, light and shade, reality and turning point, he expresses the shape, texture and momentum of the characters and forms a complete image. In modeling techniques, the close relationship between brushwork and ink painting is emphasized. Pen and ink are light, old and spicy, yin and yang are frustrated, little by little, light is lively and strong, and ink is rich. Because of Li Yiping's new ideas, pen and ink, winding mountain roads, courtyards surrounded by earth walls, weather-beaten caves, animal spirits of bowing on mountain roads, and people's unique comfort and freedom on the Loess Plateau, they are all vividly described in his works.
Artistic resume
When Li Yiping was a student, he had an indissoluble bond with the ancient and magical painting art. As early as junior high school, he used lines to describe his perception and understanding of characters, flowers, birds, insects and fish. 1After joining the army at the end of 970, he painted his lovely comrades in the military camp. From 65438 to 0974, he entered the Fine Arts Department of Northwest Normal University with his ideal, and dreamed of becoming a painter, depicting vivid figures, folk customs, mountains and rivers and natural landscapes in Longdong into his paintings and calligraphy works.
1976 After graduation, Li Yiping spent almost all his spare time studying and studying the discussion and creation of printmaking and Chinese painting. His early prints, such as Spring Breeze and My Home, pursue vivid images and can clearly show the face of his prints at that time. In the new era, Li Yiping began to experience the changes of the Yellow Land with a new artistic vision and emotion, and created his own unique artistic vocabulary. As a result, he went deep into Longdong village to absorb nutrients and collected a large number of materials such as sachets, paper-cuts, sculptures and embroidery, as well as many Longdong folk customs. After many studies and discussions, the theme of his works has been deepened. This print explorer who has struggled for the true meaning of painting for more than 20 years has finally formed a dignified, fresh and elegant expression style. For example, the pastoral style uses symmetrical, arranged and abstract figures and large black-and-white silhouettes to make the folk marriage customs sound tangible and charming. Works such as "Liaobi Festival in Longdong" and "Loess High Slope" are carved with white characters on a black background, which clearly shows that the contrast between light and shade of fire and night is strong, and the knife method is rough, with some ancient and mysterious colors. Many of his prints repeatedly show endless loess tablelands, steep slopes carved by knives and axes, strong yellow tones and mottled and cracked soil, showing the harsh natural environment and the mental outlook of Longdong people who constantly struggle with it.
At the end of 1990s, Li Yiping devoted himself to the research and creation of figure painting, and realized Mr. Li Keran's creative learning method of "reaching out to tradition with one hand and life with the other". Starting with the works of predecessors, this paper makes a great deal of research on the masterpieces handed down from Tang Dynasty to Song Dynasty by Gu Kaizhi, Dong Qichang, Badashanren and others. He never stopped studying hard, kept in mind the inculcation of teachers such as Yang Guoguang, Dou Jianmin and Lou Puyi, and was not afraid of loneliness in painting, burying his pen in the grave and studying figure painting seriously. He also made an in-depth interpretation and research on contemporary figure paintings. Especially in the advanced Chinese painting class, he was taught and guided by Du Ziling, Zhao Huasheng, Yang Deshu, Gan Changlin, Jia Guangjian, Wu Changjiang, Huo Chunyang and other national famous figure painters, and was appreciated and valued by Mr. Du Ziling, which was of great help to the formation of his painting style. one
Decades of artistic tempering and hardships of life have created Li Yiping's bold and unrestrained life personality, frank and concise painting style, and his personality and painting have reached a harmonious unity. On weekdays, no matter how he treats his work, life and artistic creation, or his superiors, colleagues and friends, he makes no secret of his position and views. The venting and revealing of his emotions not only lost the artist's character, but also lost the bold atmosphere of the Eastern Han Dynasty. What impressed him most was his simplicity, frankness, boldness, humor, harmony and approachability. Look at his paintings, the brushwork is concise and concise, the pen and ink are moist and rich, the color is elegant, the shape is accurate, the characters are fresh and vivid, the style is unique, and the artistic conception is elegant, which gives people a kind of beautiful enjoyment. Zhang Mingbao
Secondly,
I like reading Li Yiping's new figure paintings.
Gu Kaizhi, a painter in the Eastern Jin Dynasty, once said: People are the most difficult to draw. In other words, there are three kinds of Chinese paintings: landscapes, flowers and birds, and figures, and figure painting is the most difficult. Because landscape painting should create artistic conception, flower-and-bird painting pursues interest, and figure painting emphasizes vividness. It is really not easy for a painter to shape the characters he feels and thinks in his life into pen and ink and create an artistic image with charm.
At the end of August this year, Qingyang Painting Academy successfully held the first exhibition of painters and artists hired by the Academy. Li Yiping, a painter, brought six works to the exhibition. This is the first time that he has shown his new figure paintings in public after graduating from the advanced Chinese painting seminar in the training center of China Artists Association. These works appear in front of people with a brand-new look, which surprises people from the description of characters' mental outlook, the exploration of pen and ink language, the communication of characters' hearts and the perfect combination of content and form. Li Yiping was personally guided by Du Ziling, Zhao Huasheng, Yang Deshu, Gan Changlin, Jia Guangjian, Wu Changjiang, Huo Chunyang and other famous contemporary painters, and was particularly appreciated and valued by Mr. Du Ziling. Mr. Du has visited Tibetan areas many times and is very fond of portraits depicting Tibetan life in Gannan. He immediately said that he would let Li Yiping study in his studio without an exam. Under the influence of the tutors' careful teaching and the strong learning atmosphere of the training center, Li Yiping devoted himself passionately to the study of figure painting. Through nearly two months of study and creative practice, his figure painting has changed more and more.
The most important thing in figure painting is to depict the thoughts, emotions, spirits and souls of the characters. Grasping the whole figure from aesthetics, establishing the position of people in art and pursuing the value and significance of human life are the primary and most difficult tasks of figure painting. To solve this problem, the premise is that the painter should have a positive attitude towards life, and also require the painter to observe, think, concentrate and conceive repeatedly; Ask the painter to ponder the thoughts and feelings of the object repeatedly; The painter is required to communicate, exchange and blend with the object of expression in spirit. The painter's emotional injection creates a vivid, touching and perfect artistic image through the artistic experience of "thinking Miao". We can understand the farmers' yearning and pursuit for a happy life of hard work and wealth under the party's policy of benefiting the people from the works such as Under the Sun and A Family of Three, and appropriately depict the simple, simple, simple and kind character of Longdong people. In the process of expression, the painter does not illustrate political concepts, nor deducts policy slogans, nor does he simply rely on the role's preaching and actions, but expresses the inner world of the characters through calm actions and serene and happy expressions, which reflects the painter's higher aesthetic pursuit of figure painting.
The expression of characters' inner world should be put into pen and ink and expressed in the unique artistic language of Chinese painting. How to express vivid artistic images with accurate and appropriate artistic language is another difficult problem that figure painting should break through. We feel Li Yiping's aesthetic exploration and pursuit of "line" from the painter's works. "Line" is the basic language of Chinese painting, and its expressive force has been highly developed in the creation of painters in past dynasties. A complete and vivid image must be an organic combination of "form, quality and movement". The function of lines is not only to accurately express the structure of objects, but also to fully express the "texture" and "movement" of objects. A line should express the comprehensive effect of "shape, quality and movement" at the same time In the creation of figure painting, Mr. Li Yiping attaches great importance to the writing of lines, and emphasizes the use of calligraphy pen. Through the changes of line strength, straightness, length, thickness, light and shade, reality and turning point, he shows the complex relationship between figure modeling, texture and momentum, and forms a complete image. In modeling techniques, we emphasize pen and ink, and closely link brushwork with pen and ink. In the change of brushwork, we use lines, brushes, dots, dyes and other brushwork to express the artistic image with bones and flesh. It is with the innovation of ideas and pen and ink that Li Yiping's figure painting gives people a new aesthetic feeling.
The creation of figure painting requires high modeling ability, which requires both meticulous painting and vivid images. In his creative practice, Li Yiping realized that sketch is an important means to collect image data for creation, a part of creative practice, a process of understanding life and a link between life and creation. Piano teacher, Shantou and Huachi bigfoot are all his works. From his works, we can find his ability to observe life keenly, capture the characteristics of objects and record the truth of life, as well as his strong visual memory and bold pen use.
-Wang Yi
third
Li Yiping was born in Longdong. Longdong lies in the core of Huang Shang Plateau. The mountain is high and the emperor is far away, but the folk customs are simple. People here are generous, kind and hospitable. This place is far from the cultural center, with little cultural information, inconvenient transportation, less opportunities to communicate with the outside world and relatively backward. However, the farming culture here is extensive and profound, less influenced by secular fame and trends, and less interfered by external influences in creation. It may be precisely because of these reasons that the characters in Longdong in his works, whether wives, old people, girls' daughters-in-law, or dolls for men and women, are all born and bred, strong and healthy, full of vigor and vitality, giving people a simple and cordial feeling.
Painting is the spiritual realm pursued by Li Yiping. It shows his subjective spirit and personality charm. Painting is not only a technical production, but also a reflection of his self-cultural psychological consciousness, not only the perfection of a work, but also the self-perfection of his personality. Art is endless, the road to artistic creation is endless, and the cultivation of personality is endless. Li Yiping will strive to achieve the perfect combination of soul and pursuit, and make unremitting efforts to achieve the spiritual realm of "harmony between man and nature".
-Wang Yi, a native of Longlong, was born in the land with the legendary remains of the Yellow Emperor, near northern Shaanxi. After the year of know life, I turned around and picked up the feather in my life. Over time, I feel that I will have some life sighs like the ancients. The characters in my works, whether with the dust of history, bathed in the sunshine of Tibetan areas, or exuded the charm of Longdong, are all my family, my parents and my friends. It is precisely because they are in line with my temperament and my pursuit that I yearn for them and pursue them tirelessly, and then enter their inner world.
Small graffiti, full of fun, describes the understanding of people, flowers, birds, fish and insects with lines; I joined the army with a pen. With my youth, my comrades-in-arms are the most noteworthy in the military camp. Studying in Northwest Normal University, studying hard and never stopping. Up to now, I still remember the inculcation of teachers such as Yang Guoguang, Dou Jianmin and Lou Bo. It's lonely to draw a picture, and it's difficult to depict the characters and personal practice. Learn from others, and I am fortunate to be guided by famous painters such as,, Zhao Huasheng, Zhang and Yang Deshu. Fifty years later, I know my love with "people". Bai Zhen, a broom, thinks that he can seriously reflect and introspect before "doing whatever he wants", and will not live up to the lush painting world and prosper.
—— Li Yiping's brief talk on the inspiration of sculpture art of North Cave Temple to the creation of figure painting.
Text/Li Yiping
Tradition is connected with the present, and the umbilical cord can only develop if it inherits tradition. After the ebb and flow of the art world in the 1980s and 1990s, people's consciousness was formed. It is of great significance to observe the historical and cultural accumulation from the perspective of the times to nourish and draw lessons from artistic creation. In this paper, I will talk about my own experience on the enlightenment of sculpture art in northern cave temples to China's figure painting creation, and seek advice from my colleagues.
First, the artistic style of the northern cave temple statues.
The North Cave Temple, one of the four grottoes in Gansu, is a historical and cultural treasure and a precious cultural heritage of the motherland. As a holy place of Buddhism, the Northern Cave Temple was built in the Yongping period of the Northern Wei Dynasty (AD 509). After the expansion of Western Wei Dynasty, Northern Zhou Dynasty, Sui Dynasty, Tang Dynasty, Song Dynasty, Yuan Dynasty, Ming Dynasty and Qing Dynasty, it formed the largest Buddhist holy land in Longdong. The statues of the northern cave temples are directly related to the background of the times, religious beliefs and classic fashion at that time. Grotto statues have obvious style of the times. At the same time, because it is located in Longdong, it also strongly shows strong local characteristics. This reminds us of the Terracotta Warriors in the Qin Mausoleum, whose facial features are very similar to those of ancient Qin people such as Shaanxi and Gansu.
The representative grottoes of the Northern Cave Temple with the style of the Great Times are the Northern Wei Dynasty 165 Cave, the Northern Zhou Dynasty's 24 Cave, the Tang Dynasty17/Kloc-0 Cave, the 2 10 Cave, the 32 Cave and the 257 Cave. Among them, Cave 165 is the most representative, and it is the earliest, largest and highest artistic achievement in the northern cave temples. The overall design of the cave fully embodies the harmonious thought of "earth people", and a cave is a Buddhist world. Man is in a paradise dominated by Buddha. The craftsmen who build caves integrate the Buddhist world into their understanding, and their pursuit of ideals is reflected in the Buddhist paradise. In their minds, the Buddha lives in a big tent like people, and ordinary people live in a small tent. The mode of guarding caves is the product of the mixed modeling of northern nationalities and caves in the Loess Plateau. Tall and straight, vigorous and vigorous are the remarkable characteristics of grotto statues. Tall and tough, with freehand brushwork to show masculine spirit temperament.
With the development of grotto art in Tang Dynasty, basic wood got rid of the mysterious color of religion since Wei, Jin, Southern and Northern Dynasties, and showed the characteristics of secularization. From cave modeling to sculpture, it has a completely different performance from the past, characterized by more concise and diverse forms; Statues are more beautiful in richness and strength, elegance and elegance, freedom and liveliness, which embodies the fashion and artistic style of the times.
Through the above description and analysis, we can see that the sculpture art of the North Grottoes has its obvious artistic characteristics: First, as a Buddhist art, the grotto art reflects the process of the emergence of Buddhist thought, and the artistic images of Buddha, Bodhisattva, disciple, Lux and Buddha servant it creates all come from the image of human life, which is a highly refined and summarized human life, and comes from life, which is higher than life. Secondly, as far as the contents of grotto statues are concerned, they serve feudal rule and religion, but they all reflect the social forms and life scenes of people at all levels in the historical period at that time, and also reflect the spiritual pursuits and expectations of people at all levels. Third, the craftsmen who created these artworks lived among the people for a long time, experiencing and observing people's feelings and all aspects of society. With his rich imagination, deep feelings and devotion to Buddhism, he used various carving arts and expression techniques, broke through some religious precepts, boldly accepted all artistic techniques that could improve his expression ability, and created many works with concise and vivid shapes, summarized and refined techniques, radiant and full of blood. Fourth, the overall scale of the northern grottoes is grand, but the contents are rich and the priorities are clear. Fifthly, the northern grottoes have absorbed the cultural traditions of India, Xianbei, Mongolia and other ethnic groups, and they are integrated, which is an image documentary of the great integration process of the Chinese nation. All these provide us with rich nutrients for the creation of Chinese painting, especially figure painting, which is of great significance for us to learn, appreciate, inherit and develop figure painting.
Second, the enlightenment of the northern cave temple statues to the creation of figure painting.
Figure painting of Chinese painting, how to use pen and ink modeling to achieve vivid form and create perfect art.
Images make viewers feel, think and satisfy, and make pen and ink images become artistic images that communicate with people's souls, which is a problem that every figure painter needs to solve all his life.
L, China figure painting how to reflect the spirit of the times, we think that to focus on reflecting and depicting the real life of contemporary people, we must reflect the sentiment and moral quality of this generation, and reflect the spiritual pursuit and aesthetic yearning of contemporary people. The society is progressing and the mainstream is upward. In the process of figure painting creation, we should carefully explore the themes that can truly represent and reflect the spirit of the times and reflect the face of the times, and reflect the pursuit and yearning of contemporary people in our works.
2. The figure painting of Chinese painting is extremely difficult, because people are living and emotional things, and they must observe, think, concentrate and convey their thoughts repeatedly in order to create a vivid and perfect artistic image. Although the statues of the northern grottoes are mainly Buddha, Josa, disciples and Lux, the figures are by no means identical and conceptual. Every statue is lifelike, full of personality, and ready to come. All this comes from the sculptor's true feelings about life. Therefore, the accumulation of life is very important for figure painters. Sketch is of great significance to exercise the ability to observe and record life keenly and to use a pen boldly, and it is an important means to learn Chinese painting.
3. Any artistic image of Chinese painting must be put into pen and ink. How to use China's unique painting tools and materials to express the artistic image of dynamic people is a problem that every China figure painter must face and solve all his life. Although the sculptures in the northern grottoes are very different from the pen and ink in figure painting, they have similarities in the pursuit of artistic language. Their use of sculpture language is consistent with our pursuit of pen and ink techniques.
4. Learn the religious piety of the craftsmen in the Northern Cave. All the grotto art treasures, including the northern grotto temple, were created by craftsmen through hard work and perseverance. It is hard to imagine what kind of hardships and artistic labor craftsmen have paid under the harsh living conditions and difficult creative environment of Beidong Temple. Some craftsmen devoted their lives to the creation of grotto art, leaving extremely valuable historical and cultural wealth for future generations. This persistence in artistic career is still commendable in today's society. What we should learn from these historical and cultural treasures is not only technical nutrition, but also spiritual nutrition. All the pictures in this entry are Li Yiping's traditional Chinese paintings, please click to enlarge them. To enjoy more wonderful paintings by Li Yiping, please click on the gallery below. (This entry was edited by Kang, Li Qing, etc. )