Introduction of Li Jiazheng's Artistic Experience

When Li Jiazheng was young, he moved with his father to the border areas of southern Sichuan and Yunnan-Guizhou provinces, where ethnic groups lived together, the folk customs were fierce, the ethnic groups were mysterious and bandits clustered together. He spent his childhood in a mysterious atmosphere. Since childhood, I have benefited from my father's traditional culture and personal education, as well as the gentle and kind love of my loving mother. 1944, my grandfather died, my father resigned and woke up and returned to his hometown of Hejiang county. I study in Xuantiangong Primary School. I learn 300 words a day. Painting red, learning posts and doodling are my favorites. I often swim at the foot of Bijia Mountain, sometimes step on the banks of Chishui River and Yangtze River, watch the sunrise and sunset, listen to fishing songs at night, and often doodle on the beach. 65438-0948 transferred to Chengdu Shaocheng Primary School and won the first prize of children's painting. He was encouraged by his mother, worked hard, gained the recognition of teachers and students, and learned to learn well. 1950 was admitted to Chengdu Peiying Middle School and studied under Meng Zhaocheng. He sketched and painted watercolors in the countryside, learning sketch, sketch and Chinese painting. He began to read a lot of Chinese and foreign literature, which opened the door to learning western art. He studied in sichuan fine arts institute from 65438 to 0957, studying western art and oil painting. From 65438 to 0958, I read the Quotations of Bitter Melon Monks and realized the spiritual expression of Chinese painting. I traveled all over the country and decided to study ink painting in China. 1973 in the exhibition "Criticism of Black Painting" in Ann, I was shocked and deeply influenced by Shiluyuan. Look at the quotations of bitter gourd monks for the second time. China's freehand brushwork is guided by the aesthetic expression of images. In addition to flowers, birds and landscapes, China focused on creating and displaying the folk customs of the western region, as well as mysterious and profound mythological culture, among which the representative works include The River Lantern Map and Ghost Festival. 1992 Malaysian art institute collects 20 personal works of Chinese painting, which is introduced by Malaysia Guangming Daily. A large-scale "Li Jiazheng China Art Exhibition" was held in Kuala Lumpur. The fourth special issue of Jiangsu Pictorial: Shi Tao is poetic and picturesque, and Xiang Ma Tu. Hong Kong Art Magazine published Me, Me (Liu Changjiu's article), as well as Freehand Chinese Painting on Youzhou Tower, Ivy Image, Zheng Banqiao Poetry, Badashan People's Hearts, Lao Dan's Going through Customs, Xiangma Tu, and Eight Eccentrics in Yangzhou. 1993 special report on oriental art; A large-scale solo exhibition of "Li Jiazheng Painting" was held in Kuala Lumpur. 1994 special introduction of Chinese and foreign exchange magazines; Li Jiazheng (Sichuan Fine Arts Publishing House); 1994—— 1996 Nanning, Guangxi is closed to the outside world. He wrote a 40,000-word "Gravel", which recorded his thoughts, understandings, gains and losses in his first half of his artistic career. From the comparison between Chinese and western cultures, we can deeply understand the powerful spiritual charm of China's oriental culture and the spiritual connotation in its mysterious meditation, from which we can see that China art will inevitably give birth to new life forms, new languages and new materials of traditional culture in the course of thousands of years. From the cognitive perspective of aesthetics, it can be summarized as follows: the life state of the best artistic creation is "absent-minded", and China's painting is bound to move from meaningful "imagery" thinking to the spiritual level of "oriental abstract painting". 1997 "Li Jiazheng New literati paintings" solo exhibition held in Beijing; 1999 participated in the retrospective exhibition of modern calligraphy art in China at the end of 20th century. Eight works are exhibited, all of which are six-foot whole abstract paintings. They participated in the creation of modern calligraphy abstract paintings of Boat of the Century (6m * 13.8m), and are now in Chengdu Modern Art Museum. In 2000, he participated in the "Chengdu Modern Art Museum 2000 Autumn Academic Invitational Exhibition", exhibited the works of symbol 2 1 and symbol 2, and created a huge triptych of Xuan Yin, Xu Jing and Zen Buddhism. Now it is displayed in the lobby of Golden Opera House of Chengdu International Convention and Exhibition Center. China Art Museum collects the White Tiger Map.