Dezhou Liu (1953~), a Shandong native, is a contemporary freehand landscape painter in China. American critics call him "the latest generation of painters", "his landscape is a minimalist landscape with lines as the main body, which weakens the rubbing, rubbing and dyeing" and "is a breakthrough to the traditional China landscape painting". His works have been exhibited many times in China and the United States, Japan, South Korea, France, Switzerland and other countries, and have been collected by institutions such as China Art Museum and overseas art galleries and collectors.
Chinese name: Dezhou Liu
mbth: LiuDeZhou
Nationality: China
Birthplace: Huimin County, Binzhou City, Shandong Province
Date of birth: 1953
Occupation: painter, artist
Representative works: Winter Mountain, Impression of Yanshan Mountain, Looking at Xiongguan. Enlightened by Qi Liangji, the son of Qi Baishi, he studied under Zhang Renzhi, Guan Songfang and Pu Songchuang. He entered the Beijing Painting Academy in 1977 and served as the director of the reference room of the Beijing Painting Academy. Member of China Artists Association Beijing Branch, director of Malaysian Caotangmen Jinshi Painting and Calligraphy Society, vice president of contemporary Oriental Painting Society, vice president of entrepreneurs painting and calligraphy society of Beijing Federation of Industry and Commerce, and painter of Beijing Painting Academy. His works have been exhibited many times at home and abroad, such as: Beijing Academy of Painting went to the United States for art exhibition in 1985, Romanian art exhibition in 1986, Beijing New Age art exhibition in China Art Museum, Dezhou Liu art exhibition in China Art Gallery in 1987, China Art Museum for the 3th anniversary of Beijing Academy of Painting, and "Modern Chinese Paintings of Fifteen China" exhibition in Illinois Museum in 1988. Dezhou Liu, Qiu Jimu, Yang Ruifen and Shao Fei jointly exhibited at China Art Museum in 1989, World Art Exhibition in Osaka, Japan in 199, World Economic Forum Annual Meeting Exhibition in Davos, Switzerland in 1993, Sino-Korean Painting Joint Exhibition in 1994, Modern Strength of Chinese Painting Exhibition in the United States in 1995, Art Exhibition in China, Australia, International Art Exchange Exhibition in Korea in 1999, and Famous Modern China Painting Writers Exhibition in Osaka, Japan in 2. Asian Triennial Exhibition in New Delhi, India in 21, French Painting and Watercolor Art Salon Exhibition in Paris in 22, Sino-Japanese Friendship Ink Exchange Exhibition in Tokyo, Japan, Korean-Chinese Artists Exchange Exhibition in Busan, South Korea in 23, Japanese Famous Chinese Paintings Exhibition in 24, Dezhou Liu Solo Exhibition in Art Zone Bridge Art Space in 798, and Malaysian Deep-rooted Oriental Masters Exhibition in 21. In 211, the 798 Art District celebrated the 9th anniversary of the founding of China's * * * Production Party, in 212, the Dezhou Liu Art Exhibition of Bridge Art Space in Beijing 798 Art District, the Dezhou Liu Art Exhibition of Liulichang China Bookstore, and the Asian Art Fair were widely praised for their unique modern ink and wash styles. He is good at freehand brushwork of landscapes, and many of his works have been collected by institutions such as China Art Museum and overseas art galleries and collectors. He has published Dezhou Liu, China's Contemporary Famous Painters, Dezhou Liu's Works, Dezhou Liu's and Yang Ruifen's Paintings, Selected Works of Dezhou Liu, Fine Arts, Chinese Painting, Chinese Painter, Rong Baozhai and other fine arts periodicals.
Art Evaluation
The latest generation of painters
KIYOHIKOMUNAKATA (American critic and China art historian)/Wen 1988
Dezhou Liu of China Beijing Painting Academy belongs to the latest generation of painters. He has his own original views on landscape painting and uses ink drops boldly and freely.
His Impression of Yanshan still shows the lines of landscape painting, but as a big splash of ink, these lines have been greatly reduced. Instead, the black lines are organically combined with the splash of light ink and the unwritten white areas. This work shows a rough and crazy style, and at least uses realistic factors to capture the power of nature.
In the center of Winter Mountain, a large white area is used to express the cold. On this blank area, black lines and outlines are drawn explosively, and the left side of the work, including the canyon at the bottom of the distant mountain, is painted with layered splash ink. All these, together with the various colors around the black area, and the faint ink spots splashed in the central white area, coordinate with the powerful two-dimensional central theme.
Jia Fangzhou's comments on Dezhou Liu
Jia Fangzhou: (a famous art critic and curator)/Wen 21
During the development of thousands of years, China's landscape painting with a long history can be described as the peaks piled up, and there are many schools, which are endless. Landscape painting has been a magnificent sight since Wei and Jin Dynasties to Tang Dynasty. There are not only the "sparse" landscape of Jialing River painted by Wu Daozi in one day, but also the Jinbi landscape of Li Sixun and the ink landscape of Zhang _ and Wang Wei. In the Five Dynasties and the Song Dynasty, there were many people: Jing, Guan, Dong and Ju, Liu, Li, Ma, Xia, Yuan, Ming and Qing Dynasties, and landscape painting became the mainstream of painting. Yuan Sijia, Ming Sijia, Four Monks, Four Kings and Jinling can be said that the history of Chinese painting since the Yuan Dynasty has almost become a history dominated by landscape painting, and there are still landscape painters like Huang Binhong and Li Keran until modern times.
facing the peaks in landscape painting, is it possible for contemporary landscape painters to find their own development space? The answer is yes, but it is also difficult. They either go back to tradition, seek new mechanisms from tradition and make creative transformation; Or draw new expressive factors from modern western art to change the original appearance of landscape painting; Or close to real life, combining mountains and rivers with local conditions and customs; Or obsessed with the brush and ink, or obsessed with the beauty of landscape structure. Among these many possibilities, Dezhou Liu chose to use thick brush and big line to re-create the structural beauty of landscape.
when he paints with the usual landscape painting method and common landscape schema, although it is in line with the traditional aesthetic norms, it is difficult to get rid of the "popular style" of landscape painting. In such works, he can't find his own artistic personality and existence value. When he boldly crossed the scale with capital letters, he found that it was the best way and state for him to establish his own style. In this way, he jumped out of many landscape paintings and formed his own unique understanding of landscape. This uniqueness lies not in whether he restored the original appearance of the landscape, but in his highlighting the beauty of the formal structure of the landscape and the beauty of pen and ink. Although he gave up the rubbing technique of traditional landscape painting, he did not give up the traditional spirit of landscape painting, that is, expressing the painter's own aesthetic ideals and feelings with the help of mountains and rivers.
Writing and structure are two important features of Dezhou Liu's works. The so-called "writing" does not refer to the calligraphy pen in the general sense of painting. When Dezhou Liu magnifies this "writing" in his landscape paintings to the extent that it is not in harmony with the scale of the picture, the momentum of that "writing" shows a unique character. We can also see this simple and powerful wide-pen line in Zhou Shaohua and Jia Haoyi's works, but Zhou Shaohua's wide-pen line is mostly made up of a flank, Jia Haoyi is made up of a large area, and Dezhou Liu only uses a rounded center. Therefore, his landscape is a kind of minimalist landscape with linear as the main body, which weakens the rubbing, rubbing and dyeing; The so-called "sense of structure" is a constructivist feature formed by dividing the picture with a number of lines. This "sense of structure" makes his art have more abstract factors, and there are signs of evolution in the direction of abstraction.
It comes from the landscape image, but it doesn't have to return to the landscape image. This future direction may make him run away from the landscape, thus creating a new realm.
Excerpts from famous comments
Yu Feng:
Dezhou Liu's landscape paintings are mainly in ink, boldly summarized, and the modern art is not as good as the rest of the spiritual characteristics, forming a concise and distinctive composition, which makes the mountains and rivers go straight to the fundus and sway a lot, achieving a hearty effect.
Zhao Quan:
Dezhou Liu's landscape paintings have the courage of men, which is just consistent with his heavy and generous personality. He often uses a broad brushwork and divided lines to express the landscape form, which transcends the face of true mountains and waters in nature and changes into a "landscape in the chest" after spiritual understanding, with great personality characteristics.
Dezhou Liu's landscape paintings still stretch the trace of historical development, and are beating the pulse of artists in the new era.
It is a kind of theory that goes straight into the landscape, which is different from seeking the truth of the nature of the landscape and giving human feelings to the landscape, beyond the true landscape and the literati's interest. It melts people with landscape meteorology, and makes people develop a concept of mountains and rivers, and even a new landscape style is implemented with pen and ink.
Dezhou Liu's works are full of a vigorous and broad momentum, and in this momentum, a leisurely charm flows, echoing a faint and elegant music. This kind of momentum, this kind of charm, this kind of music, is also the true character of nature mountain trees. At the same time, it has become the painter's mind and mind. In the works, we can often see that the painter depicts large rocks with some heavy lines, and the ink color is thick, full and moist. However, the methods of painting, painting and dyeing used in traditional landscape painting are extremely simplified and omitted, resulting in an extremely concise black-and-white contrast effect. And its large dyeing method and occasional colors add a quiet and quiet atmosphere to the picture. The ancients said, "There are hills and valleys in the chest and clouds and smoke on the paper." It is the hills and valleys in Dezhou Liu's works that make the landscape on his picture.
Huaxia:
His bold and concise features, emphasizing feelings, grasping the whole, and seeing the concrete in the abstract are the valuable points of artistic expression, which is promising.
Jiang Zhixin:
Dezhou Liu is an innovative artist. He has been pursuing freehand brushwork for many years, expressing the mountains and rivers in his heart with highly generalized methods. His paintings give you room for imagination. Think about it and have endless aftertaste. He accommodated life as his own art, and the natural scenery was shown after being melted in the depths of his soul. His paintings are rough, dignified, and symbolic, and it feels like a broad thing to present to the audience.
Liao Kaiming:
Dezhou Liu's painting style is very unique. Many Chinese paintings, especially landscape paintings, imitate the tradition and are very similar. But Dezhou Liu's paintings are different. Among many landscape paintings, his style is very prominent.
Chinese painting stresses charm and is just right. His kung fu power with a pen is very touching at first glance.
Dezhou Liu is an outstanding painter. His freehand brushwork in ink and wash is very imposing, and some of our nation's most precious spiritual qualities are reflected in the paintings. This direction is right and it is not easy.
Li Keming:
Dezhou Liu deeply inherited his family's studies. His father, Liu Tongfeng, was an old painter in the Beijing Painting Academy. His traditional skills were very profound and he was very famous in the Academy. Unfortunately, he was unjustly wronged and died during the Cultural Revolution. Although Dezhou Liu entered the Beijing Painting Academy as a stepfather, he has a strong sense of innovation, and he is not satisfied with the path taken by his predecessors. It is extremely rare for him to give full play to the special charm of China's pen and ink while creating his own new style. In Beijing Painting Academy, I think he is a leader in innovation.
His paintings have high abstract beauty, and are rich in ink interest, with implicit imagery and meaning. He pays special attention to composition, is very bold in his business position, and even has a little taste of "the great move of Gankun" reversing time and space.
Li Zhonggui:
Dezhou Liu's landscape painting is a breakthrough to the traditional China landscape painting.
It makes me feel very excited and fresh to see him paint so boldly.
Dezhou Liu's father, Liu Tongfeng, is an old painter of Beijing Painting Academy, who is good at traditional landscape painting, while Dezhou Liu's paintings are completely different from those of his parents. Over the years, he changed step by step. His artistic feature is "the elephant is invisible" at first, and he is not completely confined to abstraction, but also concrete. His mountain is a whole mountain, which reminds me of the feeling of Pan Tianshou's painting of Yandang Mountain. However, Dezhou Liu sets the mountain out in black and white, and feels more powerful than the traditional landscape in his pen. He dares to use black, dare to use white, and "white is black". There is a strong contrast between black and white, and the interior of each color is also rich in changes. A series of relationships between black, white, thick, light, dry and wet in a painting are very close and visually eye-catching. For example, the place of ink is not dead and black, and each piece changes very subtly, both thick and weak, and also weak and strong. The place where the rocks are left blank is not simple, there are many points, but it is not a traditional moss point, but a modern technique.
In previous landscape paintings, especially in modern landscape paintings, the so-called "freehand brushwork" actually always strayed into the "fine" path, and many people drew more and more fine, but there were few really big freehand brushwork landscapes that were full of pictures. Sun Ying's landscape painting, which came back from Taiwan Province, is a freehand brushwork, but it is still traditional. Dezhou Liu's freehand brushwork not only has traditional brushwork, but also adds modern expressionism and modern elements of point, line and surface. It is not completely traditional "18 strokes" method, but also has modern brushwork, which is his characteristic and not easy.
representative works
Dezhou Liu's ink and wash landscape works include:
Winter Mountain, Impression of Yanshan Mountain, Looking at Xiongguan, Love in the South of the Yangtze River, Island, Mystery and Sail, etc.
auction information
auction record of "Heart is on fire":
transaction price: RMB47,4
auction time: December 2, 21
auction special: China contemporary ink and wash special
auction name: the first large-scale art auction in autumn 21
auction house: Beijing Asia Ronghai.
Transaction price: RMB74,75
Auction company: Beijing Ronghai
Auction time: March 26, 212
Ice Valley Gully:
Transaction price: RMB 19, 25
Auction date: June-February, 212
Special Name: China Contemporary Ink and Wash (II)
Auction: Beijing Poly 212 Spring Auction
Auction Agency: Beijing Poly International Auction Co., Ltd.
Memories of 1987:
Mirror Heart Ink and Wash Paper
Appraisal.