Chen jialong, a beginner in figure painting, studied landscape and calligraphy with Mr. Lu Yanshao in the 197s, and then attacked flowers and birds.
at first, Chen jialong studied figure painting. In 198s, he began to absorb the techniques of China ancient murals and foreign watercolors, and after repeated research and practice, he created a new school of modern Chinese painting with the characteristics of China philosophy, impressionism, abstraction and expressionism.
among the generation of painters who became famous around 197s, Chen jialong is a very different one. Mr. Jia Ling was not young when he made his mark in painting (according to the standard that he could hold a solo exhibition in his early twenties), but he was able to show the sensitivity and advanced consciousness of young talents in his artistic creation career for more than ten years, completed a great leap from technique to concept, established a strong personality, and became a modern Chinese ink painting school in Shanghai in the early 199s, which was really quite avant-garde painter at that time. Mr. Chen's pen problem is also of great interest to insiders. If you first see Mr. Chen's works, you may also be curious. Are those mottled and bizarre lines and transparent ink (color) blocks really the result of using a pen? If you use strokes, how does it work? According to Mr. Chen's own statement, his paintings are all painted with pens, but the specific painting methods are various, such as walking, guarding, leaking, penetrating, and walking, which is to let water and color flow naturally; Keep it, hold it to a certain extent, and don't let it flow (the above two methods are similar to the painting method of Lingnan School's two highs and one Chen); Leak, let the above color pass through the back of the paper and leak to the next layer of rice paper; Transparent, or two sheets of paper, or two backs. Mr. Chen thinks that his techniques are not abstruse, but fully tap the potential of Xuan paper. Some people may be engaged in it, but if they are left alone, everyone will be able to do it. It is his success to organize the colors appropriately. However, if it is required by the standard of traditional pen and ink, the naturalness of Mr. Chen's pen will inevitably be suspected of craftsmanship. Therefore, it is inevitable that some people will criticize Mr. Chen. When I heard these remarks, it reminded me of a story I heard when I was a child. The story tells that after Columbus completed his great voyage, the Spanish royal family held a grand celebration banquet for him. At the banquet, someone made an attack, thinking that just a new continent, as long as it passes through that waterway, will find it nothing. This was heard by Captain Columbus, so he quietly took an egg and let the dignitaries present try to erect it. Everyone thought it was impossible. Columbus smiled, picked up the egg and tapped it on the table. The eggshell at the bottom broke and the egg naturally stood up. All the people present burst into laughter. What's the big deal? Some people laughed at it. It's nothing, Columbus replied, but sir, why didn't you do that? Columbus's rhetorical question is also suitable for those who are dissatisfied with Mr. Chen's success-it is normal and even gratifying that there are negative opinions in the comments, but if it smells like sour grapes, it will make people feel bad.
Inheriting Pan Tianshou's Chinese-style composition theory, coupled with ingenious (sometimes very free) painting methods, Mr. Chen's pictures are different from those of his peers who use classical techniques for the purpose of adhering to tradition, and even more different from those of young painters who use radical westernization methods for the purpose of transforming Chinese painting, which naturally shows something different. In addition, Mr. Chen is a painter who uses ideas more than brushwork (Mr. Chen has commented on himself many times on various occasions), so his Chinese painting creation is even more mysterious. In order to uncover this mystery and get a deeper understanding of Mr. Chen's creative motivation and ideological trends, the author once had a talk with Mr. Jia Ling in the quiet Chen Yu on Wu Kang Road, and I was able to ask some questions in my heart, which benefited me a lot. Mr. Chen's residence is as spotless as imagined. By spotless, I mean not only the surface, but the light and quiet atmosphere conveyed by the topography on the top floor, the location arrangement of furniture, the indoor light and the decoration on the four walls. In this atmosphere, the author started a conversation with the host. Because Mr. Chen graduated from Zhejiang and America, he must have had very strict basic training. The first topic we talked about was about Mr. Chen's years in Zhejiang and America (now China Academy of Fine Arts). Professor Chen Jialong, a famous painter and a leading figure of New Shanghai School ink painting who had a considerable influence on China painting in the new period, celebrated his 7th birthday in 27. From August 19th, 27 to August 26th, 27, he held "Lingbian-Chen Jialong's Works Exhibition" in China Art Museum, which comprehensively summarized his artistic career for more than 4 years.
professor Chen jialong graduated from the Chinese painting department of Zhejiang academy of fine arts in 1963, and studied under Mr. Pan Tianshou. In 1963, he taught at Shanghai Fine Arts College, and since 1983, he has taught at Shanghai University Academy of Fine Arts. In 197s, I studied landscape painting and calligraphy with Mr. Lu Yanshao. His works have won the Sixth National Fine Arts Award and the Silver Award of the Seventh National Fine Arts Exhibition, and have held solo exhibitions and group exhibitions in Japan, the United States, Germany, Singapore, the Netherlands and China, Hong Kong and Taiwan Province.
after the reform and opening-up, professor Chen jialong has formed his own unique style of quiet, lofty, quiet and lyrical through hard exploration and innovation. His works combine personality, nationality and sense of the times, which has played a leading and promoting role in the development of Shanghai-style painting. Shanghai Peninsula Art Museum and "Lingyao" pottery studio, which are mainly planned and established by him, are committed to promoting traditional culture and promoting artistic innovation, and their fame has spread far and wide overseas, which has become a banner of Shanghai style artistic spirit.