Sun Ke (Secretary-General of Chinese Painting Art Committee of China Artists Association, a famous art critic);
I think Peng Zu's paintings are full of life, characteristics and skills, and his accomplishment and talent can be seen from his works. Even in the places where Zhejiang painters gather, his paintings still have his own characteristics and high status. Now the painting world is impetuous and eager to achieve success. Peng Zu has been painting in obscurity for decades, and he has drawn a level. Mr. Shang Hui and I are willing to preside over academic discussions for him.
Shang Hui (executive editor of Art magazine):
After reading his works 1 16, I feel that Mr. Liu's creation has the following three characteristics.
First, Mr. Wang's works come from life, and he integrates his feelings about real life into the creation of landscape paintings. So I think Liu's landscape painting, the most important thing is his landscape painting. Apart from the characteristics of the scenery, there is also a fresh and novel feeling in his works, which is different from the traditional Jiangnan landscape painting we have seen. His landscape in the south of the Yangtze River is a kind of landscape with strong local flavor, rather than the landscape we usually see in the concept of literati.
Secondly, I personally think that Mr. Liu reflects the development of contemporary ink painting from one side with the characteristics of ink painting. In Liu's landscape paintings, we see the special infiltration effect of ink and wash on Xuan paper, that is, the improvisation and coupling of ink and wash, which we rarely see in traditional landscape paintings. I think he respects the objective performance of Jiangnan and must also respect the authenticity of his feelings. Therefore, his personality and the characteristics of using ink and wash actually represent such a new era characteristic of the development of our contemporary ink and wash painting. Of course, using a pen is different from using a thread. I think Mr. Liu attaches great importance to the use of wires while using water. He accepted the Su Mo used by Zhejiang School. If you paint people, Liu paints Jiangnan, and Liu's key point is to paint Jiangnan landscape with pen and ink with the characteristics of the times. In addition to using Su Mo, how to deal with the relationship between pen and ink, in fact, I think he still pays great attention to using a pen. Although he doesn't use lines, he attaches great importance to the sensitivity of pen and paper pen in addition to the infiltration of ink and wash. That's it. He painted a lot of Jiangnan. Although it was dripping ink, there was a pen spirit in the dripping ink.
Third, Mr. Liu's landscape paintings are very sculptural. In my opinion, he can paint not only the mountains and rivers in the south of the Yangtze River, but also the Yellow River, Jinsha River and Snow Mountain. He painted a small realm of Jiangnan and a big realm of mountains and rivers. Not all our landscape painters can have these two realms at the same time. We can see that his masterpiece "As Good as Water" can make water hit rocks in a divergent state, and the change of that state is so vivid that it is expressed by pen and ink. Seen from a distance, it has its power. On closer inspection, you also find that his pen and ink handling is very subtle and accurate. I believe that people who can draw small pictures may not necessarily draw big pictures, and those who can draw big pictures may not necessarily draw small pictures. In my opinion, it's really commendable that Liu Neng painted a small picture beautifully and got a big picture in place. From small to large, from big to small, from the mountains and rivers in the south of the Yangtze River to famous mountains and rivers, he has strong plasticity.
Liu Xilin (researcher of China Art Museum and deputy director of the Fine Arts Theory Committee of China Artists Association);
In the autumn of Geng Yin, Peng Zu came to Beijing to hold an exhibition, but occasionally he felt cold, and his throat was afraid that he could not adapt to the frequent speech gathering after operation. So far, he regrets it. During this period, I collected your paintings, read them repeatedly, and gained a lot of aesthetic enjoyment, as well as an understanding of life and art. I will record a little later.
Zu Peng Jun comes from Huzhou in the south of the Yangtze River. His homesickness is called "the land of clouds and water" and is also a poetic dwelling place. Jun grew up in Sri Lanka and felt it in Sri Lanka. His series of Poems Remembering Jiangnan is the most touching. Although his paintings are still the context of contemporary "sketching landscapes", they are not limited to appearance, volume and texture, but are based on feelings, heartfelt and heartfelt. So their environment is full of situation, poetry and artistic conception, as you said: "Artistic conception is unique." Jun and Yu are the same age, and dare not say that the world is cold, but they also know a lot about life. It is thought-provoking for you to express your understanding of life with painters' ink paintings. Your inscription is: "What are you afraid of? Everyone is traveling "; I feel the same way if the rest is "the past is like smoke" and "the sideburns are thin now" Kong Qiu famously said, "A son in Sichuan said: The deceased is like a husband", which is also based on water. How many people paint landscapes now? It is easy to learn from others, but difficult to win people's hearts. Sketching landscapes is very popular now, and only a few people enter the poetic realm and artistic conception, which is the inspiration of Jun Jun's landscapes.
Peng Zu is a wise man, "He who knows (wisdom) enjoys water". Jun follows the old adage of "being as good as water" and takes it as the theme of the exhibition, which is quite suitable for your theme, your personality and the characteristics of ink painting. You and Mo Yun played Jiangnan minor, enjoyed the "rippling air" of pen and ink, and dreamed that "the paper is dry and the painting is still wet", which really won Mizunosuke. You know the water, the water knows you, you make the painting alive because of the water, and the water makes the ink spirit. Few painters in the north are dry with wind and sand, and few painters in the south are wet with water charm and brushwork.
Zu Peng Jun wrote an inscription: "Fifty years have been like a dream, and it is still unfinished." There are fewer sincere people now, but they talk about being a perfect master. Art is really hard to be perfect. Pan Tianshou's words and deeds have to stand the test of thousands of years to wake us up. You and I are both close to ancient times, so we should know the difficulties of art, and those who know their own difficulties should know the way of art, and we also expect them to make progress despite difficulties. They are willing to encourage you.
Xiao Feng (Chairman of Zhejiang Artists Association):
Liu, the son of Hangjiahu, gives full play to water and ink, which makes his works full of poetic temperament.
Wang Bomin (art historian, professor of China Academy of Fine Arts);
Liu's paintings are full of aura and make good use of water, and some of them are quite interesting. If you work hard, you will be promoted.
Deng Fuxing (art critic on the editorial board of Art magazine):
Zuxiong's paintings are fresh and elegant, with vigorous and colorful brushwork, expressing his unique feelings in a traditional way, expressing himself in a unique way and full of life breath, which is called Impressionism in Chinese painting.
Zhao Yannian (Professor of China Academy of Fine Arts, famous printmaker):
I have seen Mr. Liu's solo exhibition and his four albums. I deeply feel that he is a painter who has studied hard and made breakthroughs in art. His ink paintings are free, vivid and full of aura. It embodies the spirit of the water town, which is very kind and touching.
Zhang Liguo (Professor of China Academy of Fine Arts, Master Supervisor):
Liu painted a fresh and delicate Jiangnan charm. I use one sentence to summarize Liu's painting scene of "ink painting south of the Yangtze River", which is "poetic obscurity". Liu's paintings are deeply rooted in the hearts of the people and touch the heartstrings. He painted a water town, a dense picture, a morning rhyme and a sunset photo ... In the picture, he has a sincere devotion, which is rare among contemporary painters. In the words of the ancients, his paintings are "true feelings", taking out real mountains and rivers, and the true feelings are revealed in the paintings. Secondly, his paintings have a natural beauty. His natural beauty is the beauty expressed by emotion, the painting in the heart expressed by water, and the "painting in the heart". He controls his pen with emotion and naturally uses ink and water. His works are natural and smooth, natural and fresh, and there are no traces of carving, which is very rare.
Zhang Huasheng (Dean of Zhejiang Painting Academy):
Huzhou is a good place to train talents. Liu has two artistic orientations. First, he cares about life. He has persistently expressed the misty rain in the south of the Yangtze River for a long time, and his works are full of life breath, which is the orientation of the theme; The second is the orientation of artistic language. Explore points, lines and surfaces, and find the unique feeling of Jiangnan water town with the change of big ink color and the combination of points and lines.
Mao Jianbo: (Professor, Department of Historical Theory, China Academy of Fine Arts).
Liu grew up in Huzhou, a water town in Zeguo. He knows the water town better than others. Different from the figurative description of Suzhou, Liu grasped the overall feeling and significance of the water town. He is good at absorbing all kinds of nutrition, such as watercolor in western painting and ink and wash accumulated by Huang, and above all, he has a strong sense of Mo Yun. The whole seems to be chaotic, seeking the whole. Jiangnan water town is a hazy sense of wholeness, which Liu grasped very well.
Cao Gonghua (art critic):
Liu talked with Jiangnan with gratitude. He turned his voice into "ink painting Jiangnan" and touched us. This is the true meaning of art.
Zheng (art critic and painter):
I think Liu's painting is based on painting, which conveys three contents. One is to write the natural scene of misty rain in Jiangnan water town with pictures; Second, the painting conveys the author's simple and true temperament; Third, the painting has written a modern ink charm, even an artistic chapter connecting the past with the future. The painting contains national humanities, art and culture, which is local representative and atmospheric, and is a modern chapter of Zhejiang painting.
Li Shusheng (Professor, China Academy of Fine Arts)
Looking at Peng Zu's works, I always thought that he graduated from Zhejiang Academy of Fine Arts, because Xiaofeng, an old friend of Zhejiang, spoke highly of him. Now I know that Peng Zu is self-taught, which is very touching. I'm afraid it's rare to learn by himself to this extent in the whole country, and his efforts are needless to say.
Looking at Peng Zu's paintings, I have a strong feeling that Peng Zu is really the material in this field, and he has special skills in this field, which makes me feel particularly good. Painting is not entirely based on reason, but on feeling. Without memory and a strong sense of art and talent, it is impossible to draw so vividly through the brain.
After reading his original works, what impressed me the most was his ability to control ink and wash. Reading the original is particularly enjoyable. The change of ink color and nuance is simply too rich. Without the ability to control ink painting, there would be no Chinese painting. Among several parts of his works, I appreciate Poetic Jiangnan best, which is the most successful. He was born in the south of the Yangtze River and has feelings for water. Emotion is art, and the scene is integrated. Artistic expression, sense of brushwork and interest in ink have all reached quite high attainments, which should be considered in China. But the whole country is too big, and it is easy for Beijing to emerge, but it is not easy at the local level. I admire honest people. In fact, Peng Zu chose the lonely road. Many years later, there was a Liu in Huzhou, and everyone applauded him. That was actually put there, not bragging. I have this guarantee.
Disadvantages, it is better to use ink than to use ink, but don't bind your ability to use ink for the sake of pen.
Ren Ping (researcher and doctoral supervisor of China Academy of Fine Arts)
This is a large exhibition in Peng Zu, and I am very excited to see his diligence and talent. For Peng Zu's paintings, I use eight words: "Jiangnan ink painting is like a poem and a dream". Peng Zu mainly painted the scenery in the south of the Yangtze River, and painted the towns, plains and wetlands in the south of the Yangtze River. Compared with traditional landscape painting, the "raw materials" of landscape painting in past dynasties are less, and it must rely on his own creation, which brings difficulties and opportunities to contemporary landscape painting. He used Mo Yun, who is good at ink painting, to represent Jiangnan, not rocks. "Ink painting" is very prominent in Peng Zu's paintings (Su Mo in Peng Zu is very clever) and has made a breakthrough, which is his success.
Liu's creative technique and water concept set off the atmosphere of the whole south of the Yangtze River. He expressed his incomparable love for his hometown with inspiration and impulse. Peng Zu is very artistic, and poetry often appears in a small corner, or deep in the Woods, or in a corner of a pond. Therefore, his water town has a dream feeling and a sense of beauty, but it is not immersed in the ancients and is very close to modern people. Peng Zu's paintings are more than paintings. Some painters blindly imitate, while Peng Zu's paintings have a passion, showing a very natural, naive and bohemian style. Maybe Peng Zu has Wei and Jin demeanor in his bones. His paintings are sloppy, but his enthusiasm for his friends is not very rational from a certain point of view. It is irrational and very artistic. Of course, Peng Zu still has some aspects to practice and think about, and there is still a lot of room for development.
Zhao Lizhong (researcher of China National Painting Academy)
There are eight words about Mr. Liu's paintings: first, vivid; Second, solid; Third, straightforward; Fourth, relax. Teacher Liu's paintings are comprehensive and diligent, and his modeling ability, pen and ink level, calligraphy and composition have all reached a certain level. Without reading the introduction, it is hard to believe that he is a completely self-taught person. I like the spring and summer colors in Jiangnan poetic prose, and I also like ink painting Jiangnan. He painted the dim feelings of Jiangnan, which is beautiful and intriguing. His flower and bird figures are also quite good. Looking at the violinist's hand chords in the band "The Last Song of the Yellow River", Liu painted the feeling of entering the strings very well, directing his hair to jilt, and it felt very artistic. The painting Cold Mountain Impression reminds me of Shaoxing painted by Mr. Li Keran. You all stand on God's side, and you all have the same angle. Mr. Liu's paintings are hazy and have their own strengths. Liu's route also seems to be influenced by Mr Li Keran. The good thing about Mr. Liu is that he is versatile, and the lines need to be explored.
18 years ago, Peng Zu's teacher Ceng Fu's first exhibition of paintings in Beijing was also held here. Today, Mr. Liu also came to the National Academy of Painting to hold an exhibition, which was very interesting. There are several paintings of apricot blossoms and spring rain in the south of the Yangtze River. The apricot blossom and spring rain in Jiangnan painted by Mr. Li Keran is a classic. Teacher Liu's Jiangnan is chic, with good drafting and intermediate treatment. Is it better in fine processing? For example, the color of apricot flowers is not as pure as that of Mr. Li Keran. Whether Mr. Liu Can has properly concentrated the theme, like Qi Baishi giving himself a topic every year, concentrating superior forces and solving a problem, generally speaking, I still like your work, which is vivid, solid and easy to express. In particular, it is very difficult to be loose but not scattered, solid but not dead. Congratulations, Mr. Liu.
American Xi Ou (from American World Journal):
In the collision between mind and nature, and in the dialogue between tradition and modernity, Mr. Liu formed his own unique vocabulary.
Sergei Cercasov (Russian meritorious artist):
Mr. Liu took China's calligraphy as a symbol, absorbed the elements of European painting, and his works contained rich artistic information.