An Junkang, nicknamed Banposhanren. A native of Yongshou County, Shaanxi Province. Member of the Xianyang CPPCC, director of the Chinese Traditional Painters Association, vice president of the Poetry, Calligraphy and Painting Research Society of the Shaanxi Cultural and Economic Exchange Association, vice president of the Xianyang Painting and Calligraphy Art Research Institute, honorary deputy director of the Xianyang Love Messenger Art Troupe, and Yongshou County Writers Association Honorary Chairman. Professional calligrapher and painter.
An Junkang, the owner of Sanshengtang Hall, was born in a peasant family in Yongshou County in 1968. He was determined to pursue art when he was young, and many of his works were published in newspapers and periodicals when he was in middle school. At the age of 27, he was invited to give lectures at Zhengzhou University in Henan Province and held his first personal calligraphy and painting exhibition. Since then, he has held seven solo exhibitions in Shandong, Gansu, Ningxia and other places. More than 30 works have been selected for domestic and foreign exhibitions or won awards. Some works are also collected by art institutions at home and abroad such as Hong Kong Baptist University and Taiwan Plum Blossom Art Museum. Newspapers, magazines and TV stations inside and outside the province have repeatedly commented on his talent and skills. He has also been awarded honorary titles such as "Contemporary Art Achiever" and "Caring Model Artist" by relevant departments.
He is an accomplished calligrapher and painter. Later, after having more contact with him, I realized that he was an upright and generous person, enthusiastic and sincere in dealing with things, and had a generous and somewhat stubborn nature. He has the simplicity, tenacity and boldness unique to Guanzhong men. His calligraphy and painting are also consistent with his nature and emotion, the surface and the inside complement each other and complement each other.
An Junkang’s calligraphy focuses on cursive calligraphy. The long-term and extensive practice of stele stickers and the deep penetration of tradition have given him a mastery of control over strokes and lines. Cai Xiang, a great calligrapher in the Song Dynasty, believed: "The key to learning calligraphy is to capture the spirit and spirit. If you imitate the body posture, although the shape is similar but there is no spirit, you don't know what the calligrapher's ears are." An Junkang's calligraphy creation, It is in compliance with this guiding ideology. He incorporated the painting method into calligraphy, using the twists and turns, priorities, density, density, dryness and lightness to move freely and without restraint. The continuous meaning of the brushstrokes and the thoroughness of the charm can be said to be full of energy and mastery. No wonder the old Hong Kong painter Huang Zitan described his words as "like a hundred-year-old withered vine, like a thousand-year-old tree; like clouds and mist soaring, like the sun and the moon moving in the sky." Hebei critic Zhao Fuxiang praised: "The wind and spirit are graceful and the writing is vertical and horizontal." It is indeed a pleasure to watch him write. Whether it is a short piece measuring a foot long or a scroll several meters long, it is all done in one go, and the paper is filled with smoke in an instant. The graceful lines are like spring willows blowing over the water, elegant and handsome; the twists and turns are like silver hooks in iron paintings, which penetrate the back of the paper. Sometimes the thick ink is like splashing, sometimes the pen is dry and slow. The romance, free and easy writing of the book promotes a sense of life that is about to break ground, and a strong rhythmic beauty.
As early as 1995, "Chinese Calligraphy and Painting News" had a special introduction to An Jungkang's traditional Chinese painting art. He has a wide range of interests in traditional Chinese painting, including landscapes, figures, flowers and birds, all of which are extraordinary. In particular, his ink paintings of peonies and orchids are famous in Shaanxi, Gansu and Ningxia for their fresh and refined artistic style, and are known as "Guanzhong Peony".
His paintings emphasize momentum and artistic conception, and pursue the perfect unity of form, spirit, and interest. He did not narrowly study a certain school or school, but on the basis of inheriting traditional ink and wash literati paintings, he integrated modern consciousness, learned from foreign teachers, and gained his heart. Years of artistic practice have honed his solid and rich modeling and brushwork skills. He is also able to get rid of simple naturalistic simulation and attach great importance to off-painting skills, such as the cultivation of literature, aesthetics, history and other knowledge. In addition, his extensive travels, broad horizons, and high starting point have broadened the connotation of his works and enhanced their appeal. It also expresses traditional themes, but there are many new things in An Junkang's pen: the plump and dancing peonies have a hint of coolness; the graceful lotuses reveal a bit of grace; the lonely and thin orchid adds all kinds of charm; ambition The eagle traveling thousands of miles appears steady and majestic but less domineering and bloody... All of this is no longer purely visual interest, but also points out the spiritual beauty of the object, elucidating the independent artistic spirit of the work, as well as the perception and thinking of life, history and society.