Ouyang Xijun (Deputy Director and Secretary General of Appraisal and Evaluation Committee of Ministry of Culture): His works draw inspiration from traditional painting and modern composition, emphasizing form, composition and flexible use of color. The overall layout is handled properly, and the color matching is also appropriate. The layout is laid-back, in line with the aesthetic taste of modern people, with outstanding personalized marks. Whether it is imperial system or simple scale, it embodies an elegance beyond the painting form itself, which gives people a profound spiritual attraction.
Xia Shuoqi (former editor-in-chief of Fine Arts, a famous art critic): Shandong has always been a place where famous painters gather. Zhu Quanzeng is from Shandong, so I am very happy to participate in this art exhibition today. The heart is like nature, and the title of this exhibition is very good, which impressed me at first. At present, a prominent problem of freehand brushwork is that a considerable part of the works created by the painter flow into the stereotype, and the author himself can not be seen in the painting. The first impression of Zhu Quanzeng's paintings can be summed up in four words, that is, the heart is like a landscape. These four words should be his sigh of nature and his understanding of life. Because some painters lack aesthetic passion and emotion, their paintings often lack passion. Zhu Quanzeng's paintings pay attention to "Qi", which is a kind of spiritual flash. The heroic spirit, which is expressed in the form of pen and ink, is a place of success and breakthrough, and it is also the most valuable point. China's art pays special attention to the word "Qi". For example, a writer should be "angry" before writing a book, and we can feel his passion through his breath. This is the feeling in Zhu Quanzeng's paintings-he embodies the way of life through the structure and creation of artistic conception. Zhu Quanzeng's paintings break through the usual form and express a feeling of life and nature.
Every work of art has its shortcomings and shortcomings. I suggest that Zhu Quanzeng's paintings can make full use of this flavor, create and pursue in modeling and pen and ink, go further in pen and ink, unify the inside and outside, and make it more connotative and harmonious.
In addition, the model needs further discussion.
Liu Xilin (deputy director of the Theoretical Committee of China Artists Association, a famous art critic): I was admitted to Shandong Normal University on 1958. Zhu Quanzeng and I are alumni and had a lot of exchanges before. Seeing his new work today, I feel great progress. There are two main points: First, he really devoted himself to the creation of China's flower-and-bird paintings. He often went to Yunnan to sketch, painted many flowers and trees, and realized the charm of sketching. I just saw his kapok painting and thought it was very good. I saw his improvement and progress from the composition and pen and ink of his works. It is hard to say whether the current paintings can surpass the ancients, especially the plum blossom paintings. We can only experience it from another aesthetic angle. The second progress is that his paintings have improved in pen and ink and style, which can be fully reflected in his works. In addition, I would like to make two points. Flowers and trees have a heart. Artists should paint with their lives and express people's feelings through flowers and trees. Although the paintings are flowers and birds, they actually express people's beautiful feelings. I hope that Zhu Quanzeng's future paintings will be inclined to the subjective aspect on the objective basis, especially to his own subjective feelings, and move forward in a new direction with a new way of thinking.
Zhu Quanzeng is from Shandong, honest, and draws too seriously. Zhu Quanzeng's pen and ink is "work and write". I hope his paintings can work harder on boneless aspects and be easier on pen and ink, especially on trunks and branches. With this style, I feel very different. I hope I can pay attention to this in the future. I believe that in ten years, Zhu Quanzeng's paintings will definitely be in by going up one flight of stairs.
Wang Yong (a famous art critic): One of the major problems in contemporary China landscape painting and flower-and-bird painting is sameness, and there are not many works that break through the traditional formula of pen and ink. This is not to say that we don't have good painters, but that we lack good painters with new ideas. Zhu Quanzeng's flower-and-bird paintings have some new ideas and breakthroughs, which should be fully affirmed. His paintings cover a wide range, absorbing some characteristics of landscape painting, and his three-dimensional perspective, especially the far-reaching perspective, is refreshing. At present, few painters can combine landscape painting with flower-and-bird painting. The works of Wang Jinyuan, a painter in Yunnan, are deep, while Zhu Quanzeng's paintings are broad and imposing. Painting is not about the size of the frame, but a small painting also makes people feel its atmosphere. Zhu Quanzeng's pen and ink have their own characteristics. Generally speaking, the ink and color of a painting do not match. If you pay attention to pen and ink and color, it will give people a tacky feeling, while Zhu Quanzeng's pen and ink and color are handled exquisitely, and the pen and ink structure is well played, achieving harmony and unity. The trunk he painted is very heavy, which constitutes the framework and characteristics of the whole painting.
In addition, there are two suggestions: First, I hope that Zhu Quanzeng can properly limit his subject matter in his future paintings. People can draw some unfamiliar themes and some rare themes, thus making more space on a relatively unfamiliar platform. Second, I hope he can further handle the relationship between reality and painting. The combination of reality and reality is the key and the highest realm. At first glance, the relationship between reality and ink should be more creative and poetic. Pen and ink can be more open, but it doesn't work. China art itself is the combination of reality and reality.
Chen Zui (famous art critic and painter): The overall impression of Zhu Quanzeng's works is a kind of pursuit and a kind of spiritual shock. His paintings have the following characteristics: first, they are large in size and pay special attention to the depiction of branches; When the trunk is painted, it will hold up a big bracket; Second, Zhu Quanzeng's mastery of traditional techniques is relatively solid, and his mastery of pen and ink is very skilled; Third, pay attention to the use of color effects; Fourth, pay attention to the observation of life and the collection of materials, reflecting a pursuit. This has a sense of stages and a sense of transition. He is good at drawing small paintings, but this traditional technique is not harmonious in the creation of big paintings. For a painter, any technique can be used. There is no distinction between good and bad, only good and bad painting. For a painter, we must first find our own direction and know how to use the harmony of lines. Can be very realistic, can also be very abstract, realistic or abstract can be well drawn. I hope Zhu Quanzeng can grasp what he wants to get rid of and pursue, and let his works appear in a new look.
Shen Xueren (famous painter): Over the years, I have seen many paintings from east to west and from south to north. It is not easy to represent a big picture with very thin lines. Zhu Quanzeng's paintings well reflect his open mind. His paintings combine tree trunks and branches well, especially lotus flowers and lotus stems. The work "Song of the Tang Dynasty" is a masterpiece with strong expressive force.
Jia (professor and famous painter of Capital Normal University): Zhu Quanzeng has painted many famous works in recent years, and there are many new things in his paintings. He paints kapok and pomegranate very well. He paints very skillfully. In my opinion, it takes a lot of money to draw a big picture, paying equal attention to color and image, otherwise the whole picture will look a little dry and lack of pen and ink. The whole painting should be full of spirit and have a relationship between reality and reality, so that it will be more memorable. I am sincerely happy that Zhu Quanzeng has created a large number of new works, and I hope that he will make greater achievements through learning and using for reference.
Wu Ruyi (a famous painter): Zhu Quanzeng's paintings are manly, and the kapok tree is heroic, so we should show it.
Shi Yanping (a famous art critic): Zhu Quanzeng's paintings show the image of life and the combination of heart and mind. He showed the beauty of understanding in his heart. The picture is very large, and the composition is difficult to grasp. However, the overall layout of the painting is handled properly, the color matching is also very good, the layout is calm and harmonious, and nature and emotion are organically combined.
If Zhu Quanzeng can further think about the spirituality of pen and the elegance of ink, he will have greater success.
Shang Jianguo (famous art critic and poet): Seeing Zhu Quanzeng's paintings, I feel that the spring of 2006 has arrived. I am a printer and a poet. As the saying goes: "There is a picture in the poem, and there is a poem in the picture." I found the artistic conception of poetry from Zhu Quanzeng's paintings. There is also a feeling that I want to write poetry when I see his paintings, and the desire to write poetry has sprouted.
Gao Runxiang (Director of Literature and Art Department of Air Force Newspaper, a famous writer): Zhu Quanzeng's paintings have a strong traditional meaning, and his pen and ink are very good. I have seen his paintings before, but today I found that there are many intrinsic things in his paintings. I feel the boldness of Shandong people from his paintings. This is a reflection of style, and it is also the improvement of the author's self-cultivation and artistic conception.
Bi (a famous painter): Zhu Quanzeng and I have known each other for many years and have deep feelings. We can talk about everything, like bosom friends, feeling like father and son. This year, he is just 50 years old and I am 84 years old. In terms of age, I may be ok. As far as achievement is concerned, I really shouldn't be sitting here. I attended this seminar today and met many experts I respected in the past. I'm glad to hear all these demands made on Zhu Quanzeng, and I feel very good. In particular, Mr. Lin mentioned that a seminar will be held here for Zhu Quanzeng in ten years. I believe that the seminar at that time will be much better than it is now.
Liu Yuhua (a famous calligrapher): Personally, I think the new exhibition is going to Beijing to catch up with the exam and explore the treasures in the Dragon Palace. I heard a lot of good comments today, which touched me a lot and made me learn a lot. Thank you very much for your outspoken and sincere words to Zhu Quanzeng. I believe that he will continue to work hard to create more outstanding works with artistic personality and strive to create his own artistic spring.