Xi Jingzhi (Professor of Tsinghua University Academy of Fine Arts)
—— Excerpt from Inner Impression —— Wu Qiang's Ink Painting
In recent years, Wu Qiang's works, while attaching importance to traditional pen and ink skills, strive to make ink and wash modern. When he paints, he often looks at the auxiliary white paper. Mobilize the accumulated experience and impressions at ordinary times, so that they naturally condense in the picture in interactive communication. Shape and color, point and line, or soft, or vigorous gradually appear; Black and white, virtual and real are symphonic with rhythm. In order to strengthen the expressive force of the picture, his works in recent years have "caused" the gold-plating technique on the freehand brushwork picture, which makes the picture more brilliant and thick and more contemporary, while the traditional ink and color still show their own elegance in it, which seems to have life in his works. Some of the pictures created by Wu Qiang are more abstract and some are more concrete, but they are all the impressions of his heart and the expression of his "natural image". Wu Qiang himself said, "The images and dissimilarities in my works, the so-called realism and abstraction, are the true records of my different moods. No matter what kind of realm, it should be the internal expression of things from the outside to the inside. While I have the ability to express myself and explore the rhyme at hand, it is more important to tap the aesthetic potential of my own mind. The beauty that comes from my heart is no longer confused by the image of natural things when I enter such a state. Naturally, I record the most exciting and touching things in my heart pulse and convey them to the audience for sharing. It is also the happiest thing in my life. "
Wu Qiang's painting is to present his sincerity for truth, goodness and beauty, so that people can get spiritual comfort when they need to express their feelings.
Du Dakai (Professor of Tsinghua University Academy of Fine Arts)
—— Excerpted from the preface of Collection of Wu Qiang Ink Paintings
Wu Qiang, a native of Baoji, Shaanxi Province, was addicted to art when he was a teenager, and he learned a lot from others. In 1979, he was admitted to the Central Academy of Arts and Crafts, majoring in decorative art design, with excellent results. After graduation, he stayed in school as a teacher, and left school because he was happy with industry.
Art and design are the same but different, and they are mutually causal. Design approaches the society, and the gains and losses of utility are direct and real; art tends to be illusory, and the happiness in it is implicit and restrained. Art and design are sometimes important in Wu Qiang, but they are integrated and complementary in length, and they are solid and enjoy it; And art and design, thinking and expression may be different, so it is often unexpected to use this for another and that for this < P >. There is no doubt that you are solid and happy.
Wu Qiang paints landscapes as well as flowers. It is due to the nostalgia, so his landscapes are mostly about the Loess Plateau where he grew up. Every time he sees the brushstrokes of Shilu, Zhao Wangyun and He Haixia, he can't erase the charm of Chang 'an Painting School. Chang 'an Painting School was popular in China in the 195s, and its vigorous and frank style and reality close to life still affect today's painting circles in China.
Wu Qiang's painting of flowers seems to be a different scene. The plum and lotus in his paintings are cold and cool, while peony and chrysanthemum are quite different, with different natures, which shows the diversity of their tastes. The way of flowers is a dangerous way. After the white stone, there is no one like it.
Lu Zhongyuan (Professor of the Central Academy of Fine Arts)
—— Excerpted from "Ink and Wash with New Images of Culture and Aesthetics —— The Recent Works of Wu Qiang, the Pioneer of Reading New Images"
Wu Qiang and I have been classmates in the Academy of Fine Arts for four years, and his diligence and persistence and pursuit of beauty were revealed as early as 3 years ago. China's traditional ink painting pays attention to "nature from outside, and heart from inside". Wu Qiang's ink paintings are highly spiritual. With a few strokes, he can show the charm of nature. His aesthetic source comes from the inspiration of nature, from countless artistic practices, from the insatiable careful observation of nature and ingenious artistic exploration.
Wu Qiang has a solid basic skill in painting, and he paints like anything. However, he is not satisfied with the objective representation of the image world, and the chain of techniques can never hold his heart of seeking novelty and change and being brave in exploration. His works draw nutrition from traditional painting, western modern painting school, ancient calligraphy and modern design. He is exploring the perfect artistic expression, and he is looking for the aesthetic order.
The aesthetic structure in calligraphy of past dynasties standardized the picture composition of Wu Qiang. The use of materials in modern design enriches his written language. Therefore, the new image ink painting form with Wu Qiang as the pioneer is increasingly clear, realistic and expanding in his works ...
Wu Qiang's new image ink painting concept is put forward under two different historical backgrounds of Chinese and Western painting. Through the artistic practice of traditional painting in China and modern western painting school, Wu Qiang deeply realized that China's painting is based on freehand brushwork. This is an essence of painting in China. China's painting can draw plum blossoms in winter and peony in summer together, completely breaking the limitation of specific time and space, which is a kind of artistic conception in my heart. Wu Qiang believes that the main essence of China's painting is the freehand brushwork created by the mind.
it comes directly from nature, it is the result of observing and expressing nature, and it is to sketch with heart rather than eyes.
spirit likeness is a spirit in China's paintings. We should inherit it and carry it forward. Therefore, Wu Qiang put forward the new image painting. As an artist, we should grasp the pulse of the times, and the concept of new image painting put forward by Wu Qiang precisely grasps the aesthetic needs of the times, that is, beauty needs to be discovered and re-created, and we should observe life with our hearts, experience life with our hearts and feel life with our hearts. Wu Qiang also believes that the law of beauty is found in artistic practice, whether through realistic or abstract means, it is expressed through the formal law of beauty. To grasp this law of beauty actually means that this good image or beautiful image is a kind of artistic conception, which is realized by the painter. Then it is transmitted to the audience through the medium of pictures, and the audience produces all kinds of new ideas and feelings, and finally reaches a brand-new artistic conception.
Ceng Hui
—— Excerpted from "Freehand brushwork by image, from experience to comprehension —— An analysis of Wu Qiang's new image Chinese painting"
If Wu Qiang, as a modern young and middle-aged painter, also embarked on a road of exploring Chinese painting, I think he paid more attention to Lin Fengmian's exploration road, and explored the painting meaning of Zhu Deqin and Zhao Wuji, and absorbed the impressionist color in his ink painting. Just like Lin Fengmian's analysis of Chinese and Western art: "Western art, on the one hand, tends to be objective in form, and often lacks emotional expression because of its over-developed form. Oriental art, on the one hand, tends to be subjective in form, but often because of its underdeveloped form, it can't express its emotional needs, which makes art a pastime when it is boring. " There is no lack of extremes in this language, but it shows the orientation of the integration of eastern and western art.
in the past two years, Wu Qiang's emphasis on "my painting is the expression of natural images" exactly expresses the spirit of Chinese painting in modern people's thinking. After extending the artistic touch to the absorption and integration of western art, he returned to the ontology of Chinese painting, and conveyed the beauty of images from inner beauty and different moods with pen and ink. It is not easy to achieve the artistic conception to convey the pleasant feeling and true emotions to the viewer without disguise, to enjoy the true understanding of life and to form a visual emotional sound. It can be seen that Wu Qiang is trying to seek this natural spiritual interaction. Although this process of seeking is sometimes pleasant and sometimes painful, he tries his best to present the pleasant feeling, perhaps with the intention of melting the spiritual barrier of communicating with modern people. Viewing his paintings spreads a kind of artistic conception, and it is indeed a valuable exploration to introduce the viewer's thinking into the re-examination and understanding of nature, thus changing people's mindset and aesthetic mode.
Lou shuze (Canada a&; (General Manager of Gallery A)
Charm is the quintessence of Chinese painting, which is full of life and interest. The mountains, rivers, birds, insects and flowers in his works are full of vitality, that is, ancient and fresh, with traditional roots and no traces of mud.
The rapid development of modern science and technology touches all levels of human life, including painting and design. Wu Qiang founded the Beijing Exhibition Society in a down-to-earth manner, combining painting with technology and computer in the field of commercial art design, and applying what he has learned to serve the economic construction. Wu Qiang is one of the few people who can master the two fields of fine arts painting and craft design with ease, and make achievements freely.