Liu Xili, 1945, from Tianjin. Painter. Member of China Artists Association, member of China Book Binding Art Committee. 1966 graduated from Central College of Finance and Economics. He has worked in Heilongjiang People's Publishing House, Tianjin People's Fine Arts Publishing House and Tianjin Education Publishing House. Especially good at colored ink figure painting and comics, good at book binding.
Chinese name: Liu Xili
Nationality: China.
Ethnic group: Han nationality
Place of birth: Tianjin
Date of birth: 1945
Occupation: painter
Graduate school: Central College of Finance and Economics
Representative works: Lenin in 19 18, Punishment.
Role overview
Liu Xili, 1945 was born in Tianjin in February. Member of China Artists Association, member of China Book Binding Art Committee. 1966 graduated from Central College of Finance and Economics. He has worked in Heilongjiang People's Publishing House, Tianjin People's Fine Arts Publishing House and Tianjin Education Publishing House, and is the director of the US Audit Office. 1976-1977 teaches part-time at Tianjin Academy of Fine Arts. At the same time, I have been engaged in the editing work of Art editor and publishing houses, and have been engaged in art creation and book design continuously. In particular, colorful ink figure paintings and comic books are outstanding.
Chuta Yi Tu
Love picture book
Since his father is in the paint business, Liu Xili has been interested in painting since he was a child. When she was still in elementary school, Liu Xili became a frequent visitor to the comic book rental store and stayed. During that time, it coincided with the publication of a number of pamphlets on art techniques with simple words. While learning watercolor painting techniques, Liu Xili also tried to copy the rich pictures and touching images in comics. Later, when studying in Nankai Middle School, Liu Xili served as the president of the school art club. He tried to contribute to newspapers and magazines, and he often tried again and again. From then on, Liu Xili had a wish to enter the Academy of Fine Arts-determined to become a painter or Art editor who specializes in painting picture books and children's books. He feels that this is not only a career that can be created every day and suits him best, but also a sacred cause that can best educate children's young minds.
Finally comply with sb's wishes
However, when Liu Xili was in the 1962 college entrance examination, all art colleges in the country stopped recruiting because of the "Cultural Revolution". In desperation, Liu Xili entered the Central Institute of Finance and Economics (now the Central University of Finance and Economics) to study bank accounting. To this end, Liu Xili suffered for quite a while. But Liu Xili did not give up painting, but continued to paint and contribute. After graduating from college, Liu Xili was assigned to Heilongjiang, and his paintings were valued by Heilongjiang Daily. Since then, Liu Xili has worked in newspapers and publishing houses for more than 40 years as Art editor and editor. Along the way, he is energetic, conscientious, rich in excellent editing works, fruitful in creation and fragrant in teaching.
make one's name
Comic book tour
19 18 Lenin's cartoon works with classic themes at home and abroad, such as Punishment, Brilliant Example, Frog King, Moving to Northern Shaanxi, Adventures of Dick, Butterfly Lovers and Count of Monte Cristo Liu Xili, have attracted attention from both inside and outside the industry. At the same time, due to the needs of his work, he has also made great progress in binding design and colored ink figure painting. His works have been selected into many large-scale albums such as Illustration Art of Contemporary Books, Design Art of Contemporary Books, Complete Works of Modern Art in China, and his name has also been included in China Expert Dictionary, Family Directory of Contemporary Artists in China, and Works of Famous Artists in China.
Hobby+occupation = happiness
It is undoubtedly a passion for art, not from a formal background, to give up the major of bank accounting for four years and get good results and join in painting creation. Liu Xili thinks that she is a person who loves life and has a strong interest in creative work, and painting not only lives faithfully and refines beauty from life, but also brings people pleasant beauty and exciting beauty. It is a very happy and lucky thing to be able to take personal hobbies as a lifelong career. Such an opportunity is not for everyone.
Understanding art
No mud, no repetition
Regarding the style of painting, Liu Xili thinks: "I just pursue different stages. Maybe I admire nature more and focus on shaping is my style." From his comic books, illustrations of literary works, to figures and landscapes with large areas of colored ink, his style has changed greatly over time, and his free traditional pen and ink skills have been integrated into the overall conceived scene, with ups and downs of light and shadow.
Liu Xili didn't have the opportunity to enter colleges and universities to do systematic training, but he was free from painting from the beginning, regardless of sects, and he could study hundreds of schools and pursue his own temperament. This is also the usual painting path for fans who have similar experiences with him. But the difference is that Liu Xili benefited from strict basic training and dared to put into creative practice earlier. Liu Xili believes that the painter's responsibility is to refine the creative materials appropriately and moderately, which will test the painter's knowledge, understanding of life and understanding of the depth of life. Liu Xili's works, such as Premier Lu and Zhou, old scholars and working girls, all represent his life experience.
The key is digestion.
Regarding the understanding of eastern and western paintings, Liu Xili believes that it is not a bad thing for painters to learn from others and accept everything. The key is how to "digest" As long as you can take the initiative to accept the collision, and actively explore and blend through creative practice, comfortably "digest", achieve the effect of appealing to both refined and popular tastes, get the recognition and acceptance of Chinese people, and then contribute to human civilization and prosperity, this is the smooth road. He particularly emphasized that aspiring artists would not paint the ground as a prison, preferring China and the West.
Looking forward to the revival of comic books
cold spot
Comic books, like operas, novels and movies, had a prosperous period after the Cultural Revolution, but it didn't last long. It suddenly declined in the late 1980s. Nowadays, the picture books that children used to love to read can only become treasures in the hands of collectors. For the decline of comic books, Liu Xili believes that there are subjective and objective factors.
Objectively speaking, after the appearance of color TV and movies, they are more attractive than comics in terms of color richness and dynamic impact of pictures. At the same time, the influx of foreign cartoons and cartoons has changed the aesthetic orientation of children, who grew up watching cartoons and cartoons. In this way, comic books that have flourished for nearly a hundred years will inevitably be suddenly left out in the cold, marginalized, and even banned, and fall into an embarrassing situation.
Subjectively speaking, on the one hand, most comic practitioners have been striving for a stable and unchanging creative mode for a long time, and a considerable number of works still focus on explaining stories, ignoring the secondary creation of pictures, failing to learn from and absorb the development and changes of various visual arts in time, thus winning the market by infecting readers. On the other hand, the relevant departments and publishing units have a weak sense of crisis and have not fully estimated and responded to the plight of comics in the new era.
The attraction of readers
Although the technology of comic book creation is not complicated and the printing is not simple, the author is required to have a profound technical foundation and a keen and persistent understanding of life because of the continuous pictures, numerous characters and complex scene changes. The yogi needs to devote himself wholeheartedly and scrutinize one by one in order to show the world in square inches. However, few people are willing to do such a thing at present. In recent years, collectors' enthusiasm for comics also reflects the plight of comics. Liu Xili reminded that the prospect of comic books in the traditional publishing form is not optimistic.
However, Liu Xili, who has an indissoluble bond with comics, is optimistic that comics, as a comprehensive art, will always be attractive to local readers in China who are used to plot narration with its continuous picture form, plot-oriented description mode, narrative expression and flexible changes. Therefore, these vitality advantages of comic books will not disappear easily, and will continue to penetrate into other art categories at any time-the vitality of comic books will continue to occur.
Building platform
Liu Xili founded the studio "Jingyi Caotang" in Cheng Nan, because before retirement, serious work habits and strong creative desire still clashed in time, and many ideas and style pursuits have not yet been realized. After retirement, I have enough time to take the initiative to control it. I want to use the environment and conditions of the studio to adjust my thinking and condense all the beautiful and bright scenes I have accumulated and felt into my works. Beijing has a good cultural atmosphere and many old friends, so you can do something. First, through the studio to provide venues and conditions, to build a salon-style platform for middle-aged and elderly painters, to facilitate professional exchanges and discussions, and to launch a number of new works of colored ink; Second, after a period of hard work, plan and edit a batch of illustrated children's books when conditions are available.
Painter's self-report
The introduction of books into painting has a long history. The reason is that calligraphy and painting are homologous. As for China's knotting notes and the birth of hieroglyphics, there is indeed the same origin of calligraphy and painting. But with the separation of calligraphy and painting, they have their own development orientation. Drawing relies on people, things and scenery in nature and continues to follow the road of "learning from nature"; However, after the writing system of China's calligraphy was gradually improved, hieroglyphics only accounted for a part of the whole writing. Due to the limitation of block and vertical writing, the development of China's calligraphy mainly focuses on stroke modeling, structural combination between strokes, Lian Bi layout and so on. After the gradual transition of calligraphy and painting from artisans to literati, it has become a trend to take lines as bones (line modeling) and use books as paintings. But there are still some differences: although they are all tempering lines, painting still takes the road of line description; Or pay attention to the full expression of natural scenery texture and sense of quantity. For example, the eighteen strokes of lines in the Tang Dynasty are still imitating the shapes of natural objects. Such as: iron line drawing, lines such as steel needles, mostly used to express the width of linen and heavy clothes; Painted with orchid leaves, the lines are like orchid leaves, which are often used to show the state of nepotism floating and rotating at will; Its earthworms have traces and lines are like earthworms to show the texture of close-fitting tulle clothes. And so on. After that, the purpose of extension dyeing is still "shape", that is, to strengthen and enrich the texture and sense of space of objects. This is different from the relatively simple strokes of calligraphy, the balanced structure and the rhythmic beauty of layout. Of course, it is normal to learn from each other when the strokes are smooth, straight and dry, and it is normal to apply them.
Following the Yuan Dynasty's proposal that "the brushwork is rough and broad, and the likeness is not sought", literati painting flourished in the Ming and Qing Dynasties. Writing and drawing are more fashionable. Calligraphy and painting have become a tool for literati to express their feelings. Take "a few strokes, enjoyable and interesting" as the top grade. In a sense, this breakthrough, which is divorced from sketch and appeals to feelings, should be worthy of recognition. However, one after another, it is a bit too much to introduce books into paintings and gradually evolve into a golden rule that must be so. What's more, the habit of famous predecessors using pen and ink is tired of integrating posts. Like copying calligraphy tablets, it is passed on to future generations. At the same time, the quality of works is often judged only by the presence or absence of previous pen and ink traces. Whether the image is enough or not. Originally, it was a good conceptual breakthrough, but on the other hand, it led to funny, rigid and absurd. The correct proposition of "learning from nature" has been transformed into "learning from the ancients" and even "learning from the ancients' stylized pen and ink".
As a result, many devout students, even the descendants of famous teachers, have attacked the absurd teacher inheritance, which has multiplied and produced a large number of "ink plays", and thousands of papers that are seriously divorced from life have been abused endlessly. With the changes of the times, most of them have no foundation and are bound by the law, and there is no result when they leave. I would like to ask: as a young painter, in the face of vivid and touching nature, do you blend in, feel it, appreciate it, explore it and practice it to fully show its vividness and depth? Or blindly follow the example of predecessors, eat the old, refuse the new, and be the shadow of predecessors? In fact, this is a very clear question when entering the circle! As for being reduced to describing other people's works, it is a black sheep to exchange fakes for money. It is hopeless, and that is another matter.
project overview
Main work
Comic book Lenin in 19 18
Comic punishment
Comic book "shining example"
Comic book The Frog King
Comic "Fighting in Northern Shaanxi"
The comic book Dick's Adventure
Comic book "Recent Love",
Comic "The Count of Monte Cristo"
Award winning binding
"China Children's Composition Collection" won the Excellent Works Award of the 4th National Book Binding Art Exhibition.
"Practical Encyclopedia of Auspicious Patterns in China" won the Excellence Award in the 5th National Book Binding Art Exhibition.
Selected collection
Illustration art of contemporary books
Contemporary book design art
Complete works of modern art in China.
China expert dictionary
Family Directory of Contemporary Artists in China
China's famous works of fine arts and calligraphy.