Liu Huaiyong, male, 1960, from Licheng, Jinan. He graduated from the History Department of Shandong University and the Chinese Painting Department of Central Academy of Fine Arts. His landscape paintings have won the Silver Award in the "Brilliant West" National Chinese Painting Exhibition of China Artists Association.
Name: Liu Huaiyong.
Alias: Li Xia Fu Shan, Aozhai.
Nationality: China.
Ethnic group: Han nationality
Place of birth: Jinan
Date of birth:1Feb. 960
Occupation: painter, professor
Graduate school: Shandong University
Main achievements: teaching painting and calligraphy creation
Representative Works: Dance of the Soul
outline
He is currently a member of China Artists Association, a member of China Calligraphers Association, and a lecturer and professor of advanced research class of Chinese painting in Tsinghua University. He was invited to give lectures at the Advanced Seminar of Chinese Painting of China Artists Association, China Calligraphy College of China Academy of Fine Arts and Art College of Taichung Education University of Taiwan Province Province. Landscape, flowers and birds, calligraphy and seal cutting have been selected for many national exhibitions and won awards. Compiled China's Hundred Calligraphy Works Collection and China's Hundred Landscape Paintings Collection; China Federation of Literary and Art Circles Publishing House published the manuscript of Aozhai. Tsinghua University Publishing House published the manuscript of Tsinghua University Advanced Chinese Painting Workshop-Liu Huaiyong; Hebei Fine Arts Publishing House published the manuscripts of Liu Huaiyong Flower and Bird Course and Liu Huaiyong Calligraphy Course; Beijing Arts and Crafts Publishing House published the manuscript of Liu Huaiyong Flower and Bird Course.
works
As far as flower-and-bird painting is concerned, Liu Huaiyong has roughly experienced three stages: learning from tradition, learning from nature and learning from nature. Therefore, his freehand flower-and-bird painting is full of learning, pen and ink and charm, and won the essence of traditional literati painting. His paintings have Xu Wei's pride, but they are unambiguous; There are eight great pleasures, but neither cold nor lonely; It is as hot as Wu Changshuo, but it does not wither; It has the charm of white stone, but it doesn't harden. In a word, the aesthetic pursuit of "brightness, harmony, profundity and naturalness" and the creation of the language world by the masters of past dynasties are the transcendence of "modern thinking" over the "traditional thinking" of pen and ink, and the value of "courage". Contemporary China painters in Liu Huaiyong are good at flowers and birds, landscapes, calligraphy and seal cutting, and attach importance to and actively participate in the research of artistic theory. Starting from 1995, he put painting teaching in the first place while studying the creation of flowers, birds and landscapes in Chinese painting. He has written books as well as draft courses. He used to be a lecturer in the advanced Chinese painting seminar of China Artists Association and many advanced Chinese painting seminars in Tsinghua University, and taught the principles, techniques and Tao of Chinese painting, paying equal attention to theory and practice. That is, broad vision, keen thinking, active consciousness, solid basic skills and rigorous academic spirit. The purpose is to grasp the spirit of the times and the national spirit, to know and understand the true meaning of Chinese painting at a higher level, to lay a theoretical foundation for the inheritance and development of Chinese painting, and to establish the practical direction.
He always adheres to the creative methods of "learning from nature, learning from nature" and "responding to images with form, and writing gods with form", and strives to obtain the source and ability to create images from sketching. But he thinks: "Sketching is not just' collecting wind', but the affinity between spirit and flesh." Therefore, he does not advocate replacing the tradition of freehand brushwork with realism, but advocates integrating the methods of ancient and modern philosophers, absorbing the strengths of a hundred schools of thought, and writing the god of images in his own concise and generalized language, from the "inevitable kingdom" of "learning from nature" to the "free kingdom" of "Tao being natural", and gradually reaching the mature stage of being handy, obedient and natural.
His freehand brushwork of flowers and birds, cleverly conceived, organized like a general's layout, danced in the fields at will; The pen is like a halberd, and the pen moves away from the snake, which has a strong sense of "writing"; The ink is transported and excited, and the hair grows at will, especially the wonderful use of various dry and wet thick and thin ink methods such as ink breaking, water flushing, stain accumulation and ink splashing, which has injected skill, creation, connotation and imagination into it intentionally or unintentionally. There is no harm of embellishment, no conformity, no worldly kitsch, which comes from true feelings, simplicity, naturalness, openness and vitality. Throughout the painting, the pen and ink are full and the paper is vivid, showing the beauty of brushwork, Mo Yun, masculinity and interest. To achieve such a state, it is difficult to achieve without profound traditional accumulation, rich life accumulation, strict modeling training, skilled pen and ink skills, extensive cultural accomplishment, profound artistic attainments and analogical intelligence.
aesthetic taste
Professor Liu Huaiyong's Classroom Speech
● Brilliant, studious, honest and upright. Are the four basic conditions for me to judge a painter.
● Fair, harmonious, profound and natural. It is my aesthetic pursuit and my gradually mature aesthetic system.
● Learn from each other's strengths and double-cultivate "technique" and "Tao". It is my teaching method and my learning method.
● The teaching of Chinese painting, especially dogs, kittens, plum blossoms, peonies, prawns, etc., mostly avoids stagnation in a single "technique" level. , bound people's thoughts, hands and feet, misleading children. The correct teaching method should be heuristic "opening the door of wisdom", not limited to a certain school, guided by the law of great art, paying attention to the analysis of language and form, paying attention to the dual cultivation of "skill" and "Tao", and paying attention to the synchronization of thought and times. By analogy, in a real sense, Chinese painting has entered a mysterious and profound hall.
● Chinese painting is more resilient than kung fu, regardless of day and year, than class hours, and more than "wasting 3,000 papers". No matter how smart a person is, it is difficult to enter a room without a thousand paintings.
● When we do local copying, we have to solve two problems: first, the structural relationship between objects and images; The second is the structural relationship between pen and ink. These two relations are the language of Chinese painting.
● The method of using ink is to wash the brush first, and then dip the nib in thick ink. After you put pen to paper, you should use it immediately and finish painting. Learn to adjust the front, color and ink of paper.
● "Skill" and "writing" are always the life of Chinese painting.
● Sketching is not just "collecting wind", but the affinity between spirit and flesh.
● The writing brush cannot be used as a mop. When using a pen, you must use force, twists and turns, and harmony. Don't draw freehand lines. As long as the brush falls on the paper, it has to be shaped and interesting. Without these three things, "walking with God" is impossible.
● Chinese painting pays attention to writing, that is, there is "synesthesia" between the last stroke and the next stroke. The turning point of pen and ink is related to structure.
● Great freehand brushwork also needs to be delicate, and the shape of the dotted line is more demanding. Be bold, decisive and in place.
Unique brushwork can create a relatively independent visual space.
The brushwork of traditional Chinese painting is like that of old Niu Gengdi, which turns out the bottom soil and is calm and powerful. Points and lines should penetrate the back of the paper, be firm and incisive, and the pen can carry the tripod. Pay attention to the shape and quality of points and lines.
● Use the pen, dry but not dry, wet but not stagnant, fast but not slow. The so-called calligraphy pen is the same. The weight of Ji Xu, lifting it, wet and dry, melts a thousand strokes in one stroke, and so does this Chinese painting "one stroke".
● Whether using color or ink, as long as it is a freehand painting, there must be the words "dry and wet shades".
● The eight pen and ink relationships of separation and combination are: rubbing and dyeing, dry and wet shading.
● The pen must have lift. Smooth things are handsome, but floating; Mao's things are old and thick. You can't just be upset, you have to compare.
● Without contrast, there is no picture.
● Use a pen to be: hairy but not scattered, dry but not dry, wet but not rotten, fast but not slippery, slow but not stagnant.
● Every stroke of Chinese painting should be left blank. It does not pay attention to the three-dimensional sense, light, and the "thickness" of the space in the heart.
Sharp, round, neat and healthy are the four virtues of writing brush, and they are also the four functions of writing brush. Take only one, and you will be weak. When used together, it's wonderful.
When a pen falls on a piece of paper, even horizontally or a little, there is a relationship of starting, bearing, turning and closing, which is a "perfect form" of life.
● Although a dead pen is used, the force is sent to the end. Be tangible and sexual.
● The single line is the outline and the double line is the structure. The outline serves the structure. Don't draw the outline too long. Don't draw the outline first, then fill it in. To draw from the inside out, "fill the stuffing first, then fill the foreskin", draw from the inside out, and finally tick the line.
● The line of Chinese painting is a living line, which is vivid. Draw with the meaning of life, which is advanced.
● Shi Tao's "A Pen" is from thick to light, from dry to wet, and its breath is connected.
Slim is a problem. Slim will make you weak. No matter how fine it is, it must be powerful. No matter how good it is, there must be lift.
● Curves can produce beauty. Seeking straightness in music is the dialectical aesthetics of Chinese painting.
● Landscape painting must be painted at least three times, that is, it is thick and transparent. The use of color is wonderful, and it should be used in conjunction with the tune.
● Use for reference. I only borrow your mirror, but I look at myself. You can learn from it, but don't lose yourself.
● You should set up a "core" (major) as soon as possible, take the core as the center, take cognition as the radius, delineate your own learning scope, and strive to make this core grow continuously.
● You should set a "point" (life) as soon as possible, with the point as the support and the profession as the lever, and strive to make this point constantly firm and increase, and at the same time extend your professional lever.
● You should establish a "style" (aesthetic orientation) as soon as possible, take "style" as a beacon, take reference and speculation as a way, gradually learn and deepen, constantly revise, and strive to make this "style" mature.
China painters rely on self-cultivation. Literati painting is "nurtured", "played", not "made".
There are two concepts of shape, one is the shape of an object, and the other is the shape of a point and a line.
● "Pen and ink" will have a sense of rhythm only in the process of "jumping". Similarity is "flat" and going far is "flower". Beauty is also in the step.
● Mud should not be thick and dirty. The beauty of pen and ink lies in the word "kneading", which is distinct in shade and dryness, just like the circle of a clever woman, so unless it is "kneading", it is also called "kneading noodles".
● Meaning, form, reality, shadow and meaning can be called painting.
● Anything that doesn't fit the picture, no matter what it is, no matter how good it is, is redundant.
Jiao Mo saved the painting, so he had to do it.
● Soup stock is "ventilated" and there is no way out.
● Creation, the most valuable thing is the publicity of personality. Character is based on * * *.
● Creation is an unrepeatable artistic labor.
A true master of Chinese painting must have natural talent and persistent efforts, which is an all-round cultivation of "skill" and "Tao". The combination of the two can enter the ideal high position.
Winning record
1989 won the first prize of the national painting and calligraphy exhibition celebrating the 40th anniversary of the founding of the People's Republic of China, and was selected as the national Chinese painting exhibition and the national Chinese painting nomination exhibition from 2000 to 2005, and won the excellent prize. Invited to participate in the 5th "Summer of Qinhuangdao" exhibition of national famous painters by China Artists Association. Flower-and-bird painting has been selected in the 2004 National Nomination Exhibition of Chinese Painting, the 2005 National Nomination Exhibition of Chinese Painting, the 2006 National Hundred Paintings Exhibition and the first National Freehand Painting Exhibition. Calligraphy works were exhibited in the 8th National Youth Exhibition, 1st Youth Exhibition and 6th National Seal Cutting Exhibition of China Calligraphy Association.
1989 "Soul Dance" won the gold medal in the national painting and calligraphy exhibition celebrating the 40th anniversary of the founding of the People's Republic of China, and the silver prize in the "Brilliant National Chinese Painting Exhibition in the West" of China Artists Association. Bronze Award of National Art Exhibition "Commemorating the 60th Anniversary of Chairman Mao's Speech at Yan 'an Forum on Literature and Art"; 2000 National Chinese Painting Exhibition Excellence Award; 200 1, National Chinese Painting Nomination Award in 2002 and 2004. His books have suddenly sprung up, attracting the attention of the calligraphy and painting circles: 200 1 was selected as the "Eighth National Exhibition of Young and Middle-aged Calligraphers and Seal Carvers" by China Calligraphy Association; In 2004, he was selected as the "First National Youth Exhibition"; Selected as the "Second China-Korea Calligraphy Exchange Exhibition"; Won the silver prize in the third China-Korea Calligraphy Artists Association Exchange Exhibition. Liu Huaiyong's theoretical articles are favored by national professional newspapers and periodicals with a unique perspective and a combination of reality and fiction. His dozens of paintings and calligraphy works have been well received by famous critics, including Professor Fan Dian, Vice President of the Central Academy of Fine Arts, and Professor Shao Dazhen, a famous critic. Professor Shao Dazhan also prefaced the painting collection, entitled "Progress of Consciousness".
works appreciation