—— Zhou Jingxin (Dean of Jiangsu Traditional Chinese Painting Academy, Professor of Nanjing Art Institute, Doctoral Supervisor)
Zhou Ganhua, His People and His Paintings
Gan Hua is my younger brother. He is called "Hua Zai" or "Fa Ge" in familiar circles, which shows that his popularity is excellent. When studying, we lived together on the first floor. For more than a year, we met almost every day. Dining halls, libraries, bathrooms and dormitories have all become occasions for communication, and gradually we have become buddies who talk about everything.
Gan Hua is a native of Hunan, where two of the greatest people in modern China were born. Mao Zedong established the new China, and Qi Baishi initiated the freehand brushwork Chinese painting. Gan Hua chose the same road as Qi Baishi-devoted himself to the study of freehand brushwork in Chinese painting. In his own words, from doodling when I was a child, to being an apprentice with teacher Yi Tujing in college, and then to being admitted to the graduate school of Professor Zhou Jingxin of Nanyi, my understanding and learning of Chinese painting went through twists and turns, and I didn't begin to learn Chinese painting systematically until I entered Nanyi. Three years as a graduate student is a turning point in his life. I witnessed his understanding and expression of Chinese painting step by step, step by step. In layman's view, he seems to have painted only one theme, that is, the happiness, anger, sadness and joy of farmers in mountainous areas of western Hunan. But in my opinion, there are great changes in essence: in grade one, I just expressed Xiang Min with the curiosity of a painter; in grade two, I expressed Xiang Min with the feelings of fellow villagers; in grade three, I expressed my spirit with Xiang Min. Judging from the evaluation criteria of painting, it is from being a god to being a wonderful flower. In freehand brushwork, I incorporated my joy, anger, sadness and joy. Brush and ink and modeling more harmoniously present their own painting pursuit. This is inseparable from the diligence, solidity and preciseness of Ganhua.
At first glance, freehand brushwork seems to be the same, and its essential changes can only be distinguished by discerning people. Gan Hua knows this well, reading, sketching, practicing calligraphy and printing are all the same, and everything is in good order. Reading thoughtful and useful books is a kind of wisdom and choice. Every time Gan Hua reads the classics of the ancients, the gaps in the books are filled with dense reading experiences and communicate with the ancients in his own way. Every time I chat, I can hear his wonderful comments and flashing arguments. Calligraphy is true, cursive script is official, and seal script strives to conform to the ancient law; India, Qin and Han dynasties, the road is clear. Under the nourishment of many traditions, the freehand brushwork in Gan Hua's works is solemn, open and generous, with rich brushwork and no drawbacks. Although there are still some shortcomings in the processing of pictures, Gan Hua knows in his heart that freehand brushwork is urgent and must be cultivated slowly.
Over time, if we continue to study Ganhua in this way, maybe when others are at the end of the road, Ganhua will surely cross the dangerous beach and sail thousands of miles like a boat. As the saying goes, "you can't make sesame cakes in a hurry." I hope that dried flowers will slowly nourish and suffer in traditional classics. When served, it will be crispy and delicious.
There are dry Chinese brothers * * * encouragement!
—— Liu Yi (doctor, full-time researcher and painter, Institute of Fine Arts, Jiangsu Academy of Traditional Chinese Painting)
Zhou Ganhua's artistic experience began with two books, History of Painting in China and History of Calligraphy. These two books made Zhou Ganhua interested in painting when he was a teenager. Because I had a good memory at that time, I "accidentally memorized it." When he came to Teachers College, he chose Chinese painting without hesitation. Under the guidance of his tutor, he became interested in freehand brushwork, so he decided to apply for the postgraduate of Nanyi, and finally got it through hard work. Zhou Ganhua's freehand brushwork pursues a wide range of masculine beauty, with concise and transparent language and pure and vigorous pen and ink.
Zhou Ganhua made it very clear that his painting road can not be separated from three directions: first, learn from the ancients; The second is to learn the law. He said that this kind of close learning is a necessary stage. He believes that when studying, people can make themselves less detours and benefit him a lot. The third is sketching, that is, taking the law naturally. Zhou Ganhua's QQ signature is "scribbling typos, scribbling ink". He said that this somewhat expressed the realm he wanted. "The greatest pleasure of freehand brushwork is that every time you put pen to paper, it will be an adventure." Freehand brushwork is supreme, but it is also extremely difficult. He believes that tradition is fluid, and the connotation and extension of freehand brushwork are also developing. He wants his paintings to have "the purity of washing away the dregs" under the surface. Of course, efforts and opportunities are still needed.
Zhou Ganhua is good at painting freehand brushwork figures, and he also likes painting oil lamps. The theme of the oil lamp also made him make a new breakthrough in the schema. After graduating from Nanyi, Zhou Ganhua went to work in Wuxi and often came to Nanjing to participate in exhibitions. He said that Wuxi is a place to raise people, and he can also paint quietly. Zhou Ganhua, who has a clear direction on the art road, will keep moving forward towards his own goals.
—— Nanjing Morning News reporter Chang Fen
Pen and ink are lively and interesting.
-Talk about Zhou Ganhua's freehand brushwork.
Zhou Ganhua is a research painter with comprehensive cultivation. He takes painting as a pleasure in life, devotes himself to learning from the ancients, takes the method in the present with an open mind, is diligent in sketching and actively explores. "The streamer is difficult to change the Zen painting, and the depth of kung fu is gradually natural." For more than ten years, he has been trying to find his own sky in the field of painting, forming a painting feature with rich ink and wash and vivid interest.
"Both pen and ink are beautiful" means that Zhou Ganhua's paintings fully show the charm of water in pen and ink. He is good at painting with a wet pen, and the water in the pen is fully infiltrated, thus making the picture faint and audible. It is quite difficult to draw with wet strokes. The painter should accurately grasp the content of water in the pen, fully control the speed of writing and the intensity of pressing, and make clear the relationship between subject and object, density and reality of composition. He is very particular about dipping in ink. The changes of shade, dry and wet, ups and downs in a stroke are closely combined with the modeling, which can highlight the pen and ink. Warmth contains rigidity, while beauty shows massiness. "Oil lamp series" is a still life theme that Gan Hua once created. The transparency of glassware and the pure combination of ink and wash, the ancient oil lamp is shrouded in ink fragrance, recalling the past years.
"Vivid charm" means that Zhou Ganhua does not stick to the description of objective objects in modeling, but more blends into his own aesthetic taste. This series of portraits is his meticulous work. The characters in the painting have been artistically refined, so the expressions of the characters are vividly on the paper. They are surprised or happy, angry or laughing, honest, sophisticated, smooth and vivid. This is closely related to Hua Qin's practical ability, attention to sketch and good modeling ability. He often sketches with a brush, which is not only proficient in the characteristics of the brush, but also makes the form and the pen achieve the best fit, thus making the painting form and spirit complement each other and the pen and ink are harmonious. In his creation, he particularly emphasized writing, body writing and pen writing. "Writing" is a constant stream in his paintings, which controls the overall situation. "Writing" in painting is closely related to the painter's calligraphy literacy. Gan Hua knows this well and has a deep understanding of calligraphy. Whether it is the magnificent inscription or the gentle and graceful calligraphy, he understands it attentively and absorbs nutrition into the painting, thus greatly improving the quality of "writing".
Before Ganhua, he was wise and handsome as a contrast. He is tolerant of loneliness, diligent in painting and good at thinking. I believe he can make greater progress. I will wait and see.
-Meng Xianwei (Ph.D. student majoring in fine arts, Nanjing Art Institute)