Dezhou Liu of China Beijing Painting Academy belongs to the new generation of painters. He has his own unique views on landscape painting, and he uses drip ink boldly and freely.
His impression of Yanshan still shows the lines of landscape painting, but as a big splash of ink, the lines have been greatly reduced, and instead, black lines are organically combined with the splash of light ink and unwritten white areas. This work shows a rough and crazy style, and at least captures the power of nature with realistic factors.
In the middle of the winter mountain, a large white area is used to represent the cold. In this blank area, black lines and outlines are drawn explosively, and the left side of the work, including the canyon at the bottom of the distant mountain, is covered with layers of splash ink. All these, together with the colors around the black area and the faint ink spots splashed in the central white area, are in harmony with the powerful two-dimensional central theme. Jia: (famous art critic and curator)/Wen 20 10 year
China's landscape painting has a long history. In the course of thousands of years' development, it can be said that there are many peaks and peaks, and there are many sects that are endless. From Wei and Jin Dynasties to Tang Dynasty, landscape painting has always been a magnificent scenery. There are not only the "sparse" landscape of Jialing River painted by Wu Daozi in one day, but also the Jinbi landscape of Li Sixun, as well as the ink landscape of Zhang Xuan and Wang Wei. During the Five Dynasties and the Song Dynasty, a large number of outstanding figures emerged: Jing, Guan, Dong, Ju, Liu, Li, Ma, Xia ... During the Yuan, Ming and Qing Dynasties, landscape painting became the mainstream of painting, and Yuan Sijia, Ming Sijia, four monks, four kings and Jinling appeared ... It can be said that the history of China painting since the Yuan Dynasty has almost become a history dominated by landscape painting, and there are still Huang and Jinling until modern times.
Facing the peaks in landscape painting, is it possible for contemporary landscape painters to find their own development space? The answer is yes, but it is also difficult. They either return to tradition, seek new mechanisms from tradition and carry out creative transformation; Or learn new performance factors from western modern art and change the original appearance of landscape painting; Or close to real life, combined with mountains and rivers; Or obsessed with pen and ink, or obsessed with the beauty of landscape structure ... and Dezhou Liu chose to recreate the beauty of landscape structure with thick brushstrokes and big lines among various possibilities.
When he paints with the usual landscape painting method and common landscape schema, although it conforms to the traditional aesthetic norms, it is difficult to get rid of the "popular style" of landscape painting. In such works, he can't find his own artistic personality and existence value. When he boldly crossed the scale with capital letters, he found that this was the best way and state for him to establish his own style. In this way, he jumped out of many landscape paintings and formed his own unique understanding of landscape. This uniqueness lies not in whether he restored the original appearance of the landscape, but in that he highlighted the beauty of the formal structure of the landscape and the beauty of pen and ink. Although he gave up the rubbing technique of traditional landscape painting, he did not give up the traditional spirit of landscape painting, that is, expressing the painter's own aesthetic ideals and feelings with the help of mountains and rivers.
Writing and structure are two important features of Dezhou Liu's works. The so-called "writing" does not refer to the calligraphy pen in the general sense of painting. When Dezhou Liu magnified this kind of "writing" in his landscape paintings to the extent that it was not in harmony with the proportion of the pictures, the momentum of this kind of "writing" showed a unique character. We can also see this simple and powerful wide pen line in his works, but most of his wide pen lines are composed of flanks, while Jia is composed of a large area, and only the center of a circle is used. Therefore, his landscape is a minimalist landscape with linearity as the main body, which weakens rubbings, rubbings and dyeing; The so-called "sense of structure" is a constructivist feature formed by dividing the picture with several lines. This "sense of structure" makes his art have more abstract factors and signs of evolution in the abstract direction.
Originated from the landscape image, it is not necessary to return to the landscape image. This future direction may make him escape from the landscape and create a new realm. Ryan:
Dezhou Liu's landscape paintings, mainly based on ink and wash, are boldly summarized, with modern art taking a little less than the rest of the spiritual characteristics, forming a concise and distinctive composition, which makes the mountains and rivers go straight into the eyes and achieve a hearty effect.
Zhao Quan:
Dezhou Liu's landscape paintings are bold and unconstrained by men, which coincides with his generous and generous personality. He often uses a thick line and divided lines to express the landscape form, which transcends the real landscape in nature and becomes a "landscape in the chest" after spiritual understanding, with great personality characteristics.
Dezhou Liu's landscape paintings still stretch the traces of historical development, beating the pulse of artists in the new era.
This is beyond the real scenery and the interest of literati. First, it is different from seeking the truth of landscape nature, and second, it is different from giving landscape a sense of people. It is integrated with landscape meteorology, which makes people develop a concept of mountains and rivers and even a new landscape style implemented with pen and ink.
Dezhou Liu's works are full of a magnificent momentum, and in this momentum, there is a leisurely charm, echoing the faint and elegant music. This kind of momentum, this kind of charm, this kind of music, is also the true character of nature trees. At the same time, it has become the painter's mind and mind. In his works, we can often see that painters paint big rocks with some thick lines, and the ink is thick, full and moist. However, the painting method, painting method and dyeing method used in traditional landscape painting are extremely simplified and omitted, resulting in a very simple black-and-white contrast effect. And its big dyeing method and occasional colors add a quiet atmosphere to the picture. The ancients said, "There are hills and valleys in the chest and clouds and smoke on the paper." It is the hills and valleys in Dezhou Liu's works that make up the landscape in his paintings.
Huaxia:
His bold and concise characteristics, emphasizing feelings, grasping the whole and seeing the concrete from the abstract, are valuable and promising in artistic expression.
Jiang Zhixin:
Dezhou Liu, an innovative artist, has been pursuing freehand brushwork for many years, expressing his own landscapes in a highly generalized way. His paintings give you room for imagination. Think about it and it will be memorable. He accommodated life as his own art, and the natural scenery was revealed after melting in the depths of his soul. His paintings are rough, dignified and symbolic, giving the audience a broad feeling.
Liao:
Dezhou Liu's painting style is very unique. Many Chinese paintings, especially landscape paintings, imitate tradition and are very similar. But Dezhou Liu's paintings are different. Among many landscape paintings, his style is very prominent.
Chinese painting emphasizes verve, just right. His kung fu skill with a pen is very touching at first sight.
Dezhou Liu is an outstanding painter. His freehand brushwork in ink and wash is very imposing, and some of the most precious spiritual qualities of our nation are reflected in the paintings. This direction is right and not easy.
Li Keming:
Dezhou Liu deeply inherited his family studies. His father, Liu Tongfeng, is an old painter in Beijing Painting Academy. His traditional skills are very profound and he is very famous in academic circles. Unfortunately, he was wronged to death during the Cultural Revolution. Although Dezhou Liu entered the Beijing Painting Academy as a stepfather, he has a strong sense of innovation, and he is not satisfied with the path taken by his predecessors. It is extremely rare for him to give full play to the special charm of China's pen and ink while creating his own new style. In Beijing Painting Academy, I think he is the leader of innovation.
His paintings have high abstract beauty, rich ink interest, and implicit images and meanings. He pays special attention to composition, and his business stance is very bold, even a little bit like the reversal of time and space in the Great Move of Gan Kun.
Li:
Dezhou Liu's landscape painting is a breakthrough of traditional landscape painting in China.
Seeing that he can paint so boldly makes me feel very excited and fresh.
Dezhou Liu's father, Liu Tongfeng, is an old painter in Beijing Academy of Painting, who is good at traditional landscape painting, while Dezhou Liu's painting is completely different from his father's landscape painting. He has changed step by step over the years. At first, his artistic characteristics were "elephant invisible", which was not completely limited to abstraction, but also concrete. His mountain is a whole mountain, which reminds me of Pan Tianshou's feeling of painting Yandang Mountain. However, Dezhou Liu painted the mountain in black and white, which felt more powerful than the traditional scenery he wrote. He dares to use black and white. "White is black". There is a strong contrast between black and white, and the interior of each color is also full of changes. A series of relationships in a painting, such as black, white, thick, light, dry and wet, are very close and visually eye-catching. For example, the ink is not dead and black, and every change is subtle, both strong and weak. The place where the rock is left blank is not simple and there are many spots, but it is not a traditional moss spot, but a modern technique.
In the past landscape painting, especially in modern landscape painting, the so-called "freehand brushwork" always strayed into the "refined" road. Many people draw more and more carefully, and the picture is covered bit by bit ... There are few real freehand landscapes. Sun Ying's landscape paintings from Taiwan Province Province are freehand brushwork, but they are still traditional. Dezhou Liu's freehand brushwork is not only the traditional brushwork, but also the modern expressionism and modern elements of point, line and surface. Not exactly the traditional "18" method, but also the modern brushwork, which is his characteristic and not easy.