Zhao, member of China Calligraphers Association, painter of the Old Painter's Painting Academy of the Ministry of Culture, painter of China National Painting Academy, honorary chairman (former chairman) of Wulanchabu Calligraphy Association, vice chairman of Wulanchabu Artists Association and chairman of Wulanchabu Modern Printmaking Art Association. Master's degree in calligraphy course (99) of First Normal University; China National Painting Academy Ceng Laide Advanced Painting and Calligraphy Seminar; Zhang Zhimin Landscape Painting Studio; John young Landscape Painting Studio.
Chinese name: Zhao
Nationality: China.
Ethnic group: Mongolian
Place of birth: Wulanchabu, Inner Mongolia
Date of birth: 1956
Occupation: painter, calligrapher
Graduate institutions: Capital Normal University, China National Painting Academy.
Main achievements: China's traditional painting and calligraphy creation.
Representative works: Chinese painting and calligraphy.
Signing website: Yi Cong Calligraphy and Painting Network
outline
Zhao, painter, Mongolian, was born in 1956. Member of China Calligraphers Association, painter of China National Painting Academy, honorary chairman of Wulanchabu Calligraphers Association, chairman of Wulanchabu Modern Printmaking Art Association and honorary president of Wulanchabu Education Painting and Calligraphy Institute. He graduated from the Master's Class of Calligraphy College of Capital Normal University, the Advanced Workshop of Calligraphy, Flower and Bird Chinese Painting of China National Academy of Painting, Zhang Zhimin Landscape Painting Studio of China National Academy of Painting and john young Landscape Painting Studio of China National Academy of Painting. He studied under Ouyang Xiu, Zhong Shi, Zeng Lai, Liu Mu, Zhang Zhimin and john young. Calligraphy and painting are excellent, especially Jiao Mo landscape paintings, which are highly sought after by institutions and collectors.
His Jiao Mo Landscape Paintings "are written in calligraphy and painting, especially in cursive script, and give full play to the spirit of freehand brushwork with colorful ink and lines.". Make the picture seamless and reach the realm of simplicity and detachment. "
Personality assessment
Mr Zhao's art
Focused ink painting is a kind of exquisite painting style, which refers to a painting method in Chinese painting that does not depend on the infiltration of water or rarely relies on the help of water, and the color is not full or light. It is the oldest painting method in Chinese painting. Jiao Mo's paintings belong to "freehand brushwork" in the traditional classification of Chinese paintings (meticulous brushwork, freehand brushwork and double brushwork). Freehand brushwork emphasizes the likeness of spirit and advocates the first meaning. The so-called "pen fails to express meaning, pen breaks meaning, meaning breaks spirit" is the highest realm of Chinese painting.
Jiao Mo's paintings emphasize painting with calligraphy, even with weeds, which puts extremely high and even harsh demands on the painter. It requires painters not only to have superb abstract skills in landscape description, but also to have profound calligraphy skills, which are often beyond the control of those who have no calligraphy skills for more than 20 years. Chinese painting has always paid attention to the homology of painting and calligraphy. Zhao Meng _ Zeng Shi, a master of Yuan Dynasty, once wrote: "Stone is as white as flying wood, and bamboo must write eight times. If anyone can know this, you should know that painting and calligraphy are the same. " Li Kuchan, a master painter, said: "The highest artist should push cursive script", and Qi Baishi once said: "My life's regret is that I have not reached the point of painting with cursive script". Both the two art giants are talking about a problem: although calligraphy and painting are of the same origin, it is not easy to draw with books.
Mr. Zhao studied calligraphy and painting since childhood, and his rich life experience, diligence and extraordinary talent endowed him with a unique artistic temperament. He persisted in practicing and exploring Jiao Mo's techniques all the year round. He paints with books, especially cursive. He indulged in painting, combined colorful ink with lines, splashed ink freely, and brought the spirit of freehand brushwork into full play. Make the picture seamless, and reach the realm of simplicity and detachment.
When talking about the art of painting, Zhao said: "Freehand brushwork requires' painting without drawing form', which is exactly in line with the highest realm of Taoism's' elephant is invisible'. Here,' not drawing a shape' and' invisible' do not mean that there is no shape, but' figurative', which is highly summarized by the painter, and the shape extracted from the figurative is the shape in the painter's mind, which shows the painter's spiritual perception, not the physical representation of reality. " Freehand brushwork attaching importance to spirit is not only the painter's personal personality cultivation, but also the great freedom and liberation of the spirit of heaven and earth. Therefore, freehand brushwork not only emphasizes the expression of the painter's true feelings, but also emphasizes wandering among all things, grasping the ever-changing rhythm of the objective world as a whole, and not being bound by physical phenomena such as time and space, solemnity, light color and perspective, which is the extremely high realm of harmony between man and nature pursued by China culture. The unity of heaven and man is both a realm with me and a realm without me; Both, not obsessed. The unity of id and non-ego is the realm of freehand brushwork, and to achieve this realm, painters need to dare to transcend the objective image world and express human spirit and universal feelings. This is what previous artists said: "Nature is made by foreign teachers, and the source of mind is from China", and "the source of mind" is the painter's inner cultivation; The "mental image" produced by "mental source" is the concept of freehand brushwork. This concept of modeling, with the help of superb Jiao Mo's painting method, embodies the kind of hearty or quiet and distant painting scene, and embodies the crystallization of artistic wisdom of Chinese painting.
The ancients had the theory of "three flavors and four bodies" in painting, which refers to the products of "spirit, beauty and energy" or "escape, spirit, beauty and energy", and divided the creation of calligraphy and painting into three levels, emphasizing that only the products of "escape and spirit" can be appreciated. It is considered that losing is wonderful, losing is escape, losing is god, losing is strange, losing is energy, losing is essence, and being refined is also disease (that is to say, the image of painting is disease of painting). Huang believes that a product is "taking the spirit from the image, and the beauty is outside the rules", which is the characteristic of aesthetic feeling from the macro perspective of spirit likeness. Only if we don't stick to the appearance of objective images-"leaving the image", can we obtain the temperament of natural images-"taking the spirit" and reach the artistic realm of "having no rules and regulations" This is "beyond the moment", except that painters should have their own artistic style and language. After reading Mr. Zhao's landscape paintings, it is not difficult to find that Mr. Zhao's works have neither pictures nor pictures; It has both traditional pen and ink skills and its own unique artistic language; Both the beauty of painting and calligraphy; It is desolate and bold, quiet and distant. Although the work has not reached that state for the time being, it is not as good as a grid, but it is also between wonders. I believe it will become a great tool as time goes by.
Master Hong Bin once said: "Painting is as precious as a spirit, but it is difficult to be as righteous as it is not." . The general trend of Chinese painting development is symbolic, although it is closely related to reality and based on the feelings of life.
Those who create artistic images, but their creative tendency ultimately focuses on likeness, that is to say, the ultimate destination and highest realm of Chinese painting is freehand brushwork. On the road of freehand brushwork, Mr. Zhao, with his love for traditional focal ink painting, is diligent and maverick, and it is just around the corner to reach the peak. —— Li Jun
works appreciation
The following pictures are all Zhao's paintings and calligraphy works.