On June 26th, 10, the theme exhibition of the 12th West Lake Art Fair will hold a special exhibition "Beyond the Image-Contemporary Painting Exhibition in Chen Lingguang", which is destined to be a unique exhibition and will have historical significance in exploring the field of Chinese painting creation.
The works in this exhibition have three highlights. First, Chinese painting uses aluminum powder instead of ink. The second is to add plant color, mineral color, metallic color, oil pastel, toner and other pigments to the ink. Thirdly, images are based on the artistic expression of Tang poetry and Song poetry, and the poems are inherited by contemporary methods, forming a personalized creation of "the environment is born of images".
The uniqueness of these works is a breakthrough in the traditional Chinese painting creation method. Through lines, materials and colors, the western modernist painting is skillfully embedded in the creation of works, and * * * is divided into ten series, more than fifty works, such as the image of artistic conception, the image of virtual realm and the image of dreamland.
Painter Chen Lingguang, China contemporary ink and wash artist, member of China Artists Association. He is currently the vice president of the Painting and Calligraphy Research Institute of Zhejiang Media College and a professor of the Ministry of Art Education. In recent years, he conducted a series of experiments with some new materials on traditional rice paper.
In the preface, Chen Lingguang explained his exploration of Chinese painting in this way.
He believes that China's traditional painting has accepted Zen since Wang Wei began, advocating metaphysical cultural beauty and pursuing simplicity and nature. Its essence is embodied in the emptiness and whiteness of traditional literati paintings in Song Dynasty, "the emptiness of blank" and "the gasification of blank", which leads to the vividness of the whole picture. Dong Qichang said: "With the strangeness of the environment, painting is not as good as landscape; With the exquisiteness of pen and ink, landscapes are never as good as paintings. " The exquisiteness of traditional painting in brushwork is a classic. 2 1 century, the modernity of painting requires simplification, which has become an important feature of the times. Western culture spontaneously invented the "abstract" way and entered the modern art China. Our painting has gradually been baptized by abstraction, which requires the integration of space abstraction, traditional blank and natural pre-dimension to form a "dimensionless" deep space, so that the heart and things can be reconstructed more intuitively. Under the influence of this multicultural context, an attitude-oriented creation is more important than ever, and the creative practice of Outward corresponds to such a cultural interpretation.
Two days ago, I shared with you two highlights of Chen Lingguang's solo works. Today, I share his third highlight: the works use comprehensive materials instead of traditional ink and wash to express the artistic conception of Tang poetry and Song poetry, explore the ways to express the traditional cultural poetry in contemporary Chinese painting, and enhance the style of the works with poetic artistic conception?
These pictures are not only the works created by the painter based on the artistic conception of poetry, but also the mood changes and reactions in the interpretation of poetry. At the same time, it also discusses how contemporary art inherits poetry, and what positive role does tradition play in the moment of cultural self-confidence?
Resume of artist Chen Lingguang
Chen Lingguang, 1970 was born in Quzhou, Zhejiang Province in September. Member of China Artists Association, Master of Comprehensive Art Department of China Academy of Fine Arts, Visiting Scholar of Hu Wei Studio of Chinese Painting College of Central Academy of Fine Arts, Zhejiang New Century 15 1 Talent, currently President of Painting and Calligraphy Institute of China Poetry Research Institute, Vice President of Zhejiang Media Painting and Calligraphy Research Institute, Professor of Art Education of Zhejiang Media College, member of academic committee of the school, and graduate tutor of Fine Arts College of Hangzhou Normal University. Vice President of Zhejiang Traditional Culture Promotion Association, member of Zhejiang Artists Association College Fine Arts Professional Committee, executive director of Zhejiang Cultural Industry Society, and member of Zhejiang Rural Construction and Development Research Association Traditional Village Protection Expert Committee.
He presided over and participated in 2 national projects, 9 provincial and ministerial projects, and published 4 monographs, including "Zhexi Ancestral Temple". His paintings have participated in more than 30 important international and domestic exhibitions, such as the Beijing International Biennale, and held four solo exhibitions in Osaka and China National Painting Academy. His works are collected by many Chinese and foreign institutions and individuals.
Appreciation of Chen Lingguang's Works
[Fantasy video series "Luo skirt rolls petals" 34×34cm 20 16]
[Fantasy video series "The Finishing Touch" 34×34cm 20 16]
Both of these works are based on the seventy-fourth iris in the Tang poem "Seven Laws and Hundred Flowers". The original poem is:
The skirt is fragrant and the clothes are blue. The enchantress is romantic, infatuated and greedy. A world of mortals is on the sunny slope, and a moon dressing table is in Hosta. The leaves are full of flowers, the iris is beautiful, and Van Gogh's wonderful paintings are beautiful.
[Fantasy video series "A Life of Misty Rain" 34×34cm 20 16]
Judging from the artistic conception of Su Shi's Ding Feng, there is a kind of open-mindedness of "wearing hemp fiber, being calm all his life".
Words: If you don't listen to the beating of leaves in the forest, why not sing slowly? Bamboo poles and sandals are more dexterous than riding horses. What's to be afraid of? A raincoat and hemp fiber, despite the wind and rain, still live my life. The coolness of spring breeze awakens my wine, and the cold begins to be cold, and the peak of the sun is the sun, but it is satisfied in time. Looking back at the place where I met the wind and rain, going back, for me, there is no wind and rain, but it is still sunny.
[Fantasy video series "You will fall in love with Xinyu Bamboo" 34×34cm 20 16]
From Qian Qi in Tang Dynasty, I read a letter to Yang Yushi in Taniguchi, which expressed the beauty of Hsinchu after the rain.
Original poem: In a small hut in the valley, a cloud seems to be born from the vinegar wall. After the rain, the colors of Hsinchu are refreshing, and the mountains are more lovely against the sunset glow. Leisure egrets often nest early, and autumn flowers are full of vitality later than elsewhere. The boy cleaned the path and waited for my friend to arrive.
[Fantasy video series Cui _ Juan 34×34cm 20 16]
It's from Rain Bamboo by Liu Song in Ming Dynasty. Original poem: Canglang stone face is cool at night, green _ Juanjuan is fragrant after rain. Why don't partridges keep barking? Under the Huangling Temple is Sanxiang.
[Virtual image series "Clear Water and Clouds" 30cm×97cm 20 15]
From the Tang Dynasty's Li Bai's "Farewell to Hanyang in Early Spring", it takes the artistic conception of clear water and misty waves.
Original poem: Wen Daochun has not met each other yet, and walks beside Han Mei to visit and smell. Last night, the east wind entered Wuyang, and the willow was bright. Clear water and boundless sea of clouds, beauty (beauty: the ancients often compared beauty and vanilla to a gentleman, referring to Wang Hanyang. -Bian Xiao Nott Don't come with emptiness and sadness. The castle peak is pre-zoned, and I will accompany you to get drunk for a few days.
[Virtual Reality Image Series "Crane Traveling to Yun Lan" 30cm×97cm 20 12]
Take Liu Yuxi's "Two Odes to Autumn" in Tang Dynasty as an example, it expresses the passion that "a crane flies into the blue sky and pushes the clouds open, which also inspires my poems to fly into the clear sky of Wan Li".
Original poem: Autumn has been sad since ancient times. I said autumn is not as good as spring. There was no one in the clear sky in Wan Li, and a crane, Ling Yunfei, aroused my meditation on the blue sky. The mountains and rivers are clear and frosty at night, and several trees are deep red and light yellow. Trying to get under a tall building is as crazy as spring.
[Virtual Reality "Rain Over the Hill, Clouds Are Wet" Image Series 30cm×97cm 20 12]
The poem "After Rain Clears Up" written by Huang Geng, a poet of the Song Dynasty, shows an illusory mood.
Original poem: the rain is wet over the mountains, and the tide is deep at the ferry. When a piccolo goes out in the setting sun, you will know that the willow is moored in the shade.
[Art Image Series Cold Dishes and Fragrances 34× 136cm 20 16]
The melancholy artistic conception taken from Lu Guimeng's Hà Thu in the Tang Dynasty expresses the human feelings of compassion.
Original poem: velvet dew is lewd and leaves are like smoke. You can't cross the water when it is full, and the cold green leaves are fragrant and worry people.
【 Imagery and Artistic Conception Series Wisteria Iman Yangchun 34× 136cm 20 15 】
Taken from Li Bai's poem "Wisteria Tree", it depicts a beautiful picture of wisteria winding around a big tree, flowers hanging down branches and spring.
Original poem: wisteria hangs clouds, and flowers are suitable for spring. The secret-leaved songbird is a kind of fragrant and romantic beauty.
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