"There is a wind in the world -Liu Haiyong Chinese Painting Works Exhibition" opened at the Chinese Art Museum

Author:Chinese Art Museum Time:2022.07.19

"Mountain Flower Spring World, Gu Mu opened a new realm." The "World Wind -Liu Haiyong Chinese Painting Works Exhibition" co -sponsored by the Chinese Art Museum and the Chinese Academy of Fine Arts opened at the China Art Museum on July 16. The exhibition is divided into "Kwai Garden Sanghai "Yanshan Flower Tree", "Great Winds", "Pen Pen Nourishing", exhibited more than a hundred works of Liu Haiyong, showing the artist's thinking and practice of freehand flowers and birds in recent years.

Wu Weishan, member of the Standing Committee of the National Committee of the Chinese People's Political Consultative Conference, director of the China Art Museum, and vice chairman of the Chinese Art Association, believes that Liu Haiyong has focused on the freehand practice of flowers and birds painting, communicating with ancient and modern painting, and North -South painting styles. His teacher's tradition, natural teacher's natural, teacher life, and teacher's heart source, with a large spirit of groaning the great spirit, revealing the meaning of philosophy behind the image.

Liu Haiyong is a professor, a doctoral tutor of the Chinese Academy of Fine Arts, and the "Young Yangtze River Scholar" of the Ministry of Education. He has successively made a masterpiece from Xu Jiachang, Maceman Kuan, Zhang Lichen, Xue Yongnian, and formed an artistic style that integrates north and south and atmosphere. His creation starts from the freehand tradition of Haipai flower and bird painting, and seek to ask for the new painting mother and pen and ink to respond to the proposition of Chinese painting. This exhibition has been in the "wind", showing Liu Haiyong's thinking about the freehand tradition and the concerns of the times.

The exhibition is presented in the No. 2, 3, 4, and 10 exhibition hall on the first floor of the Chinese Art Museum, and on July 27th (closed museum).

Take the wind of the North and South Royal Wind Age

—— "There is a wind in the world: Liu Haiyong Chinese Painting Works Exhibition" preface

Wu Weishan, the director of the China Art Museum

The mountain flowers spring world, ancient wood opens a new realm.

Since the Six Dynasties, the ideal state of Chinese painting is "Cheng Huai Guan Tao". Chengguan is full of heart and vanity, which is the visual presentation of "Tao" and artistic conception. The flowers and birds paintings are also here, and the birds are also in the group of flowers, and the pleasant life of life is played, and it is into the minds of the soul from a plump hue. At this point, the state of reflection of people's lives and nature and reaching the state of freedom is the essence of the creation of flower and bird painting. It needs to suddenly understand when the painter's "heart source" and "creation" are in contact, and the poetic language conveys vigorous energy.

Flowers and birds were painted in the Tang Dynasty independence. The emergence of the folding method at this time truly gives it a "dotted rippling" swimming realm. The five generations of "Huang Yan's wealth and Xu Xiye Yi" opened the two major types of flower and bird paintings that influenced the thousands of years in the future. Until the Song Dynasty, the painting of flowers and birds reflects the positive and positive character reflected in the consequences of science's "grid to know". In the Yuan Dynasty, the literati were further prosperous. The continuous establishment of the "Bide" thought, the large number of "Bixing" techniques, and the deep popularity of the concept of "business" made flowers and birds painting an important carrier of Mingzhi, affection, and God. For hundreds of years, the masters have emerged, and the stars are bright. Since the 19th century, flower and bird paintings have germinated new quality in the collision and dialogue of Chinese and Western culture and art, breeding the language form that matches the times. Among them, although there are difficulties and contradictions, unprecedented vision expansion and huge cultural tension also provide a rare historical opportunity for artists to laid a new way to the future.

Liu Haiyong is such a contemporary young flower and bird painter who is both full of energy and facing opportunities. The themes of its creation are widely involved. No matter the subject matter, genre, form, style, and expression methods, they can use the "net screen" of the "net" of the unique craftsman organization starting point, line, and surface order. Sticky light.

In terms of learning, Hai Yong has been influenced by his family since he was a child, and his solid foundation has laid a good artistic quality for him. Haiyong has successively studied at the Chinese Academy of Fine Arts and the Central Academy of Fine Arts, and educated the college in the rich humanistic atmosphere. As a doctorate in Chinese painting cultivated since the new century, he has been carefully taught by the older generation of artists and educators. He has systematically infiltrated and refined with the traditional Chinese painting tradition and classics. The long experience has a deeper experience in practical creation.

In terms of art, Hai Yong took "keeping the new" as the creation of the creation. He often visited the wind in the mountains and rivers, appreciated the beauty of the south of the river, watched the recklessness of the northwest, and faced the historical traces of the great rivers and mountains of the motherland. Relying on the traditional Chinese painting "full -seeking" study method, Haiyong traced the scene of the mountains and rivers and the flowers of flowers and trees, and awakened the lively weather from the body of the life by sketching, and also established an extremely firm cultural self -confidence.

In terms of teaching, Haiyong is based on the Department of Chinese Painting of the Chinese Academy of Fine Arts and actively promotes the development of Chinese painting disciplines and flower and bird painting. Starting from promoting the practice of Chinese painting creation and theoretical innovation, the historical laws of the development of Chinese brushes and ink structure. Observing his lesson, he adhered to the beliefs of bacon casting souls to teach people to fish, discriminated with the micro, and described it to form a paradigm of his own flowers and birds painting.

Over the years, Hai Yong has been working hard in the freehand practice of flowers and birds painting, communicating with ancient and modern and north -south painting styles. His teacher's tradition, natural teacher's natural, teacher life, and teacher's heart source, with a large spirit of groaning with a large spirit, revealing the meaning of philosophy behind the image.

The context melts and becomes a weather. This exhibition is a staged summary of Liu Haiyong's career in the arts, and its name is "the world." It is divided into four sectors: Kwai Garden Sanghai, strong winds, Yanshan flower trees, and refining pen. Kwai Garden Sanghai, which means the painter's road to study in the north and south; the wind rises, shows the series of "Popular Songs" series of works. ; Yanshan Flower Tree, the Jiashu Flower, which is painted by its country, shows the childcare of Yandang Mountain to the painter's body and mind; The four sectors reflect the interaction between the painter's research, creation, and teaching and the impressive achievements brought by it. "The Book of Songs · Da Ya" cloud: "The kite flys to the sky, the fish jumps in the Yuan." This is the spirit of life painting in Chinese flowers and birds, and my sincere wish for Liu Haiyong.

Appreciation

(Please watch it horizontally))

Baihua Xiangyang