"Xinghui Hurixia -Zhou Shifeng Landscape Painting Exhibition" opened

Author:Chinese Art Museum Time:2022.06.21

On June 18th, the "Xinghui Hurixia -Zhou Shifeng Landscape Painting Exhibition" co -sponsored by the China Art Museum and the Chinese Academy of Arts opened at the China Art Museum. This exhibition is one of the academic invitation series exhibitions of the China Art Museum. A total of 41 landscape paintings (sets) created by Zhou Shifeng in the past two years.

Wu Weishan, member of the Standing Committee of the National Committee of the Chinese People's Political Consultative Conference, director of the Chinese Art Museum, and vice chairman of the Chinese Artists Association, commented on his work: "The south of the south, showing the skeleton of the landscape in the north, the faintness of the scattered and strange structure forms the world." The gain from the effect originated from "the traditional outline of wipes, turned into its personality expression, and integrated into the new graphic." In the end, "not only interpreted the ancient wisdom, but also in his successful use of the language symbols in accordance with the times. The spirit of the landscape. "

Zhou Shifeng is currently the vice president of the Chinese Academy of Arts of the Chinese Academy of Arts. In recent years, the creation of landscape painting has added modern constituent elements on the basis of inheritance traditions, integrating new.

The exhibition is presented in the No. 5 exhibition hall on the first floor of the China Art Museum, which lasts until June 29 (closed Monday).

Faintly Wuji Zhongmei

—— Zhou Shifeng Painting Exhibition Order

Wu Weishan, the director of the China Art Museum

Zhou Shifeng is the Samadhi of Xiaoshi Chinese landscape painting.

He said: "The highlights of landscape painting are in the word 'pole'." In this regard, I take it seriously. The word "pole" in China contains the great wisdom of the sage. "Tao Te Ching · Chapter 25": "Da Yue passed away, the death is far away, and far away." However, this "pole" is non -fixed and non -static, but from "big" to "death", to "far", to "anti", emphasizing tolerance, changes, and returning. Therefore, it is "Wuji" again. The pursuit of this "pole" can clarify the goal and have the direction of the heart; when this "pole" can be appreciated, you can appreciate the realm of omnipotent and multiplier with your heart. This is a logical process of "extremely informed, versatile", and the origin of the "light" of one of the most representative aesthetic character in Chinese painting.

Dong Qichang Yun: "The home of the creation of the creation is the best of the sneak, and the watch of the independent things is light." "; The so -called" independence "is excessive, and it aims to" anti "back to the root, which is in line with the" Avenue ". Seeing "independence" on the basis of "potential", you can reborn and "flat".

The "avenue" of landscape paintings in China must also be from "big" to "anti", which is extremely gorgeous. Guo Xi's "Lin Quan Gao Zhizhi" said: "Landscape, big things." Painting big things, painters must first be in "big", see the sea wide and sky, and exist in the trace of trace. Experience the spirit of landscape. Secondly, the "big" mood is implemented in landscape painting, and it is also necessary to lead to "far". The mountains and rivers are rushing, and the deepening is destroyed. However, "far" is not only a state of space, but also in the spiritual infusion. The real scene is clear and the empty view is present. The width is all spiritual, which is the painter's thoughts for thousands of years, regarding thousands of miles, and the presentation of the physical space and the spiritual space. In the end, the "far" of landscape painting must be "anti". The painter's deepening is virtual, giving the aesthetic connotation of the dull appearance, making people have a bland look at the beginning, and the more long -term vision shows the feeling of "god".

Zhou Shifeng's landscape paintings have the logical structure from "big" to "anti". He named his landscape painting form "light smoke landscape", highlighting a kind of light smoke, ethereal and pure aesthetic character. However, the "light" situation created by Zhou Shifeng not only refers to the visual characteristics, but also emphasizes a high standard of a spiritual level. Its "light" is based on the "big" pattern of the artist. In the words of Zhou Shifeng, it is "great consciousness, big realm, large ink, large articles." In the paintings of Zhou Shifeng, the southern mountains and rivers are shown in the skeleton of the northern landscape. Gao Miao's poems, the traditional outline of wipes, transformed into their personality expression, and incorporated into a new picture, filled with a new aesthetic atmosphere ... and the mature techniques of long -term tempering are often generated by the instant inspiration. The accidental effect of intention. The tolerance of this enlarged poles makes the image touches in the simplicity and the same, and the pen and the realm are both seized. When the pen and ink are self -contained in the world, it means the opening of the soul, that is, the externalization of the "far" heart of the painter's body. Because of this, we can also understand why Zhou Shifeng's landscape paintings are clear from "light", "light" is thick, "light" and magnificent, "light" and masculine "Performance.

The significance of Zhou Shifeng's landscape paintings is not only interpreting the ancient wisdom, but also because he successfully uses the language symbols that fits the times to trace the spirit of the spirit of Chinese landscapes. Because Zhou Shifeng has a high sense of consciousness in the coordinates of his own art, he can grasp the two keywords of "contemporary" and "transformation" to pursue the "extreme" state of art. On the one hand, take the classical classics and become familiar with the law; on the other hand, the poverty is extremely changing, the law is forgotten, and the old age is getting familiar, but it is bland.

The time changes, the art is expensive. Looking back at the seating peaks of Chinese landscape paintings, the giant rivers are regulated. Although the mountains and rivers are changing, the mountain is still the mountain. In the national spirit and the time of the times, although it is hazy and faint, it stands tall.

Feng Gao Shi went out of the strange peak, and the Vientiane machine was in the middle. May Zhou Shifeng continue to cultivate the "new" state of landscape painting in Chinese landscape painting with the "big" heart, "far", "anti" method, and "light".

Appreciation