There is a wind in the world -Liu Haiyong Chinese Painting Works Exhibition is about to appear at the China Art Museum

Academic consultant

Wu Weishan Gao Shimi Ma Fenghui

Curator

Wang Ping

Joint curator

Liu Yingning Li Huiyuan

Executive curator

Strictly Kang Du Xin Zhu Hanshi

organizer

China Academy of Fine Arts of China

Academic support

Chinese Painting Society of China Artists Association Art Committee

organizer

Zhejiang Artists Association

Chinese Academy of Chinese Painting and Calligraphy and Art of Chinese Academy of Fine Arts

Zhejiang Province Chinese Flower Bird Painter Association

Institute of Chinese Painting at the School of Chinese Academy of Fine Arts

Exhibition location

China Art Museum 2, 3, 4, 10

Exhibition time

July 16, 2022 -July 27, 2022 (12:00)

Opening ceremony

10:00, July 16, 2022

seminar

1. Liu Haiyong Chinese Painting Works Exhibition Academic Symposium

(July 16, 2022 11: 00-12: 30)

2. Symposium on China Painting Freehand System

(14: 00-17: 00 on July 16, 2022)

"There is a wind in the world -Liu Haiyong Chinese Painting Works Exhibition" will be opened at the Chinese Art Museum on July 16, 2022. The exhibition will present more than a hundred works of Liu Haiyong, showing its thinking and practice of freehand flowers and birds in recent years.

The theme image of the exhibition "There is a wind in the world" has both the traditional thinking of the freehand and the concerns of the time of the times. The first part of the exhibition "Kwai Garden Sanghai" uses sunflowers to explore the style of flower and bird painting; the second part of the "Yanshan Flower Tree" discusses the tradition and innovation of the flowers and birds; The special research of Hu Yang went out of the way of "evidence" of the "transfusion" of the "transfusion" of the world's floods and the ancients of the universe; the fourth part of the "refining and cultivation of the country" was presented in the fourth part of the "penalty" road of the world.

Haiyong's flowers and plants are clustered from Jinjian. Then he was intentional, Ye Huo Pinya, weaving the beautiful layout. If you are Xinxin, out of nature.

Hai Yong also painted group sunflowers. The sun moves, and the sunflower is fascinated. If the sunflower dish is made, it is shining under the fence of the leaf. Haiyong uses the long bone of the long front, and the changes of the ink of the night, flowing with the giant crickets, and driving the wet ink to smoke clouds, creating the epic symphony like an epic.

In the summer of 2021, Hai Yong visited the Populus Popular Forest in Xinjiang's hinterland, watched it on the field, and wrote ten giant pine poplar. This is a pure work of a group of teachers, and it is also a wayward painting.

There are wind in the world, and the wind is exhausted. From all kinds of winds, Hai Yong, Hing Yinghua, cultivated deeply, and remitted the important phenomenon of the vertical waves of contemporary freehand flowers and birds painting. His flowers and birds painting are their own vitality, his vast and magnificent "big wind rises", his strong and strong sunflower wind and mulberry sea, and his positive euphratica winds are passed on to us In the new era, freehandness.

—— Xu Jiang, vice chairman of the Chinese Federation of Literature and Art, Xu Jiang, Director of the Academic Committee of the Chinese Academy of Fine Arts

In terms of learning, as a doctorate in Chinese painting trained since the new century, he has obtained the careful teachings of the older generation of artists and educators. The style of the north and south schools has a deeper experience in practical creation.

In terms of art, Hai Yong took "keeping the new" as the creation of the creation.

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.

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. 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." "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.

——Wu Weishan, director of the China Art Museum

The foundation of flower and bird painting is a grid. The grid is not only known, because it is the two -way operation of "with my grid" and "meteor me". Essence

There is a wind in the world, and the tradition of "picking the wind" can be trapped back to the era of the Book of Songs. The "National Wind" of the Book of Songs is made through "picking the national style" that is made by collecting folk songs in various places. "Han Book · Yi Wen Zhi" said: "Book" said: 'Poetry words, singing words.' The feeling of sorrow and joy, and the sound of singing. Therefore, there are official poems in ancient times, so the king observes customs, knows gains and losses, and self -examination is also positive. " Way.

As a flower and bird painter, depicts grass and flowers, and the category is born of all things. In fact, it is necessary to observe the virtue of the grass and trees, discover a humanity from it, and then give back to themselves. The reason why Meilan Zhulu is called "Four Gentlemen" is the original meaning, and it is actually a gentleman's virtue. The so -called "the world has wind", behind it means "the moral style of the gentleman, the villain's grass", the popular grass.

The wind of the Yang Yang is Hanhai Xiongfeng in the old days. A group of euphratica stood above the vast Gobi, and it did not die for a thousand years. Among all flowers and plants, the poplar trees are the most memorable. It has a kind of ruin -like sense of lofty sense, with a heroic spirit, with a kind of sadness, generosity and vicissitudes.

Looking at the mountains and rivers from a tree, watching the years, and reflecting the reincarnation of the world, this grasps the virtue of Populus euphratica. Therefore, Tu Yang has a virtue close to landscapes. Landscape is a great work of the crustal movement. After hundreds of millions of years of polishing, Tu Yang itself is a lively life body. It is a great thing that exceeds everyone's life cycle.

For Hai Yong, the world's wind will be a long -term theme, and Populus Popularity will also be a long -term subject matter. I sincerely hope that Hai Yong can treat Populus Popularity as the grinding stone of life and art, and constantly let Populus Popularity work with his own life, and finally achieve his skills and realm and find his own way of painting.

——Gao Shiming, Dean of China Academy of Fine Arts

Chinese painting is the painting of the meaning. The ancestors will be in their wishes, and they will be in their wishes. They are abstract because of the abstraction. They will eventually form an artistic image and reach the "shape and spirit". The reconstruction of natural objects, scenes, and images on the picture, condenses the mind, transparence with things, and elaborates "my spirit and spirit."

Perhaps, Liu Haiyong returned with the "twenty -fourth poems" of Si Kuangtu, and established the "simplicity" of "simple" and chasing the artistic conception of "returning to falseness and accumulation of health"; The virtue of "Drinking True Ruqiang, accumulating primary and guarding the middle"; thinking about the vastness of "Fu Shao", seeking "flowering bandit bandits, swallowing great desert". Traditional Chinese painting images such as opening and closing, inheritance and transition, echoing Gu Pan, and dampness and shadow are passed on through the new pen and ink program.

Reading Liu Haiyong's works, we can see his in -depth adherence to Chinese culture, the courage to responsibility of the times, and the unremitting pursuit of aesthetic educated people.

Liu Haiyong's artistic practice runs through the traditional freehand spirit and the aesthetic pursuit of the times. His personality creation of artistic art is combined with the concept of traditional cultural value and art innovation. The presentation of the exhibition works is undoubtedly another positive and beneficial expansion of a Chinese painter in the era of Chinese painting art.

——Ma Fenghui, Secretary of the Party Group and Vice Chairman of the Chinese Artists Association

Kwai Garden Sanghai

The heavens and the earth are affectionate, the creatures have the heart, and the flowers and birds are the middle state of the heavens and people. Among them, there are heavy historical views and life experiences.

The wild fire spring breeze and Tianya Fang grass are paved with green mountains and green history, where there are ancient wooden vermiculite and Wu Gong smoke willow, the grass flowers on the side of Suzaku Bridge and the flying swallow in front of Wang Xietang, the invisible flowers in Wang Yangming Yougu, Samarhan Biography Come to the fragrant golden peaches.

In our flower and bird tradition, there are Yanyu Yingge, there are also sons crying, there are Taoyuan Chunxiao, and there are also strong grass and cold forests.

"Chaolu Waiting for the Sun" 358cm × 96cm 2022 paper color

"Planting Gourd Gourd" 327cmx144cm 2018 paper color

Yanshan Flower Tree

"Yang Qi is cute and Xuanju, Yin Ling and Danbirds shame."

The depiction of flowers and birds is not a beautiful posture, but the true nature of visiting the soul. Therefore, it is not important to gesture, just because of the true, beautiful or strong, beautiful or strange, creatures have their own state.

"The breeze moves, blows all branches and leaves, and performs immeasurable sound sounds." Flowers and birds seem to be sufficient, and endlessly between affection and ruthlessness. Falling on the picture, the relationship between flowers and birds is the relationship between people and people, and the heavens and earth.

"Step in the Wind" 1100cm × 300cm 2022 Paper color "Poetry Impression · Xuan Xuan" 270cm × 96cm 2021 paper color

"Poetry Impression · Shutang" 270cm × 96cm 2021 Covered color setting

Glory

The painter often says the word "freehand", which is really the heart of Xieda. Yibi Po Cao, non -stop -minded painting theory, is also the same as sensory characters, so he participates in the world and confirms the body and mind.

Flowers and birds should not be just a watched one, but should be "intermediaries of people and heaven and earth"; should not be just a kind of pleasing entertainment rhetoric, but to express "individual attitude towards the world"; The reward should be the "place of the era proposition".

If the flower and bird painting is not an art that pursues liberation, why is the flower throbbing, and why is the bird free?

"Three Thousand Autumn" 1100cm × 300cm 2022 paper color

"Popular Song Series · Ling Yunxiao" 367cm × 144cm 2022 paper ink

"Popular Song Series · Le Weiyang" 367cm × 144cm 2022 Paper Ink

Refining

"There is a wind in the world" means in Yi Xiang, that is, to tell the Quartet, what is it? The core of this exhibition is the discussion of freehand spirit, and there are also reflection on freehand education.

We urgently need to penetrate the back of the paper, open the propositions of flowers and birds in different eras, and grasp the concerns and circumstances of various eras. Only the power of flowers and birds as the world outlook may be vitality in the world. Following the ancient times, extensively connecting the square, penetrating the inertia of a century, clarifying the change of the concept of flowers and birds, and "putting themselves back to the mountain forest"!

The creation of the "freehand system" is based on the path of "grid, building, writing, and standing products".

Class bare hands (1)

Class bare hands (2)

Research notes- "freehand spirit and artistic" (1)

Research notes- "freehand spirit and artistic" (2)

Introduction to the artist

Liu Haiyong

Born in 1976, Yueqing, Zhejiang, is currently a professor, a doctoral tutor, a young Yangtze River scholar of the Ministry of Education, a member of the Chinese Painting and Art Committee of the Chinese Artists Association, a member of Xiling Yinshe, a member of the Chinese Painting Society, a director of the Zhejiang Artists Association Executive Deputy Secretary -General and Executive Deputy Director of the Institute of Chinese Painting at the School of Chinese Academy of Fine Arts. He graduated from the Chinese Academy of Fine Arts and the Central Academy of Fine Arts and received a master's degree in degrees. He has successively made a masterpiece from Xu Jiachang, Mache Kuan, Zhang Lichen, Xue Yongnian, and formed an artistic style that integrates north and south and atmosphere.

Editor ｜ Pang Yang Jia Yuxiu Gao Qiqi

Trial of nuclear ｜ Ding Hongqi

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Produced:

Propaganda Department of the Party Committee of China Academy of Fine Arts

Publicity Office of the CPC CAA Community

News Center of China Academy of Fine Arts

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