Exclusive in Zen, pen and ink for the sake of the pen and ink -Xinpai ink painter Han Weihua interviewed

Han Weihua, born in Henan in 1977. Zi Hao, the owner of Liu Shizhai, from Yuntai Mountain. He graduated from the Fine Arts Department of Henan University in 1999; in 2002, he graduated from the main course class of the graduate school of the Department of Fine Arts of the Central Academy of Fine Arts. He is currently a member of the Chinese Artists Association, a national first -class artist, an executive vice president of Beijing Yanhe Painting and Calligraphy Institute, a researcher at the Institute of Buddhist Art of Renmin University of China, a researcher at the Institute of Modern Ink and Ink of Capital Normal University, and a free -thanly teaching assistant teaching assistant in Tsinghua University. , Special researcher at the Calligraphy Institute of the Chinese Academy of Arts, Executive Director of the State Arts Committee of the National Art Talent Talents, executive director of the critic art committee; researcher of the Lingnan Culture and Art Creation Research Institute, the Calligraphy and Calligraphy Committee of the World Collection Federation, director of China Collection, China Collection Member of the Association, Director of Xinxiang Artists Association, and Chairman of the Jiaxian Artists Association.

Exclude in Zen, the pen and ink seeks

——The Xinpai Ink Painter Han Weihua Interview

Chen Heyu: Hello, Teacher Han, I am glad to interview you today. I remember seeing you for the first time, or at the scene of a art auction of more than ten years ago. At that time, a group of new school ink and ink works made very gratifying results. It is also because your work has made bold innovation while inheriting the essence of traditional ink painting art, and has been highly affirmed by the industry. Along the way, whether your creation still continues such a form of innovation, so that the public outside the professional field can read and fall in love with Chinese paintings, and closer the distance between Chinese ink painting and the public.

Han Weihua's work "Echo of History-Seven Ancestral Tower of Fengxue Temple"

96 × 180 cm paper color set 2022 years

Han Weihua: Hello, Heyu, for a long time. Yes, I am still continuing my creation, and I often travel around and forth. In fact, many people are still at a loss when facing art. I think there are some people to make some efforts in this direction. I do freehand drawing. More freehand drawing is reflecting a kind of internal beauty and a kind of cultivation. For example, many we have been emphasizing "unreasonable" that we have been emphasizing, there may be stories after the story, the shape outside the shape. It is not so straightforward, but very subtle. It requires you to meet, but it is difficult to speak. The viewers and authors need to blend through the works. For example, a lot of blank white, readers can interact with this work by leaving whitening.

In fact, until university, I still ignorant about art, but at that time, this kind of ignorance was energetic, and art was not dead. Art comes from life, so the distance between the real art and the public should not be natural. I always think that playing children has been writing in a small circle. It is harmful to study traditional Chinese paintings like a model. China's art has never had a program, and has entered a high degree. After the high program has become an advantage, it has begun to "cut the shell". This is its advantage and disadvantage. So innovation and breakthroughs are imperative. Artistic creation will appear "bottleneck" after peak. After thousands of years of continuous purity, art creation and artworks have already entered the elite ivory tower. The hundreds of years of cultural shuffling and social movement in China have made the people strange their elite culture, or they have not been able to keep up with the evolution of elite culture. Therefore, special communication methods are needed at a special stage. If the artwork is only in a small circle, it will be difficult for the public to enter the taste of the taste.

As if I went to the temple today, my sister helped me re -interpret the Dharma in her way. In the language that ordinary people can understand, they analyzed these scriptures, such as the Tibetan Scriptures. I think this is very good. This kind of communication has no distance between "people" and "Buddha" between the esoteric Dharma and ordinary people.

Han Weihua's work "Echo of History-Shan Shan"

68 × 136 cm paper color set 2022 years

Chen Heyu: Yes, art needs to be blank. This blank is a room for thinking for the viewer. It is the dimension that the viewer can blend and resonate with the artist outside the paper and pen. This is very Zen. We know that Mr. Han is a very devout Buddhist and has a unique understanding of the Dharma. How does Buddhism's thoughts and practice methods affect your creation during your practice? For example, the important sects of Chinese Buddhism, its practice process, is also the process of breaking and overthrowing its own knowledge. Is this religious method that breaks his mind and seeking nature, and has it been transformed into a philosophical thinking, which will affect your artistic creation?

Han Weihua's work "Echo of History-Bingling Temple Grottoes"

136 × 68 cm paper color set 2022 years

Han Weihua: As a premium wisdom, Zen has a huge impact in the world. After the twentieth century, many artists have created many works created by Zen in the world. Like the pioneering pioneer of art, Duchang and the game. Duchamp's "Spring" is a breakthrough in the form of traditional art. This breakthrough is just like the "breaking" process unique to Zen, which has "Zen" itself. Duchai moved the urine into the museum. This is life. Boyce changed the artistic standard of the entire German after the war with his own strength, and he mentioned that everyone was an artist. But in fact, this is far from Buddhism that "everyone has Buddhism, and all beings can become Buddhas" more than 2,000 years later. If you think about the power of Buddhist culture, it is so wonderful and so precocious. More than two thousand years ago, the specifications he set can still solve the problem until now. There is another music work, a very important piano work, and John Cage's "4 minutes and 33 seconds", which is also a contemporary art coordinate work. In the form of a whole process, there is never stop changes in nature. This is also Zen. The thinking of Zen is a kind of search for known civilization, a pair of unknown; continuous purification of truth, goodness and beauty; continuous amendments to themselves. I understand this way. Zen's thoughts combine Chinese Confucianism, and solve many complicated problems such as birth and entering the WTO in the simplest and most direct way. This enlightenment stems from various problems that dare to face life.

It can be seen that ancient Chinese philosophy, religion, and culture have long had a profound impact on our ideological model and behavior model, and artistic creation is naturally easy to reborn here. If Chinese art can once again reproduce the glory in the world again, just two hundred years ago, five hundred years ago, as a thousand years ago, to maintain our absolute leading in the world, then I think we are artists, except for Get the nourishment of Buddhist philosophy in creation, and in turn, he can also show the philosophy of Buddhism and Chinese culture through works.

Han Weihua's work "Echo of History-Putuo Mountain Multi-Pagoda"

50 × 100 cm paper color set 2022 years

Chen Heyu: As you wish, Chinese art will eventually reproduce glory and go to the world, and Chinese culture has ushered in revival. Such a very comprehensive and joyful topic is worthy of our discussion. Of course, this requires us to have the ability to export cultural output to the world. Do you think that Chinese art can spread and culture can be exported. Do you need to learn more about Western art for innovation and reform, or should you inherit and adhere to your core and traditional parts to carry forward? Or what kind of situation is the third? As a senior artist, can you give us some professional interpretations.

Han Weihua's work "Echo of History-Gwangxiao Temple Tower"

100 × 50 cm paper color set 2022 years

Han Weihua: Yes, these three directions you mentioned are issues that our painters have been thinking about overall thinking for more than 100 years. Of course, everyone has everyone's answer, just like a pony crossing the river. There are also many ancestors Dazhe who had practiced practice. But from the perspective of myself, because of a very important history of studying, I studied art research for 20 years after the Cultural Revolution at the Central Academy of Fine Arts. After such a very important academic research, I have more thoughts when creating. Whether it is Chinese or foreigners, first of all, when you are drawing, you must understand what you are drawing and why you draw. What problems you drew solve. This is also an ultimate proposition. Where do we come from, where are we, who we are. In fact, art also needs to answer these questions, it is not just a question that is beautiful or painted. If that's it is simple, insult the high -end wisdom of human beings.

First of all, what you mentioned by Heyu, we want to output our art and culture. From a point, our art must be pure. Maybe this is a very difficult task. But this kind of progress in history is to know not to do it. In fact, the second way you say is more feasible from my own understanding. It is a kind of equal, to balance all aspects. On the one hand, we must have our own unique appearance, have the unique language of the nation, and have irreplaceable things. At the same time, it is necessary to convert these into a language that can be accepted by the West and accepted by countries around the world. We are not catering, but let him understand more.

Just like Lin Yutang, introduce Confucius to the West, and introduce Confucianism; just like Mr. Gu Hongming, Datong things; just like Fu Lei, he uses a very high language to introduce Huang Binhong that foreigners can understand, and it is not a decline. Such a person has actually become a kind of fire, which can already form the trend of this alarm. This requires this fire to go inside. Chinese culture will definitely be accepted by the world. And this cultural output will be an advantageous cultural output, and a strong cultural output will be a high -quality output that conforms to the rise of great powers in this era.

Han Weihua's work "Qinghe Langrun Map"

68 × 136 cm paper color set 2022 years

Chen Heyu: As far as specific issues are concerned, you think that Chinese painting art is going abroad and is truly accepted and generally recognized by Westerners. What is its biggest obstacle? What specific problems need to be solved urgently?

Han Weihua's work "Xiao Muchun Smoke"

136 × 68 cm paper color set 2022 years

Han Weihua's work "Yangchun Changhe Tu"

240 × 122 cm paper color set 2022 Han Weihua: No need to worry. I feel that Westerners do not understand Chinese poetry and songs, do n’t understand Li Bai, do n’t understand Tao Yuanming, nor do they understand (Ba Dashan people) rolled with white eyes. Ha ha. I can't understand this four kings and four times. In fact, they can understand. It is just a question they want to see or not. In that year, Europe also continued to go to China through the Silk Road. How could they understand? Because on the one hand, they admire Han Tang culture and want to enter our system. Maybe in the past two hundred years, we have been beaten down, and our culture has been dragged down. But I think our civilization has been inherited.

On the contrary, they have taken a lot from us and they do not admit it. Including Western Impressionism, since 1847, photography has shocked them. The three -dimensional visual mode that can directly recognize the naked eye has been greatly impacted. Instead of walking, walking towards your heart. This is actually what we said earlier. Expressing the beauty of imagery, the beauty of artistic conception, and poetic and paintings starts from the Impressionist. But we started from our freehand. Well, but they don't mention that. Here include important post -Impressionists Van Gogh. He learned to Japan and studied a lot of things from Japan's Ukiyo -World. Even directly copy Ukiyo -e -painting. There are original works, all of which are displayed in the museum and historical display. There is nothing to say. But they don't know that these works come from China. The root cause of the Japanese Ukiyo -e -color print is Chinese woodcut prints. China's prints affect Japan, and Japan exports such a culture to the West. The root of the back behind us is here. Including the more important Picasso, the absorption of Chinese ink and wash; Duchamp was influenced by Chinese Zen culture. In fact, Chinese culture has always been the inexhaustible treasures used in the Western art community.

Han Weihua's work "Youyu Xia Yin"

68 × 136 cm paper color set 2022 years

Chen Heyu: It turns out that there are a lot of "broughtism" in Western art. And a large part of the essence of from our Chinese art. Talking about this is really a shock. We have been in cultural depression for a long time in the past two hundred years, and we may have more inertia's one -sided feeling. It is believed that Chinese art is closer to the west in unilaterally. When we study Western painting techniques such as perspective, we rarely "compatible" with each other, learn its shape and forget to use God. We didn't realize that our own traditional painting concepts and cultural temperament should not be abandoned. Because it has already become the inspiration muse and the source of creation of Western art.

Han Weihua's work "Qinghe Langrun Map"

180 × 96 cm paper color set 2022 years

Han Weihua: That's it. The abstract expressionism like the United States is directly linked to the comprehensive national strength of their country, and even the cultural form of the country. Abstract expressionism is the pride of American culture. One of the important artists Maswell, his work, has obvious expression of oriental artistic expression of Chinese calligraphy. He also went to Japan to learn, and of course this clue must also come from China. This is not a problem. Looking back at the issue of Chinese art. In the past for a long time, the intellectuals of China at that time, or the public classes, even almost deny Chinese text and replaced them with Latin letters. Fortunately, I didn't go that. But blindly learning from the West blindly made the whole people blur. We are now the second largest economy in the world, which is a very good foundation. Our culture will naturally be recognized by the world again like a bamboo shoot after the rain. With our politics, economy, military and science and technology, our artists also have enough confidence in this environment, and have the opportunity to concentrate on creating. In order to come up with works that conform to our great era. So, in this era, I feel lucky.

Han Weihua's work "Xia Shan Yanxiao"

96 × 180 cm paper color set 2022 years

Chen Heyu: Yes. It is imperative that Chinese art is going to the world. At this stage, Chinese calligraphy and painting works have also occurred in the domestic and foreign art auction market. Of course, as far as I know, Teacher Han, your work usually has a very strong performance in domestic and foreign markets. In this regard, I still want to ask, how can I better promote Chinese culture through more reasonable market -oriented operations, and use art works as a medium?

Han Weihua's work "Xishan Chunxiao Map"

48 × 180 cm paper color set 2022 years

Han Weihua's work "Xiao Muchun Smoke"

136 × 68 cm paper color set 2022 years

Han Weihua: Well, in Sotheby's, Christie's international large -scale auction, the final flow of artists' works, one is a museum, and the other is some important buyers. Of course, as long as they can communicate, they will appear at large auctions. Prior to the Western Economic Crisis in 2008, buyers around the global high -end art auction season, they know more about Andywalhol, Dali, the works of artists familiar with Westerners. Including Picasso and British artist Damina, this is very expensive. But after 2008, an old man named Qi Baishi suddenly appeared on the front line of the international auction. They will feel strange. But slowly this old man, they are no strangers because its price has been rising. So in the next ten years and twenty years, my expectations, short, are twenty years. 100 billion, even billions. Although we are talking about this in the trough of the global art market, from my perspective, from a long -term perspective, we are now catching up with a good time. We need a rest. This rest is also an opportunity to calm down thinking and precipitation. We will once again usher in the warmth and flying of the economy after the epidemic, just like the recovery after the SARS in 2004. It is a cycle. The economy and life of art and human beings are always like this. One cycle, then a cycle. Don't be afraid of periodic fluctuations. We have this strength, we have witnessed countless cycles, and human history has also written countless cycles. Therefore, the next time the next time it belongs to our Chinese.

Han Weihua's work "Linglin Chunyi"

68 × 136 cm paper color set 2022 years

Han Weihua's work "Smoke Forest Chun San Map"

68 × 136 cm paper color set 2022 years

Chen Heyu: Thank you Teacher Han for your answer. We believe that with the revival of the Chinese nation and the strengthening of the people's nation, more and more young people will fall in love with Chinese art. As a successful artist, can you give some suggestions for these younger generations who are learning and studying Chinese art. Later, like you, you can push Chinese art to the world.

Han Weihua's work "Eight Extreme Dust"

48 × 180 cm paper color set 2022 years

Han Weihua's work "Thousands of Miles Qing Autumn Map"

48 × 180 cm paper color set 2022 years

Han Weihua: The last question is particularly good. I also thank you for asking for such a question. Chinese culture, he is not a rootless water, it is a inherited culture. Every word we may say can have a relationship with Confucius two thousand years ago; every word we write can be related to Wang Xizhi more than a thousand years ago; a stroke we paint may have to be with Wei Jin when Gu Kaizhi's relationship. So we are a country with inheritance. Young schoolmates and sisters, you were born in a good country and caught up with a good time period. All the sufferings have for the predecessors to help you travel, and directly on the fast track. This is your luck, and it is also where you need to quit arrogance and irritability.

In addition, you also need to pay attention to the cultivation of comprehensive cultivation. In such a major environment, it is a good place to learn from the country. At the same time, learning the clever places in the arts of all countries in the world is to know how to know and know each other. When there is a crisis, some people need to be a retrograde person to be a cultural retrograde. Do not be wrapped in the world, do what you should do, and shoulder something that should be affordable. Not only for the five buckets of rice. I hope that everyone will be able to pass on the generation of our traditional culture.

Han Weihua's work "Autumn Light Cui Ling Map"

48 × 180 cm paper color set 2022 years

Han Weihua's work "Cui Xia No Dust"

68 × 136 cm paper color set 2022 years

Han Weihua's work "Cui Ling Qiu Huatu"

68 × 136 cm paper color set 2022 years

Chen Heyu: Thank you Teacher Han Weihua again. Your learning, your in -depth thinking and persistent exploration of art, and your sense of social responsibility and artistic mission, will touch our readers and young artists. I also hope that all of us can step on the shoulders of their predecessors and see more beautiful scenery. In the end, I wish Teacher Han Weihua: Evergreen in art.

2022-06-29

Han Weihua's work "Autumn Young Yao Yin Map"

122 × 240 cm paper color set 2022 years

Personal exhibition

2002 E-219 Space Han Weihua's personal work exhibition, Central Academy of Fine Arts;

In 2003, "Pointing at the Heart of the People" Han Weihua Contemporary Art Exhibition, Beijing Seven Color Space;

In 2006, "Interest Fun Tiancheng" Han Weihua's works exhibition, Beijing ZG Art Center;

In 2010, "Zhixu & Shoujing" Han Weihua's works exhibition, Shanghai 800 Art District;

2011 "ink and wash cabin" Han Weihua's works exhibition, Shanghai Ink Museum of Ink Art Museum;

In 2017, "Heguang Tongchen" Han Weihua's works exhibition, Xinxiang City Mass Art Museum;

In 2018, the "Junji Elephant" Han Weihua's works exhibition, Beijing Shanshui Art Museum;

Joint exhibition.

In 1999, he was selected as the ninth art exhibition of Henan Province.

In 2000, he was selected into the Guangdong Oil Painting Exhibition in 2000, Guangzhou Art Museum; in 2001, he was selected as Chinese Chinese Painting · Oil Painting Exhibition, won the excellent award, Tianjin Art Museum,

In 2002, "Combination of theory and Practice" Central Academy of Fine Arts History Assistant and graduate students' main curriculum exhibition, Central Academy of Fine Arts;

Contemporary oil painting exhibition of "Chip's Heart" in 2002, Beijing BS Art Workshop;

In 2003, the "Desire for the Age" Han Weihua & Huang Ah Line Works Exhibition, Beijing Sauce Art Center;

Participated in the "Wandering" six -person oil painting exhibition in 2004, thousands of years gallery;

In 2004, he was selected as the "Hundred People of Contemporary Art" exhibition, Beijing Qianjing Gallery;

In 2004, he was selected into the 10th Art Exhibition of Henan Province, won the bronze award, Henan Art Museum;

In 2004, "Either East or West" Han Weihua & Huang Ah Line's works exhibition, posted a gallery;

In 2005, he was selected into the 2005 National Chinese Painting Works Exhibition, Wenzhou Exhibition Hall;

In 2005, "Emotional Ink and Ink" 6 people on paper work exhibition, Beijing BIAC Art Center;

In 2006, he participated in the 3rd Beijing Shangyuan Painter Village Opening Exhibition, Beijing Shangyuan Painter Village;

In 2006, the works were selected as the 4th National Youth Chinese Painting Exhibition of Lichang, won the Excellent Award, China Art Museum;

In 2006, "Emotional Ink Second" Contemporary Art Invitation Exhibition, Beijing ZG Art Center;

In 2006, his works were collected by Dalian Wanda Headquarters;

2007 "Chinese New Writing" oil painting Chinese painting exhibition, Beijing March Gallery;

Ink painting exhibition of "Fifth Tension Expressionism" in 2007, Shenzhen F518 Fashion Creative Park;

2007 Songzhuang Ink and Ink Alliance Exhibition, Eastern Art Center;

2007 "Memory" Contemporary Art Federation, Beijing New York Art Space;

2007 "Sino -German Contemporary Art Forum", German Case Station Art District;

2008 Beijing BS1 Contemporary Art Museum 2008 Art Nomination Exhibition, Asian Contemporary Art Museum; A

2008 "Busan 2008 International Modern Ink Painting Exhibition", Busan, South Korea;

The first round of "symbol learning ink" in 2008, 798 Mastby Art Center;

In 2008, "Achievement" Chinese Painting Exhibition, Germany's Dunlun Art Museum;

In 2009 "Water. Time" Chongqing International Graffiti Art Week, Chongqing 501 Contemporary Art Museum;

In 2009 "Ink and Ink Chronicle" eight -person exhibition, Ide Art Center;

2009 "French Elephant Pen" -The invitation exhibition of China and South Korea painting, elephant art space;

In 2009, "To the Extreme Polar Sex": Zhang Zhaoda & Han Weihua's Works Exhibition, Id Art Space;

In 2009 "First Yoge Berry Art Festival" ink and wash unit: China Method, Yangebai Art Museum.

In 2009 "Everyone Play" Art Exhibition, 798 Primary Life Gallery;

In 2009, the "Memory on the Desk" of the work was selected into the 11th National Art Exhibition, Jiangsu Provincial Art Museum;

In 2009 "Pushing Hand and Dialogue" paper work exhibition, the art space of Shangzhou, New York;

2009-2010 "post-scholars": China Ink Biennales Exhibition Area/Linzhou Beilin Museum; Shanghai Exhibition Area/Shanghai Duolun Modern Art Museum; Beijing Exhibition Area/Beijing Shang Element Art Museum;

2009 "Post -Career 1", Mastby's Contemporary Art Center, Beijing;

2010 "Later 2", Ethan Art Center, New York, USA;

In 2010, "New Realm" Chinese Economic New Literary Ink Invitation Exhibition, Peking University China Economic Exhibition Hall;

In 2010, "Bicycle and People" participated in the first 798 Multimedia Art Festival Photography Unit, Beijing;

The "2nd Yogebai Art Festival" ink and wash units in 2010: "China Method", Yangebai Art Museum.

The theme exhibition of the first grass venue Biennale in 2010 "Ink in Ink", Beijing; Beijing;

2010 "New Ink and Ink from China" work exhibition, Miami Art Expo, USA;

2011 "Ink and Ink NO.1" work exhibition, Shanghai Duolun Modern Art Museum;

2011 "Calligraphy NO.1" works exhibition, Shanghai Ink Museum of Ink Art Museum;

In the "Third Yoge Berry Art Festival" ink and ink unit in 2011, Yan Gubai Art Museum;

In 2011, the "first ink and wash literature biennial exhibition" China modern contemporary ink 1978-2011, Shanghai 800 art district;

In the 2011 "Ink Ink and Ink" work exhibition, New York Essen Cohn Gallery;

In 2012 "Dongdu Moxian" inheritance and transformation: Chinese contemporary ink and wash exhibition, Tokyo Metropolitan Art Museum;

In 2012, the "Water Way" six new ink painting exhibition, 798 signs and galleries;

In 2013, "Paper" Pang Yongjie, Han Weihua, and Chen Liang's three -person exhibition, successful work;

In 2013, "Creation" Contemporary Ink Art Exhibition, Shandong Zhaoyuan Art Museum;

In 2014, "Tianjin People's Fine Arts Publishing House" published the "Chinese Contemporary Master's Collection-Han Weihua" (Collection of Dahongpao);

In 2015, "China Post" "China’ s famous masterpieces Han Weihua album "(Mr. Shao Dazhen inscribed)

In 2016, he was invited to hold an exhibition at the Beijing Headquarters of Goldman Sachs Investment Company, and his works were collected by Goldman Sachs.

"Seven Days of Art" in 2017, Beijing Blue Run Art Museum;

In 2018, "Black and White Performance" Beijing Pai Tai'an First Expo 18 -member Exhibition, Tai'an Convention and Exhibition Center;

2019 "Ink and Ink Tiananmen", Beijing Australian Art Museum;

In 2019, New Lianchi New writer -the second visual art biennale of China, the theme ink invitation exhibition of Xin Lianchi International ‘Lotus Leaf He Tiantian’ theme, Hebei Lianchi Academy, Calligraphy and Painting Art Museum;

2021 "Niu" Huazhong Songfeng Pavilion Invitational Exhibition, Songfeng Pavilion of Small and Small Town;

2022 "Tiger" International Art Invitational (Network) Exhibition, forum at the same time: the future of art and art in the AI ​​era; exhibition time from New Year's Eve to New Year's Eve from 2021; the forum time 2022 Lantern Festival 20: 00-22: 00;

2022 pay tribute to Beijing Winter Olympics | 22 Chinese contemporary art exhibitions (online exhibition time, February 4th-February 20, 2022)

In March 2022, he participated in the "Yuanqi Point Contemporary Art Exhibition" hosted by the Beijing Released Gallery and won the gold award.

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