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

Author:China Art College Time:2022.07.17

There is a wind in the world -Liu Haiyong Chinese Painting Works Exhibition

Exhibition time

7.16-7.27

Exhibition location

Chinese Art Museum

Hall 2/3/4/10

organizer

Chinese Art Museum

China Art College

Academic support

Chinese Artists Association

Chinese Painting Society

On July 16th, the "World of the World -Liu Haiyong Chinese Painting Works Exhibition" opened at the Chinese Art Museum. The exhibition showed more than a hundred works of Liu Haiyong, showing its thinking and practice of freehand flowers and birds in recent years.

Opening ceremony site

Wang Wenzhou announced the opening of the exhibition

Former Deputy Minister of Culture, Wang Wenzhou, announced the opening of the exhibition, 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, Jin Yibin, Secretary of the Party Committee of the Chinese Academy of Fine Arts, Ma Fenghui In his speech, Professor Yu Yang, a professor at the Central Academy of Fine Arts, to read the chairman of the Chinese Artists Association and the dean of the Central Academy of Fine Arts, Fan Dian Hexin.

Feng Yuan, deputy director of the Central Cultural and History Research Museum, honorary chairman of the China Academy of Arts, Zhang Jianxing, deputy president of the People's Daily, Zhang Jianxing, Chairman of the China Newspaper Association, He Cheng, Deputy Director of the theory Bureau of the Central Propaganda Department, Deputy Director He Yawen, Liu Dongyan, deputy director of the Department of Science and Education of the Ministry of Culture and Tourism, Lu Yushun, Dean of the Chinese Academy of Painting, Xu Li, vice chairman of the Chinese Academy of Arts, He Xiuchao, Secretary of the Party Committee of the Central University of Finance and Economics, Hao Rong, Dean of the Central Academy of Drama, Chinese Art Science and Technology Research Director Wang Feng, Zhang Daliang, vice president of the Chinese Society of Higher Education, Zhao Guoying, Deputy Dean of the Palace Museum, Liu Wanming, deputy director of the National Museum of China, Xu Lian, Deputy Dean of the National Academy of Painting, Zhang Qing, Deputy Director of China Art Museum, China Wang Ze, deputy director of the General Office of the Literary Federation, Luo Xianliang, Secretary of the Discipline Inspection Commission of the Palace Museum, Yang Zhouxian, deputy director of the National Art Fund Management Center, Liu Jian, Secretary -General of the Chinese American Association, Zhang Xiaoling, Dean of the Academy of Fine Arts of East China Normal University, Tan Ping, a professor at the Chinese Academy of Arts of China , Tian Liming, Director of the Chinese Academy of Painting and Art Committee, Niu Kecheng, Dean of the Chinese Academy of Arts of China, Xue Yongnian, Du Ziling, Liu Xilin, Wu Yueshi, Guo Shifu, Tang Yongli, Shang Hui, Chen Mengxin, Peng Feng, Li Yi 、陈文锋、胡文军、李伟、王平、张苗苗、方土、乔宜男、李传真、杨涛、陈忠康、陈鹏、邢少臣、杜松儒、范存刚、冯令刚、王海滨、夏荷生、黄华三、于光华、张弓、周午生、 Zhao Bin and Zhang Zhong attended the opening ceremony. The opening ceremony was chaired by Cao Xiaoyang, deputy dean of China Academy of Fine Arts.

In his speech, Jin Yibin said that the Department of Chinese Painting of the Chinese Academy of Fine Arts adhering to the "peak consciousness", the tree of Chinese painting inherits and the flag of Tuoxin, and built the academic structure of Chinese painting with distinctive gorgeous characteristics. In the past century, a generation of masters in the development process demonstrated the spiritual quality of Gome, and it also created the height of the development of the Academy of Fine Arts. Liu Haiyong adhered to the front line of professional teaching and the forefront of art education, and made unique contributions in teaching and educating people, research and creation. Liu Haiyong continued to cultivate innovative pen and ink structures, focused on pioneering the expression of large -free freehand pen and ink, exploring the beauty of Jiao Mo, the vast beauty of the light ink, and the "packed aesthetics" of the colorful "buns", and found his own way of painting. At the same time, actively explore the teaching model of "two sections of the trinity", and guide students to train hand skills in the relationship between Chinese freehand spirit and freehand forms, and enhance the cultivation of personality.

Ma Fenghui believes that the exhibition shows the achievements of Liu Haiyong's creation, teaching, and research in recent years, and reflects his mission of promoting the spirit of the times with pen and ink, reflecting his artistic pursuit of adhering to the ideal of art and promoting the spirit of Chinese aesthetics. As the keywords of this exhibition, "Wind" is the earliest and most frequently -frequency image in ancient Chinese poetry, showing Liu Haiyong's trust in traditional Chinese aesthetic culture and its deep texture. Liu Haiyong's rich artistic creation has penetrated the traditional freehand spirit and aesthetic pursuit of the times, and the concept of traditional cultural value and artistic innovation is undoubtedly a positive and beneficial expansion of the development of contemporary Chinese painting art.

As a teaching teacher, Zhang Lichen has deep hopes for Liu Haiyong's artistic creation. He said that Liu Haiyong is good at learning and learning, and he is good at raising new problems and actively discussing. The unremitting spirit of creation. Liu Haiyong's thinking and exploration of painting and teaching, and talent training in painting, theoretical research, Chinese painting education and teaching, and talent training are complementary with his artistic creation.

Fan Dian said in Hexin that Liu Haiyong's work full of pride and poetry reflected his artistic exploration and far -reaching thoughts. Art map. These works reflect his sincere feelings for Chinese painting art, excellent artistic endowment and unique way of creative research. Liu Haiyong showed a broad cultural ambition and strong creative consciousness in the painting of freehand flowers and birds. He pursued theme meaning and cultural mood in the work, giving freehand flowers and birds with vigorous visual weather, forming a broad artistic pattern It also reflects the clear spirit of the times. He insisted on controlling pens and research on the pen and ink, showing the rich and scholarly temperament in the vivid emotional expression, broadening the expression of the language and ink language, and showing an extraordinary style.

Wu Weishan pointed out that Liu Haiyong had sought to learn from the Central Academy of Fine Arts and the Chinese Academy of Fine Arts, so that his works had both the southern aura, spirituality, and the majesty and vastness of the north. "There is a wind in the world" reflected in three aspects: wind bone, wind, and style. As far as the style is concerned, Liu Haiyong has found the spirit of personality from the traditional Chinese culture, and the spirit of painting the spirit with flowers and birds. Flower and bird paintings are not limited to traditional themes and painting methods, and their works are full of spiritual strength of the humanistic atmosphere of nature and his inner world; in terms of style, Liu Haiyong's work has formed a distinctive style. His personality weather. With his long artistic path, he constantly pursued more material worlds and spiritual worlds, refracted in his works, making his works richer and more vivid. In his gratitude, Liu Haiyong thanked the teacher on the road of his growth. They were always guiding and leading. This exhibition is a staged report to the teacher.

"There is a wind in the world -Liu Haiyong Chinese Painting Works Exhibition" was co -sponsored by the China Art Museum and the Chinese Academy of Fine Arts, and was exhibited in the Hall 2, 3, 4, and 10 of the Chinese Art Museum. The theme of the exhibition "The World" has both the traditional thinking of the freehand and the concern 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.

Academic Speaking Scenes

After the opening ceremony, "the world has the wind -Liu Haiyong Chinese Painting Works Exhibition Academic Talks" and "Contemporary Construction of Chinese Painting Freehand System and the World Wind · Liu Haiyong Chinese Painting Works Exhibition", two seminars surround Liu Haiyong The inheritance value of freehand flowers and birds, the "big freehand spirit" of traceability, and thinking about the "big freehand pen and ink language" of the era of the epoch, and the historical context of freehand research on Chinese painting, freehand modern academic rational system, college discipline majors construction The path of the road of Chinese painting freehand systems, and the discussion of issues such as the pursuit of the times and the pursuit of the times.

It is reported that this exhibition will continue until July 27.

Seminar site

Introduction to the artist

Liu Haiyong was born in Leqing, Zhejiang in 1976. He listened to Yuzhai owner. He is currently a professor, a doctorate instructor of the Chinese Academy of Fine Arts, and a young Yangtze River scholar of the Ministry of Education; a member of the Chinese Artists Association of the Chinese Artists Association, a member of Xiling Yinshe, a member of the Chinese Painting Society, a director and deputy secretary -general of the Zhejiang Artists Association, and Chinese art Executive Deputy Director of the Institute of Chinese Painting.