Xu Jiang: Flowing Flowers and Blogi -"The World with the Wind · Liu Haiyong Chinese Painting Works Exhibition"

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—— "The World is Wind · Liu Haiyong Chinese Painting Works Exhibition"

Xujiang

The world of Chinese people is endless. Three hundred poems, mostly connected to grass and trees. "The Book of Songs" is the grass and trees, which starts with amaranth, "Saying ravioli, flowing from the left and right", what kind of grass -wood style picture is this! Experts have words: The same sound of 荇 and 言, this grass and trees are stacked on the fruit, and it makes people feel like. That "vegetable" is also a picked call. If it is a grassy head, with the mood of landscape, the green green green, like a cloud, covered with all things, makes people all worldwide, like grass and vines, endless.

"Step in the Wind" 1100cm × 300cm 2022 paper color

Chinese text training and its imagination bring us a natural history, and also gives us a strong perception of natural style. Liu Haiyong's solo exhibition is "the world has the wind", which is to create a graceful charm with green and Fu Su Shi, conveying the winds encouraging and swarm of all things.

"Poetry Impression · Small" 270cmx96cm 2020 Covered color setting

Freehand flower and bird paintings have been large end to the Ming and Qing dynasties. Many large furniture is passed down with freehand flowers and birds. Regardless of the 掇 掇 掇 掇 掇 写 写 or the giant of the middle hall, its important characteristics are freehand. The folding branches or clustering, highlighting the subject, blank lining, paying attention to the writing of the book and writing, and actively the program and the life experience of the pen and ink. One of the overall trends of the descending flowers and birds painting in the Ming and Qing dynasties was that the pen and ink are interested in the painting. With the rise of modern monuments, Jin Shi is heavy, and the pen and ink show the meaning of life infiltration. This ink is called free, the arrest is vivid, and it has become more and more transformed. Therefore, the passion of the teacher creation and the creation of the creation, the proud and forgetfulness, and the pens of the pens are the first, and the consciousness of the painting and calligraphy of poetry, calligraphy and calligraphy, and the feelings of the unity of heaven and man, from the influence of mindfulness of mind, intensified The structure of the pen and ink has been promoted, and the time and space of the "inter -painting question" is developed. If so, freehand flower and bird painting has become the tide of recent painting.

"Desire to Cry Goose" 75cmx39cm 2018 paper ink

The second, third, and 460cmx45cm of "Flower Flowers" series 2018 paper ink

Liu Haiyong likes painting. In his works, there are a large number of flower dumplings and clusters of "Kwai Garden Sanghai" and "Yanshan Flower Tree". These flowers and trees, from natural, like spring into the garden forest, Bai Hui is prosperous, not only filled with vertical and horizontal strokes, but also floating like the rose of spring rain, but the most impressive is that it is like a spring, rising as the festival, Chanran. Liu Haiyong's flowers and plants are clustered from Jinjian, with a pen and horizontal, walking through the clouds, and the flowers are always raised to the high place. Then he was intentional, Ye Huo Pinya, weaving the beautiful layout. If you are Xinxin, out of nature. Liu Haiyong's mountain flowers are the most charm. There are no cold and cold habits of the cold and cold autumn, and there are no bad habits of carving, "like the flowers bloom, like looking at the new year." The strong wind is not blindly looking for strength, but to accumulate the heroes in the vertical and horizontal. It is the natural style of Haiyong from the strong and beautiful, and it is the cultural style of Hai Yong.

"Hundred Flowers Xiangyang" 1100cm × 330cm 2022 paper color

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

Four -screen "Lotus Series" 136CMX22CM*4 2018 paper color setting

Liu Haiyong also painted a group of 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 was densely picked up with wet ink, and the gorgeous scattered sunflower was scattered with bright orange yellow. Here, Liu Haiyong's vigorous pen captured Kwai's mood, and he was buckled and spread out. "Chaolu Waiting for the Sun" highlights the main axis of the main axis, and wides over the life of the cluster of Kwai. Kwai Dye Rihui, the Zhi Ruo Fu Su, a kind of "waiting" situation rises, is glad. "Hundred Flowers and Suns", more than ten meters of horizontal rolls, like the tide, like the waves, the sunflower's frustration, looking forward to echoing, and weaving a piece of rich and gorgeous and brilliant with a magnificent vitality. Liu Haiyong used the relationship between ink color and Tenghuang to create a biological state, and he poured ink to spread the mighty waterfront. With such a huge disease that is susceptible to stagnation, Hai Yong uses the long bone of the long front, and the changes of the ink of the bed, flowing with the giant cricket, and driving the wet ink to smoke clouds, creating a epic symphony like an epic.

"The Popular Song Series · Xingyin", "The Popular Song Series · Su Shuang Hua" 367CM × 144cm 2022 paper ink

In the summer of 2021, Liu Haiyong visited the poplar forest in Xinjiang's hinterland, and wiped it on the field, and wrote ten giant pine poplar. The euphratica is resistant to drought and drought. Liu Haiyong put down his strokes and answered. Raw wet pen, spots, let Populus euphratica rotate on the paper. Liu Haiyong was soaked in the state of Episode, and his heart was carved by the ingenuity of the wild, and Xing sent out the extension of the bone. The reason why Liu Haiyong named the ten giant giants as "righteousness" was the turning of the branches, and the ancient pole was clear, so that he had a rare sincerity. If you are sincere, you are gorgeous, with true feelings, and the pens of the ink to grow together, leading to the nourishment of the three thousand autumn, and self -containing a wild phenomenon. The direct writing on the sand in the summer, the spots of the gravel on the paper, drove the heart to sound. It can be described as: "If it is placed in the sky, it is obtained." This is a pure work of a group of teachers, and it is also a wayward painting. Research Note- "Substance of Movement: Pen (1) (2)" 32cm × 22cm 2015

Research notes- "freehand spirit and artistic (1) (two)" 32cm × 22cm 2015

Ten years of smelting, sharpening three autumn. The study from Zhang Lichen and Mr. Xue Yongnian from Zhang Lichen and Mr. Xue Yongnian were "the pen and ink structure and freehand of freehand flowers and birds paintings in the Ming and Qing dynasties." The core of his theoretical research is "elephant". The research of "elephant" has a long history. Lu Ji's "Wen Fu", the core of the core is the image, "constant intention is not called things, and the text does not catch the meaning." During the Wei and Jin dynasties, Wang Yan, a talent of the Wei and Jin dynasties, put forward a brilliant insight into the relationship between "words", "elephant" and "meaning". On the one hand, it is emphasized that through "words", you can understand "elephant" and "elephant", which can understand "meaning". Mo Ruo is like Mo Ruoyan. On the other hand, I emphasize understanding, do n’t persist in the image, and understand that if you understand it, you should no longer be attached to words. The so -called "proud and forgetfulness" and "proud and forget words". This unforgettable state is a cardinal of the development of freehand development in the Ming and Qing dynasties. It is an opportunity for the interaction and symbiosis of the realm of the elephant. Hai Yong was an important nourishment from this study. He was healthy, creative, and found in the busy teaching and creation. There are many sketches in the exhibition, which is the day lesson of his pen and cultivation.

There are wind in the world, and the wind is exhausted. From all kinds of winds, Liu Haiyong, Han Yinghua, cultivated deeply, and remitted the important phenomenon of the vertical and writing of contemporary freehand flowers and birds. 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.

Source ｜ China Culture News

Editor ｜ Xing Ke

Blame ｜ Qiu Lili

Final Trial | Xu Yuan

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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

CAA News Center

CAA Rong Media Studio

CAA Media Convergence Center

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