Chen Zhao’s main experience

Chen Zhao

Chen Zhao was born in Wuhe County, Anhui Province in 1983. He calls himself a "Wuhe native". In 2005, he was admitted to the Central Academy of Fine Arts and received a Bachelor of Arts degree. and a master's degree in literature. He was later admitted to the China Academy of Arts and became Mr. Zhang Lichen's doctorate. Professor Yu Guanghua is an assistant professor at the School of Chinese Painting at the Central Academy of Fine Arts, an external flower and bird teacher at Beijing Language and Culture University, and a painter at the Youth Painting School of the Li Keran Painting Academy.

Chen Zhao is committed to the study of brush and ink in freehand flower-and-bird paintings, and has deeply studied the masterpieces of famous paintings of the past dynasties. In particular, he has profound insights into the blank space and brush and ink structure of Bada Shanren. " and many paintings have been published in "Cultural Monthly", "Art Market", "Art Newspaper" and other publications, and also published a personal collection of paintings.

His works participated in the Guardian Auction and were selected for the Nanjing International Art Exhibition. He held nearly ten influential solo exhibitions in Shenzhen Luohu Art Museum, Beijing Chaoyang Painting Academy, 798, Shandong and other places, and went to Singapore and other places. Exhibitions and exchanges, and participated in dozens of famous art exhibitions such as Yanhuang Art Museum, Bird's Nest Cultural Center, Art Market Art Museum of the Ministry of Culture, and Li Keran Painting Academy Art Museum.

Chinese name: Chen Zhao

Nationality: Chinese

Occupation: Painter

Graduation school: Central Academy of Fine Arts

Representative works: "Four Screens of Qingfen", "Four Screens of Southern Scenery", "Picture of Two Immortals", "Iron Bones", "Four Screens of Peace in Four Seasons", "Four Screens of Hometown Style"

Character Profile

Chen Zhao, male, was born in 1983 in Wuhe County, Bengbu City, Anhui Province.

From 2005 to 2009, he studied at the Flower and Bird Studio of the Chinese Painting School of the Central Academy of Fine Arts and received a bachelor's degree in literature.

From 2010 to 2013, he studied at the Flower and Bird Studio of the School of Chinese Painting, Central Academy of Fine Arts, and received a master's degree in literature. His tutor was Professor Yu Guanghua.

In 2017, he was admitted to the China Academy of Art and became Professor Zhang Lichen’s Ph.D.

Exhibitions and Awards

Won the National Student Scholarship four times from 2005 to 2009.

In 2008, he won the second prize in the "Heart to Object" sketching exhibition held by the National Academy of Painting across the country.

In 2008, his work "Reed Geese in Snow Scenery" won the first prize in the Outstanding Work Exhibition of the Central Academy of Fine Arts and was collected by the Central Academy of Fine Arts.

The 2009 graduation works "Bamboo", "Shenmu Palm", "Traveler's Banana" and "Coconut Tree" won the second prize in the Outstanding Works Exhibition of the Central Academy of Fine Arts Graduation Exhibition, and participated in the 3rd Anhui Province Fine Arts Festival Exhibition.

In 2010, his works "Orchid in the Wild", "Jackfruit" and "Panana" were selected into the Asian Art Expo and won the Excellence Award.

The 2010 work "Traveler Jiao" was specially invited to participate in the calligraphy and painting exhibition celebrating the 60th anniversary of the founding of the Democratic Progressive Party.

In 2011, his works "Shenmue Palm" and "Traveler Banana" participated in the "Art·Rebirth" 2011 joint exhibition of academic new generation calligraphy and painting.

In 2012, his works "Cormorants" and "Peony" won the Attachment Scholarship from the Central Academy of Fine Arts.

From January 10, 2013 to January 30, 2013, the solo exhibition "Chenghuai Viewing Taoism - Chen Zhao's Flower and Bird Painting Works Exhibition" was held at the Chaoyang Calligraphy and Painting Institute of Chaoyang Artists Association, Chaoyang Federation of Literary and Art Circles, Beijing.

From January 12, 2013 to January 25, 2013, a personal exhibition "Feng Ming Chaoyang - Chen Zhao's Flower and Bird Painting Exhibition" was held at the Jianxin Hall Gallery in 798 Art District.

In June 2013, he participated in the "New Business Vigor" six-person joint exhibition of Chinese paintings from the Central Academy of Fine Arts held in Dongdan Visual Classic Art Museum.

In July 2013, he participated in "The Great Feeling of Coolness - Three-person Exhibition of Chinese Painting at the Central Academy of Fine Arts" at the Xinhongwen Museum on Liulichang East Street.

In August 2013, an exhibition of Chen Zhao’s flower and bird paintings was held at Jimei Zhai Art Museum in Weifang.

In September 2013, "Cheng Huai Viewing Taoism - Chen Zhao's Painting Art Exhibition" was held at Yantai Art Museum.

In November 2013, he participated in the 2013 "Calligraphy and Painting Research" academic nomination exhibition.

In April 2014, the works "Lonely Posture" and "True Color Picture" participated in the 2014 "Painting for China" National Higher Education Flower and Bird Teaching Seminar and Teacher and Student Works Exhibition of the Central Academy of Fine Arts.

In September 2014, "A Lonely Boat in the Wild Water - Chen Zhao's Painting Exhibition" was held at the 798 Jianxin Hall in Beijing.

In October 2014, the work "Guting" was selected for the Nanjing International Art Exhibition.

On November 15, 2014, he participated in the "Taste of Paper and Ink" joint exhibition of six academic young painters at the Danfeng Chaoyang Art Museum in Beijing.

On November 25, 2014, a personal exhibition "A Lonely Boat in the Wild Water - Chen Zhao's Painting Exhibition" was held at the Luohu District Art Museum in Shenzhen, Guangdong.

On November 29, 2014, he participated in the "Ink Painting Together" - Contemporary Young Calligraphers and Painters Exhibition at the Wanhe Art Museum in Songcheng, Qingzhou, Shandong.

On December 9, 2014, "Painting Inheritance" - an exhibition of paintings by Chen Zhao and Zhang Liyong was held at the Jingwei Art Exhibition Hall in Dongguan, Guangdong.

On December 20, 2014, he participated in the "Yingwu Xiangtai" - Chinese Art Investment·Recommendation Exhibition of Works by Famous Chinese Painting Masters at Shandong Rizhao Museum.

On January 11, 2015, the International Art Center Art Museum of Dongchen National Art Building in Gaobeidian, Beijing, participated in the "Isomorphism of Art and Quality" - an exhibition of six outstanding young artists from the Central Academy of Fine Arts.

On January 18, 2015, he participated in the "Qing·Qi" - Three-person Ink Painting Invitational Exhibition at Zhengwen Hall, 798 Art District, Beijing.

On January 31, 2015, Shouguang, Shandong Province, "Chenghuai Taste" - "Chinese Art Investment" recommended exhibition of works by famous Chinese paintings.

On February 1, 2015, the Art Market Art Museum of the Ministry of Culture participated in the third anniversary large-scale calligraphy and painting exhibition of "Farewell to the old year and welcoming the new year, grateful for the three rays of spring".

On April 17, 2015, Weifang, Shandong Province, participated in the 5th Chinese Painting Festival.

On April 25, 2015, "Brush and Ink Paintings - New Youth Invitational Exhibition" was held at the Art Market Art Museum of the Ministry of Culture.

On April 26, 2015, Tianya Antique City, "Oriental Blooming · Inspirational and Patriotic Famous Painting Exhibition".

On June 18, 2015, the first Jiangsu International Art Fair was held in Nanjing, Jiangsu.

On June 30, 2015, Binzhou Ziqian Art Museum participated in the Dongying Art Fair.

July 5, 2015, Li Keran Painting Academy Art Museum, "Academic" - 2015·Youth Ink Exhibition.

On July 19, 2015, 798 Art Center, the college’s new force “Between Work and Writing” ink exhibition.

On August 8, 2015, Yanhuang Art Museum, "World on Paper" invitational exhibition of famous calligraphers and painters celebrating the 20th anniversary of the founding of "China Art Newspaper".

On August 14, 2015, the famous artist invitational exhibition "The Brilliance of the East·The Might of the Great" was held at Shengyuan Art Museum in Tangshan, Hebei Province.

On August 21, 2015, "Pioneer of Traditional Chinese Painting - Haiyang Environmental Protection Culture Tour" was held at Country Garden·Shili Golden Beach, Haiyang City, Yantai, Shandong Province.

On September 12, 2015, "Wind and Scenery - Academic Exhibition of Yiwei Contemporary Chinese Young and Middle-aged Artists" was held at Xiaowenzhai Art Museum in Shouguang, Shandong Province.

September 19, 2015, Shandong Guangrao International Art Fair, famous art invitational exhibition.

November 7, 2015, "The Strange Wilderness - Exhibition of Chen Zhao's Paintings", Hongshan Art Museum, Weifang, Shandong.

On November 14, 2015, "Silent Silence - Chen Zhao's Painting Exhibition" was held at Jianxin Hall in 798 Art District.

On December 4, 2015, the Art Museum of the Central Academy of Fine Arts participated in the "Painting for China" - Teaching and Creation Exhibition of the School of Chinese Painting of the Central Academy of Fine Arts.

On December 6, 2015, Liulichang Taiwenlou Art Museum, "Don't be shy - Invitational Exhibition of National Outstanding Young Painters".

On December 20, 2015, Yanhuang Art Museum, "New Image of Ancient Ideas" - Yiweidongyue Ink Painting Invitational Exhibition.

On December 26, 2015, Guangrao Guanghui Art Museum, Shandong, "Ink Zen Style" - Invitational Exhibition of Famous Chinese Painting Masters.

On December 29, 2015, Phoenix Art Salon, "New Forces of Pen and Ink" - Nomination Exhibition for Young Painters from Cross-Strait and Three Places (Fourth Season).

January 24, 2016, Shanxi Merchants Museum, "Image of Pen and Ink·2016 Welcome Exhibition of Famous Calligraphers and Painters".

On April 16, 2016, Longkou, Shandong Province, "Inheritance of Calligraphy and Ink" - Invitational Exhibition of Cultural Longkou Calligraphy and Painting Works.

On July 7, 2016, in Tangshan, Hebei, "Art Inheritance - Cultural China Tour" entered the Tangshan Famous Painting Invitational Exhibition.

On July 10, 2016, Jinan, Shandong Province, the twelve-person exhibition "Spring Dawn on the Lake in Time and Space"——Bi Bo & Chen Zhao.

On July 24, 2016, Hangzhou, Zhejiang Province, the 2016 First "People View Painting" City Tour Exhibition of Excellent Works·Hangzhou.

September 9, 2016, Dongying, Shandong, the 3rd China Dongying Art Expo.

October 8, 2016, Longkou, Shandong, "Exquisite Elegance" - Exhibition of Works by Outstanding Young Artists from the Central Academy of Fine Arts.

On October 15, 2016, Li Keran Painting Academy, "Boundless Wisdom" - the founding ceremony and the first academy exhibition of the Youth Painting Academy of Li Keran Painting Academy.

On October 18, 2016, Dali Cangshan Public Library, "Auspicious Dali" exhibition of outstanding artists' works.

On October 20, 2016, "Chinese Calligraphy and Painting" Magazine Art Museum, "Poetry, Flowers and Ink Rain" - Invitational Exhibition of Works of Painting and Calligraphy Academy Appointed Artists of "Chinese Calligraphy and Painting" Magazine·Flower and Bird Painting Exhibition.

On October 22, 2016, in Qingzhou, Shandong, "Ancient Rhythm and Pure Origin" - and Shangde Hanmoxuan opened a six-person exhibition.

October 29, 2016, Yanhuang Art Museum, "New Images of Ancient Ideas" - Bingshen Dongyue Young Artist Invitational Exhibition.

October 30, 2016, Shenzhen Luohu Art Museum, "Shadow of the Heart" - Exhibition of Chinese Painting Teachers and Students of the Central Academy of Fine Arts.

On November 17, 2016, Changhe Zhai, Singapore, "Daily Painting" - an exhibition of works by ten contemporary ink artists.

On November 19, 2016, Millennium Ancient Xuan Art Museum in Liulichang, Post-Freehand - Academic Invitational Exhibition of Millennium Ancient Xuan Contemporary Flower-and-Bird Painting Masters.

On December 3, 2016, Songzhuang Jinghua Art Museum, "A New Realm of Ink Painting" - Academic Invitational Exhibition of Outstanding Young Artists from the Central Academy of Fine Arts.

On January 9, 2017, "Decoration Pool" - Invitational Exhibition of Contemporary Young Artists and the Opening Ceremony of the Times Art Appreciation Center.

On April 22, 2017, "Youth Exhibition" National Outstanding Young Artists Invitational Exhibition, Taiwen Building, Liulichang.

July 1, 2017, Jinan Youdu Art Museum, Jinan Lu Point General - Exhibition of outstanding young painters of Damei Mo Yun.

August 19, 2017, Jilin Painting and Calligraphy City, Feng Yinhu - Li Yiliang, Chen Zhao, Xue Feng, three Ph.D. Chinese painting joint exhibition.

September 18, 2017, Songzhuang Dezheng Art Space, Beijing, Painting and Painting Art Appreciation.

Published books

"Collection of Works by Famous Chinese Painting Masters—Chen Zhao", January 2013, Anhui Fine Arts Publishing House.

Overview of brush and ink art

Chen Zhao’s brush and ink language inherits the essence of the ancients’ brush and ink, but also creates a new path. His flower and bird paintings are particularly in line with the wild style of Xu Xi of the Five Dynasties. Song paintings are well studied and were influenced by the techniques of Ming Linliang, Lu Ji, and Qingteng Baiyang. The brush and ink language especially absorbed the essence of the brush and ink of the masters of the Ming and Qing Dynasties.

Chen Zhao has a deep study of Lin Liang, Qing Teng, Bada Shanren, Yangzhou Eight Eccentrics, Wu Changshuo, Qi Baishi, and modern Pan Tianshou. He also adopted methods from these schools and combined them with their writing and ink language. Gradually forming his own style of painting, his brushwork is simple and bold, vigorous and straightforward, powerful, penetrating through the back of the paper, novel in layout, strong in momentum, and the overall change is vivid. Every plant, tree, flower, and bird in his brush strokes have their origins, and they all have their own origins. It can make the viewer calm and moved.

Chen Zhao’s paintings are inspired by nature, and he has found the source of his heart. There are so many plants and flowers, all of which can be incorporated into his paintings and passed down in his pen and ink. The trees, herbs, and vines in his paintings are physical and rational. The pens used are all based on ancient methods. The writing style of his works is full of vigor and vitality, which makes him have a noble style.

Criticisms of Works

Comments on Controlling Passion with Theory and Methods - Talking about Chen Zhao’s Flower-and-Bird Painting Creation

Author: Yu Guanghua

Copying - Sketching - Creation is the basic process of learning flower and bird painting, which can also be regarded as three stages. In these three stages, the focus of learning has different emphasis, but the core purpose that remains unchanged is to understand and grasp the principles of painting. Summarize painting theories and inherit painting techniques from ancient models, observe and confirm them in the process of sketching, and then combine them with your own understanding to make choices and create, and finally form your own language and create your own works. This is the result of continuous practice. the most effective way. Without the speculation of ancient models and the observation and study of objects, it would go against the law. The teaching of flower and bird painting is based on this concept, focusing on strengthening the training of painting principles from the stages of copying and sketching.

Chen Zhao's flower and bird paintings follow the rules of learning very well. During the long-term concentrated study, he gained his own understanding and gains in the search for brushwork, painting theory, and personal style. Demonstrate comprehensive technical literacy and personal painting qualities.

In his paintings, his understanding of pen and ink shows the professional skills accumulated through years of formal study. Through a lot of copying, I not only became familiar with the "brush and ink structure" of the predecessors, but also realized the creative rules of the "brush and ink structure". On the basis of studying the masters of the Ming and Qing Dynasties, Chen Zhao especially made long-term studies on the characteristics of Bada Shanren's pen and ink and the rules of composition. Therefore, in sketching and creation, he can write boldly, take images as he pleases, pay attention to composition, and know white and keep black. , not falling into the usual routine, not only conforming to the basic requirements of painting theory, but also reflecting one's own unique understanding, which is very valuable.

Of course, painting ultimately touches people with emotions, which are synthesized into spiritual connotations such as passion, personality, and cultivation. Chen Zhao has no shortage of emotional investment in sketching and creation. Through rational thinking, he rationally transforms it into the image of the picture. What is worthy of recognition is that he is a diligent learner who can endure hardship and loneliness. He often sketches alone outside. His enthusiasm for learning and persistence towards his goals are extraordinary. Many of his works were completed in sketching. They are full of emotions and rationality, so they can be vivid and touching.

Chen Zhao’s creations have made gratifying progress in terms of the selection of subject matter, the use of pen and ink, and the management of realms. He has achieved a creation with consistent pen and ink, unified structure, novel conception, and complete pictures. intention. His recognition and understanding of the spirit of freehand brushwork shows a high level of talent and thus indicates long-term potential. As he deepens his understanding of painting and becomes familiar with painting theory and painting methods, I believe he will paint better and his prospects will definitely make a difference.

Comment: Believe in Minqiu and walk on the road - A brief review of Chen Zhao and his flower and bird paintings

Author: Zhu Zhenzhong Release time: 2013-01-0917:08:20

Studying for a Master of Arts degree allowed me to meet many young and talented classmates. Since we all studied under my husband, these "classmates" have real meaning. Therefore, when we get along, we can't help but forget Confucius's admonitions. Although I am unknown in my forties, I still feel a little ashamed. In this sense, these young classmates can be called my friends. Needless to say, Chen Zhao is one of them whom I know well.

Chen Zhao’s sincerity to art, sensitivity of feeling, and tenacity to explore are unique among young painters and are awe-inspiring. This is especially rare in the current context.

In the current Chinese painting environment, the interest chain instigated by exhibitions is so powerful that few people are not included in the network. Therefore, it is not easy to choose flower-and-bird painting as a major in the Academy of Fine Arts, and it is even more difficult to focus on freehand brushwork among flowers and birds. There is no need to deny this. Because the freehand painting of flowers and birds is really difficult to master and often requires a lifetime of practice, this is really a shortcoming for contemporary vocational education in colleges and universities.

But it also tests those true artistic seekers. Their insight and tenacity will be the true potential of freehand flowers and birds.

From what I understand, Chen Zhao’s insights are more based on talent, which is the basis for the creation of art. He is sincere and has a stubborn temperament, so his art is more inclined to a state of wonder. This kind of nature, if properly protected during the learning stage, will be of great help to the development of artistic style. In fact, during his long-term study, as his horizons improved, he was able to focus on the masters of the Ming and Qing individualism schools such as Bada Shanren, Wu Changshuo, and Pu Hua, which fully illustrates his broad mind and extraordinary knowledge. Bada and Wu Changshuo are the main examples of freehand flowers and birds in art schools, so copying their styles does not necessarily indicate the level of knowledge, but it is enough to be able to go deep into their artistic conception and details of pen and ink, and then match their own temperament in sketching and creation. It can be seen that he is good at learning and has deep understanding of his wisdom. The understanding of Pu Hua may more intuitively show his outstanding talent and generous character. Because Pu Hua is not a model for academic practice, probably because his works sometimes have slight flaws and lack a complete academic level. However, Pu Hua's free and easy and eccentric interpretation interprets the vividness of freehand brushwork and the purity of character. Although he lived in commoner life, he is enough to be admired by future generations. Chen Zhao is able to realize the height of Pu Hua's art and consciously absorb its essence. This cannot but be said to be his unique vision and firm nature.

Obviously, in the above approach, Chen Zhao longed for the extraordinary rise and elegance of the three paintings. According to Pan Tianshou, to use strangeness to capture the environment, one must have "a strange talent and a strange embrace." Chen Zhao's admiration for strangeness must also have its own origin.

In the study of Chinese painting, I always believe that the understanding of the character of brush and ink is the only way to enter the art of freehand brushwork. Apart from this, even if you trace the head and carve the tail and try your best to shape and arrange, you will still end up wandering outside the door. Looking at all the famous Gong Gong and various market masters nowadays, there are really not a few who have not entered this path. So when I saw Chen Zhao's works, in terms of the practice of pen and ink, he could go straight to the realm of calmness and refinement, simplicity and brilliance, which was far beyond the understanding of most practitioners of his age. I couldn't help but be impressed.

Chen Zhao has high requirements for the quality of his pen and ink, and naturally he never compromises on the materials used for his pen and ink. It can be said that the paper never tires of fineness and the ink never tires of fineness, almost to the point of being a glutton. He must sharpen his ink every time he paints, and even when sketching in the wild, he never hesitates. His calm and focused skills are truly admirable.

In addition to his understanding of pen and ink, another outstanding point of Chen Zhao is his ability to control the structure of the picture. This can also be understood as the perception and grasp of the form of the picture. This may be an advantage for young students with quick minds. The good environment of the Academy of Fine Arts and various fast media channels have strengthened their sensitivity and ability to capture shapes. But what I want to say is that behind the sensitive structural ability is the selection of the temperament and unique cultural meaning of form. Because not everyone who is sensitive to form can see the vitality inherent in "form" and the cultural depth accumulated by history. What seems to be form actually comes not only from vision, but even more from the soul, from the observation of the vitality of objects and the awareness of cultural traditions.

This is particularly clearly reflected in Chen Zhao’s sketching process. Sketching is an extremely important link in the study of flowers and birds. For most painters with a professional background, "resembling the image of an object" is not a problem. The difficulty lies in the ability to create freely in the selection of objects. And different understandings or emphasis can easily lead to two extremes in sketching: either blindly copying objects and mechanically copying; Its fatal point is that it ignores the observation of the vitality of objects and the innate feeling of the vitality of external objects. Both of them lose their interest because they become superficial. How to make a balance in sketching and write a complete work that not only reflects the business of objects but also conforms to the standards of painting theory is a test of a painter's structural control ability.

Chen Zhao’s sketches pay close attention to the connection between the two. When deeply observing the objects, he can mobilize the traditional image resources stored in his mind and explore the relationship between the two with his keen mind. Through the connection, we write the vitality of the objects that conforms to the painting theory, and take into account the cultural inheritance of traditional pen and ink symbols.

For example, he did a large number of sketches in the Banna Tropical Botanical Garden. At a glance, you can feel the unique vitality of the objects, and his personal ingenuity can be seen in the refining of pen and ink and the selection of pictures. Of course, the Bada and Pu Hua of his methods can also be vaguely seen. The god of wind waiting for the master. This is really a smart move that can be learned and transformed.

For grasping the character of pen and ink and the structure of pictures, the insight of talent is certainly important, but the practice of acquired skills is more lasting and credible. It is at this point that Chen Zhao possesses qualities beyond his peers. It can even be said that his entire life serves the purpose of painting. He will pay attention to various details related to painting in the ordinary order of life. For example, he will pay attention to the process of flowers blooming on campus, and he will collect the fruits of various plants when he goes out. , he also pays attention to the differences between flowers, birds, insects, and fish. He will even focus on the texture of a piece of wood or a stubborn stone at any time. All these are enough to illustrate a person's inner interest in the things around him and his artistic perception. So that on his desk, you can see those ordinary and meaningful things in nature everywhere. This is indeed a rare habit and quality for an artist.

Freehand painting always expresses a certain meaning. This "meaning" includes not only the business of the "object" itself, but also involves the painter's affection. In addition to the preference for the object, this affection has a deeper meaning. It means culture, so in a certain sense it also means cultivation, that is, the disposition developed in long-term practice. However, we have seen that most of the contemporary freehand paintings are just a kind of emotional catharsis, such as wildness, willfulness, and clumsiness. Therefore, true temperament must be supported by real character, which is cultivated in daily life.

Chen Zhao’s understanding and cultivation of freehand brushwork of flowers and birds, and his sensitivity and choice of patterns and structures all show that he has walked on a broad road. On this road, he enjoyed the pleasure brought by spiritual practice, and sometimes even enjoyed it all to himself - he had been sketching alone for a long time many times, and his persistence and perseverance, his self-confidence and determination were beyond compare. Ordinary people can do it. Therefore, in his paintings, the solidity of pen and ink, the strangeness of style, and the clarity of meaning all have their origins, coming from an inner self-confidence and strength, which gives his works a unique style. Characteristics have become one of the connotations worth savoring.

Of course, as a young seeker, there are many things to be added in the long journey of practice. Excellent qualities can only support the height of choice, but cannot transcend the process of enlightenment. For Chen Zhao, he will also face many issues in the future, such as the deepening of culture, the expansion of performance skills, and the further cultivation of character. With his resilience and concentration, his gains will definitely be different from ordinary people. Based on this, I will be successful in my remaining period and firmly believe in the true prosperity of freehand flowers and birds.

June 2012 at Jianshan Hall

Appreciation of works