Traditional Culture Encyclopedia - Photography major - Zheng Xianchun-a small pine tree standing in the land of calligraphy and painting in the Central Plains.
Zheng Xianchun-a small pine tree standing in the land of calligraphy and painting in the Central Plains.
In the 1970s, he served as the chairman of the county art club. In the 1980s, the Henan Opera Troupe transferred to the county painted scenes, wrote subtitles and served as the captain of the beauty dance team. Later, he was transferred to the county cultural bureau art advertising company as a manager.
He is now a member of China Folk Photography Association, China Calligraphers Association, national first-class calligrapher, Henan Farmers Artists Association, Zhongyuan Calligraphy and Painting Art Association, Henan Arts and Crafts Association, Henan Calligraphers Association and China International Painting and Calligraphy Institute.
1997, won the second prize of the second public welfare Expo in Henan Province; In 2000, he won the excellent prize of the national exhibition of new works by painters and painters; In 2002, he was awarded the Excellence Award for Artistic Talents in the 75th anniversary of the founding of the People's Republic of China by the Propaganda Department and the Ministry of Culture. In 2003, the first medical calligraphy exhibition in China won the silver award of the International Calligraphy Artists Association; The second prize of China's hometown national painting and calligraphy exhibition in 2007; The first prize of the new rural painting and calligraphy exhibition; Commemorating the 60th anniversary of the founding of People's Republic of China (PRC), he won the Excellence Award in the Henan Poetry Calligraphy Exhibition; First prize of the National Calligraphy Competition to commemorate the 90th anniversary of the founding of China * * * Production Party; Gold medal in the national painting and calligraphy exhibition to commemorate Mao Zedong's birthday115th anniversary; In 2008, the second session, 20 1 1 sixth session, the cross-strait painting and calligraphy exhibition won the first prize and the gold medal; 20 13 the third yanhuang cup won the silver prize; In 2009, the first and second Shuguang Cup in Henan won the second and third prizes respectively. Nanjing Painting and Calligraphy Exhibition to commemorate the 70th anniversary of the victory of the world anti-fascist war won the first prize. . . . . . .
Many people want to paint the great rivers and mountains they see with brushes. Some people are thinking, some people are studying, and some people forget this idea while waiting, but Mr. Zheng Xianchun is willing to devote most of his life to creating the great rivers and mountains of the motherland at that moment. With the persistence and creation of meditation, he finally created his own artistic style, achieved amazing style paintings and landscape paintings, and won the above honors.
Looking at Mr. Zheng Xianchun's paintings, we can see that his artistic realm is very unique. I have seen many modern landscape paintings with different styles. I think only Fu Baoshi, a great painter in China, and Sun Kegang, a famous landscape master in Guinness are close to or similar to them. So I asked, "Do you often try to figure out the painting styles of two China painters?" He said: "The artistic paths sometimes coincide with each other. I like their style very much and will definitely be affected. " Mr. Zheng told me that he was keen on watercolor painting and oil painting in the early days and made great efforts in exploring the nationalization of western painting. During his exploration, he was interested in the traditional flowers, birds, insects, fish and pavilions in China. , Taiwan and landscape painting have aroused great interest, so he has turned his main energy to the innovation of landscape painting for many years, paying attention to giving landscape painting a hazy feeling, especially pursuing the artistic conception of landscape painting.
? Looking at Mr. Zheng Xianchun's ink painting art, whether it is splashing ink or accumulating ink, there is always a feeling of looseness and fog, and it is so ingenious and memorable. Look at the fresh fields, vast forests, towering peaks, clear running water, transpiration waterfalls, confused smoke trees and quiet mountain villages that the painter described for us, as if taking us to another world far away from the noise of the market. The painter reproduces the beautiful scenery of nature for us through the pen of art, and you are browsing through Mr. Xian Chun's landscape picture book, just like wandering in the famous mountains and rivers of the motherland, which is fascinating. It can be described as "the land of China is close at hand, and the mountains and rivers in Wan Li are painted". How can we not admire the artist's artistic charm here?
When I look at paintings, I always like to get in touch with the painter himself. Mr. Xianchun is gentle and picturesque. As the noumenon of Chinese painting, we can appreciate many paintings: the endless changes of nature, many traditional schools, the refinement of techniques and so on. However, what to learn, what to adopt, what to express and what to pursue all depend on the painter's subjective intention, so the final decision still belongs to the painter, which is beyond doubt. Mr. Xian Chun also discussed his contacts with many accomplished artists. He cultivated silently and tried to practice the teachings of his predecessors, that is, "read thousands of books and follow Wan Li Road".
The tradition of Chinese painting, especially landscape painting, should be said to be the treasure of oriental art, its image concept system and its rich programs and techniques, but it is not limited by tradition. He has a good sketching foundation, but he also pays more attention to the necessity of sketching. In order to improve the Mo Yun, light and shadow and level of China's landscape painting, he also made a lot of efforts in watercolor painting, oil painting and even the mechanism of figure and flower-and-bird painting.
Art needs innovation, and Mr. Xianchun knows this well, but innovation is not easy. In order to explore the new charm of landscape painting, Mr. Xianchun absorbed the holistic sense of Fu Baoshi and others' paintings, Song Qian's vigorous brushwork, the trend of flowing water, and Li Keran's superb technique of dealing with backlight, which can be applied to his own paintings flexibly. On the other hand, he attaches great importance to learning from nature and going deep into life. He went deep into Huangshan, Guilin and the famous mountains in the north and south of the Yangtze River for many times, tirelessly observing, sketching and refining art, especially his bold splashing water and light ink to create a hazy realm, which was really amazing!
? Mr. Xianchun has his own independent artistic philosophy. He attaches importance to tradition and does not imitate others, let alone pursue modernity. His paintings are by no means so-called "modern ink paintings" that no one can understand them. Mountains, rivers, clouds and trees are the recurring themes of thousands of miles of ink painting, but he can get rid of the shackles of traditional ink painting techniques and focus on developing his own landscape painting realm from the subconscious: he attaches great importance to verve to express his lofty feelings of life, so he can write freely. His paintings sometimes just provide you with a message, an abstract revelation, and then you rely on the experience and accumulation of the taster's own life to understand and feel.
? Mr. Xianchun's ink paintings are ups and downs, gentle and elegant, and have a strong academic atmosphere. Although his pen and ink are laissez-faire, they are full of charm without losing their statutes. Of course, such spiritual and bookish pen and ink are not possessed by all painters, but are cultivated by knowledge.
? When it comes to Mr. Xianchun's ink painting, we can't help but talk about his calligraphy. His calligraphy works have won many awards in domestic first-class exhibitions and become a towering tree in the book world. His calligraphy works have also been abroad many times and won the certificate of international calligraphy exhibition. Works not only have a position in the domestic art auction and collection market, but also have a broad space abroad. Foreign art galleries frequently regard his calligraphy works as essential collections. As far as the spread of calligraphy art is concerned, it has the important cultural brand value of traditional culture shining around the world. He is a calligrapher who carefully cultivates the merits of rubbings, devotes himself to calligraphy research, pursues sages and seeks merits, and calligraphy has become a highly professional calligrapher. True cursive seal script, first repair the tablet, then create a new one, learn from the ancient without sticking to the old. He studied calligraphy since he was a child and has a natural understanding of calligraphy. He never stopped. His body is exquisite, which makes him an all-round calligrapher. In order to explore the original style of calligraphy and study the essence of Jinshi Qin Zhuan, he quietly integrated Oracle Bone Inscriptions's and Da Zhuan's knife skills and Fiona Fang's exquisite display of Xiao Zhuan into the tenacity and elegance of brushwork, and made use of the profound gains from studying the source of calligraphy to make calligraphy creation present a profound and active atmosphere. Looking up at his book, Fiona Fang inherited the combination of rigidity and softness, showed agility with his pen, and became a magical painting, a quaint style, a retro height of techniques, and a profound merit of cultural inheritance. The study of seal script can be a cultural version of Qin Zhuan. After Fiona Fang achieved handsome cultural achievements in seal script, he wrote official script of Han Dynasty and won ten monuments. Huashan Monument, Book of Rites Monument, Yiying Monument, Shimen Ode and so on. , all in the pen, every monument is spared, repeatedly pondering and repeatedly experiencing. Through the study of the official tablet, he has strong calligraphy skills, such as cutting cliffs with a pen and chopping stones hard, and his calligraphy is vigorous and vigorous, which is the presentation of the laws of epigraphy. He is not only familiar with the study of steles, but also integrates the achievements of steles into various styles of calligraphy creation and applies them incisively and vividly. Therefore, no matter seal script, official script, truth, line and grass, they all have the lofty charm of official script, which can be described as a model of mastering inscriptions and exquisite style. He also practices regular script hard. Although regular script is difficult to repair, he didn't bypass it, so he is determined to repair the Tang script for decades without stopping. He absorbed the essence of Yan's calligraphy and the elegance of Ou's calligraphy, and learned the strange brushwork of Ou's calligraphy. His brushwork is ever-changing, his statutes are rigorous and his charm is positive. In addition, his calligrapher Zong Erwang, for rare and famous calligraphy such as Lanting Preface and Mid-Autumn Post, has achieved the skill of doing as the Romans do. He is not only skillful in form, but also immersed in the mirror, with a high heart and great achievements. He transformed the free and unfettered core of the calligraphy of the two kings into his own superb brushwork, which is like the wind, leisurely and chic, and the ultimate beauty of authentic literati calligraphy. In particular, his calligraphy, apart from the exquisite works of the two kings, traces back to the rhyme of Han and Jin dynasties, blends back with the elegance of Tang and Yuan calligraphy, and absorbs the normality of Ming and Qing dynasties, including the graceful rhyme of Zhong You, the elegant charm of Zhao Ziang's calligraphy and the Yan Hua of Dong Qichang's calligraphy. As far as calligraphy is concerned, it can be said that there is no way out and there is no way to achieve it. There are both up and down, both left and right. Finally, the fire melts into pure green, and the style is natural and unique. His cursive writing skills, then learn from Huai Su. Try to figure out the statutes of Zhang Zhi's cursive script, the wild cursive script of Zhang Xu and the apotheosis of Huai Su's cursive script one by one. The Trinity is a wonderful gesture of line change and a masterpiece of people's mood, which is superior in the world. At the same time, he is more concerned about the growth of the next generation. He not only goes to school to teach calligraphy and painting knowledge, but also often carries out publicity and education on the rule of law in the form of calligraphy and painting. As we all know: a pine stands upright on the land of calligraphy and painting in the Central Plains. ? Figure/Xu Shunxi? Responsible editor Gao Xiang
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