On Kong Liuqing's Art Research

Kong Liuqing was born in Wuxi, Jiangsu from 65438 to 0955. My ancestral home is Gaochun County, Jiangsu Province. He has nothing to do with his name, he is the owner of Zhai. Doctor of Fine Arts. Member of China Artists Association, Deputy Editor-in-Chief of Editorial Board of Special History of China Painting. At present, he is a professor and doctoral supervisor at the Academy of Fine Arts of Nanjing University of Arts, and vice president of Jiangsu Flower and Bird Painting Research Association. He has published China Painting History of Flowers and Birds, Yellow Painting School, Xu Xi Painting School, A Study of Flowers and Birds Painting in Ming Dynasty, China Ceramic Painting Art History, Painting Method-Interaction between Creation and Learning, Li Changbai Research, Early Porcelain Painting Research in the Republic of China (co-authored) and Spring and Autumn Flower Language.

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In August, 2009, I published an article in Art and Design magazine, including an article on Kong Liuqing's flower-and-bird painting. Usually I don't pay much attention to the painter's special introduction, because many of them are exaggerated. Kong Liuqing's paintings in this issue came into view, but they were amazing for their elegance, freshness and elegance, which was the beginning of understanding his knowledge and art.

Kong Liuqing, a native of Wuxi, was born in Qiao Qi Town, Gaochun County and went to the countryside for nine years. /kloc-resumed the college entrance examination in the winter of 0/977, and was admitted to the Fine Arts Department of Nanjing Art Institute the following year. Two years later, I entered the meticulous flower-and-bird painting class hosted by Professor Li Changbai who was interested in meticulous flower-and-bird painting, and I made up my mind from then on. Two years later, I graduated from school and stayed in school to teach, and my life was almost ups and downs.

Kong Liuqing's meticulous flower-and-bird painting can be roughly divided into two stages: 1994 About ten years ago, he was doing "addition", emphasizing skills; Since 1994, we have been doing "subtraction" and doing the same thing. For more than ten years, I have devoted myself to studying, and have written such monographs as History of China's meticulous flower-and-bird painting, School of Yellow Painting, School of Xu Xi Painting, Research on Flower-and-bird Painting in Ming Dynasty, Special History of China Painting, Flower-and-bird Volume, Research on Li Changbai, History of China Ceramic Painting, etc., with individual cases and general history. Among them, The History of Flowers and Birds in China Painting Art focuses on more than 400,000 words. Kong Liuqing is not determined to be an outstanding art historian, but wants to know more about the history of China's flower-and-bird painting, so as to enrich his education and feed back his creation. So during the ten years from 1994 to 2004, he sat in his study and quietly asked about his studies. It seems that he is only one arm away from creation, but in fact he is closely connected with creation. After the detour, I returned to the creation of flower-and-bird painting, and I broke the ice in one fell swoop.

I tasted Kong Liuqing's words: "Draw a heavy style. Qi depends on talent, and talent is divided into good and evil, so it is determined by talent and it is difficult to change the day after tomorrow; Lattice depends on learning. The purpose of reading is to know the history and observe the essence, which is not entangled by vines, and the beauty of essence, purity and essence is immeasurable. Therefore, with the taste of Tao, we can consciously remove the ornamentation outside things and see the rhythm of life. This rhythm is externalized at the end of the pen, and there is also a refined, pure and refined artistic expression, which is vivid and unconventional. " This is what we usually call "academic". With the support of learning and vision, and with natural talent, the gas lattice can go straight up the ladder and stand tall. Therefore, we should grasp the essence of Qi and be a student. At the beginning of the year, I saw a long scroll of grass insects he sketched in the summer of 1980 in his mansion. This pen is full of energy and variety. Although there are thousands of grasshoppers, they are dense but not chaotic. At this time, he is only a sophomore, which shows that Kong Liuqing is very talented. He values elegance, opposes elegance and vulgarity, rewards elegance and vulgarity, and does not yield to vulgarity and market. He is also lofty, painting like a man, writing like a man, elegant and lovely, clear and thorough.

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Kong Liuqing named himself "nothingness among masters", and "nothingness" didn't really wander around and do nothing, because he didn't have any distractions about giving up touring for special treatment, so his "nothingness" was useless. Without the interference of worldly affairs, you can clear your mind, keep one end, and cherish the taste with loneliness and hardship. For him, this "image" is probably not the flower-and-bird image he wants to express in nature, but the classic flower-and-bird image of past dynasties. His purpose is to appreciate the classic flower-and-bird paintings of past dynasties, understand their principles and finally turn to Taoism. Therefore, Kong Liuqing's "Flower and Bird Volume", a special history of China painting, focuses on the analysis and interpretation of the works, rather than the textual research and combing of the painter's life as other theorists do. This is the greatest feature of his flower-and-bird painting history, and it is a true flower-and-bird painting history and style history. The words in this book are clear and unpretentious, not to mention the profound "theorist" full of sophistry and posturing. In addition, his analysis of flower-and-bird painting is profound, so Ming Che has bottomed out. I read his "China Painting Art Flower and Bird History Volume", and I often sigh. This passage shows its skills and analysis:

The remainder of the subtraction of "washing" has something to do with the sadness brought by the death of Song Dynasty to Qian Xuan. Wash more places, wash the images on the paper into traces if any, and the spots that can't be washed will naturally fall down, so there will be something in the void, and the void will not be empty. This is different from the general picture with little or no pen and ink, and the visual effect is different. Use less or no pen and ink, there is a clean feeling of floating dust, the atmosphere is not there; There is a sadness, painting is deep and true, and then trying to wash away the emptiness. Compared with ordinary pictures without "washing" technology, the pictures processed by "washing" technology show shortcomings in reality; The former is in the transcendental realm, and the latter is taking off dust. This is in line with the Song people's choice of money to wash away the gorgeous "close body" and pursue a fresh and refined road.

The "washing" method of selecting flowers and birds with money in classical Chinese at the end of Song Dynasty and the beginning of Yuan Dynasty is thorough. Without deep technical foundation, long-term experience in flower-and-bird painting and in-depth study of techniques, such words can't be written. At most, they are only superficial combination of reality and reality, fresh and refined. But what is "empty"? How to express "emptiness"? And how to express rich meaning and emotion in "emptiness"? I had to take it lightly and leave a confused account. But in learning and tasting, the most important thing is not to justify yourself, how smooth and beautiful the language is, and how creative the viewpoint is, but to explain the meaning from the nuances that ordinary people don't care much about and can't see. Painting is no exception. See kung fu is dyed on the dotted line, the pen is clear and accurate, and the beauty is unambiguous, which is the best. "Beauty is minimal", completed by the painter; See the beauty in detail. Scholars and connoisseurs do it. Kong Liuqing expounded the meaning of classics with his profound knowledge and connoisseur's fine insight, not to mention that ordinary people can't do it, even scholars with meticulous painting experience and in-depth research on the history of painting may not be able to do it.

I have read many works on art history. Frankly speaking, the best of these books is the textual research of the painter's life story, and the worst is the appreciation of the works and the interpretation of the internal performance, which can only be summarized. Because western art historians are not engaged in painting creation, their evaluation ability is even worse, and most of them are superficial. Generally speaking, the differences between works and painters are often dispelled, and the same "vivid charm" can be seen everywhere. Therefore, if you remove the subject, you often don't know which work he is talking about. The same is true of today's art criticism. Many articles can cope with many artists by changing their names and slightly changing them. Kong Liuqing was born as a meticulous flower-and-bird painter. On the basis of more than ten years' creative experience and understanding, he sorted out the history of China's flower-and-bird painting, made an accurate analysis, comment and summary, and made great contributions. His knowledge is not limited by preconceptions and conclusions, nor does he take shortcuts. He is subject to first-hand information, especially image data, and obeys objectivity. The problems encountered are often traced back to the source, cleaned up and explained, so the text is profound and creative.