Auction Records and Collection of Jili Zhang's Works

① At the 24th auction of Beijing Poly, the ink painting Gui by Quzhou painter sold for 45,000 yuan (65,438+2,000 yuan per square foot).

② 201410/0 On October 26th, the ink painting "China Lotus" by Jili Zhang, an art consultant of the Chamber of Commerce, was sold at the 28th boutique auction of Beijing Poly for 69,000 yuan (per square foot 1.5 million yuan). This is the first Quji contemporary painter who successfully auctioned in Poly twice in a row. Jili Zhang, a painter, has completed the comprehensive series of regeneration, negative energy oil painting series and ink painting series, ink painting series with no concept and no intention and photography series. As a student, Jili Zhang participated in the creation and practice of China's trendy art in 1980s, and his works "Dream" and "Hongmei Girl" participated in the exhibition of works of world art colleges held in Canada. He strongly advocated innovation, denied the western concept art and China traditional literati's pen and ink, and eclectically accepted the eastern and western art forms and technologies, without compromising the modern and traditional art concepts. His ink paintings have injected vitality into the ink painting circle in China, and provided an impact on the final liberation of ink painting and the public's imagination.

Jili Zhang's "Post-New literati paintings" Personality Language and Its Artistic Value

Of course, there are many different standards for the maturity of artistic personality, and establishing a clear and conscious personalized painting language is the most important standard to measure the creation and value of painting art.

Because the essence of art must constantly realize itself through forms, art has to deny itself and surpass itself from the existing traditional system, and then continue to exist in new forms.

Jili Zhang, a painter, has been exploring the individualized language of China ink painting in obscurity since China's "Eighth Five-Year Art Trend", striving for a breakthrough and rebirth in the experiment of composition and color fusion between China traditional ink painting and western painting. After several twists and turns, it finally formed a unique artistic style in the years of knowing destiny, and gradually gained attention and recognition in the contemporary art world.

First, the artist's talent and personality.

1. Creative foundation and ability in student days

Jili Zhang, born in 1963, showed a talent for painting from an early age. 1 1 year-old created his works "Send firewood to support the army" and "Red Paper Factory", and his works have participated in regional art exhibitions and "Zhejiang Art Exhibition" successively. 198 1 year, 18 years old when he created the cartoon "Under the Rose Umbrella" (attached figure 1).

In the form of ink painting, it fully shows the scene and atmosphere in the story, and shows its ability to use ink painting and creative preference. From 65438 to 0984, Jili Zhang was admitted to Zhejiang Academy of Fine Arts and studied under many famous artists, laying a solid foundation for painting. 1985 created ink painting "matchmaker" and "dream" during the study of basic courses, and 1986 created ink painting "woman" (attached figure 2).

Among them, The Woman is no longer a painting in the traditional sense. It makes more use of symbolic witchcraft symbols to explore the mysterious cultural traditions that are concealed and ignored by traditional literati paintings in China. At the same time, it has a strong spirit of oriental culture, and consciously intervened in the ranks of China's 85' trendy art. Yesterday's graduation creation and a series of ink and wash creations from 65438 to 0987 are more like arrows. During this period, the creative ideas of works such as The Door, To Baudelaire's Old Friend and The Other Side (Attached Figure 3) were far ahead of the domestic artistic creation teams at that time.

2. Personal language exploration in the period of drifting north.

In 2003, 40-year-old Jili Zhang came to Beijing and lived in Xiangshan. In NaGi's book "Click on Xiangshan Cultural Tribe", the original intention and process of Jili Zhang's founding of the Third Academy of Beijing Arts were described in detail. Purely pursuing art, he loves purity in personality, and easily avoids the magic circle of China's conceptual art copying western post-modern art forms and performing in turn, and chooses the language of exploring ink and wash personality. The repeated experiments of a series of "no concept, no intention of image" ink paintings have laid the foundation for his mature expression language, and the quiet life of living on the hillside for a long time is the creative source of his future works. He entered Songzhuang in 2007 and participated in a series of contemporary art activities. His distinctive ink painting has won him a place between tradition and fashion.

Second, recognizable painting language.

Comparison between 1. and classical ink painting language

Looking at the vast sea of China's ink and wash works, observing his ink and wash is the premise of directly identifying the painter and the touchstone of comparing the artist's artistic personality. Qi Baishi's words are amazing: if you learn from me, you will live like me. Xu Wei in the Ming Dynasty, Badashanren in the Qing Dynasty and Zhang Daqian in the Republic of China are all masters of art with strong language recognition. Their ink use characteristics are consistent with their personal characteristics: Xu Wei is smart and neat (attached figure 4), eight points are round and heavy (attached figure 5), and Zhang Daqian is gorgeous and elegant (attached figure 6). ..............................................................................

Jili Zhang's ink painting language is very recognizable, with quiet and ethereal ink color and vivid charm (Attached Figures 7 and 8). Compared with the previous classical ink painters, there are two major differences in technology. First, the previous ink essays appeared, first water, then pen and then ink; Zhang's pen has ink, first ink, then water. Secondly, in the past, the painter's charm attached to the pen, seven strokes, two inks and one water; Zhang charm is attached to water, seven waters and two inks. Compared with the previous classical ink painters, there are two major differences in visual level: first, the texture, texture and atmosphere of the picture are based on the subtle differences in ink color, while the predecessors are based on the changes in pen use; Second, the color tone of the picture is based on the change of visual color, while the color tone of previous painters is based on psychology. In contrast, what is right and what is wrong is the result of thousands of years of cultural inheritance and evolution in China, which is difficult to sum up.

2. Comparison with the current ink painting language

Under the development trend of international integration, there is a subtle situation between the blending of world cultures and the protection of national cultures. At present, there are many schools of ink painting in China, but four schools occupy the main position in China ink painting. The time dimensions are: 1, antique school 2, New literati paintings 3, abstract ink painting 4 and conceptual ink painting. Among them, Gu Feng and New literati paintings compare ancient ink painting in painting language, and ink painting language not only has no breakthrough and development, but is imitation and degradation; Compared with ancient painting, abstract ink painting has made great breakthroughs in techniques and materials, but it is short-sighted and meaningless compared with western abstract painting in form. The ink language of conceptual painting is uncertain, but in conceptual art, concept comes first, symbol comes second, language and technique come third, and even can be ignored.

Compared with the above four schools of China ink painting, the establishment of Jili Zhang ink painting language is difficult to be classified as one of them, and it covers more languages and techniques of some schools, especially abstract ink painting. If it must be defined, it can be the intervention of abstract ink painting on literati painting, which can be called "post-new literati" ink painting.

Third, the artistic characteristics of "literati painting" in different periods

1. The characteristics of literati painting

The participation of literati in painting took place in the Wei and Jin Dynasties, and it was not until the Northern Song Dynasty that Su Shi clearly put forward the concept of "literati painting" to distinguish the green landscape from the colorful figure flower-and-bird painting. The philosophical basis of literati painting is Confucianism, Buddhism and Taoism, and its painting characteristics are shown in the following aspects:

(1) freehand brushwork, meaning rhyme. Xuanzang's spirit of "building an image with his heart" and "getting carried away" in Zhouyi had a far-reaching influence on ancient literati painting. If Sheikh's "Six Laws" put forward "vivid verve", taking both form and spirit into consideration, then Hao Jing's "style of writing" put forward "spirit, rhyme, scenery, thinking and pen and ink", which put more emphasis on spirit, ink and meaning, not seeking form, ignoring form, and pursuing charm, interest and plain and naive charm beyond objects. When I arrived in Yuan Sijia, I wrote "Mountains and Rivers in My Chest" and "I don't want to be the same, just to amuse myself", which marked the maturity of literati painting.

(2) Writing, painting and calligraphy are of the same origin. Literati paintings pay attention to calligraphy with pens, emphasizing the pursuit of vertical and horizontal brushwork, elegant and vivid. Shangyi calligraphy in Song Dynasty got rid of the strict rules of calligraphy in Tang Dynasty, attached importance to writing and demanded the perfect combination of poetry, calligraphy, painting and printing. Draw the shape of the object and the book conveys the meaning.

(3) Pay more attention to ink painting than color, and leave blank to comment on products. Literati painting pays attention to ink and wash, which has a lot to do with the fact that both of them are calligraphers. It is not only the ink painting on the material, but also the need of literati painting writing. The "black and white" of ink painting is the basis of literati painting philosophy and the common value orientation of Zhuang, Xuan, Zen and Confucian psychology. Leave blank in the picture, less is better than more. Simple ink painting is an infinitely possible color change. Literati painting pursues unconventional methods, despises descriptive works and pursues "one style".

(4) emptiness. "Empty this difficult figure, real clear now empty scene. God can't draw, and the real scene forces God to live. " The winding path is secluded, the scenery changes, the charm is endless, and the reality and the reality coexist, which is a special aesthetic of literati ink painting.

2. Comparison of "literati painting", "New literati paintings" and "post-New literati paintings"

"Literati painting" developed to modern times, with Huang's painting (attached figure 9) as the watershed. The Yellow Age is an era when China moved from a feudal society for thousands of years to the Republic of China and a socialist society. As a writing tool for thousands of years, China's brush gave way to pens, pencils and ballpoint pens, and the printing of ancient poems and calligraphy and painting gradually declined. With the opening of the country, western modernist art influenced China artists at that time to varying degrees. At the same time, the concepts and techniques of western modern painting were quickly absorbed and digested by China artists. On the basis of Huang's absorption of French post-impressionist stippling, "Literati Painting" developed from "expressing one's mind directly" to "rich and colorful" repetitive production technology, and from then on "Literati Painting" came to an end in the history of China painting.

The specific political and social environment in China caused a long period of artistic blank after the decline of "literati painting". It was not until 1980s that the country was opened again that "New literati paintings" began to appear in front of the world with the attitude of maintaining and developing the value of traditional literati painting in China.

"New literati paintings" is an uncompromising choice for contemporary intellectuals to reflect on themselves, participate in realistic changes in the new process, and choose the traditional literati painting form to collide with western modern concept art. However, the artistic language of New literati paintings (attached figure 10) is more inherited from the techniques and forms of traditional literati painting, and its form is not as modern as modern ink painting, and its sense of the times is not as good as that of realism. In a sense, the emergence of "New literati paintings" in the late 20th century was due to the criticism and denial of China (including the former Soviet Union)' s imitation of western art by China literati.

If "New literati paintings" is a passive and conservative cultural resistance in the initial stage of world integration, then "post-New literati paintings" is a positive cultural blending in the middle stage of internationalization. "Post-New literati paintings" refers to the intellectuals of the new era who take ink and wash as the carrier, visual intuition as the means, pay attention to the living environment and mental outlook of all mankind as their own responsibility, serve the social and cultural elites and participate in the construction of post-modern civilization and culture. It is not only different from the ancient literati painting, but also different from the modern New literati paintings's, that is, "I love to be quiet and comfortable in my later years".

3. The artistic characteristics and value orientation of "post-New literati paintings"

The integration of the world economy and the reform of China's market economy provide a huge environment for the emergence and development of "post-New literati paintings". In this environment, the rapid development of market economy has brought unprecedented impact and integration to the original lifestyle and structure of China artists. Artists have also paid unprecedented attention to context and market. "Symbolization" and "recognizable features" have become important conditions for artists in various fields to determine their identities in industries and markets, and are also prerequisites for high-end art consumers to choose art.

However, "post-New literati paintings" still belongs to the category of literati painting, maintaining the basic characteristics and value orientation of literati painting. Firstly, the painter is required to be a cultural person and have humanistic care for the present; Secondly, painters are required to have unique artistic personality and originality of their works; Third, painters are required to finish their works with ink and wash. The above three points are the basic bottom line for judging literati painting, but literati painting in each period has its unique artistic characteristics and value orientation. The important artistic features of "post-New literati paintings" are the informationization of symbols and the technicalization of production, as well as the value orientation of "elitism" and "marketization".

Fourthly, the artistic value of Jili Zhang's post-New literati paintings.

1. Strong humanistic care and rigorous innovative spirit

The humanistic care of literati painters is manifested in their choice and concern for themes, or their attitudes towards society, nature and humanity are implicit or explicit. Jili Zhang's choice of "post-New literati paintings" theme is extensive and limited. Eliminate the boundaries between landscapes, flowers and birds, and people's themes, and pay more attention to the choice of elements to express the theme. There are Shake Hands (2005), Life Change (2005) (attached figure 1 1), Life is like water, snow and ice (2006), Salvage (2004) and Nature. There are Shan Gui, Lao Zi's Going through the Customs, East Zi Qi (20 13), Young Bird Shooter (2008), Castle Peak Still, Return (20 13) and so on.

Rigorous originality and uniqueness of works are the basic requirements of Jili Zhang's ink and wash creation. He strongly opposes the antique style without the spirit of the times and the unlimited commercial behavior of single reproduction, and advocates that artists treat life truly, treat consumers sincerely, and despise and oppose the Jianghu style that deceives the world.

2. The perfect combination of abstract ink painting and realistic schema.

The artistic expression of Jili Zhang's "post-New literati paintings" mainly adopts the combination of abstract ink painting and realistic schema. Drawing lessons from Qi Baishi's simple literati painting experience and the concept of "too fake to deceive the world, too true to kitsch", realistic schema is added to abstract ink painting as an introduction to stimulate the audience's imagination and provide the impact that ink painting and audience's imagination are finally liberated.

List several works of Jili Zhang, and analyze their artistic expressions;

(1) Shan Gui, founded on 20 13. (Attached Figure 12)

In memory of the patriotic poet Qu Yuan, he created the ink painting Shan Gui, and selected rocks, clouds, Shan Gui, leopards and civet cats as visual elements, in which Shan Gui, leopards and civet cats are realistic schemata, while rocks and clouds are abstract elements. The whole picture expresses Shan Gui's living environment and the atmosphere of love tragedy with abstract ink and wash colors, accounting for almost nine tenths of the picture; One tenth is an introduction to painting, that is, realistic Shan Gui, leopard and civet cat. The audience entered the field of painting from the beginning, and then all kinds of different feelings and associations were based on the individual audience, and the painter at least interfered with the audience's imagination.

(2) The work Summer was created on 20 12 (attached figure 13).

"Summer" is one of the paintings of "Spring, Summer, Autumn and Winter", and it is an ink painting that pays attention to natural themes. The screen is based on abstract ink and white space, and birds and bamboo forests are introduced as paintings. The painter only provides ink colors with "wind" whistling and "forest" moving, providing a venue to stimulate the audience's association.

(2) The work "Castle Peak Still" was created on 20 13 (attached figure 14).

This is a masterpiece of ink painting that pays attention to the theme of life. The introduction of the painting is the word "Qingshan remains the same" in calligraphy, and the venue is an abstract ink painting with rich texture. Texture and ink level are the elements to create the atmosphere of the venue. I believe that every audience will feel something about this painting, and everyone's social experience, life experience and attitude towards life will have different resonance and the greatest imagination space for this painting.

(4) I went through the customs, and the purple gas came from the east, which was founded on 20 13 (attached figure 15).

"Laozi's going out of the customs" is a well-known historical allusion. The painter chose this theme to pay attention to the contrast of "purple gas coming from the east" derived from this allusion, and to stimulate the audience's yearning for "good luck" through vivid ink charm. The painter takes Chen Hongshou's "Lao Zi" and "Shu Tong" as the guide, and takes large-scale abstract ink painting as the field to stimulate the audience's full imagination of the "purple gas" gas field.

(5) Gui was created on 20 13 (attached figure 16).

This painting is a description of the painter's personal value orientation. Facing the boundless universe, human beings often can't fully perceive their own living environment and their own abilities, leading to endless paranoia in life and losing their original mission and direction. However, the obscurity of life is not inevitable. Under the sudden agitation of special opportunities, such as the sadness of life and death, the pain of fame and fortune, the illusion of wealth and so on. The umbilical cord between life and vulgar feelings can often be torn off, which makes people re-examine life and the opportunity of "return" in the vast world and look around blankly. The work "Return" introduces the audience through the schema of "the shepherd boy leads the cow home" and "the bamboo house", and enters a cold and illusory situation.

This is a masterpiece that uses the post-New literati paintings technique to inspire the audience to turn away from the ignorance and troubles of life, turn to the indifference and emptiness of the spirit, and seek spiritual settlement in a quiet place.

3. Personalized language

In front, we have analyzed the characteristics of Jili Zhang's unique ink language in detail. Here, we will briefly explain the importance of his unique language in his artistic value system:

The maturity of artistic personality language marks the sublimation of the artist's comprehensive ability. It has an intuitive and comparable reference system. In the "chromatogram" arranged from ultra-specific to purely abstract language, it repeatedly moves and presents at a certain point in the spectrum, and at the same time it is obviously different from the surrounding spectral points, which puts forward unprecedented requirements for it. Only in this way can personalized language be valuable.

In the era of information development, the unprecedented painting style is minimal. Even if there is a little "innovation" and "breakthrough", its artistic value is self-evident. What's worse, it is a highly recognizable artistic style.

The artistic value of Jili Zhang's works is mainly reflected in his "ink color" personality and "post-New literati paintings" artistic characteristics in his painting language, which is an important basis for identifying him in the long artistic history after adding fuel to the flames.

4. Market positioning and market potential of the work

When the art market in China gradually matures, artists and the art market are getting better and better, artists take the initiative to intervene in the market, find the position of art in the market, identify with the value of art consumption, assist art brokers (individuals) to develop market potential, feed back effective consumption information, and abide by the rules of the art market. These are the processes that contemporary artists consciously improve in the process of artistic development in China.

The market positioning of Jili Zhang's "post-New literati paintings" is to create fine works of art that can be appreciated and collected for intellectuals, successful people with cultural and artistic cognitive experience, middle class, art collectors and enthusiasts in the new era.

Jili Zhang has been engaged in artistic creation for 40 years. His works have outstanding artistic individuality and are one of the most potential artists in the contemporary era. His works have just entered the art market, which can be said to be the original shares of investment. I believe that the return on investment of his works will increase year by year.