Who is Miss Jin Ming?

Mi, male, was born in Rong County, Sichuan Province, and 1987 graduated from sichuan fine arts institute Painting Department. Vice Chairman of Chengdu Artists Association, Member of China Artists Association, Member of China Printmaking Artists Association, Member of Printmaking Art Committee of Sichuan Artists Association, Member of Painting and Calligraphy Art Committee of Sichuan Art Promotion Association, Vice President of Sichuan Modern Painting Academy and Deputy Secretary General of Chengdu Printmaking Painting Academy. His works have been selected for many major international exhibitions and won the highest national awards for many times. In 2007, his ink painting "Tian Bodhisattva" was selected as the 14th Art Calligraphy Photography Star Award Exhibition of the Ministry of Culture, and won the highest award. In 2008, he was selected for the third Beijing International Art Biennale.

Chinese name: Mi Jinming.

Place of birth: Rong County, Sichuan Province

Occupation: painter

Graduate school: sichuan fine arts institute.

Main achievements: Vice President of Sichuan Modern Painting Academy and Deputy Secretary General of Chengdu Edition Painting Academy.

Representative works: Tian Bodhisattva and pastoral music.

Painter's yearbook

The 1990s.

1986 print "pastoral music" participated in the 11th national print exhibition.

1989 prints Eden, Galaxy and Impression of Chemical Industry participated in Yugoslavia-China Modern Art Exhibition.

1990 "Brownian Dream Series" (1-3L) was invited to participate in "Yugoslavia-Lubriana 18 International Printmaking Biennale".

Prints "Brown Dream Series" and "Waiting for Godot" participated in "Hong Kong-China Art Exhibition".

199 1 started to learn sketch creation, sketching "China Man", "Man" and "Self-portrait" were invited to participate in the 6th International Sketch and Printmaking Portrait Exhibition in Tuzla, Yugoslavia, and "Man" was collected by the Portrait Boao Museum in Tuzla.

The print Moonlight Dusk participated in the 1st16th International Print Independent Exhibition in Kanagawa, Japan, and was collected.

199 1 held the "Mi Jin Ming Prints and Sketches Exhibition" in Shanghai Duoyunxuan, and held a press conference for the exhibition;

Prints "Kangba People" and "Yellow Headscarf" were invited to participate in the "First Annual Exhibition of Postal Art in Brazil" and were collected.

Prints "China People" and "Men and Women" participated in the 1st17th International Printmaking Exhibition in Kanagawa, Japan.

The craft work "Printed Symphony of Ancient Trees and Wonderful Flowers" was included in the series "New Materials and New Technologies" published by Hunan Fine Arts Publishing House.

In the same year 1992, he joined the China Printmakers Association and began to study modern ink painting techniques.

1993 Sketch "Hand Series -n" participated in the 6th Taiwan Province International Print and Sketch Exhibition and published it.

1994 began to learn modern ink painting.

2 1 century

In 2002, the print "Red Label Series" was selected into the "National Art Exhibition to Commemorate the 80th Anniversary of Comrade Mao Zedong's Speech at Yan 'an Forum on Literature and Art" and won the Excellence Award.

In 2004, the print "Yuan Ye" was selected as the "National Art Exhibition to Commemorate Deng Xiaoping's Birthday100th Anniversary". Won the Excellence Award.

In 2005, the ink painting soul of china was selected as the "2005 National Exhibition of Chinese Paintings to Commemorate the 60th Anniversary of War of Resistance against Japanese Aggression's Victory".

The ink painting "Condor" was selected as the "First China Freehand Painting Exhibition".

Ink painting "Autumn on the Grassland" was selected as "Nomination Exhibition of Contemporary Excellent Chinese Paintings".

In 2006, the ink painting "Kangba Sunshine" was selected as the "Third Chinese Painting and Oil Painting Exhibition in Western China".

Ink and wash (out of grass) cooperated with others and was selected as the "National China Fine Arts Exhibition to commemorate the 70th anniversary of the victory of the Long March of the Chinese Workers and Peasants Red Army". And won the "highest award" of the Excellence Award;

The ink painting "Far Mountain" cooperated with others and was selected for the third Beijing Biennale of Yuanda Cup;

Ink painting "Afternoon Sunshine II" was selected as "National Urban Landscape Painting Exhibition";

The ink painting "Tian Bodhisattva" cooperates with people. Selected as "2006 National Exhibition of Chinese Paintings" and won the Excellence Award (the highest award).

In 2007, the ink painting "Dalmatian Dead" was selected as the "Third National China Art Exhibition";

Ink painting "After Thunder" was selected as "National Art Exhibition to Celebrate the 80th Anniversary of the Founding of the China People's Liberation Army";

The ink painting "Tian Bodhisattva" was selected for the 14th Art Calligraphy Photography Award Exhibition of the Ministry of Culture and won the "Stars Award" (the highest award).

In 2008, the ink painting Tian Bodhisattva was selected for the 3rd Beijing International Art Biennale.

The ink painting "Great Rescue" was selected for the Wenchuan National Art Exhibition.

The ink painting "Soldier" won the National Art Exhibition Excellent Works Award (the highest award) for the 30th anniversary of reform and opening up.

Art evaluation

Mi's artistic transcendence mainly focuses on the creation of a large number of portraits.

Inheriting tradition and criticizing tradition.

A work of art is the true expression of the artist's ideological realm and artistic taste. The portrait in Mi Jinming's works is an artistic expression that inherits and criticizes the tradition, and it is the most contemporary artistic expression. He used his unique and brand-new formal language to accurately and romantically express all kinds of characters and their inner world in contemporary society. His portraits of scientists, politicians, artists, workers, peasants and soldiers, and people of all ethnic groups constitute a long gallery of figure art, which completely condenses the style of the times, the realistic spirit and the style of the characters he created. Just like an inspiring modern symphony, it is beautiful, soothing and true.

An eternal topic in the art world: tradition and innovation. What is tradition? Tradition is the formal language, cognition, method and so on created by predecessors. Chinese painting has a long history. For a long time, a complete painting system has been formed from painting tools and techniques to painting theories and ideas, and it has been passed down to this day. This is a tradition. What is innovation? Innovation is to make a breakthrough on the basis of inheriting predecessors' traditions and create a unique formal language with the spirit of the times and constantly surpassing tradition. This is innovation.

experience

Through the constant experience of social life and nature, the constant understanding of painting essence and creative principle, the accumulation of long-term practical experience and the continuous "gradual realization" of personal spirituality, the painter Mi has made his own understanding of the traditional image pen and ink in China's traditional painting system, and made his works a symbol of cultural spirit that transcends specific characters through modern forms of expression, so that people can see its distinctive expression symbols at a glance, creating a brand-new artistic conception and a height that predecessors have not reached. Mi's innovative courage and spirit, first of all, is a great transcendence of his artistic concept, and is also an indispensable artistic character of today's artists.

The development of art has always been developed in the interweaving of tradition and innovation. Isn't the innovation of contemporary artists the tradition of the future?

Mi Jinming's road to innovation must be fruitful and dazzling.

Ink portrait painting

Artistic activities are a part of human life. Art is a history in which people's thinking level and emotional experience are constantly evolving. Looking at the historical trend of traditional ink figure painting, it is not difficult to find that the traditional ink figure painting has left us little legacy in techniques, which makes there are too few rules for artists to learn from today, thus leaving a broad development space for contemporary ink figure painting artists. From ancient times to the present, the development of ink figure painting is always inseparable from two core issues: one is to effectively explore the spiritual connotation of characters, and the other is how to deconstruct the contradiction between pen and ink and modeling in new ways. This is not a problem that can be solved by technology, it involves the times, concepts and development. It is impossible to create a new visual schema by seeking a single way in pen and ink. I think that Mi's ink figure painting has made some efforts to break through the traditional pen and ink and visual schema.

In recent years, Mi Jinming has explored ink painting in addition to printmaking. Taking ink figure painting as the carrier, this paper explores the contemporary ink language. He made full use of the volume modeling language of western painting, combined with light and shadow symbols, sought a new schema of characterization and created a brand-new visual image. Combined with oil painting schema; Create new horizons with the composition of printmaking; The characteristics of infiltration and splash dyeing of traditional ink painting are expanded; Create details with special treatment and skills of watercolor. With the help of the special mechanism of materials, we try to open a gap to contemporary consciousness in the concept of painting. Therefore, some people think that Mi's ink figure painting should be called comprehensive material painting. Because his pictures show the characteristics and elements of various paintings, in fact, no matter how you look at his ink figure paintings, one thing is certain: his painting thinking follows the laws of contemporary artistic creation, skillfully uses modern materials, expands the performance space, and shows a new schema of contemporary ink figure paintings.

Mi's ink figure painting is a challenge to traditional ink figure painting and a new exploration in technique. His works aim to explore nature and seek new, natural, essential and conscious experiences in the picture structure with intellectual thinking. Tell the joys and sorrows of life in a mysterious state, and wish him to get farther and farther away from the inherent visual mode on the basis of inheriting and developing traditional culture.

Artistic innovation

After Qi Baishi and Zhang Daqian in the 20th century, the old tradition of Chinese painting, represented by the "Four Heavenly Kings" in the Qing Dynasty, became a thing of the past, and various innovative thoughts poured into the door of contemporary painting. Pan Tianshou, Fu Baoshi, Lin Fengmian and Lingnan painters of the older generation were representatives of the Cultural Revolution, while young and middle-aged painters held higher and higher the banner of highlighting individuality, and Chinese painting entered an era of coexistence and diversification of various art forms, which not only gave birth to * * *. When Wu Guanzhong's whole wall art practice challenges the rigid "pen and ink", the innovative activities of painting are raised to the theoretical level, which has aroused widespread concern and thinking. In recent years, art theorists have proposed that how to persist in the localization of China's art and make it contemporary should be a big problem that must be faced.

The emergence of a batch of experimental, highly realistic, long-span and illusory new ink paintings created by Mi Jinming just meets the requirements of this change. When I first saw these new ink paintings with brand-new schema, I felt a sense of shock. His photographs are shrouded in a magnificent and mysterious atmosphere. He boldly used the modeling methods of western painting for reference, and combined it with traditional ink painting and boneless painting to create a new artistic conception, but it also contained the cultural spirit of the East. He found a form and pen-and-ink language that matched objective images with his own aesthetic feelings in the use of materials and artistic conception. He made full use of the characteristics of oriental painting materials and created a new ink painting pattern with both oriental charm and western painting tension. While inheriting the basic elements of tradition, he subverted the traditional pen and ink style to some extent.

Looking at Mi's new ink and wash works, we can easily find that he attaches great importance to personal subjective feelings, but respects the essential form of the object. His works are often far-reaching, stretching a larger spiritual space and lyrical images. No matter whether the objects he depicts are Yi people's old people, Tibetan women, urban beauties or portraits, he makes full use of the boneless ink splashing method in traditional ink painting and applies it properly to the picture to create a picture with oriental images and western surreal images.

I especially like his group paintings of urban women, and I also love ethnic themes. His ink painting Dawn of Shambhala depicts the theme of Tibet and shows a woman wearing a Tibetan robe standing in the cold wind. The warm sunshine in the morning dispelled the dark clouds hanging over the stupa. The unique mystery of the plateau and the crisp fragrance of rice are unforgettable for a long time. She fully shows that being in the cold zone makes people fall into a deep yearning for the Great Liangshan Mountain. In the picture, a Yi man's black face, made of iron, stands in a mysterious cloud like the stalwart Great Liangshan Mountain. The whole pen and ink is passionate and fluent. I feel that there is an overwhelming explosive force that is about to break through the picture. His series "Like Clouds" has brought ink painting to the extreme. In the picture, the unpredictable urban beauty is cold and delicate, as deep as the goddess in Greek mythology, floating in the vast space smoke. The picture presents an unconventional and irrational tension and a charming artistic appeal, from which people strongly feel the author's passion for creation, vigorous spirit of the times and exuberant vitality. In particular, the wonderful visual rhythm and rhythm released by the clever and vigorous splash-ink effect show fantastic charm and mystery.

In the whole work of Mi, he pays great attention to the in-depth description of the main details, but his pen is easy to use, and his pen and ink are open and smooth, which is suitable for ethereal expression without losing the rigor and charm of the overall structure. Mi Jinming's understanding and practice of art is personalized. It is very bold to create with new thinking. He seeks the transformation of language paradigm through visual experience. While inheriting the tradition, we boldly absorb the experience and techniques of other paintings. M Jinming is engaged in printmaking, oil painting and design. He has not been in ink painting for a long time, and his impressive achievements should be attributed mainly to his modeling ability and innovative consciousness. He didn't start figure painting since the Han and Tang Dynasties, so he didn't take the traditional road of China's ink figure painting. He used the foundation of western painting for reference, and also used the tradition of China ink painting and the purification of ink image for reference. So he has his own painting language and artistic characteristics. He is a new outstanding figure painter in China. While fully affirming Mi Jinming's success, we should also see that his artistic practice of ink painting is not long after all, and there is still a process of re-exploration, deepening, washing and abstraction. But for an artist who is diligent in innovation, the breakthrough after success will be the entrance to his future glory, and we expect him to achieve greater success.

Character speech

Contemporary painters must reflect the contemporary when creating works. In my opinion, many modern painters are still painting ancient paintings with ancient pen and ink, as if they don't belong to the present era. I don't agree with this. In my opinion, contemporary painters should be integrated into this era and reflect the spiritual outlook of this era.