Lv Jiang's artistic evaluation

After the rain, the blue clouds dispersed.

Every year, Lv Qiang goes to the studio in Jingdezhen, Jiangxi Province to make porcelain and paint. Burning ceramics is an art that has gone through fire and water. Phoenix nirvana was tempered by muddy water and turned into a jade-like ceramic with infinite brilliance. This change is partly controlled by people and partly accidental. The moment the porcelain came out of the kiln, it was breathtaking, sometimes surprising and sometimes frustrating. It's really "disturbing my heart and moving my feelings." Lv Qiang likes the simple feeling brought by Fangtao Kiln, especially the pure and clear beauty of Qinghua. Naturally, he formed the habit of painting with Hua Qing, which nourished his heart for a long time and gradually became a climate over time. Every time I look at his blue and white ink paintings, I can't help but think of his blue and white porcelain paintings that disturb my eyes. I saw that the landscape figures were all between blue and white, and the blue and white were graceful, with lubrication and kindness in their luster, and the water surface was uneven, so I frowned. The creation process of Huaqing ink painting is full of the beauty of "after the rain clears, Yun Lan breaks", which not only ripples with the nostalgia of the East, but also has the times and international norms.

Peach blossoms fall like red rain.

Inadvertently recommended a beautiful and bright red pigment obtained in Japan to Lv Jiang for trial use, but failed to collect it. Now there are a series of iconic works of red ink and ink painting. This kind of pigment, casually called "Han Hong" by Japanese friends, is similar to the mixture of colors such as eosin, pink, rouge and rose red in Chinese painting. Bright color, fine powder and stable material. He especially likes to use "Han Hong" to draw ink paintings, which is very "China". He can't tell the complex feeling mixed with adrenaline, pure, simple, correct and warm. Long-term experience in design and comics makes his paintings full of schema structure and narrative plot. All kinds of modeling descriptions gushed out from his fingertips, and the images in his works were unrestrained, detached from freedom and both good and evil. The correct and rich red color makes these patterns dignified and the gas field doubles. In my eyes, the red in these paintings is red, red in beauty and red in the world of mortals. When you are happy, you will naturally be "in full bloom", and when you are disappointed, you may wish to be "half river and half red". Such a cross-flow of desire for color and excitement of freehand brushwork makes the viewer "peach blossoms fall like red rain."

Black clouds sprinkle ink and half cover the hills.

Appreciating the masterpieces of brush and ink in the past dynasties is like a feast. Ink color has infinite, pure and great charm. Lv Qiang has always admired ink color. According to him, it is called "dare not move" probably because he thinks he is cautious and shy about art "starting from miscellaneous studies, starting from cross-border and adapting to miscellaneous things" Over the past few years, Lv Qiang has also been struggling in the ink. He wandered around because he was a monk who painted in ink and wash, and he was "ashamed of himself". Lv Qiang's ink paintings are bizarre and full of unique breath and tension. His impression of ink color is just like the image in his works. He is at arm's length, lawless and unrestrained, and has a clear distinction between good and evil. For painters, "ink" is something in the soul. Ink and wash are ever-changing, and you can't finish it all your life. This is a good and big temptation, a good and big enjoyment, and a good and big regret! For Lv Qiang, it is refreshing and enjoyable, tangled and uneasy! Just like his inscription-"It is not easy to use a pen through the ages".

Brilliant colors are everywhere

I saw many cyan and red monochrome ink paintings in Lu Jiang in my early years, and I thought, What will this gentleman's color ink look like? With his character and years of experience in western painting, how can he not be "lewd"? 20 13 I finally saw a large group of beautiful ink paintings at the "Xi Xiang" exhibition in Lvjiang. These colorful ink paintings have the shadows of oil painting, watercolor painting and pastel painting, and even the rhyme of kiln change, painting and fighting color. I often marvel at his bold use of so many bright colors, and the mottled layering is like a flower. I thought of his sketches and paintings in Europe and Japan in those years, and his messy experiences in technology and design. Studying Chinese painting without "orthodoxy", he is fortunate to have a naive desire for color and an instinct for expression. He is not bound by "works and writing" or "form and meaning". He is full of original passion for light and color, which is timely and particularly interesting. After some rewards from God, Lu Qiang is full of unique breath and tension, and has created a colorful world with his talent and skill of "cross-border flexibility" since "Western learning spread to the east".

The money I know is harmonious and diligent, immersed in a pure academic environment. He has no persistent idea and grand goal of "contemporary art". Apart from the noise of contemporary art circles, Lv Qiang has always kept a cautious distance from artistic hot words such as "concept", "state" and "behavior". His artistic creation is more like a spontaneous and conscious lifestyle: eating, sleeping, reading and painting. -Read Lv Jiang's ink figure painting.

Text/gold

On the beautiful Qinhuai River, Mr. Chen Wei, the owner of Jinling Guangyizhai, who has great appreciation and promotion value, handed me a book "Lv Jiang Ink Painting Collection" for me to write some comments. To be honest, there were too many new brochures for calligraphy and painting, but very few were worth reading, so I didn't agree directly at that time. After dinner, I'm still addicted to Go. After killing several games on QQ, it's already midnight, and the noise of the day is gone. It's time to watch the album.

Look at this picture before reading the text. Lv Qiang's several artistic notes before the album are good materials for understanding him. "My God-there are too many people painting here, whether they are vendors, students, tourists or more serious sketch artists, they are all in the countryside." "In Paris, the most worthless thing is the artist." "On the streets of Paris, you must not be a painter, because. These lines are almost written by shouting, which suddenly points out the romance of Paris and at the same time unscrupulously ridicules his career as a painter. It seems that he is straightforward and confident! This is a young genius. Once he has an artistic feeling, he will stick to it stubbornly. Just because I happened to see a Peony Pavilion in Suzhou Gardens, I couldn't stop reading various versions of Peony Pavilion and The West Chamber, and began to like Suzhou Gardens, Taihu Stone and film titles, and even began to read "obscene songs" such as money and so on. A painter who absorbs widely, delves deeply and makes a mickle makes a muckle is a real painter. Of course, what impressed me most in my reading notes was the sketches in Huangshan Mountain. When he arrived in Huangshan, "the masters have all started the easel with ease", but he didn't start work where he "rubbed the sketch". Is it a good face for young people? Of course, a little, but more unwilling to write mediocrity. He has painted oil paintings and cartoons for so many years, and his sketching skills are so solid. He just needs to sketch out the scenery. Why did he "bite the bullet and sweat a little"? In the following writing, what about "weird ideas, one after another, countless paintings collide back and forth, and the masterpieces of our ancestors have been displayed in our minds"? It turns out that his writing is more about thinking, and he is nervously looking for his own painting language, and it is this strong sense of innovation that will make a unique Lv Qiang.

Lv Jiang's ink figure painting has a distinct self-schema. It is concrete, because in his works, almost every character has recognizable facial features, charming figure, movements and clothes-but it is more abstract and fictional. He subverted the old adage of Gu Kaizhi, a master painter, that "vivid portrayal is in a jam", and deliberately did not draw the eyes of characters at a specific moment, but used trance and confusion instead. The human body in his works is exaggerated and deformed. The neck can be thin and the legs can be long. Women's breasts and buttocks are often emphasized by the light and shadow techniques of western painting, drawing visual and even tactile effects, but private parts are never carefully drawn. They are often cleverly covered with characters' hands, flowers and leaves, and five-pointed stars falling from the sky, which is different from Fu Xiaoshi and Zhu Xinjian! The actions of characters are the same as those of drawing eyes, except for a few actions with clear meanings, such as holding an umbrella, playing the flute and holding a paper cup, which are mostly unconsciously placed and subconsciously passive. Clothing is mostly funny, mismatched, ill-fitting, half-naked and half-naked, doing whatever you want-this kind of clothing is not so much worn on the characters as it is humorous, that is, a comedy effect! Consistent with the abstractness of the characters, the flowers and leaves as the background of the characters appear absurd and chaotic. There is no need to explore whether it is agave or iron leaf, carpet or piano. In a word, Lv Qiang's ink painting is a combination of concreteness and abstraction, consciousness and subconsciousness. It is an art that time and space can pass through, objects can be deconstructed, and themes can be hazy and free.

It should be said that the abstract expression of art has existed in China's paintings for a long time. The so-called spirit likeness means that painting has an image outside the image, and the so-called artistic conception means that there must be a virtual environment outside the real environment, emphasizing metaphysical poetic beauty and spiritual beauty. The philosophical basis of China's painting aesthetics is the Book of Changes, the philosophy of Laozi and Zhuangzi, and the metaphysics of Wei and Jin Dynasties. Because it originated in the late industrial society, it was expounded by Schopenhauer, Hegel, Wollinger and Kandinsky in theory and explored by impressionism, Fauvism, Dadaism, Cubism and Expressionism in practice. Although these painting schools and specific individuals are constantly denying, and sometimes even fall into a self-contradictory situation, their exploration process is traceable and their thoughts are modern, which has extremely important enlightenment for China painters living in the present. Fortunately for Lv Qiang, he has caught up with the era of reform, opening up, industrialization and informatization in China. This is an era of extremely active thinking and more colorful visual images due to the rapid development of electronic technology. In this era, the world is increasingly becoming a "global village", which accelerates the collision, reference and absorption of eastern and western painting concepts and makes the integration of many factors inevitable. Lu Jiang, who is full of innovative spirit, bravely adapts to the times based on his understanding of eastern and western cultures. First of all, his success lies in his conscious integration of China's artistic conception theory with abstract expression techniques in his painting ideas. His paintings especially pursue the creation of artistic conception. He said, "When you try to find something between paper and ink, it's hard to know whose artistic conception it is." Pursuing artistic conception is naturally the pursuit of verve and obscurity, and using his paintings is to express "ambiguity".

Because of the pursuit of artistic conception, abstract artistic expression has a purpose, which invites the boredom of western style and infiltrates the profound meaning and poetry of oriental painting. His success also lies in the organic combination of the inner spirit of painting and the form of beauty. He is good at oil painting, animation and photography, and has a personal pottery studio in Jingdezhen. Western light and shadow, photography, modernity and rich expression techniques of animation can be integrated into his ink painting at any time. His heavy-colored figure paintings are naturally very eye-catching, and those painted in monochrome are equally dazzling. Isn't it reminiscent of the blue and white in Kangxi ceramics? In Lv Qiang's ink paintings, we can no longer see the blunt patchwork of western portraits in Zheng Banqiao-style bamboo forests in the late Qing Dynasty, the traditional Chinese paintings with western methods that have been stuck in the technical level since the Republic of China, and we can't see Kandinsky's theoretical paintings that deny concreteness and give specific meaning to geometric figures and colors. Of course, as Hegel said, we can't deny the withered buds by the opening of flowers, and deny the withered flowers by the results of fruits, because the previous attempts are all part of the life process. But Lv Qiang's ink painting is undoubtedly worthy of special attention, because it is a new wine in a new bottle-with a brand-new concept and a brand-new schema. Let's drink this wine. Please raise your glasses!