Brief introduction of Chinese characters

Hua

Hua was born in Shanghai, 1953. Painter. I was influenced by my family to learn painting. He is also good at Chinese painting, comics, murals, illustrations and book binding. 197 1 year as Art editor of Anhui people's publishing house. 1980 graduated from the graduate class of Chinese painting department of Central Academy of Fine Arts. Professor of Central Academy of Fine Arts, member of China Artists Association. He has been invited to give lectures, participate in exhibitions and hold exhibitions in the United States, France, Yugoslavia, Japan, India and Hong Kong.

Name: Hua

Alias: Tian Qiao, sure enough, Sha Yue.

Nationality: China.

Ethnic group: Han nationality

Place of birth: Shanghai

Date of birth: 1953

Occupation: painter, professor

Graduate school: Central Academy of Fine Arts

Masterpieces: Map of Kuafu, Eliminating Witches in Ximen Bao, Selected Chinese Freehand Paintings, Peaceful and Prosperous Times.

Role overview

Basic information

Hua, others: Tian Qiao, sure enough, Sha Yue. 1953 was born in Shanghai and his ancestral home is Zhenhai, Zhejiang. Influenced by my family since childhood, I studied painting with my father's famous painter Hua Sanchuan. 197 1 year as Art editor of Anhui people's publishing house. 1978 was admitted to the graduate class of Chinese painting department of Central Academy of Fine Arts, where he studied under Jiang, Li Keran and Ye, and stayed as a teacher after graduation. Now he is a member of China Artists Association and a professor of Chinese painting department of Central Academy of Fine Arts.

Hua is good at Chinese painting, comics, murals, illustrations, book binding and so on. His works have participated in many important art exhibitions sponsored by China Ministry of Culture, China Federation of Literary and Art Circles, China Artists Association and Chinese Painting Art Committee, and won many awards. He has been invited to give lectures, participate in exhibitions and hold exhibitions in the United States, France, Yugoslavia, Japan, India and Hong Kong.

Artistic feature

Hua is mainly committed to the creation of ink figure painting, which has a wide range of materials, novel ideas, delicate pen and ink interest, calm and bright painting style and strong vitality. Taking the tradition of law, learning from the past to serve the present, and striving for innovation, this paper tries to critically inherit and carry forward the tradition of China's calligraphy and painting with the modern aesthetic concept of modeling. He experienced Tibetan life many times and created a series of Chinese paintings with Tibetan life as the theme. Echo is one of them. This painting focuses on the deep thinking between man and nature, trying to show the problem of human survival under harsh natural conditions in western China. In artistic expression, he strengthened the charm of Chinese painting, downplayed the modeling factors of western painting, such as light, shadow, color and quality, and skillfully combined the blank space of Chinese painting with the perspective of western painting, making the picture both beautiful in modern form and transparent and ethereal in tradition.

Art evaluation

Ability and accomplishment

Hua has solid modeling skills and pen and ink skills, which is the basis of China's figure painting teaching and creation. From the mid-1980s to the early 1990s, he explored modernity, introduced symbols, spatial division and abstraction, tried the combination of bright colors and lines, and returned to tradition and realism in the mid-1990s, thus gaining a deeper understanding of the characteristics and essence of Chinese painting. Based on tradition, but open, earnestly explore rather than blindly westernize, which is the performance of artistic maturity.

As a figure painter, Hua has a comprehensive ability. He is good at realistic figures, costume figures, meticulous painting, freehand brushwork, literati painting tradition and expert painting tradition, all of which have high standards. The images of Tibetan, Yi, Uygur, Mongolian, Dai and other ethnic minorities in his works have unique styles and rich painting techniques. The miners' images he created show strong sketching skills, can depict characters' personalities, joys and sorrows, and carry forward the tradition of realistic figure painting in the Central Academy of Fine Arts. His large-scale group portraits of ancient costume figures, such as The Fairy Picture, Eighteen True Images, Nine Songs, etc., have magnificent scenes and many images, which can well grasp the relationship between man and scenery, emptiness and reality, and movement and stillness, showing his efforts in mural tradition and folk tradition, and his ability to combine traditional meticulous painting with realistic painting. However, his works of intentional figures, such as Gao Shi Juan, show superb literati painting skills and quite good pen and ink cultivation, which are concise and ethereal, pay attention to modeling and expression description, and pen and ink are also interesting. Chinese painting talents like Hua are rare in China.

Hua's personal painting style has a strong side and a delicate side. Some works are slightly trivial in painting, but this is inevitable in the process of pursuing personal characteristics. It is not a simple and empty exploration policy to be refined and rich. (Lang Shao Jun)

Yuji style

Hua is a representative figure who combines pen and ink interest with realistic modeling with artistic conception. Under the background of traditional culture, I constantly explore the feelings in real life, and further expand my own ink language culture on the basis of higher aesthetic interest. (China Gallery Alliance Research Report)

Hua is a contemporary first-class painter in China and an outstanding young painter in China. His painting skills and smooth splash-ink coloring are impressive. Good brushwork and solid painting skills enable him to turn magical artistic ideas into beautiful and poetic landscapes, which are more pleasing to the eye. I believe that Mr. Hua will continue to make outstanding contributions to the painting art. (Yang Lizhou)

Hua is a first-class famous painter in China and enjoys a high reputation in the international painting world. His works have been selected for many national and international high-level exhibitions. Hua's diligence and artistic talent make his works novel, unique and lifelike. (Liu Dawei)

Hua has a good creative foundation and profound foundation. His painting modeling ability is very strong, which can be said to be the best among contemporary painters. Modeling ability lies in China, first, realistic sketching skills, and second, pen and ink skills. He tried to combine the two and made achievements, forming his own unique personality style. Flowers have a strong artistic conception. His modern figure paintings and ancient figure paintings are generally multifaceted, with landscapes or flowers and birds as the background and foil. He is good at dealing with complex spatial relations and tries to create his own style in this respect. Hua's painting style is fresh and elegant, and at the same time, he pursues both elegance and popularity, unlike the current painting world. (Shao Dazhao)

As an excellent figure painter, Hua has enviable comprehensive qualities: solid modeling ability, well-trained pen and ink skills, imagination and creativity unmatched by ordinary people, ever-changing ability to grasp and control different deconstruction of large and small scenes, profound calligraphy skills and extensive knowledge of ancient and modern culture. It is with these unusual basic skills that Hua galloped in China painting world and showed his extraordinary talents in various styles. (Jia Dejiang)

On painters

Peace art

Since Su Dongpo said that "painting is like a child, so we can see our neighbors", the image of China's painting has become a controversial case.

It is true that the art of Chinese painting has a set of quite mature and effective modeling techniques and creative theories. Seamless integration with the artist's consciousness of actively participating in nature and life.

As we know, an important feature of China's classical art is the unity of knowledge, emotion and meaning. Cao pi advocated qi as the text; Wang Guowei put forward the theory of realm, all of which use a hazy sense of wholeness to carry out artistic aesthetics. Therefore, artists should start from the whole person and attach importance to the expression of emotions when creating. The image creation of Chinese painting also embodies this feature.

The image of thinking

Shi Tao said: the painter's "heart contains tolerance, not in the mountains, but outside the mountains, his spirit is controlled." It is this kind of "tolerance" that makes "mountains and rivers meet gods and trace" and makes the objective naturalized image of a painter. The image here is no longer an imitation of nature, nor a so-called model, nor a subjective fabrication, but a world recognized by the painter.

Zhuangzi turned into a butterfly in her dream, and she was puzzled. Does she dream of becoming a butterfly? Or has it always been a butterfly? This feeling is called materialization.

From now on, this absurd feeling has a strong subconscious. This dreamy mental state is similar to the spiritual life of artistic creation, which can melt the boundary between the material world and subjective consciousness and change the structure of time and space. In obscurity, reality and imagination are intertwined, infiltrated and inseparable. However, there is a fundamental difference between the mental state of creation and fantasy-this "materialized" surrealism is not subconscious, but requires the artist's active thinking activities and concentration.

At the beginning of their creation, they "sat in the barren hills and rocks all day long, deep in the forest, watching the rapids and waves." Although the wind and rain suddenly come, the water monster is sad and doesn't smell it. When it comes to dead rocks, you can comb the forest with a spoon, and you can find it affectionately. "

They immerse themselves wholeheartedly in nature, enter the realm of "things are different", devote themselves to deep feelings and whimsy, and seek "where is its hidden meaning". The appreciation of this artistic conception is the spark of vitality and creativity. Under its observation, everything becomes concise and lively, and red tape is melted by the painter's emotions. The so-called "the interest of a thousand miles", "the brilliance outside the four seasons" and "all the scenery is also sentimental" have made space and time free. The painter created the environment with his heart, moved by his hands, and created the "image".

In Chinese painting, the physical attributes, personality and texture of concrete are unimportant things. What is important is to "move its shape, keep its backbone, and seek its painting and transcend its shape." If you think this is a bit mysterious, then in the present words, the so-called "backbone" is the "living form" constructed by the artist through his keen feeling of vitality. The image of a work is actually the order of things (including the author's thinking movement).

It is undeniable that there is a strong sense of dominance in artistic image. "Even if you don't write, you will always have me." The "I" here is no longer superficial to the author, but includes the unity of the author's subconscious id and ideal superego.

Because the psychological activity in creation is similar to the mental state of dreams and drunkenness, it also has a great compression and deformation effect on the image, which is not controlled and constrained by reason. Therefore, this kind of "thinking image" is often unreasonable and grotesque intuitively.

There are typical examples in classical poetry: "The sour wind in Dongguan shines through the eyes", "Remembering the monarch and clearing tears like lead water" and "The ghost lamp is like a picture of a pine flower". These absurd images, such as the sour wind, lead tears and ghost lamp, are all abnormal images of the author and full of the author's wishes. Its artistic effect is plump, straightforward, intense and pure, which awakens the creative nature of each of us.

"Image" is only responsible for thinking logic and edited according to thinking logic. In fact, when we appreciate some Chinese paintings, we are often shocked by images and spaces invisible to the naked eye in the real world! There are "marvelous works", "fantastic works", "fantastic works" and "fantastic works!" Our admiration can be seen everywhere. As for the "Eighth National Congress" and "Eight Eccentrics", they are highly respected for their shocking works.

Another feature of thinking image is "quietness".

Because the image is obtained by strengthening emotional life, the author has complete confidence in creation, mastered the initiative, gained freedom and is confident. The author is no longer a slave to emotions, but as a conductor, he carefully organizes and coordinates everything. Here, "absurdity" becomes obedient and obedient, giving us a calm, decent and concise appearance. There is no doubt that these are due to the most sensitive understanding and the most arbitrary sense of dominance. Therefore, it can be said that the sense of quietness in the works is the strength of the author's intense thinking activities.

The image of "dialogue"

It is said that the road for human beings to know the truth is tortuous. From the change of cognitive style: from begging at the foot of creation to trying to understand the revelation of truth through introspection, external inspection and even exploring the mysteries of mechanical physics, they all take the road of "opposition between things and me"

In China, the ancients revealed the truth through a "dialogue" through a subtle relationship with nature.

Hebo in Zhuangzi's Autumn Water is the representative who takes me as the center. After discussing the uncertainty of infinite things changing in time and space with Hai Ruo, he finally abandoned the original view that "the beauty of the world lies in me". In fact, this is a dialogue about exploring the truth.

People in China believe that art is just one of the social activities to explore infinite truth, the soul window to get in touch with the world to the maximum extent, to breathe and talk, and the process of constantly denying false self, establishing true self and renewing self in round-trip communication.

As far as Chinese painting is concerned, the first condition of creation is the close relationship between man and nature, which are equal and independent. "I think Castle Peak is more charming, and I expect Castle Peak to look at me"; Secondly, the works should also be independent from the painter's spirit. It is neither a natural imitation nor a vivid painter's consciousness. There is a "distance" between artists and nature. Works have their own lives and have become an objective reality.

Chinese painting requires the painter to "enter the painting with Zen", which, metaphorically speaking, means "doing Buddhism with pen and ink", and regards painting as a cognitive activity to know the truth and a "pen talk" about objective things and the invisible universe.

This "dialogue" process is complex, profound and multilateral. Painters and nature; Works and painters; Nature and works; There is also the participation of the audience and exchange ideas with each other. What they care about is not who belongs to whom and who obeys whom, but "discovery".

If you want to retell a Chinese painting, it may be difficult to figure out what the plot and theme are (the plot and theme are mostly speculation by later generations, not the author's intention). Only when you face the work, participate in aesthetic activities and put your thoughts and feelings into it can you appreciate what the work shows. You give, you get. We have a similar experience in music appreciation, called "dialogue".

"Until, holding up my cup, I ask the moon, bring my shadow to me, let the three of us" is borrowed to illustrate that the dialogue between nature (moon), painter (poet) and work (shadow) is vivid (of course, it should also include viewers). A group of independent ontologies set off each other and complement each other. No one can live without anyone, and they all see the beauty they have created in each other.

Because of the integrity and freedom of ontology, each has its own independent value, and any kind of "existence" cannot become the dominant authoritative force. Therefore, Chinese painting is different from the general thematic and utilitarian painting, and it is impossible to have similar dramatic integrity and closure.

This kind of "dialogue" is embodied in the image-building, which requires "simplification first", attracting viewers with perspective illusion and fuzzy space, and accepting external participation.

Of course, the inscriptions in the works also enhance the effect of "communication".

Naive image

For a long time, there has been an illusion about Chinese painting, which is a pedantic trick with many repetitive techniques, which is far from the reality of life.

The consequence of this illusion is to push Chinese painting into the abyss of more and more "formalization" and more and more "specialization".

The reason for this drawback is to look for it from the Chinese painting itself. As we know, Chinese painting is produced in a high degree of civilization and is the result of social and cultural trees.

People must have a certain cultural accomplishment when they contact it, and they must start with the artistic symbols created by the predecessors.

Over time, some people gradually became interested in the "symbol" itself and ignored the "information" conveyed by the symbol. As a personal interest, it may be harmless, but as an aesthetic principle, it is extremely dangerous and will inevitably produce many lifeless and lifeless works. Once upon a time, this phenomenon was mistaken for tradition and became evil.

On the other hand, some people rashly try to embarrass Chinese painting with foreign ideas (many of them have lost confidence in mastering techniques) and try their best to deny traditional forms of expression.

Therefore, the fate of Chinese painting always revolves around the skills and forms of expression.

We believe that the ultimate goal of spiritual activities is to return to nature, and all artistic revival will begin in the original place where they were born.

Since painting has the function of cultivating emotions, we should be careful not to let subjective consciousness "swell" too much. We should "fantasize without losing its truth, and play with China without falling into reality."

If this is the crux of some traditional and lifeless Chinese paintings, it should be avoided.

Shi Tao said: "When you draw a picture together, you must know how to be edified." The so-called cultivated people are actually a pair of contradictions. "Meng" probably refers to ignorance and uncivilized, and broadly refers to nature and instinct; "Cultivation" means learning, cultivation, skills, cultural traditions and so on.

He thinks this is an appropriate boundary that painting art must grasp. "Think about it and judge its support. Since you can understand the past, since you can change, you can't change it." We should face nature and test our education, so as to get rid of its ignorance without losing its natural nature and create vibrant art.

Shi Tao's writing is a very valuable experience and a perfect creative thinking method, emphasizing the need to project the artist's ideas into the original natural standard.

At the same time, "nurturing" can also be used as the adjustment mechanism of painting art creation. It requires painters to go to nature to "search for strange peaks and draft", absorb fresh nutrients, sweep away Chen Xiangyin's stale habits of following the ancient road and create a new generation of wind.

Of course, "nurturing" also includes artists entering intoxicating artistic mentality, getting rid of the shackles of rationality, emancipating the spirit, unbuttoning their clothes and forgetting my heart and hands.

Keep the "naive" purity of artistic creation. Based on the simple outlook on life, China artists observe and express things from the aesthetic psychology, so their images are often "simple and naive".

This image has a fresh and wild flavor. It records the most primitive creative impulse and the most conscious inner expression of human beings, and represents the feelings of the most ordinary people, so it has people's nature.

China painters often describe their works as "pen and ink games" to show off their relaxed mood in creation.

This also reveals their social outlook. They don't think art is a great cause, and they hate exaggerated social effects. They think that painting can't be omnipotent. Even within the scope of art, painting only reflects the society in a limited scope. It cannot replace other cultural forms and ideological fields at all, but.

What's more, beauty can only be experienced through communication, and artists can't fully predict and grasp what thoughts and feelings the audience put into their works and what social effects they have produced.

Therefore, they think that painting is a kind of "Tao", and Shuowen interprets painting as "the painter hangs" and is just an ornament that can be hung. What a careless thing it is.

This is obviously contrary to the Confucian thought of "rites and music" and reflects the ideological contradiction of China people towards social life. However, this just brings freedom and the possibility of freedom to artistic creation.

In view of these reasons, China's paintings have always maintained the traditional characteristics of "pictographs with objects" and "colors with classes", instead of becoming an expert or developing towards abstraction and conceptualization, and have always maintained the intuitive, concrete and naive image characteristics.

Maybe it's not all bad.

General situation of art

Main work

"Eliminating Witches in Ximen Bao" won the second prize of the Second National Comic Creation Award.

The Joy of Slaves was selected 1976 China Art Exhibition.

"Smoke" won the design award of 1979 National Book Binding Art Exhibition.

65,438+00 works including 9 songs were selected for the Contemporary China Art Exhibition held in Hongkong in 65,438+0985.

Mirage was selected for the China Art Exhibition of the United Nations International Youth Year held in Beijing from 65438 to 0985.

A collection of humanities 1985 created a large mural for the Yellow Crane Tower in Hubei Province.

Thirty works, such as The World Is Like a Ship, participated in the 8-person exhibition of the Central Academy of Fine Arts held in Beijing from 65438 to 0986.

The art of peace (thesis) participated in the seminar of art theory in reform from 65438 to 0987.

Luming Literature and other two works were selected for the China Contemporary Art Exhibition held in May 1987.

12 "Untitled" and other works were selected for the World Modern Art Exhibition held in new york, USA in March. 1990.

Three works, including ink and wash, were selected for the exhibition of China's modern masterpieces held in Tokyo in April, 1990/KLOC-0.

Exhibition of works of Paris Academy of Fine Arts, France

The 9th International Art Exhibition in Rijeka, Yugoslavia

India's Third Triennial Exhibition of Modern World Art

1990 solo exhibition of Oriental Art Center in Los Angeles, USA

Held a solo exhibition in Utsunomiya.

1990, 199 1 American World Art Fair in Spring and Autumn.

From 65438 to 0995, he gave lectures at Toyo Academy of Fine Arts in Japan and held "Chinese Ink Painting Exhibition".

echo