999久久久无码国产精品_国产日韩精品无码区免费专区国产_亚欧免费无码aⅴ在线观看_日韩人妻无码一区二区三区99

2015

2014 Chinese Painting Exhibition (Beijing National Art Museum)

Self satisfaction -- Jiang Yunxiang's ink and wash Works Exhibition (Art Museum of ZhangXiong calligraphy and painting academy, Xiamen)

Nature - Jiang Yunxiang ink and wash Works Exhibition (Jiancang Art Museum, Yixing City, Jiangsu Province)

Nature - Jiang Yunxiang ink painting exhibition (Zhejiang Tiantai Museum)

To meet the needs of the eyes and the heart -- works selected by teachers and students of the new literati painting origin Exhibition (Shandong Jinan Dayan traditional Chinese Painting Research Institute)

Jiang Yunxiang fine Chinese Painting Exhibition (Art Museum of Xiamen heritage Art Museum)

Calligraphy and painting exhibition of famous artists of "national style and context" (CPPCC Auditorium)

Heart image -- Exhibition of works by Jiang Yunxiang, a painter from Canada (Lecture Hall for centennial of Peking University)

Heart image -- Exhibition of works by Jiang Yunxiang, a painter from Canada (Yixing Art Museum, Jiangsu Province)

"National style, cultural context" calligraphy and painting exhibition of famous artists (Longgang cultural center, Longgang District, Shenzhen)

Xiangwai -- 2016 new literati painting veteran new exhibition (Linyi Museum, Shandong Province)

First exhibition of Yunxiang Art Museum (Yunxiang Art Museum, Huanghe center building, Humen, Dongguan)

Invitation exhibition of contemporary freehand figure painters (Beijing Li Keran Academy)

Party flag flying. On the road of the Long March -- Commemorating the 95th anniversary of the founding of the party, the 80th anniversary of the victory of the long march and the invitation exhibition of works of famous Chinese painters (the first time) (Beijing Red Museum)

Party flag flying. On the road of the Long March -- Commemorating the 95th anniversary of the founding of the party, the 80th anniversary of the victory of the long march and the invitation exhibition of the works of famous Chinese painters (the third time, entering Guangrao) (Shandong Guangrao International Expo Center)

"Brush and ink" exhibition of contemporary Chinese Painting Masters (CHINA EVERBRIGHT BANK Private Bank (Beijing) center)

Forget to live - Exhibition of contemporary Chinese figure painters (Art Space 39, Central University of Finance and Economics)

"Pen and ink know each other" of en Cheng crystal art - Contemporary China five people Exhibition (Singapore en Cheng Crystal Art Museum)

Vitality in hand - Chinese painting masters invited Tour Exhibition (Shanghai Hong Art Museum)

Vitality in hand -- China's famous painters invited tour exhibition Xuzhou station (Xuzhou Museum)

 2017

 Heart image - Appreciation meeting of Jiang Yunxiang's works (Nanhu culture and Art Center, Huaibei City, Anhui Province)

Vitality in hand - China's famous painters visiting Zhanji South Station (Shandong Provincial Cultural Center)

Vitality in hand -- Binlong Art Museum opening exhibition (Suzhou Binlong Art Museum)

Is Chinese painting  first proposed not to take shape? I think in the thousands of years of Chinese painting’s development and change, our ancient ancestors must have put shape in a more important position at the earliest, not to take shape should be put forward by later people.

At the beginning, they would attach great importance to the description of form, but this "form" is different from the "form" we understand today. The development of ancient Chinese painting and Western painting is different from the beginning.

In the west, the contrast between light and shade and block surface are used to express things, and the focus perspective is adopted. The processing way of Chinese painting is to describe things with lines at the earliest time, and the scattered perspective is adopted.

In terms of line sketching portraits, there is a considerable difference in the shape of the king and the waiters' group images in Yan Liben's "emperors of all dynasties" in Chinese paintings. If there is no line control over the shape, this cannot be done.

Let's take another look at Zhan Ziqian's spring outing. The mountains, water waves and houses in the painting are all in their own unique forms, which make up this graceful picture that has influenced the future generations for thousands of years. In addition, Liang Kai's bamboo painting of the sixth ancestor, the story of eight eminent monks, Libai's chanting, the painting of ink splashing immortals, Shike's heart regulating painting, the painting of Laozi, Jinnong's self portrait and so on all show the importance of its line power with linear objects.

When a painter writes a picture, the process of transformation from seemingly to not is very complicated. It involves a painter's own cultural foundation, as well as his accomplishments, and then it can talk about his understanding. If you don't have a foundation, you can't write this shape properly. How to talk about God? In the same way, you can't understand a lot of things without the long-term cultivation the day after tomorrow. You can write shapes, but you can't find a way to mend the gods from it. With the deepening of the artist's understanding of the nature of art, the lower level realm is clear to the higher level, because he has had similar experience. The lower level knows nothing about the higher level. So the cultivation after tomorrow plays a great role in the later process.

There are four kinds of Chinese painting: "can, Miao, Shen, Yi". Can lies in shape, Miao lies in technique, Shen lies in Qi and Yi lies in nature. "The combination of God and form" is to achieve the purpose of writing God by means of writing form. Where does the "God" come from when there is no visible form? Without muscle physiological changes, where will happiness, anger and sorrow depend? But everyone's understanding of this problem is different. Some people may realize the importance of God, but they don't know where to get it. Or in the process of obtaining, sometimes it will go along with its own characteristics, for example, some people's character is more publicized and they often ask for it. He may know the importance of "God". When painting, he is often superficial, arrogant and impetuous, and can not get the essence. Some people are hesitant and often can't catch some motives. They easily miss them and finally have nothing to gain. Therefore, there is a great relationship between "preaching God" and "God" and personality, mentality and cultivation. In terms of my own painting experience, sometimes if I am too serious, too deliberate and hard to write, I will miss this thing. It's a pity that my body and mind are not aware of this. So when I draw, I often take a method, that is, less painting and more reading. Take a look at the masterpieces of famous scholars of all ages, think more, sit there and watch for most of the time, stand there and see what? See if the picture shows something natural, something natural and occasionally. Whether the core of picture quality exists, and whether the picture has immortal spirit and charm. Zhang Geng in the Qing Dynasty said in "on the painting of Pu Mountain “that” the charm of Qi originates from the ink, the author and the unintentional. It comes from the unintentional. “This "unintentional" is selflessness. As long as the painter reaches the realm of selflessness when he is engaged in creation, he will be free to deal with the painting and draw a flexible shape with a few strokes. I don't think it's advisable to add ten million strokes to one stroke. I prefer to draw with a pen in calligraphy. It's a subtraction. Each stroke is fatal. One stroke can't be more or less. One stroke can't be more or less. At this time, there will be something very important to hide. If he is an inexperienced painter, he will think it is just a sloppy thing. I have many layers to draw behind me! It will be inadvertently covered in the bottom again and again, just like trying to bury it under the mountain; it will never be dug out. So my later painting experience was that I paid attention to this thing from the beginning. Would it have appeared in my works? I'll sit down and see if it's there. If so, I'll take it as an important quality basis for going on, even if it's just a few strokes.