According to the surging news, on November 28, the "new Shanghai style ink art literature exhibition" will be opened in the "tarttao art space" in Shanghai. The curators Tao Hua and fan Xiaonan invited nine artists including Ding Liren, Wang Jieyin, and Chen Jiu to participate in the exhibition. The exhibition aims to sort out and study the new features of contemporary experimental ink painting artists in Shanghai since the new century.
With the opening of Shanghai port and commercial prosperity at the end of the 19th century, a group of artists known as "Shanghai style" opened up a new look for Chinese painting. After succeeding Xiong, Zhao Zhiqian, Ren Bonian, Wu Changshuo, Xugu, Pu Hua, Huang Binhong and other famous artists, the new generation of Shanghai style artists gradually showed their new ideas and lived in the torrent of the new China era, expanding many performance fields not covered by their predecessors, such as Lin Fengmian, Wu Hufan, Zheng Wuchang, Guan Liang, Liu Haisu, Wu Dayu, Ni Yide, Zhu Qizhan, Lu Yanshao, Xie zhiliu, Cheng Shi Both of them have their own achievements in the history of painting.
After experiencing the difficult modern transformation since the 1980s, Chinese traditional ink painting shows its vitality and bright future. Some ink and wash artists echo with contemporary artists who are out of the field of ink and wash, thus forming a special phenomenon: on the node of traditional culture and ink painting spirit, they come from different ways, but have the same direction.
"New Shanghai style ink art literature exhibition" aims to sort out and study the new features of contemporary experimental ink painting artists in Shanghai since the new century.
Ding Liren, meeting by chance on the way, 68x68cm, Zhongcai, 2020
Among the artists who participated in the exhibition, Mr. Ding Liren, born in 1930, began to draw at the age of six. He liked Post Impressionism and expressionism painting since he was a child, and had the opportunity to deeply study Chinese and foreign folk art. Besides art, he dabbled in a wide range of fields, such as Chinese folk opera, western music, biological aquatic products, seaweed shells, bee jellyfish and so on Stone carving, wood carving, button printing, printmaking, sketch, paper cutting, collage, etc. From "three in and three out" to a career path out of tune with art, he integrated his strong interest in Chinese jade wares of three generations, stone carvings of Qin and Han Dynasties, modern woodcut New Year pictures, paper cutting, and African and Eskimo art. He believed that "art should be full of vitality, and" hybridization "is the only way to restore art."
Chen Jiu, wormhole one, 150cmx90cm, paper ink, 2020
Wang Jieyin reconstructs his works with abstract points and lines, starting from the repetition and multi connection of prints, supplemented by oil painting.
Chen Jiu's experience is different from that of many painters of academic background. In the late 1970s, he began his career as a novelist with literature. In the 1980s, he became a student in the oil painting training class of Shanghai Academy of drama. Later, he turned from oil painting to ink painting, inheriting Guan Liang's traditional Chinese painting of traditional Chinese opera, and made great progress. If he goes down this road, he will be familiar with the road and walk smoothly. However, he didn't want to fix himself in the limited world of "characters in ink and wash opera", so he sought change again, taking "water scenery" as the theme and ink as the medium, and began to look for a more simple and peaceful poetic realm.
Yu Cun, Du Yuesheng, 195x122cm, paper ink, 2020
The artistic temperament of Yu Cun's works tends to self-concept and free expression of heart. He is good at showing the contradiction and tension between himself and reality with short sentences and fragmented visual way, but he does not seek the perfection and classicalization of Painting Schema, but makes the meaning and value of his works be reflected in multiple dimensions.
Wang Tiande, the painting of reading steles in Pingshan, 221.5x121, Xuan paper, ink, flame and rubbings, 2019
Wang Tiande replaced pen and ink with burning, which broke through the limitation of single brush, ink and paper. His "fire and ink" landscape directly connected with tablet rubbings or ancient calligraphy original works, and introduced the "material" language of incense and paper marks into traditional brush and ink, making his works have contemporary concept and unique distinguishing features.
Artists such as Zhang Guanghao and Zhang Guangxi also participated in the exhibition.
"T-art art" space
It is reported that Shanghai "t-art Tao Art" is a commercial + Art + Internet platform art organization, including brand art promotion, brand + Art Salon, art investment consultation, brand cultural and creative gift research and development, etc. As a long-term series of research academic exhibitions, "new Shanghai style ink art literature exhibition" will pay close attention to the creative process and artistic achievements of this group of artists in the future.
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