Humanism-Wang Bomin Painting and Calligraphy Exhibition
Exhibition time: 20 13 August 20 -25.
Venue: Art Museum of China Academy of Fine Arts (No.218 Nanshan Road, Hangzhou, Zhejiang).
Organizer: China Academy of Fine Arts.
China National Painting Academy
Chinese Artists Association
China International Tea Culture Research Institute
Wenling Municipal People's Government
Depicting the History of Nanshan —— Wang Bomin 90-Day Workshop Exhibition
Exhibition time: 2065438+September 265 438+0-27, 2003.
Venue: West Hall of Collection Exhibition Hall of China Academy of Fine Arts (No.218 Nanshan Road, Hangzhou, Zhejiang)
Organizer:
China Academy of Fine Arts College of Arts and Humanities
China National Painting Academy
Chinese Artists Association
China International Tea Culture Research Institute
Wenling Municipal People's Government
The Happy People in the Half-Tang Zhai —— Wang Bomin, Wang Dachuan and Wang Geng Art Exhibition
Exhibition time: 20122 September-10/7 October 10.
Venue: Lu Heng Art Museum (No.202 Nanshan Road, Hangzhou, Zhejiang)
Organizer:
China International Tea Culture Research Institute
Wenling Municipal People's Government
Tongdaotang cultural art organization
Bantangzhai Liren Changle Painting and Calligraphy Exhibition
Exhibition time: 20 13 1 1.
Venue: Wang Bomin Museum of Art History in Wenling (Wenling, Zhejiang)
Organizer:
China International Tea Culture Research Institute
Wenling Municipal Government of Wang Bomin
Poetry, books and paintings are my spare time for studying all my life. I painted a lot in my later years, and sometimes "I don't want to be idle before the ink lamp falls."
For more than half a century, books and swords have grown together. Ask yourself to be a scholar. To be a scholar, you must read more books and travel more. As a painter, you must learn from nature, and there is no shortage of merits in internal camp. In this regard, I can only say that I am working hard in this regard.
The creation of Chinese painting requires "similarity but dissimilarity". It's so good that it has "classic" theoretical value. Painting is a visual art, and it is appropriate to draw the "likeness" well and shape the image characteristics of the object well. So "painting a tiger is not like a dog." However, as an art, we can't just judge by "the sense of picture". In this regard, dialectically put forward "unlike". In fact, "unlike" is normal, because artistic expression has to go through generalization, selection, exaggeration and deformation. The shape in painting is not equal to the shape that exists objectively, that is, Zong Bing in the Southern Dynasties said in his Preface to Painting Landscape that "the shape is written by the shape". If the form of art, in the painter's subjective composition, shows a complete "unlike", it would be too much. Therefore, "similarity" is put forward. These four words, concise, have become a scientific and logical statement in painting. Try to look at the works of landscape painters of past dynasties, and you can see them at a glance. Li, Fan, Guo and Mi in the Northern Song Dynasty, Li, Liu, Ma and Xia in the Southern Song Dynasty, Huang, Wang, Ni and Wu in the Yuan Dynasty, Wen, Shen, Tang and Qiu in the Ming Dynasty, "Two Stones" and "Four Kings" in the Qing Dynasty, and Huang, Li Keran and Fu Baoshi in modern times. Some of their works are "unlike". Generally speaking, they painted strange rocks and valleys, waterfalls and clear streams, or mangroves and green hills, or storms, or fishing boats braving smoke and waves, or lying on a long bridge, which are both "unlike" and "like". Shi Tao once said in a poem: "Change is magical and ignorant, unlike worship at the moment." To this end, efforts are still being made to explore.
Someone asked, what did the old man create after painting for so many years? I replied that the creation is far from perfect, and painting often fails. When I was young, I was inspired by Huang Li's establishment of "Dragon King Rain Industry" with water. I was stupid and inexperienced, which caused the flood, so I wasted a lot of paintings. Sometimes, when it happens, the water is surging and I enjoy it. I like to use waterlogging, condensation, splashing water and spreading water to keep in good health. Or use water to break ink, use water to break color, or use water to flush, or let water flush Su Mo. Sometimes I rush out of a piece of air. In a piece of air, I add some burnt ink to lift it. It can't be said that the autumn wind is dry and the spring rain is moist. I always want to try to change. My idea and practice, as Fu Baoshi has said, is a kind of "catching up with painting". He means "break through", break away from convention and paint. "Fa" is used by painters, but it cannot be bound by "Fa".
After eighty, I like to paint mountains with strong colors. For azurite, azurite, cinnabar and ochre, use monochrome or multicolor. Most of them use white powder instead of water to color. I studied in Shanghai Academy of Fine Arts and studied oil painting in the Department of Western Painting. Mr. Chen is the instructor. He has said many times that adding some white to various colors will give birth to another color effect. So I like to use white powder, influenced by teacher Chen. It's still in the experiment. There's nothing to say.
Now, my friends are very kind and affectionate, and they plan to compile some of my casual works over the years into an exhibition. I express my heartfelt thanks for this development. Celebrate Mr Wang Bomin's 90th birthday.
"Humanistic Spirit-Wang Bomin Painting and Calligraphy Exhibition"
Professor Wang Bomin, a master of art history in China, a master of humanism in China, an outstanding representative of contemporary literati painting and an internationally renowned master of China painting and calligraphy, was born in Taizhou, Zhejiang Province on 1924 and graduated from Shanghai Academy of Fine Arts on 1947. After graduation, I went to the research class of Beiping Art Institute for further study. He is not only a graduate student of Xu Beihong, but also a disciple of Huang, a master of Chinese painting. 65438-0952, teaching in Zhejiang Academy of Fine Arts (now China Academy of Fine Arts). He is currently a professor at China Academy of Fine Arts, a doctoral supervisor in fine arts, an academician of China National Painting Academy, a part-time researcher at Dunhuang Research Institute, a director of Xiling Printing Society, honorary president of Hangzhou Painting Academy, and honorary president of China International Tea Culture Painting and Calligraphy Institute.
To celebrate Mr. Wang's 90th birthday, the "Painting and Calligraphy Exhibition" jointly sponsored by China Academy of Fine Arts, China Artists Association, China National Painting Academy, China International Tea Culture Research Association, and Wenling Municipal People's Government, Mr. Wang's hometown, and undertaken by China International Tea Culture Painting and Calligraphy Institute, Art History Museum, Zhejiang Art Media and other units was held in China Academy of Fine Arts from August 20 to 25, 2003. This exhibition is Professor Wang Bomin's masterpieces over the years, including masterpieces and sketches. Mr. Wang laughed at himself: painting is an unnecessary part of reading. As Mr. Wang Bomin's first official exhibition, it has aroused expectations from all walks of life.
Mr. Wang Bomin entered history through classics, and his works are rich. However, the study of China's art history is unique in the contemporary era, and he is a great scholar. 1In September, 1988, the General History of China Fine Arts edited by Wang Bomin won the China Book Award from the China Publishers Association.1In June, 1992, the State Council awarded Wang Bomin the honor of "an expert and scholar with outstanding contributions" and won the first China Fine Arts Award, the highest national fine arts award in 2009. He has edited and published nearly 60 paintings at home and abroad, including History of China Painting, History of China Printmaking, General History of China Art, General History of China Painting, History of China Minority Art, History of China Folk Paper-cutting, Research on Dunhuang Mural Landscape, Composition of Chinese Painting, Interpretation of Ancient Paintings in Tang Dynasty, Notes on Ink Painting and Quotations of Yellow Painting. He has published more than 200 papers in newspapers and periodicals at home and abroad, including Selected Works of Wang Bomin's Fine Arts, Collected Works of Wang Bomin's Fine Arts History, Wang Bomin's Painting Collection and Bai Min's Poems.
Mr. Wang Bomin spent more than 60 years writing seven monographs on art history, which are urgently needed by the art world, making the study of art history in China a big step forward. With his advanced knowledge and unique insights, he put forward a newer and deeper understanding of ancient and modern calligraphy and painting art, which represented the academic peak of China's art history research. Some of his works filled the blank of China and even the Oriental art history research, and some of his works were translated into foreign languages and published by foreign scholars. Wang Bomin is the founder and outstanding leader in the research field of China art history in the second half of the 20th century, which can be called "painting history to learn Confucianism" and "seven histories".
Wang Bomin traveled all over the famous mountains and rivers of the motherland, visited Wan Li Road, read thousands of books, and advocated the research and practice of literati painting. His paintings are elegant and natural, simple and beautiful, full of poetry, and have the reputation of "a masterpiece of literati" and "a generation of Confucian ink", which has created a new realm of contemporary China literati painting. He is considered to be another master of landscape painting in Zhejiang after Huang and Lu.
While combing the context of art history, Mr. Wang Bomin constantly studied the characteristics of China's landscape painting (composition, space, perspective, ink painting, watercolor painting, color, artistic conception, etc. ) and made a creative interpretation and induction. He put forward the theory of "six distances" in landscape painting perspective, that is, "height, distance, flatness, width, loss and distance"; The "seven views" theory of "step by step, covering all aspects, wholeheartedly, from a distance to a close view, and moving six distances" was included in the China Dictionary of Art; Put forward the water method theory of Chinese painting, that is, "water mixing ink, ink painting, ink painting, ink painting, watercolor painting, blisters, water splashing, water coagulation and water dispersion", which is called "nine water methods" and has far-reaching influence on painting circles.
Mr. Wang Bomin used the results of theoretical research to guide and explore his own painting practice, and achieved fruitful results. Mr. Pan Tianshou once praised him: "He is not only good at history, but also good at poetry and painting, which is really commendable." Mr. Zhao Puchu praised the poem "The picture is like a yellow fool, with a wonderful idea, and the rain urges the poem." He skillfully used the "water method" with water as ink to make the picture vivid and colorful. The long-term study of Dunhuang murals and their color changes makes them bolder and more direct in color selection. He pays attention to the beauty of artistic conception of space, takes space and blank as his eyes, has an open mind, long-term humanistic cultivation and perfect brushwork expression, which makes the spirit and elegance of the book run through his works, directly embodies the elegant realm of China literati painting and creates a new realm of contemporary literati painting. Until his senior year, he still silently tempered his painting style, but he emphasized the realm of Zen and the pursuit of "spiritual space". After the age of 80, Mr. Wang's paintings are perfect, perfect day by day, simple and vigorous, and have changed a lot, showing the long-accumulated humanistic feelings incisively and vividly. The painting at this stage is more mellow. Mr. Wang once said, "I paint for the ideal and write for the pursuit." Mr. Wang Bomin's painting practice has become a model of the perfect combination of "reason" and "behavior" of China painters.
China's traditional humanistic spirit can be expressed in four words: integrity, purity, harmony and elegance, which are the core values of China culture. And Mr. Bomin's knowledge, painting art and lifelong cultivation are the portrayal of these four words.
At this moment, the Wang Bomin old man whose temples have been dyed white by years still looks so wise and frank. In the sunset years, reading, reciting poems, making tea, enjoying the moon, researching inkstones and laying water … everything is so calm.
May Mr. Wang Bomin become an evergreen tree of art! order
Wang Bomin
Day classes, in short, learn to be a man and do homework, day by day, without stopping in cold and heat.
Yesterday, Wang, Gu and Huang started a day shift, and the effect was good.
For 70 years, Li Yu has been attending daily classes, taking reading and walking as daily classes, poetry and painting as spare time for reading, and making tea, making stones and sitting at night as minor courses.
This exhibition includes 130 daily class assignments. Yu Yisheng has published 62 works. Based on 62 daily classes, 54 kinds of minority art history were compiled, 54 daily classes were counted, and 10 topics were collected. Based on 65,438+00 daily class hours, 30 poems and paintings were exhibited in 5 daily class hours. Add up to 130 daily classes, all involving art, so it is called "art daily class".
I'm 90 years old and I'm ashamed. I exhibited my homework, and my grades were poor, which was a drop in the century. Mature people will report to their cultural colleagues, and those who are eager to reach out will be greatly taught. If there are "not mine" or "mine", you should respect them as a teacher. I have enough courage to climb this mountain and never flinch in the face of difficulties and dangers. On the journey of academic tempering, I will base myself on the new era, burn ointment, and try my best to do something I should do. For the national cultural construction, it is just a brick and a tile. Press release "Depicting the History of Nanshan-Opening Ceremony of 90-day Class in Wang Bomin"
To celebrate Mr. Wang Bomin's 90th birthday, as one of the birthday celebrations, the "Wang Bomin 90-Day Class Exhibition" hosted by China Artists Association, China National Painting Academy, China International Tea Culture Research Association, China Academy of Fine Arts and Wenling Municipal People's Government opened in the school history exhibition hall of China Academy of Fine Arts on September 2, 2065438, displaying Mr. Wang Bomin's works, manuscripts, academic cards and books over the years.
In addition to a large number of manuscripts and original cultural relics of Wang Lao, there are original paintings and calligraphy of Huang, Qi Baishi, Pan Tianshou, Li Keran, Sha Menghai, Zhao Puchu, Tsung i Jao and others, as well as poems and songs of Mr. Jing Hui Zen Master.
Wang Lao said in the preface of the "90-day class exhibition": "Learn to be a man, do your homework every day, and the cold and summer are uninterrupted." "In the journey of academic tempering, mountaineering does not stop because of difficulties." This is the aspiration of this cultural old man who takes reading, self-cultivation, self-cultivation and scholarship as his lifelong pursuit, lives up to the times, sets an example and takes pleasure in suffering. Real learning is inseparable from daily accumulation and hard work. With a normal heart, Mr. Wang Bomin studied and honed in the treasure house of China traditional culture during his 70-year academic career, and devoted his life to it.
After visiting Mr. Wang Bomin's 90-day class, we can see Wang Lao's sense of historical mission and academic wisdom. Let people feel the ways and means of traditional literati's self-cultivation and scholarship, and see the noble spiritual world and inner pursuit of traditional cultural people.
On the afternoon of 2 1, Wang Bomin's academic career seminar was held in the expert building of China Academy of Fine Arts. Representatives of Buddhist experts and scholars from home and abroad gathered in Hang Cheng to attend the grand event.
Press Conference on "Happy People in the Mid-Tang Dynasty —— Painting and Calligraphy Exhibition of Wang Bomin, Wang Dachuan and Wang Geng"
In autumn in Hangzhou, following the exhibitions of Wang Bomin Painting and Calligraphy Exhibition and Nanshan Painting History-90 Days in Wang Bomin, another exhibition on professors, Chang Le, Wang Dachuan and calligraphy and painting was held in Lu Heng Art Museum on Nanshan Road.
This exhibition is sponsored by China International Tea Culture Research Association, and undertaken by China International Tea Culture Painting and Calligraphy Institute, Wang Bomin Art and History Museum and related cultural institutions. The representative works of Wang Bomin, a leading figure in contemporary literati painting, and three generations of Bantangzhai family were exhibited.
The exhibition period is from September 22nd, 20 13 to October 7th, 20 10. Welcome to enjoy the most beautiful art in the most beautiful season in Hangzhou.