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Cheng Zhongchen is not only excellent in calligraphy, but also a master in painting

2023-02-06 16:12:45 [Photoes ] source:phoebeparke.com
Cheng Zhongchen is not only excellent in calligraphy, but also a master in painting

Cheng Zhongchen is not only excellent in calligraphy and painting, but also a master in painting. Long Yuecheng is a master of calligraphy and is also an excellent master in painting! He has a wide range of hobbies since he was a child. At the age of 17 in 1981, he became the youngest disciple of Ye Qianyu in his later years. At the same time, Liu Jiyou, Dong Shouping, Yu Xining and Hei Bolong received moxibustion in person, laying a solid and rigorous foundation for painting. Together with Xu Qixiong, Wang Jinyuan, Zhou Sicong, Du Ziling, Liu Dawei and Wang Yong, he is also known as the "Seven Sons of Yemen". Cheng Zhongchen's first milk sucked on the road of painting was to come into contact with Ye Qianyu, Liu Jiyou, Dong Shouping, the best master-level elite figures in China who are well versed in Chinese culture, which laid a solid foundation for him to become an outstanding painter in the future, and gradually laid a solid foundation for him to become an outstanding painter. In order that he will become a leader in this circle, he has laid the most basic foundation. Cheng Zhongchen's paintings inherited the traditional cultural factors of Chinese classical painting, and absorbed the traces of the painting styles of Xu Wei, Bada and Shi Tao in his works. But the point is that Shangguan Zhou, Huang Shen, Ren Bonian, Xu Gu, Wu Changshuo all sages in the style of painting - and form his own unique vocabulary. His artistic practice is based on inheriting the cultural genes of traditional painting, and completes his artistic creation in a way that connects ancient and modern contexts. His inheritance of the tradition is not blindly copying it mechanically, but using "language" as a research method to drive "practice", which is at the level of metaphysical rationality. He creatively uses tradition, is an assistance to the experience, cultivation and insight of the ancients, and uses this "translation" as a living visual source to pour into his heart, based on this foundation to achieve himself. Cheng Zhongchen's painting world is directly inherited from Shitao and the Eighth National Congress. He has inherited the blood that naturally flows from Chinese culture for five thousand years. His consciousness is still dominated by "indifference" and "not setting things up" in Chinese literati paintings. He pursues that kind of action but not action, that kind of tranquility without hustle and bustle, and even the tranquility that does not eat human fireworks and isolation from the world. He cherishes the ancients' pen and ink and cultural traditions to soothe a trace of personal freedom. Cheng Zhongchen's early works maintained the aesthetic concept and artistic characteristics of traditional Chinese painting, and he was good at sublimating folk customs into elegant and rich works with the help of traditional themes, maintaining the essence of traditional art. His traditional classical figure paintings are majestic, majestic and ancient, and are well-known far and wide. He inherited the techniques of Chen Hongshou, Xu Wei, Ren Bonian and Xugu in painting, and absorbed the rough, straightforward, old and smooth artistic features of the Qing Dynasty painter Huang Shen. He combined Huang Shen and Ren Bonian into one, into one furnace, and turned them into his own vocabulary. Cheng Zhongchen has always adhered to the traditional way of painting, and has used traditional painting materials for decades as always, that is, the materials used by painters before the Republic of China, authentic rice paper and mineral stone pigments. He collects handmade rice paper before the 1980s and mineral stone pigments. He is very clear that ancient paintings can be circulated for thousands of years without decay, which is the key to the authenticity of the materials used. Cheng Zhongchen paid great attention to the inheritance and research of tradition in painting in his early years, and turned to modern ink painting after entering middle age. In his early years, he had a clear understanding of the understanding of the ancients on the road to painting, and he continued to have a clear understanding of the ancients’ brush and ink skills and language. The nutrition absorbed from the tradition and the ancient brush and ink skills are integrated into his mood, feeling and the expression method, brewing a healthy development, showing the philosophical temperament of contemplating ancient and modern painting style. Wu Guanzhong once commented on him: "He is humble and eager to learn, not good at packaging, and does not promote himself, but his achievements are outstanding. It is no exaggeration to say that his achievements are higher than those of outstanding artists with peerless talents in his generation. As a sex painter, his achievements are not inferior to Huang Qiuyuan and Chen Zizhuang."

(Responsible editor:Photography art)

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