Professional painter of Shandong Art Museum in Xu Kang

Xu Kang famous fan painting master 196 1 was born in Jinan and his ancestral home was Shouguang, Shandong. Graduated from East China Normal University, he is now a professional painter of Shandong Art Museum, director of collection department, member of China Artists Association, director of Shandong Artists Association and senior painter of Shandong Painting Academy. He has held solo exhibitions and joint exhibitions in Jinan, Beijing, Dalian, Taiwan Province, Hongkong, Korea, Canada, USA, Switzerland, Netherlands, Australia and other countries and regions. The TV station shot many feature films, which were broadcast on TV stations and networks in Shandong and the United States respectively. His works have participated in many art exhibitions at home and abroad and won awards. Tong Meng won the highest prize in the national art exhibition. His works have been collected by former German Chancellor Kohl, Hong Kong Chief Executive Tung Chee-hwa, Australian Prime Minister Howard, Australian Immigration Minister Ludo and people from many friendly countries. And published a collection of personal paintings. 20 12, the stamp of "Twelve Women in Jinling" created by Xu Kang was issued in Macau.

The Integration of Traditional Pen and Ink and Contemporary Emotion —— Appreciation of Xu Kang's Lady Paintings

China's paintings convey not only simple techniques and schemata, but also the painter's personality, interest and spiritual orientation. It can be seen that painting is a process of depicting thoughts and conveying temperament. By reading Xu Kang's paintings of ladies, I have a deeper understanding of this.

When writing "Six Methods" in the Catalogue of Ancient Paintings, Sheikh of the Southern Dynasties pointed out: "Vivid charm, brushwork in bone method, pictographic images, color by class, manipulation, shape shifting and modeling" refers to the learning law in the traditional sense of Chinese painting. According to his own experience, Xu Kang summed up his personal learning style into two parts: one is "learning from nature, learning from heart"; The second is to study the works of sages of past dynasties. He realized many connotations and essence of traditional painting from the works of former masters, and also realized the beauty and aesthetic taste of contemporary people from the life of modern people. With the help of the college paintings in Song Dynasty and the flower-and-bird paintings of Tian and Hua Xinluo in Yunnan in Qing Dynasty, he took the figure paintings of loyalty and expense, integrated his strong modern consciousness and personal emotional color into the traditional painting methods, and made modern people's hairstyles, costumes, shoes and hats by imitating nature.

In Xu Kang's paintings, we can read poems, essays and sketches, appreciate the traditional beauty of China culture such as poems, essays and operas, appreciate life and history, and feel that his paintings of ladies are deeply rooted in the soil of national art and capture the essence of national culture. I feel that Xu Kang attaches great importance to the cultural, representative and outstanding personality of history in the choice of characters. In his paintings, the poetess is the cultural lifeline of his painting creation, and it is also the return of the cultural value in Mr. Xu Kang's heart. In his works, poetry and painting are interlinked, and poets and painters can have a spiritual dialogue beyond time and space. Among his works, most of them are selected from the poems of historical celebrities such as Li Qingzhao, Zhu, etc. The painting topics, such as Spring is Deep in the Idle Window of the Small Courtyard, Who sent a brocade book, The wind is soft and spring is still early, Several times to urge the flowers to rain, Little Red Paper sings and I play the flute, It should be green and fat, etc., are mostly taken from the Tang poems of the Song Dynasty, especially the poems of female poets. Naturally, the images of these women in painting convey a cultural characteristic and spiritual orientation. The emotions of the characters, the bright moon behind Zhu, and the plantain yellow flowers around Li Qingzhao are all in the artistic conception of "things move people with emotion" and "things are for me", which highlights the thoughts and feelings of the characters and makes us see the painter's pulse on the fate of the main characters. In the light and loose lines, in the fresh and graceful images and in the meaningful poems, we not only appreciate the beauty of China's traditional culture, but also see the painter's profound cultural and artistic accomplishment.

Mr. Xu Kang believes that the performance of China ladies' paintings pays attention to the harmony and unity of posture, appearance, clothing, clothing patterns and scenery. The ancients described women as exquisite and beautiful, light, exquisite and plump. Different times have different aesthetic standards, but no matter how the times change, beauty is the core of art, beauty comes from life, emotion and, more importantly, truth. There is truth to be good, and there is goodness to be beautiful. In order to pursue this realm, Xu Kang has been struggling for more than 30 years. He loved painting since he was a child. When he was in primary school, he copied a copy of Lenin in October, which once caused a sensation in the whole school. When I was in the Art Institute, the school bought a Venus sculpture for teachers, but Xu Kang climbed into the warehouse through the window and copied it all night. Over the years, he visited famous ancient paintings and works of modern people, thus laying a solid foundation. In addition, he is also keen on studying classical poetry and literature, which has injected great charm into the external image and connotation of his paintings from techniques to phonology. Since the age of 26, he has held art exhibitions in the Academy of Fine Arts. Over the past 20 years, he has held hundreds of art exhibitions in China, Japanese, Korean, New Matai and other places, and his works have been loved and welcomed by people from all walks of life. Although most of his paintings are gifted scholars, beautiful women and dramatic figures with traditional themes, their connotation is the feelings and thinking of modern people. Appreciate his new work Twelve Women in the Red Chamber, with smooth brushwork, fresh pen and ink, harmonious layout, beautiful shape, melodious poetry and far-reaching implications. No matter Lin Daiyu, Xue Baochai, Wang Xifeng and Shi Xiangyun, the modality is vivid and the characters are vividly on the paper. Then look at his paintings, whether they are battle squares, fans or banners, which are varied and colorful, but they are all distinct and unique.

Flowers, flowers and beauties are the main patterns of China's ladies' paintings, but the styles of some modern ladies' paintings have been difficult to improve. Xu Kang, on the other hand, insisted on walking out of history and then entering reality, carefully pondering the feelings of the ancients, inferring their behavior with modern thinking, and using his skill of practicing landscape and flower-and-bird painting for many years to set off the psychological feelings of the characters and the artistic conception of the works by rendering the background of ladies' paintings, so as to convey his inner feelings in the blending of scenes. He takes historical figures and artistic conception of poetry as the main body, bamboo, banana, willow, peach blossom, stream, rock, courtyard and balcony as the objects, and uses a pen to transport and dye them at will, so that flowing water, rocks and trees, pavilions, exotic flowers and plants, fish, insects, birds and animals are integrated with the main body of the characters and complement each other. He put the characters in the close range, and the close range and the distant view are hidden from each other. In Shu Lang, he expressed his love for life and his desire for pastoral interest with calm brushstrokes and clear ink, creating a fairyland-like paradise. In today's noisy and complicated modern society, reading Xu Kang's paintings can make the noise tend to be quiet, make utilitarianism indifferent, and gain spiritual purification and great beauty enjoyment in physical and mental pleasure.

Looking at Xu Kang's paintings reminds me of a passage in the Eight Chapters of Honor by Gao Lian in the Ming Dynasty: "Beauty is unexpected, beauty is beyond elegant demeanour, beauty is beyond charm, and beauty lies in the dignity of posture ... It is born with shape." I realized that the style and taste of China's ancient ladies' paintings provided a useful reference for later painters. Appreciating the lady's eyes and expression intoxicated by the warm flowers in spring, looking back and smiling at the beauty among the flowers in soft days and early spring, and expecting and caring for the hostess in A Brocade from the Clouds, let me read the modern life breath, the voice of the times and the ancient echo from his works, both in spirit and form.

In a word, Xu Kang has created a fairyland-like paradise with calm brushwork and clear ink color. His paintings make our hearts from impetuous to dull, from utilitarian to indifferent, thus enjoying great beauty. Looking at his paintings reminds me of a passage by Gao Lian in the Ming Dynasty: "Beauty is unexpected, beauty is abundant, beauty is charming, beauty is posture, and beauty is dignified." ......................................................................................................................................