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Overseas media exhibition project of Chinese Artists, Zhou Xuancheng

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Overseas media exhibition project of Chinese Artists, Zhou Xuancheng

September 01
03:43 2020

The report of the 19th National Congress of the Communist Party of China put forward: “Cultural self-confidence.” The manifesto of this era also points out that culture is the soul of a country and a nation. Prosperity of culture means prosperity of the country, and a strong culture means a strong nation. Without a high degree of cultural confidence and cultural prosperity, there would be no great rejuvenation of the Chinese nation. Culture is the backbone and soul of a nation. It creates the soul and character of a country and a nation. A nation can exist in the world only if it has cultural self-confidence. Only when the people have faith can the country have strength and the nation have hope. Cultural self-confidence is the most important factor contributing to these goals. 

Zhou Xuancheng, national first-class artist, executive vice president of Confucius Institute of Chinese Local Art Association, vice president of Chinese Painting Academy, honorary doctor of Confucius Institute at Chulalongkorn University, vice president of Landscape Painting Institute of Chinese Painting Academy, vice president of Beijing Contemporary Friendship Painting and Calligraphy Institute, visiting professor of national architecture institute of china Painting and Calligraphy Professional Committee, a native of Dao County, Yongzhou City, Hunan Province, loved painting since childhood, and studied art classes formally after entering junior high school until senior high school. In his spare time, he always writes and draws with a pen. When he sees any flowers and trees, he always observes their changes and feels their beauty. The local county cultural center attached great importance to him and asked him to study art in the art group of Gongba Village. At that time, he created a painting-“Pumps in Our Team”, which expressed that the village bought a pump. At that time, the regional cultural department printed a book for him. At that time, he was still famous. Later, he was transferred by the municipal cultural department to Ningyuan County for training for three months and Jiangyong County for training for four months. When he graduated, he painted a graduation painting “Petty Official”. At that time, Jiang Xianzhe was an art lecturer and Chen Shuqiong was a sketch teacher in the Regional Cultural Bureau. After that, he went to Lingling and Changsha Hunan Normal University for further study. In 1980, he was admitted to Daoxian Film Company, where he worked as a projectionist and artist and got a third-class screening certificate. He painted movie advertisements in his spare time, and never stopped practicing painting until 1990.

Since he started painting Chinese painting, he has participated in fine arts and Chinese painting exhibitions in counties, cities and provinces, and won many awards.

In 2016, he participated in the 8th China Double Ninth Festival Art Exhibition held in Wuhan, and was selected to participate in the exhibition in 2017. In the 9th China Double Ninth Exhibition, he won a silver medal in the competition in Guangzhou.

The ninth, tenth, 2016 and 2017 volumes were included in the “List of Contemporary Painters”; In 2017, he was appointed as the president of China Academy of Traditional Chinese Painting, Landscape Painting Research Institute and a painter. He won the honorary title and medal of “Great Country Master Artist”.

In 2018, he won the second prize in Hanmo Fenghua National Poetry and Painting Exhibition and the first prize in Beijing Senior Poetry and Painting Invitational Tournament.

In 2019, he won the “Gold Award” in the first New Literati’s Crown Artist Boutique Exhibition, and his works were collected by the New Literati’s Crown Art Museum. He also won the honorary certificate of Top 100 Chinese Painters and the honorary certificate of “Chinese Art Wealth Person”. He is a famous calligrapher and painter with a 100-meter long scroll, and the most representative painter in contemporary Chinese art circles. He was appointed as the vice president of Beijing Contemporary Friendship Painting and Calligraphy Institute, a member of Beijing Painting and Calligraphy Research Association, and an artist of the People’s Republic of China held cultural and artistic exchange exhibitions in Thailand and Malaysia. His works have been permanently collected in Thailand and Malaysia, and won the honorary certificate of China-Thailand Friendship Exchange Ambassador. He is honored to be appointed as an honorary artist of Thailand Cultural and Art Exchange Exhibition and a special artist of Malaysia Cultural and Art Exchange Exhibition. He won the Golden Crown Trophy (the highest prize) and gold medal of famous diplomatic painting and calligraphy artists in Singapore, Malaysia, Thailand and other cultural exchange exhibitions.

Appreciation of Zhou Xuancheng’s works

Create with majestic charm and vivid state because of the scenery and emotion

– Records of the famous painter Zhou Xuancheng

Landscape is natural, but the subjective feelings of artists should be added to landscape painting, so that the landscape can take the realm of the heart from the outside. There is no doubt that Zhou Xuancheng, a famous contemporary landscape painter, is the builder of this realm. His landscape creation combines the beauty of natural scenery with the true personal emotion, and shows the spirit of landscape image through brush and ink. Appreciating his paintings is like reading his self-cultivation, and his paintings are true and not false.

Artistic creation comes from learning from nature, but the beauty of nature can not automatically become the beauty of art. For this transformation process, the artist’s inner feelings and construction are indispensable Zhou Xuancheng never paints landscapes behind closed doors. What is imagined must be imaginary, artificial, and if it is distorted, it will lose its rhyme. He is a staunch practitioner of landscape architect’s nature. He travels bamboo forests and springs and watches mountains and rivers. His creation of landscapes must be refined according to visual experience, so he can really paint landscapes’ physical appearance and charm. The outstanding expressive force of the big green landscape makes his landscape works completely eliminate the shallowness of the general literati painting landscape intended to play ink, but embark on the high stage of flourishing the spirit of the times. The landscape aesthetics has always been inseparable from the spiritual accumulation of the nation, with rich capital and solid construction, and cultivated broad-mindedness in his brush and ink, which unifies the subject and object of landscape aesthetics with cultural vision, without drawing sensory stimulation, and focuses on the harmonious mix of lofty spirit and images. 

Appreciation of Zhou Xuancheng’s works

His great green landscape paintings are good in technique, rich in color, superior in elegance and pleasing to the mind, and have a very tasty connotation. Looking at his paintings is like tasting a cup of Zen tea, first tasting its flavor, then tasting its meaning. Taste and meaning will push aesthetics to a state of mind. From the loop of tasting its taste and knowing its meaning, people will enter the height of  understanding and ambition, and realize that landscape is the aesthetic image of “beauty and quietness in the painting”. The quality of building great green lies in temperament, momentum, charm, and abundant pen and ink. It’s fascinating!

From the perspective of painting accomplishment, Zhou Xuancheng’s creation is not the pursuit of fame and fortune, nor the value of pursuing profits, but the help of empathizing with the scenery to cultivate his body and mind. He cultivates himself physically and mentally with his paintings, and at the same time, he also becomes a humanistic tutor who leads the viewer into the cool heart! With the blending image of ink and color, the viewer is brought into the vast landscape space, feeling the wind and feeling beautiful. This kind of landscape image that attracts people to lie down makes people feel relaxed. He is a good teacher and practitioner with a clear mind. He has a smooth way. He can send affection or fall in love. He has a philosophical idea of interacting with the spirit of heaven and earth alone in the mighty haze! The realm is extraordinary, and the work is smooth. 

Appreciation of Zhou Xuancheng’s works

Creating majestic because of the scenery and vivid feeling. He is not only proficient in landscape creation, but also in flowers and birds. He adopts the method of Shanghai School, and he is rich in freehand brushwork for flowers and birds. He has the molding power to transform pen and ink techniques into emotional style. Loyal to sketching, he reached the deep level of aesthetic spirit in flower and bird creation. Painting is accompanied by nature, and pen and ink are in harmony with heaven. A flower and bird is the convective image of subjective thought and objective world. In the subtle influence of pen and ink, the image of flowers and birds is really wonderful. His sentiment is cultivated and his soul is transformed. He has high taste, and his paintings are virtuous, which is what the masters respect! – Shi Feng, a famous calligraphy and painting critic, December 24, 2019

Appreciation of Zhou Xuancheng’s works

The performance of foundation in traditional practice is rich and charming

– Records of the famous painter Zhou Xuancheng

When people watch the works of landscapes, flowers and birds by Zhou Xuancheng, a famous contemporary painter, there must be “unprecedented” strangeness in form, but studying its techniques carefully is the root of deep tradition. Therefore, it can be concluded that he opened up a new field of Chinese painting with the essence of extremely traditional pen and ink. With the driving force of inheritance and innovation, the artistic purpose of keeping pen and ink with the times has been realized.

His landscape works must have the beauty of pleasing form, and there is no shortage of vivid expression. The ancients talked about both form and spirit in Chinese painting, especially spirit. Mr. Zhou’s landscape is also a unique expressive force, which is both physical and spiritual, but tangible and precious. Since he created landscapes, he no longer distinguishes form and spirit into objective subjects, but is the same as the main body, so the form can be charming, the spirit can be intelligent, and the form and spirit are integrated. This painting method is not only the promotion of painting!

In order to express the beauty of landscape, he wisely enlarged the expressive force of pen and ink. He wrote lines with freehand brushwork and majestic images, and treated the lines in a block-like way. The outline and rubbing were almost integrated. Therefore, he wrote it down in one stroke, and felt very happy. He put pen to paper, and he could be intoxicated with the truth! When others create landscapes, because sketching and rubbing can’t be integrated with each other, the phenomenon of “depicting” and “painting” is a malpractice, which doesn’t show the spirit of landscapes well. Mr. Zhou created landscapes, and sketched and rubbed them in one go. Therefore, it is true that “painting” is authentic and enriches the brushwork language for landscape performance, which makes people unconsciously admire: The spirit of landscape can also be painted like this! Writing is powerful, good at creating! 

Appreciation of Zhou Xuancheng’s works

Color doesn’t hinder ink and ink doesn’t hinder landscape rendering, which is also the source of Mr Zhou’s landscape. Thick ink can accumulate, layer upon layer after stack. After seven or eight floors and more than ten floors, it won’t be a mess, but it’s still well-organized, vigorous and pleasing to the eye. He can also use ink to create a dense, water mixed with ink, ink added with water, wet and dry, virtual and real, thick ink with spirit, be clear at a glance. Painting with heavy colors and spot dyeing is quite courageous, colorful and not vulgar, and it must be a colorful and elegant pattern with vivid charm. The colors of his paintings will not only be mixed with water, but also change in hue brought by light and shadow factors. The ink color image of Chinese paintings and the oily light and shadow impression of western paintings learn from each other, which makes the landscape more natural, and the aesthetic tension suddenly emerges, which has the pleasing expressionist characteristics of contemporary landscape. He learned from ancient techniques, but he didn’t stick to the paradigm. Mr Zhou’s landscape paintings are evidence of the integration of contemporary landscape culture. Rich and colorful, with mysterious light and shadow, make the landscape plunge into expressionist features, which is also a sample of Chinese painting internationalization.

The foundation lies in the traditional rule, which is vigorous. His flower and bird works also have the expressive force brought by heavy color rendering, such as red flowers and ink leaves. They can be both refined and popular. His works are full of space processing and magnificent in color rendering. First, the visual impact is given, and then the cultural atmosphere is brewed from the connotation. They are full of decorative features of contemporary art, and their brilliance shows the fusion of traditional techniques and the spirit of the times. Method does not lose its roots, and merits do not deceive everyone! – Liu Zhenming, a famous calligraphy and painting critic, July 30, 2020

Appreciation of Zhou Xuancheng’s works

Appreciation of Zhou Xuancheng’s works

Appreciation of Zhou Xuancheng’s works

Appreciation of Zhou Xuancheng’s works

Appreciation of Zhou Xuancheng’s works

Appreciation of Zhou Xuancheng’s works

Appreciation of Zhou Xuancheng’s works

Appreciation of Zhou Xuancheng’s works

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