Mei Kai is a professional painter, good at figure painting, devoted to painting for decades, diligent in brush and ink cultivation, and likes to travel around and learn from others. Advocating the grandeur of the Han and Tang Dynasties and combining the exquisiteness of western paintings, he has formed an artistic style combining rough and bold with beautiful and elegant, and is constantly looking for the true meaning of an artist's life.
A Beautiful Horse —— The Aesthetic Realm of Emotion and Qi —— The painter's inner experience from art.
Fish play with hibiscus and birds sing in willows. When the country is full of glory, hooves will fly again. A series of works, such as You Chuntu, Outing, Ma Qiutu, etc. , are gushing out of the harem boudoir, celebrities and beauties embrace each other, fairies compete for beauty, and fans compete for beauty. Pink incense presents a scene of peace and prosperity.
Mei Kai's solo exhibition in Xiangcheng, Gui Hu, also left such an impression on me. Friends and colleagues also sent Han Tang Zhiyun; Horse, beauty, such a congratulatory couplet. As a result, most painters will take it after that. This kind of works is more in line with the aesthetic needs of ordinary people in China. The more entertaining it is, the greater the influence of Mei Kai's pictures of beauty and horses.
In fact, this kind of works is only a small part of Mei Kai's creative theme, and it is also a way for the author to ask for advice to make the works of art enter the family (market), and it is also a way for the painter to be born after entering the Taoist school. More importantly, the painter's tolerance in his works through this topic can not be ignored.
Art is to filter all life in the world. Only by ending the grievances of life and the sorrows of the world can we enter the palace of art, which is called selfless and lenient. Forget about me in reality and give birth to a real me in art, which is in line with the birth theory of Taoism.
An artist can't be born completely if he eats fireworks. The entry of artworks into the market itself is beneficial to Tu Tu. However, artists should aim high, be broad-minded and magnanimous. Most of Mei Kai's classical figure paintings are selected from the Tang Dynasty. In addition to his many years of life experience in the ancient city of Chang 'an, they also have the intention of seeking grandeur.
Literature is dominated by qi. So is painting. The spirit of Qin and Han dynasties entered the WTO, and the feeling of flourishing Tang dynasty came to life, which is an artistic realm pursued by the author. The king of martial arts in Qin and Han dynasties, breathing the ambition of heaven and earth, riding a tiger is difficult, drawing his sword and asking for heaven, and his breadth of vision is unparalleled; In the prosperous Tang Dynasty, the literati immediately whipped the desert with bows and knives, and the servants swayed the true feelings of the world.
King Qin's tour of the map is not a tribute to the emperor. From the form of expression, the scene is not big, but the momentum is compelling. Borrowing the processing technique of Han portrait brick rubbings, the boneless method is used to add color. Only the king of Qin has the spirit of unifying Liuhe and cruising octupole. In the Song Dynasty, it was different. When Lin Chong caught Gao Yanei, he first relented. Why? Insufficient gas.
There are many famous monks in the world. Today, there are still many temples and incense. Formed a sacred tourist landscape. Worship is by no means the exclusive right of believers and ordinary people in China, so many foreigners have to dress up and burn three tributes when they enter the Hall of Heroes.
Therefore, it is not difficult to understand that Guanyin and the Eight Immortals have become the traditional themes of Chinese painting. What do ordinary people want, believe in and need? For thousands of years, who has made it clear and how many scholars have made it clear? We can only seek the harmony of heart and gas by the pictographs and meanings of things, and by the communication between thought and God. This is an unattainable feeling. A sense of ideal and art. The theme of immortal Buddha, like a beautiful horse, occupies a certain position in Mei Kai's works. Like a beautiful horse, the expression of fatalism meets the psychological requirements of ordinary people. (or aesthetic mentality). The yearning for love determines the painter's topic selection. The momentum of longing forms the painter's style.
Exhibition and exhibition concept
Recently, friends in the painting industry often tell me what exhibitions are being prepared and intend to hold them in a certain place or city. Chengdu, which is famous for its quiet and slow-paced leisure culture, may be the most restless painter who grew up in such a leisurely cultural environment. Sichuan painting world is becoming more and more turbulent. Since 1950s, brilliant prints, sculptures and oil paintings have appeared. Nowadays, China painters are eager to try and create their own brilliance, and are eager to establish a first-class artist group image with great fanfare. Holding various exhibitions is undoubtedly a form of expressing achievements. What to discuss here is what to exhibit and how to exhibit it, and the relationship between the exhibition content and the exhibition concept and method.
It began in China in the early 20th century, collecting calligraphy and paintings and displaying them in public places. This form was a revolution at that time, from the study of literati and the pavilion of dignitaries to the revolution of social popularization, from the communication of friends and relatives who enjoyed themselves in poetry clubs and teahouses to the revolution of public exhibitions and competitions in public halls. Art exhibitions in the 20th century injected more vitality into artistic creation, and even changed the creative principles and concepts of painters and calligraphers. The so-called exhibition tendency, which has been debated endlessly in the calligraphy field since the 1990s, is essentially a cultural phenomenon after calligraphy works enter the exhibition hall. At the end of the 20th century, with the increasing prosperity and diversified development of art and culture, the art exhibitions that have developed for nearly a hundred years have also changed. If the requirement at the beginning of the century is to show works in exhibition halls in public places, the requirement at the end of the century is to further think about what to show and how to show it. Artists often talk about it continuously. An exhibition is so mediocre that it doesn't mean anything. An exhibition is a sensation, providing so many possibilities for communication and development. Critics are constantly commenting on the exhibition. That exhibition is more academic than this one, and this exhibition should go down in history more than that one. It involves not only the works in the exhibition hall, but also the theme and concept of the exhibition. In recent years, in addition to the national annual exhibitions, various historical retrospective exhibitions, academic theme exhibitions, biennials and theme joint exhibitions have become more and more popular. Artists who participate in these exhibitions, as well as the art galleries and museums that hold this exhibition, will also succeed in the successful exhibition process. It is an example that two Shanghe Art Museums and Chengdu Modern Art Museums initiated by Chengdu entrepreneurs rose to fame in a short time.
Therefore, we can't help sharply criticizing Sichuan traditional Chinese painting circle: at present, the way some painters hold exhibitions is a bit outdated, and their way of seeking fame in Sichuan is a bit narrow. Or to put it another way, some people in Sichuan traditional Chinese painting circle don't have high exhibition ideas and ideas, and the spirit of the times in planning creativity is not enough. The invitation exhibition of Chengdu China people held in Sichuan Art Museum not long ago was reported as a mediocre work by Chengdu Evening News reporter, which caused controversy. In this exhibition, the uniform four-foot size, beautiful frame and sketch style seem to remind the audience of the commercial awareness of the exhibition. However, compared with the ongoing Sichuan Printmaking Exhibition upstairs, the attitude of directly pricing the award-winning works of previous exhibitions is shy and bound in front of the market. Shang Ruo talked about the painting cultural significance of the exhibition, but he had everything and nothing. At present, figure painting is very active in Chinese painting. Academic and non-academic creative methods, the relationship between pen and ink expression and realistic modeling, the secularization tendency of figure painting, the relationship between character expression spirit and contemporary culture and many other topics. Being placed in the artist's studio, choosing any angle as the academic focus of the exhibition organization will increase the expressive force of Chengdu China figure painting exhibition and increase the striking social benefits. An art exhibition like this, which is not very commercial, not very academic, not very large in organization scale and not very clear in exhibition purpose, should be regarded as a pertinent reminder when it is criticized flatly.
Skills and traditions
Chinese painting has always respected God. The ancients divided paintings into four grades: function, beauty, spirit and yi pin. In fact, quality, exquisiteness and authenticity are the foundation, and one product is the peak. When you draw a product, you will be prepared both physically and mentally. Born in truth, beyond truth. However, if you take away the truth, God has nothing to save. Therefore, in the essence of tradition, skill is still the foundation. On this basis, we will seek a kind of truth (spiritual truth fed back by aesthetic objects). This really boils down to an emotion. Love is the foundation of art. If you want to make people feel emotional, you must first have true feelings. Call people's feelings with their own feelings and realize emotional communication.
In her early years in Xi 'an, Mei Kai studied hard at the cold window, studied the laws of art, and practiced academic modeling skills. Under the influence of masterpieces, the guidance, ideas and skills of famous artists are becoming more and more mature. After the Cultural Revolution, he dabbled extensively in oil painting, printmaking, comics, advertising process design and other fields. Through the actual beating of the podium and factory, his wings gradually grew. After the reform, the pursuit of waves in the business world enriched his life experience and broadened his horizons. All this life laid a solid foundation for later creation and accumulated rich creative materials.
During Mei Kai's study, Chang 'an Painting School was in its heyday. I learned from famous scholars such as Shi Lu, He and Liu Wenxi, and became close friends with experts such as,, and benefited a lot. I have increased my knowledge and broadened my horizons. In Mei Kai's figure painting works, sketch and theme painting constitute the two wings of his artistic path, each of which has its own emphasis and guides the situation. This is the survival choice of professional painters and it is also necessary. Artists should not only survive, but also reflect the value of their own survival. Expand your life through works of art and artistic means, and build this ark to find the other side of your ideal.
Only sincerity can be touching. Ancient and modern literati are strikingly similar in seeking truth, but the degree of implicit openness and expression are different. The purpose of pursuing the ideal state is the same.
Crazy enough to despise the world, really drunk.
China is a country with developed wine culture. The ancients drank heavily, and Li Bai wrote hundreds of poems about fighting wine in order to be really drunk; Today people talk about blending. There are thousands of red and green bars. Market economy makes culture expand in beer bottles. Truth and love are alienated in alcohol.
However, Mei Kai is not addicted to alcohol, and he is not like a stream in a crystal stone, an ancient man. He just wants to find an intoxicating atmosphere, so that art can show its true self by virtue of the free realm in the art kingdom. So, he indulged in the lonely world and practiced hard, preferring not to eat for a day rather than draw for a day. Practice his faster autonomous driving skills. He doesn't go to bed until two or three in the morning every night. He shines on the Buddha's shadow alone and depicts his mood with ink and wash, which is bitter and bitter that others can't understand. Lighting makes the painter's quality of life constantly reflect the true and dazzling brilliance on the surface of the pen washing; Ink and wash make the painter's life extend continuously and soak in rice paper.
Topic selection and reform
In the process of seeking aesthetics in western art, the protagonist on the tragic stage wrote eight striking characters with the boiling blood on his smashed head: those who are rational live and those who are rational die.
It is not difficult to understand that there are many buddhas and gods in China's classical literature. Everyone wants to use the topic to support the meaning. However, after all, the road is one foot high and the magic is ten feet high. No matter how capable Sun is, he can't escape the law. It must be reasonable to achieve a happy ending. Reason has become a way here.
Man is an emotional animal. As the object of artistic expression, man is an eternal subject. The works of art that successfully express people are the most permanent works of art, and the ancients deified people. People still don't want to hang people on their walls. Unless he is a god, he is an invisible man in reality. This is the difference in choice and understanding. Art and philosophy have sublimated the human spirit in the historical development. What you choose to draw is the content. This is a proposition endowed by history. Reform and how to draw are all forms. It is the concept of thinking evolution.
This is a knot in which emotion and reason are intertwined. This is a complex of Changhong. It's still messy when you cut it. "Song of Eternal Sorrow" and "Pipa Journey" are still longing for a beautiful life for a long time.
Judging from the topic selection, Mei Kai's paintings have a certain proportion of classical themes, religious themes and realistic themes. The comic book "Li Zicheng" published in cooperation with Li Shinan in the early days and the Romance of the Three Kingdoms created by him have made successful attempts in traditional painting and ink painting. In recent years, the old woman and the cat, the portrait of Xie Tian, Zhang Daqian, Tibetan girl, all-around portrait, rickshaw puller and other works have combined oil painting techniques such as color and boneless, giving people a fresh and simple feeling and showing his ink painting skills. The constant pursuit of techniques also reflects the painter's innovative spirit and serious attitude towards art, bold modeling, gorgeous colors, flowing brushstrokes and rhythm, which not only maintains the traditional statutes, but also attaches great importance to western painting, forming his bold and frank painting style.
Perhaps because of his deep impression on the art of the former Soviet Union during his study abroad, Mei Kai has a special feeling for the painting style of the Russian roving school. The deep gasps of the Volga tracker, the cold eyes of Molotova's noble woman, and the cold that the guards were soaked in the morning. Check the noisy atmosphere when poros wrote to the Sultan. After the 1970s, the Red Army came, and the signalmen and their mothers and sisters, each one was eye-catching and thrilling. The tsar overthrew and the Soviet Union disintegrated, but the charm of art is eternal. This is the topic he talks about the most. Theme painting, historical painting, the product of a specific era. Chen Yifei's "Looking for Yang's Last Charm" is worth millions, but how can it compare with "The Fall of the Chiang Dynasty"? An idea, a whimsy, this is the flash of art. Yang Yuhuan's soul disappeared from Ma Weipo, but the Song of Eternal Sorrow was read by people, and this endless sorrow lasted forever. An era, an interpretation, Mei Kai is conceiving a new topic.
The trip to Danqing in the prosperous times has been much sharpened.
Mei Kai has a seal called "Every Prosperity", which is a portrayal of Mei Kai's creative mood. Most of Mei Kai's classical figure paintings are selected from the Tang Dynasty. In addition to his many years of life experience in the ancient city of Xi 'an, they are also interested in seeking a gorgeous atmosphere. Therefore, whenever there is an art exhibition, Taoist friends and colleagues often send Mei Kai congratulatory couplets such as "the charm of Han and Tang Dynasties, the picture of a beautiful horse". As a result, most painters will take it after that. Mei Kai said with a smile, because such works are more in line with the aesthetic needs of ordinary people in China. The more social paintings there are, the more connections Mei Kai has with "Beauty Horse", so that apart from this kind of works, his evaluation is often not mentioned. In fact, Mei Kai's artistic works, such as oil painting, watercolor painting, gouache, Chinese painting, printmaking, comic books, advertisements and sculptures, are all involved, which is closely related to his rich experience for decades. From Xi 'an to Chengdu, from Chengdu to Hainan, Tibet, Beijing, Shenzhen, Zhuhai and Yunnan, Mei Kai traveled all over China. Mei Kai said with a smile that he has devoted himself to further study in China Academy of Fine Arts, and has worked as a corporate propaganda cadre, a teacher, an art designer, a company manager, and even designed engineering drawings, craft creativity, advertising design and environmental art planning for real estate developers ... After decades of experience, rich knowledge and different techniques have opened up the diversity of Mei Kai's paintings, and all-round artistic practice has formed Mei Kai's great artistic concept.
Beauty and elegance are always appropriate.
Extensive tolerance is positive. In MacKay's view, art has no eternal orthodoxy. As far as Chinese painting is concerned, its connotation is far beyond the ink painting of Ming and Qing literati. Looking back, the paintings of ancestors are actually colorful, such as Dunhuang murals, which are not only rich in color, but also clear in light and shade and distinct in layers. "Said mei kai.
Mei Kai's figure paintings have a certain proportion of classical themes, religious themes and realistic themes. At the end of 1970s, Li Zicheng, a cartoon jointly published by Mei Kai and Li Shinan, and Romance of the Three Kingdoms, an independent creation, made a successful attempt in traditional painting and ink painting. In recent years, his works, such as Xiang, Zhang Daqian and Almighty Xiang, have combined the techniques of oil painting, such as color setting and bone removal, giving people a fresh and simple feeling, and also showing his skill in ink figure painting. Dedicated to painting for decades, diligent in pen and ink cultivation; Like to travel around the world and learn the strengths of many families; Advocating the spirit of the Han and Tang Dynasties and combining the exquisiteness of western paintings, it formed the artistic style of Mei Kai's combination of rough and bold and elegant.
In the creation of figure painting, Mei Kai advocates the theme as the center and the combination of Chinese and Western. In Looking at the Sea, Mei Kai gathers the stars, the moon and the sky on the screen, which "has a feeling of a wide screen" and sets off the vast atmosphere of the sea. However, the artistic conception of "the trip to the sun and the moon, if out of its territory, if out of its territory, if out of its territory" is the authentic spiritual connotation of China. The black background of Crane Dance for Nine Days gives people a strong visual impact.
Pen pursues learning that keeps pace with the times.
The style and theme are innovative and changeable, but there is one thing that Mei insisted on from the beginning to the end. "In the words of Shi Tao, a great painter in the Qing Dynasty, it is' pen and ink should follow the times'." In Mei Kai's view, everyone has their own ideas about their own times, but they can't get rid of them. "Pen and ink should follow the times" is not as simple as changing pens and techniques, but must be branded with the times.
Whenever there is a major event, Mei Kai will happily start writing, pay attention to people's livelihood and show civic responsibility. For decades, he has been edified and honed in the tide of the times, so that he can always clearly touch the pulse of society, nature and life. The works about flood fighting and disaster relief, such as Decisive Moment, Reunion, A Giant Chinese Painting, and The Son of Snowy Area, all have a strong voice of the times, giving people a strong visual impact, making people excited and sighing.
Only half a month after the Wenchuan earthquake in 2008, Mei Kai completed the group painting "How Difficult the Nation Is to Prosper the Nation", "Boundless Love" and "Salute Doll" to participate in the disaster relief auction, and all the proceeds from the auction were donated to the disaster area. "Recently, there has also been a major earthquake in Haiti. Looking back at the Wenchuan earthquake, the strength and hope embodied by our country and nation are the sharp contrast between the good and bad of society and the rise and fall of national luck. " Mei Kai sighed.
"Walking with the public, keeping pace with the times and being close to reality wholeheartedly, Mei Kai broadened Chinese painting with the concept of great art.. Painting: figures, landscapes, flowers and feathers can be separated and combined. Title: Love the past, love the present, and love the present. Han and Tang figures, ancient poems, contemporary styles, new styles and folk customs are all in the picture. Painting can be divided, painting can be combined. Broadness does not have to be opposed to specialization, and painting topics and paintings can complement each other and point directly at painting. " This is the evaluation of Mei Kai's artistic creation by Ye Yuzhong, a professor at the Central Academy of Fine Arts.
20 10 at the end of February, Mei Kai held a solo exhibition in Sichuan Museum, 102 large-scale paintings, which are the fruitful crystallization of Mei Kai's decades of artistic exploration. "The art exhibition is held to let everyone give me advice and inspire me to make more new breakthroughs in style and theme.
"There is a noble spirit, and there is no end to learning. Mei Kai developed his life through artistic works and artistic means, and integrated into the times. Pen and ink should change with the times, and innovation cannot be separated from the roots of tradition. Mei Kai, who is over 60 years old, is still conceiving new themes and pursuing new transcendence of painting style.