Global Times – Metro Beijing - - SPECIAL -

Feng Dazhong was born in 1949 in Gai County in Liaon­ing Prov­ince. He has an art name called “Fuhu Caotang Zhuren” (the owner of the crouching tiger hum­ble cot­tage). He is the rep­re­sen­ta­tive of the 10th, 11th and 12th Na­tional Peo­ple’s Congress, di­rec­tor of China Hue Art So­ci­ety, deputy di­rec­tor of Tra­di­tional Chi­nese Paint­ing Art Com­mit­tee under the China Artist As­so­ci­a­tion and vice chair­man of Chi­nese Paint­ing In­sti­tute. Feng has held ex­hi­bi­tions in m many coun­tries a and re­gions i in­clud­ing Beijing, T Tai­wan, Hong K Kong, Ja­pan, Sing gapore, France a and Aus­tralia. H His works have b been ex­hib­ited in m many na­tional exh hi­bi­tions and are a awarded. Feng h has pub­lished many art books of his works in many im­por­tant presses in Chi­nese main­land, Hong Kong and Ja­pan, in­clud­ing Rong­baozhai, Yan­gli­uqing and Peo­ple’s Fine Arts Publishing House. Feng is fa­mous for paint­ing tigers. His works give tigers unique charm.

feel­ing and un­der­stand­ing of ob­jec­tive scenes and things on the ba­sis of tra­di­tion – such as dots and lines – the in­ser­tion of images and the blend­ing of color and ink in­stead of paint­ing with one set tech­nique or for­mat. The stream painted by Feng can be very ab­stract and con­crete at the same time.

Ac­cord­ing to Feng, if the pic­ture you paint is not to con­vey the life felt by the painter then it is purely a game of ink. What he wants to con­vey is not the ex­quis­ite brush­work but real life and his own feel­ings. The re­la­tion­ship between man and na­ture is what Chi­nese art wants to con­vey, and the painter sets up the chan­nel for di­a­logue between one’s mind and na­ture. Feng’s land­scape paint­ing does not pur­sue the ex­tra­or­di­nary form but hides in the en­vi­ron­ment, and this is the so-called “unity of heaven and man,” the core of Chi­nese tra­di­tional cul­ture.

Feng has spent dozens of years ex­press­ing mod­ern peo­ple’s state of mind and un­der­stand­ing of na­ture by in­no­vat­ing Chi­nese paint­ing. His works tran­scend the boundary of moun­tain and streams, birds and flow­ers and in­te­grates them in many pic­tures. Mean­while, he makes in­no­va­tion on the ba­sis of sketches, makes his paint­ings un­lim­ited and free in terms of spa­tial struc­ture and ac­quires the real mod­ern sense with­out los­ing the ele­gance of tra­di­tional Chi­nese paint­ing.

As for the ex­pres­sion of ef­fects of light and vol­ume in Chi­nese paint­ing, some think it is against tra­di­tion, but Feng thinks it is an ex­pan­sion and all the ex­pres­sion meth­ods are in ac­cor­dance with the scene and theme. He does not con­sider whether it is pla­nar or spa­tial and what cul­ture it orig­i­nates from when he chooses his paint­ing meth­ods. What he pur­sues is the most suitable in­te­grat­ing point between paint­ing and the painted sub­ject. He thinks, as long as it can en­rich the pic­ture and reach the realm he pur­sues then it is a good one. There­fore Feng in­te­grates and ex­pands his artis­tic forms on the ba­sis of tra­di­tion. Feng’s artis­tic pur­suit fur­ther con­firms Chi­nese paint­ing’s de­vel­op­ing progress in the 20th cen­tury and its in­no­va­tive road on the ba­sis of the study of tra­di­tion and paint­ing from life.

Feng Dazhong


Sum­mer Dreams

Awak­en­ing I (Joint Work)

Re­fresh­ing Rain

Page Ed­i­tor: chenxi­meng@ glob­al­

Newspapers in English

Newspapers from China

© PressReader. All rights reserved.