INTRODUCTION TO THE ARTIST
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.
Awakening I (Joint Work)