Tailoring Chinese paintings for the 30 pieces of government kiln porcelain, which has achieved such a happy ancient and modern time and space exchange
What sparks can ancient ceramics and Chinese painting collide? How can different art categories be interesting? From today on the C3M North Bund Art Museum, the “Porcelain Rhyme Heart -Cai Zangguan Kiln Porcelain and Chen Qi Painting and Calligraphy Works” art exhibition makes people feel the surprise of fluttering.
The “porcelain rhyme heart” in the exhibition name is taken from the homophonic of “porcelain rhyme”, but it is more connotative, outside the artistic conception, and more mood. The exhibition exhibited a total of 30 paintings and paintings painted by Cai Yimin’s Tibetan official kiln porcelain and Chen Qi as a creative material. This unique art exhibition lasted more than two years from planning, creation, and exhibition, and its initial buds could be traced back to ten years ago. It is two new attempts to be enlightened and creative for collectors and artists who have the long -lasting porcelain and calligraphy and painting arts of the long -term porcelain and calligraphy and painting art. , Attractive attention.
Cai Yimin, currently the dean of the School of Ancient Ceramics at Ningbo University and Dean of the Chinese Institute of Huaxia Ancient Ceramics Science and Technology. The best instruments selected in this exhibition are his favorite top collections. Cai Yimin repurchased a large number of national treasure -level objects that had been pronounced in Yuanmingyuan and the Forbidden City in Europe. They specifically asked the other party to take the public auction channels, so that the utensils returned to the “circulation and orderly”, corresponding to the records of ancient books. In the collection and finishing, he slowly formed an idea to select the top -level organic kiln in his collection, find an excellent calligraphy and painting artist, and use these official kiln porcelain as the material. Today’s audience spreads China’s unique porcelain culture.
Chen Qi is currently the vice chairman of the Shanghai Artists Association and a director of the Chinese Artists Association. He also studied ancient porcelain collection, and was also interested in the combination of official kiln porcelain and Chinese calligraphy and painting.
At the beginning of the acquaintance, the two of them were in the concept of the collision between the official kiln porcelain and the art collision of calligraphy and painting.
The 30 top official kiln porcelains at the exhibition are the national treasure -level porcelain that Cai Xunmin repurchased in Europe and the Forbidden City. From the conception to the creation, she was easy to do, and she was improving. The 30 works lasted more than two years before the creation was completed. In his research and practice in porcelain painting creation, he has been pursuing the combination of official kiln porcelain and calligraphy and painting creation, or re -creation according to the type, pattern, color, and spirit of the official kiln porcelain. Essence Creation is not to draw gourds. How to grasp the relationship between object spirit and subjective feelings, grasp the relationship between porcelain characteristics and personality style, and grasp the relationship between artistic creation and art re -creation. They are all issues that Chen Qi needs to think and solve in the creation of creation. Essence
As a representative of contemporary sea -school calligraphy and painting, Chen Qi’s painting style polished contains two “qi” characters, one is magnificent, and the second is full of weather. The ink lines of restrained and outer, inner and outer pine, and internal and external texture reflect the vitality of Chen Qi’s art. In the face of 30 official kiln porcelain, the artist chose to pay tribute to Chinese paintings with the same scale -2.1 meters high, 0.6 meters in horizontal height, and treat each work as the fruit of the soul. In fact, with the strength of his strokes, the strength of the ink line and the various Chinese lottery, even if the small page is a small page, he feels the magnificent momentum with a small view. In fact, the “weather” of Chen Qi’s paintings is the diversity and richness of the picture caused by the various types of strokes.
“The combination of official kiln porcelain and calligraphy and painting creation, or re -creation according to the type, pattern, color, and spirit of the official kiln porcelain, it is the first time for me. The creative significance of the collision between Guanyao porcelain and calligraphy and calligraphy. “Chen Qi said. Before the creation, he first studied porcelain to understand the characteristics of porcelain, historical background, evolution, and try to conceive the entire exhibition framework and display method. The method of presenting the work is also very special. The mounting method of calligraphy and painting is also the mounting technology and mounting style of traditional courts. Even the decorative shaft is also tailor -made according to the content of each work.
Qing Qianlong Qinghua Guqin
“Qingju Yu Yun Tu”
Porcelain in each era has its own characteristics, and different porcelain also has different characteristics such as kiln, porcelain, and color. Chen Qi’s creation can be said to be tailor -made Chinese paintings for each piece of porcelain.
For example, in the face of the “Qing Qianlong Blue and White Qin” with chrysanthemum tangled patterns, Chen Qi created “Green Chrysanthemum Yu Yun Tu”, which is covered with the picture with quality white chrysanthemums. The style of form, style and porcelain complement each other.
Song Jianyao 鹧鸪 窑
“Plum Plum Blossom Heaven Heart”
In the face of the “Song Jian Kiln” with a very rare colorful kiln, Chen Qi created “Plum Plum Blossom Heaven”, which adopts my freehand expression technique and plum blossoms with a little bit of light. Large -scale branches, traditional dots and surfaces, coupled with the expression of modern ink language, their artistic expression effects and porcelain effects of cups are different.
Facing the beautiful ancient porcelain to create a number of modern painting works is very challenging, it is the artistic re -creation process based on the art creation of ancient people. The final painting and porcelain are settled with each other, and they are unique, such as the intersection of Jinlan, and the dialogue between them is like the dialogue between the ancients and the present people, telling the strong historical and culture carried behind the porcelain. Contemporary calligraphy and painting works and the corresponding official kiln porcelain complement each other, which has a sense of immersion in history and a happy and modern time and space exchange.
Wang Yonghao, vice chairman of the Chinese Literary and Art Critics Association and vice chairman of the Shanghai Federation of Literature and Art, pointed out that although ceramics come out of mud, it is a lot of time to paint, and it can only be elegant with the painting with the painting. Because of this, people can see the linked relationship between flowers and bird paintings and the underglaud paintings under Changsha kiln, and Gongbi painting is more echoed in various porcelain below Song. From the Tangyue kiln celadon in Qianfeng to the Song official kiln celadon, every “Qiao Mingyue dyed spring water, lightly spin, thin ice and green clouds”, sometimes ascended and thin, sometimes as thin as the sky. Paper, the so -called “green products since ancient times”, pursuing nothing more than the beauty of the paintings, which is still the most important painting. Even if the kiln with an illusion effect is transformed into glaze, it is the same as “the sunset purple green”, and it is also worked with the traditional painting ink.
Wang Yonghao believes that Chen Qi’s 30 paintings invited this time have fully conveyed the charm and beauty of porcelain. There are unrestrained decorations such as “Song Jian Kiln” and “Plum Plum Blossom Heaven Heart”, which is based on kiln -quality porcelain. He is exclusively good at his right. Such famous paintings are not only the most, but also the most rare. “
Author: Fan Xin
Edit: Xu Yan