Opera Character Paintings

Dai Chao's Character Profile

A native of Jianhu County, Jiangsu Province, born in 1950. He has been engaged in art work for more than forty years. Now he is a member of Chinese Artists Association, Jiangsu Artists Association, Jiangsu Stage Art Society and Jiangsu Bird and Flower Painting Research Society. He is the vice chairman of Jianhu County Artists Association. He has dabbled in landscape, birds and flowers, and figures in Chinese painting; he is especially good at the painting of opera characters and traditional children's paintings. His works have been exhibited in the "First National Exhibition of Chinese Painting Works", "The Third National Chinese Painting Exhibition", "Chinese Painting Masters Hand Scroll Exhibition", "National Chinese Painting Exhibition" of Guangzhou Asian Games and many other national art works exhibitions.

Dai Chao is known for his landscape paintings, especially large landscapes, which are magnificent and majestic. Standing in front of his landscapes, he feels that the peaks and valleys, all come to the bottom of the eye; pine waves and waterfalls, like a sound. As for flowers, he does not dabble in pen, occasionally, although limited to peonies, but also sound, y people's favorite.

The landscape and peony painted by Dai Chao is a great pleasure for the eyes, and his opera character paintings are very interesting. Often a frame in hand, let you play with endless flavor, love can not release.

Dai Chao engaged in stage art work for many years. Troupe each row of a play, he must first familiarize himself with the script, especially in eating through the characters, the attitude of seriousness, grinding the fine, and no less than any actor. Waiting for the character and its environment to be grasped, before he started to design the stage equipment and draw the scenery. He insisted that "choreography for the performance of the character services", often said that he "painted the set, the essence of painting the characters," which can be seen in the characters in his mind in the important position. Years of stage work experience, not only make him familiar with a large number of traditional drama storyline, but also make him fall in love with a large number of opera characters. He remembers their images, is familiar with their encounters, understands their personalities, knows their feelings, and can even memorize their sayings and lyrics. All of this gave him an idea: to use the static images of Chinese paintings to express the dynamic beauty of opera characters' performances. Who knows that after a few attempts, they feel interested, and then a hair and can not be collected, so that the painting pages piled up on the desk, the height can be more than a foot. When he picked out a few frames of his work, with anxiety, the first time he went to ask Mr. Gao Ma De for advice, the old and virtuous master of opera figure painting said to him with emotion: "Not much, not much! There are not many people who love both opera and patriotic painting." Encouraged him to persevere, not to be superficial, and not to stop writing halfway. Since then, he must go to Nanjing once a year to visit Mr. Gao, and at the same time present his new works of opera characters for Mr. Gao's guidance. The old man was pleased with his good learning and progress, but also specially for his inscription "Dai Chao painting theater" four big words.

Dai Chao used the Chinese painting brushstroke to paint opera characters, walking a "complexity into simplicity, simplicity instead of complexity" of the road, and the work of the character painting is very different from the interest. It is characterized by not seeking "resemblance", but seeking "expression". The brush is waved as if unintentionally, but all the strokes are intentional. Often just a few strokes, the characters will be lifelike on the paper. At a cursory glance, or the five features are incomplete, or the limbs are not in proportion, but a closer look, the have all, don't have to have one of them are missing, really reached the point of ink like gold. Try to see his painting of the "meeting of heroes - Jiang Gan stealing books", the stage should be the book case, chairs, military books, lamps and so on, all omitted, the picture only highlights Zhou Yu, Huang Gai and Jiang Gan three people. Jiang Gan only takes his face, Zhou and Huang are on one side, whispering in the dark, and Jiang Gan sticks out his head from the tent door, seemingly eavesdropping. Zhou's elegance and resourcefulness, Huang's loyalty and honesty, and Jiang's lewdness and stupidity are accurately expressed through their respective demeanor and posture. Another example is his painting of "White Snake Legend - Swimming in the Lake", which at first glance seems to be too long for the character's body, but after careful consideration, it does not lose its beauty at all, and it is not enough to express the inner world of the character.

The saying goes: "Greatness is like clumsiness". Tasting Dai Chao's opera character paintings, savoring his effort to hide the cleverness of clumsiness, you will be from the "similar" and "non-similarity" between the real feel the endless fun, which is really a special art enjoyment.

May Dai Chao's opera figure painting techniques become more skillful, and hope that more people will appreciate his paintings, like his paintings.

Who is the most famous painter of opera characters

Guan Liang

The word Liang Gong. born on December 30, 1900 in Panyu, Guangdong Province, died on November 28, 1986 in Shanghai. In 1917, he went to Japan to study oil painting, and returned to China in 1923. He was a professor at the Shanghai Fine Arts College, took part in the Northern Expeditionary War, and served as the head of the art unit of the political department. He was a professor at the Zhejiang Academy of Fine Arts and a painter at the Shanghai Chinese Painting Academy.

Author of "Guan Liang's Art Discussions" and "Guan Liang's Memoirs", published "Guan Liang's Ink Painting of Peking Opera Characters" and "Guan Liang's Oil Painting Collection", etc.

He has devoted himself to the cause of art education all his life, and he is one of the earliest forerunners in the introduction of the Western art of painting to China.

He specialized in Western painting at the beginning of his career, and later turned to ink and watercolor painting of opera figures. After the founding of the country, Guan Liang's ink and color painting of theatrical figures is unique, the most visible style, the greatest impact. His works are extremely simple, simple and easy to use, very interesting, not stick to the anatomy, perspective and proportion of the object, but to exaggerate, deformation of the technique of the God portraits, the characters of the mood of innocence and humor, especially the eyes of the most visible strength, the pupils of the eyes with thick ink pointing extremely evocative

Guan Liang's works for a long time, not too much market share, into the mid-90's, a number of auction houses have been launched! Guan Liang's

Guan Liang paintings works, if compared with the national painting, his oil paintings at that time there is no market, the price is ridiculously low. Until 2000 after the performance, in 2001, his oil painting "the Monkey King three white bone spirit" in the Guardian was priced at 220,000 yuan; in 2002, the oil painting "Ling Pai Mountain" in the Guardian was priced at 286,000 yuan. The main reason for the low price of Guan Liang's works is the lack of understanding of his works. I remember in Guan Liang a painting exhibition, the painter Li Kuchan had taken a group of students to visit, many students Guan Liang teacher why do not put the figure of the standard, Mr. Kuchan said: "Liang Gong's painting method is called to forget the shape of the will." Li Kuchan's so-called "forgetting the image" refers to the "image of painting", not the "image of painting". In this regard, Guanliang was most understanding.