Where is the artist Zhang Jiyu from? What kind of works does he mainly create? What are his masterpieces?

Painter Profile

Born in 1958, Yibin, Sichuan Province. 1986 Southwest Normal University (now Southwest University) College of Fine Arts Oil Painting, Bachelor's degree (Bachelor's degree), Vice President of the Design and Art College of Chongqing University of Technology and Commerce, member of the school academic committee, professor, academic leader, vice president of the Chinese Painting Masters Research Association, Chinese calligraphy and painting. Vice President of the College of Design and Art, Chongqing University of Technology and Commerce, member of the Academic Committee of the University, professor, academic leader, vice president of the Chinese Painting and Calligraphy Famous Artists Research Association, member of the Chinese Oil Painting Society, member of the Chinese Calligraphers and Painters Association, senior expert of the China Digital Art Design Expert Committee.

Published more than 60 papers and works of art in core journals; published and distributed "Design Color", "Contemporary Chinese Oil Painters - Zhang Jiyu Oil Paintings", "Zhang Jiyu Color Paintings", "Color Improvement", "Sketch" and other monographs. Among them, the book "Designing Color" published by Chongqing University Press (reprinted and issued in 15 printings, the book is used as a teaching material by more than two hundred colleges and universities) was awarded the First Prize of Excellent Bestseller of the Seventh National Collegiate Publishing House; the oil painting "Hongcun" was awarded the "China Culture and Art Government Award" sponsored by the Ministry of Culture and the Center for Chinese and Foreign Cultural Exchanges. The oil painting "Hongcun" won the best creative award of "Wenhua Award", which is organized by the Ministry of Culture and the Center for Cultural Exchange between China and Foreign Countries. More than 200 works have been selected for art exhibitions at the provincial level or above or published in professional journals, among which "Bath", "Flotsam", "Roots", "Grass Flowers", "Calla Lily", "Miao Sewing Woman", and "Hidden Residence" have won awards at the national or provincial level.

Editorial

Personal Honors

Zhang Jiyu's work "Summer Lotus" was awarded "Chinese Literary and Artistic Symbol Characters" by China National Artists' Association in 2009;

Oil painting was awarded the first prize of the first "Hershey's Cup" of China Calligraphy and Fine Arts Association in 2009;

In 2009, the oil painting was awarded the gold medal of "Shengshi China Award" by Chinese Calligraphy and Painting Artists Association;

In 2009, the oil painting was awarded the first prize of the International Sinology Research Association, and was honored as the "**** and the country's artistic figure of the year "

In 2010, the oil painting won the gold medal of the Second Global Chinese "Hundred Flowers Award" of the Chinese Calligraphy and Painting Society;

In 2010, the oil painting won the "Lifetime Achievement Highest Honor Award" of the World Society of Chinese Fine Arts.

The oil paintings "Bath", "Over the Mountain", "Ancient Rhythm of Phoenix" and "Tujia Folk Houses" were featured in the "People's Daily - Overseas Edition", and were honored as "Famous Artists of Chinese Art".

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Awarded Works

Designing Colors won the First Prize of the Seventh Excellent Bestseller Award of National University Press, 2006.

"Landscape" First Prize of Excellence, Korea Modern Artists Association, China-Korea Fine Arts Exhibition, 2006, 8

"Flotsam" was awarded the Gold Prize in People's Daily's "Art Masters Golden Cup Pulp" activity, 2004, 1, 12

"Spring Story" Silver Prize, World Art Garden Cultural Research and Exchange Center, International Yiyuan Star Painting and Calligraphy Art Competition Organizing Committee Oriental Art Magazine 2004, 10

"Design color sketching of warm and cold sensation and the law of change" Excellence Award "Chinese Academic Forum" Hong Kong News Publishing House, Hong Kong Educational Publishing House 2004, 1

"The mood of the color tone and the training of the color tone , Award of Excellence "China Education Reform and Research" 2004, 10

"Miao Sewing Girl" Award of Excellence Selected in the 3rd Chongqing Municipal Fine Arts Exhibition 2004, 9 Municipal Bureau of Culture, Municipal Federation of Literature, Municipal Association of Fine Arts

May 2005

Horseshoe Lotus Award of Excellence (Municipal 3rd Watercolor Painting Exhibition) Municipal Bureau of Culture, Municipal Art Association

"Summer Lotus" Excellent Award Chongqing First Oil Painting Exhibition and the Third Chinese Oil Painting Exhibition Chongqing Works Exhibition 2003, 4

"Summer" Excellent Award Chongqing First Oil Painting Exhibition and the Third Chinese Oil Painting Exhibition Chongqing Works Exhibition 2003, 4

"Moorings" Second Prize Chongqing "five years of jurisdiction to see the Chongqing "Painting and Calligraphy Exhibition, Chongqing Municipal Party Committee Propaganda Department, Chongqing Federation of Trade Unions 2002, 6

"Roots" Chongqing Municipal First Teachers' Painting and Calligraphy Exhibition of Professional Group Second Prize 2003, 9

"The Story of Spring" won the silver medal of the International Art Garden of the Heart of Painting and Calligraphy Art Competition, 2004, 4

"Gouache Performance and Characteristics of Gouache Painting" won the New Century Excellent Academic Paper Second Prize, China Economic and Technological Development International Exchange Association, China Academy of Management Science 2002, 7

"Design color sketching of warm and cold feeling and the law of change" Excellence Award "Chinese Academic Forum" Hong Kong News Publishing House, Hong Kong Educational Publishing House 2004, 1

"The The Context of Color and the Training of Color Tone" Award of Excellence "China Education Reform and Research" 2004, 10

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Classical Works (Reviewed by People's Daily Overseas Edition)

Over the Mountain is an oil painting by Mr. Zhang Jiyu. The application of color and light in this work is close to the realm of perfection, and it well expresses the sense of space, volume and texture of the scenery. All these are obvious at a glance, so there is no need to chew on them. The realism of the depiction of the shepherd boy, goats, and even the mud and stone walls are all vivid and interesting, and there is nothing difficult to understand. So why chew on it?

What needs to be chewed on is Mr. Zhang's real intention in creating this painting, or rather, what the painting is trying to tell people. And this is not something that can be revealed at a glance.

The "other side of the mountain" is relative to the "other side of the mountain". So, is the scene depicted in the painting on this side of the mountain, not on the other side of the mountain? If it is interpreted as being on the other side of the mountain, what is on this side of the mountain should be the author and his environment. This explanation also makes sense. It means that the author went out sketching, crossed a mountain beam and found shepherd children, goats and houses and sheepfolds, which were full of poetry under the warm sunshine, very different from the scene on the other side of the mountain where he was, and then put them on the canvas with envious feelings. There are many paintings like this, but "Over the Mountain" is not one of them; it was the sharp gaze of the shepherd boy that made me think elsewhere.

Thus I thought: the author paints "this side of the mountain", while the title suggests "the other side of the mountain" is not painted at all. But all the scenery on this side of the mountain is transformed into scenery on the other side of the mountain through the gaze of the shepherd boy. The scenery on the two sides is absolutely different, and the contrast is so strong that there may be a world of difference. From the shepherd boy's expression of gazing, contemplating, yearning, but unable to do anything about it, we can see that the other side of the mountain can only be more advanced, prosperous, and lively than the other side of the mountain, not the other way around. To what extent is it advanced, prosperous and bustling, you can just follow the gaze of the shepherd boy to look out and imagine. Imagination is richer than reality; imagination is more brilliant than painting. This is the brilliance of Mr. Zhang.

Artwork should be chewy; what is obvious to the viewer at a glance is just like plain water, tasteless to drink. Mr. Zhang Jiyu, who graduated from the Academy of Fine Arts and is engaged in art teaching and research, has a number of oil paintings to chew on.

Editorial

Classical Commentary

Zhang Jiyu and his paintings

Ge Weijie

In the Yibin art world, when it comes to "bald painters", no one knows that no one is unaware of the fact that he is the painter Zhang Jiyu who has been working in Yibin for a long time, and then teaching at the School of Design and Art of the Chongqing University of Commerce and Industry. The painter Zhang Jiyu.

Ji Yu and brother have known each other for more than twenty years, due to the same art school, coupled with a preference for colorful landscapes, so that we have a **** the same perception of painting. A few days ago - a night of thunderstorms, suddenly received a phone call that he had returned to Yi, the excitement of seeing him after a long time made me forget all about the time and the wind and rain. That night, we a few painting friends drink, talk about art, talk about life late into the night, talk about his recently published a picture book. The first to take the initiative, asked for a copy of the home to read, I do not know whether it is the sake of wine or old friends reunion of the joy of excitement, I read the album over and over again, almost read a night, the mood was his color sensitization of the excitement of the surging.

After more than twenty years, he still uses all his emotions to talk to nature, and uses his own colors to reshape nature. Here there is the idyllic seclusion of the mountains, there are small bridges and flowing water flotsam, the vicissitudes of the ancient city alleys, colorful wildflowers on the grass, the night of the hazy beauty, the leisurely meaning of the countryside, there is a backlight in the Golden Autumn ...... read his paintings, always feel a certain tranquility, idleness, elegance and elegance, and in a piece of quiet, but also sent a few sadness! In the midst of the tranquility, there are a lot of sadness, loneliness and sadness.

Zhang Jiyu oil painting "Dazu stone carving 1" artistic personality reveals the artist's artistic inclination and attitude towards life, Zhang Jiyu's inward-looking, calm and steady character is shaped by his attitude towards life, and it can also be said that his character makes his attitude towards life more relaxed and compliant with nature. When others in the comfort of the studio "behind closed doors", conceptualizing their own spiritual paradise, but he did not catch up with the wind, that the "tree of life" evergreen, in life to get creative inspiration, as always, in the direction of his determination to go, with a calm attitude to the heart! With a calm attitude and a heart, he creates and retains the fleeting magnificence and colorfulness with saturated and rich colors, conveying his motto of life from chaos to light.

His love for nature has made him good at colorful landscapes. In his hands, oil, watercolor, gouache and other paints become the tools for him to communicate with nature and let it run wild. His works have been exhibited and awarded in many big exhibitions. He expresses rhythm and spirituality in a unified and vivid order of small strokes and short lines. While capturing the aura of nature, he also expresses a freshness and clarity that cultivates the mind, and in the moment of the mutual and mutual life, he combines them into a realm and leisurely enters into the painting.

Zhang Jiyu's works are simple and elegant in color tone. In the expression of color never according to the customary formula to depict nature, in the pursuit of color richness and complexity, the pursuit of dialectical harmony of the unity of opposites to grasp the relationship, carefully grasp the subtle contrast of warm and cold colors, carefully in the cold tone into the subtle changes in the warm colors, gray, and in the warm tone into a number of cold colors that can be imagined only to be elegant, bright, wet, bright and organically blended together. With the brush, awkwardness and cleverness, virtual and real, tight and loose, deliberate and casual **** with the co-dependence. Showing a strong cultural heritage and the flavor of books. Harmony in the see rich, quiet elegance in the see wide Chi, a kind of broad-minded temperament, a kind of character talent, simple and thick, fresh and elegant, simple and unadorned. Reading his works, we can certainly feel the aesthetic pleasure brought to us by his skillful artistic techniques, and at the same time flow with the mystery of life, observation, presentation, and even gratitude. Their beauty lies in the inner direction of the spirit, and the divine strokes force your mind to sublimate.

Jiyu has been embracing nature with his abundant emotions for decades, and expressing his emotions with nature, and has been very fruitful and accomplished over the decades, and has long been famous in the oil painting world. Although he is now in his middle age, he has not lost his childishness, and his love for nature is even more earnest, and his love for artistic creation is also even greater. Suddenly I remembered that he painted a self-portrait more than ten years ago, that in the green shade of the sun shining a bald image is still fresh in my mind, that backlight through the leaves shining on the bald head highlights are so bright, reflecting the sublimation of his art and the crystallization of wisdom. In a flash, more than ten years has passed, he is still so persistent and hardworking in the enthusiasm of life to achieve their own art, I would like to bald on the "highlights" brighter, and at the same time fondly wish Zhang Jiyu in the art of the tree of life in the evergreen evergreen.

The Perfect Combination of Literati Writing and Abstract Expression

-Reading Zhang Jiyu's Oil Paintings of Natural Flavors

He Liang

Over the past 30 years, Zhang Jiyu, with a passion for artistic aesthetics and artistic expression, has walked in the countryside with the firmness and panache of a lone warrior, returned to nature, and insisted on exploring his own unique style of landscape painting. landscape sketching to explore the unique aesthetic interest, color language and artistic context. Through his passionate expression of the beauty of color and imagery in nature, he explores the combination of literati writing and abstract expression, reflecting his attachment and preference for nature and his native land, and expressing his own sense of life and aesthetic pursuits. Zhang Jiyu's attachment, favoritism and pursuit can be said to be similar to the obsession and passion of religious believers. Reading his oil painting sketches is a kind of enjoyment. While enjoying and being moved, we can't help but sprout our own nostalgia and love for nature and our homeland.

A perfect combination of color aesthetics and imagery performance

Zhang Jiyu's works are permeated with a passion that is ejected through the brilliant colors, and is the result of the painter's soulful and sincere dialogue with nature. Zhang Jiyu said, nature is alive with a soul, we can not take a fluke or some kind of vulgar mentality to ask for. The painter's care for nature, love of life and the pursuit of freedom of truth and honesty, gave birth to the painter's colorful aesthetic interest, spiritual imagery and creative passion, thus realizing the perfect combination of the formal beauty of color and rationality of spiritual imagery, which also creates the works of the most beautiful and elegant taste.

The work's expression of the beauty of nature's colors is clearly a form, not a purpose, and not a purely visual representation. In Zhang Jiyu's view, the beauty of color is only an aesthetic attitude of the painter towards the theme of the work and its form of expression, and it is more important for the painter to express his own inner depth of some kind of enlightenment through the various forms of expression of the subject of the object. Thus, the work is a metaphor of objectification, an image that the painter is eager to tell or express from his heart. In his words, "Form and expression are not the art itself, the essence of art lies in the human heart, in the human intention, and even more in the human feelings." We are often accustomed to examining the beauty of color through the eyes of a certain kind of social concern, not knowing that painting is often as uncertain as the appreciation and interpretation of music, and that the "content" or subject matter of many paintings is both profound and ambiguous. Many of Zhang Jiyu's paintings are overflowing with a passionate and unrestrained beauty, but even some of the impressionistic landscapes are often characterized by abstract forms of color expression. Color, as the most basic and important element of painting, is obviously interdependent with other basic elements, and the passionate interpretation of dots, lines and surfaces is undoubtedly complementary to the artistic expression of image modeling. Admittedly, the pursuit of color aesthetics is not a purely visual pursuit of the painter, in the author's opinion, even for painters who adore color and light and shadow, he may subconsciously pursue some kind of imaginative metaphors or connotations other than the pure visualization of the color expression. In this regard, I believe that even the pioneers of early Impressionism were no exception.

Why are Zhang Jiyu's paintings so moving? Because he through the color aesthetic, the life of the touched nature and style of the charm and beauty of the fullest expression, even if it is a piece of pear orchard, a cherry grove or the countryside secluded skinny-dipping field, through the painter's passionate color expression and interpretation, naturally caused the public **** song. The painter's aesthetic concept and spiritual image is not formed overnight, it must be the painter's many years of life experience and artistic exploration of the formation process, of course, from the point of view of the work is naturally the subject of the image and the form of expression of the harmony of the process. Therefore, when I first read Zhang Jiyu's "Nature Series Oil Paintings", I was shocked by the beauty of its colors! I was also touched by his "Style Series Oil Paintings" for its rustic sentiment! When I read his Chinese Landscape Series again, I was impressed by his aesthetic concepts and artistic spirit! We must not ignore the phenomena of "Peach Garden Leisure", "Nongjiale", "Dongquan Nude Bathing", and "Over the Mountain", which reflect the ordinary life of the general public, and we must not analyze the author's creative motives and expressive impulses only in terms of the "color impression", or else we will inevitably come to the conclusion that it's purely impressionistic! Otherwise, we are bound to draw purely impressionistic conclusions! If we regard Zhang Jiyu's nature paintings as purely visual "color impressions," we risk misinterpreting or even blaspheming the artistic truth and spiritual connotations of the works. In my opinion, behind those magical colors lies the artist's aesthetic preference for artistic expression, his devout concern for nature and life, his affection for local humanities, and his tireless spiritual pursuit and social commitment. For example, "Peach Garden", "Nongjiale" and "Riverside Tea Garden" are not purely about garden scenery and tea, but rather about the humanistic flavor of the contemporary Chinese countryside and its beautiful and elegant environment, and the humanistic style that makes people's lives comfortable and interesting.

Zhang Jiyu's oil painting "Peach Red, Plum White" pursues the beauty of color, which is the artistic nature of every painter! But in the end, the beauty of color is also to express the author's spiritual feelings, spiritual pursuit and the imagery of the times. Even if it is the same work, different readers may interpret or evaluate it differently due to different perspectives of appreciation or spiritual moods, just as music is understood or not understood. Whenever I read "Western Sichuan Series - White Pagoda Temple", my mind will coalesce in the three wonderful shades of red, white and green, and I will be thrilled by the warmth of a peaceful and elegant current that seems to be welling up in my heart. On the surface, it seems that the author painted is just an ordinary temple, from a distance, do not see the halls lofty and brilliant, but which alludes to how many religious works are difficult to profoundly express the religious meaning and spiritual imagery. It is said that this White Pagoda Temple is the only Guanyin Bodhisattva vajra dojo in the country. The Tang and Song poets Wang Bo and Du Fu, as well as the Qing Dynasty writer Li Tiaoyuan, all stayed here and left their masterpieces. Yang Duan, a poet of the Qing Dynasty, wrote the following poem: "...... I want to climb the White Pagoda in the autumn, and I am in a flat boat swinging in the sun. The white clouds outside the mountain are like water, and the red trees at the head of the river are better than flowers". White Pagoda Temple" is mainly by the red, white, green three main colors to show that the temple in the middle of the red tiles and white walls, near the temple in the distance before and after the almost green paved over ...... you see that noble and solemn red tiles, pure and elegant and secluded white walls, as well as verdant green shade, clearly implies a thick and solemn religious atmosphere, so that people can not help but in the leisurely In the quietness of the faint loneliness and poignancy! Most of all, the surrounding green field, thick green shade, is a profound interpretation of the Buddha's unlimited sea, shade of the world's meaning. The White Pagoda Temple" has a distinctive tone, unrestrained brushwork, perfect composition, rich and elegant colors, and the whole picture is aptly expressive, giving people a rich visual experience and unlimited space for imagination. Whenever I open a book of Zhang Jiyu's paintings, I unconsciously enjoy the White Pagoda Temple, and every time I enjoy the White Pagoda Temple, I feel as if a fresh breeze is blowing on my face and sweet rains are bathing my heart, as if a beam of pure and good spiritual light is flickering in the bottom of my heart, and a kind of spiritual imagery, which is better than sound, makes one's spirit return to one's heart. ......

When I first read Zhang Jiyu's paintings, I was somewhat reminded of impressionism and the spirit of the past, and I felt that Zhang Jiyu's paintings were a reflection of the past. More or less associated with impressionism, post-impressionism and other legacies, but I should say that that is by no means or not only the aesthetic concepts and artistic spirit pursued by Zhang Jiyu's paintings, and even less will be the melody and soul of Zhang Jiyu's paintings! I thought that Zhang Jiyu's paintings, the pursuit of a spiritual image of color expression.

Second, the content of the form and the aesthetic spirit of harmony

Zhang Jiyu's landscape sketches, overflowing with Chinese traditional literati rich local feelings and romantic spirit of writing, reflecting the perfect combination of Chinese traditional literati writing and Western impressionism, abstract expressionism. In terms of expression, Zhang Jiyu's paintings poetically express his optimistic examination of nature and life, his keen concern and beautiful desire through rich color elements and oil painting language; he manifests his aesthetic preference, attitude towards life and spiritual pursuit through the abstract expression of the human ecology in real life. His works are either subtle and euphemistic, or passionate and open, or he is thinking of his hometown and the earth, or he is thinking of the world. In the choice of subject matter, Zhang Jiyu hardly pursues the popular forms of selecting topics such as grand narratives or "thematic" creations in which "content determines form", nor does he promote the so-called social discernment or social critical spirit of "being a teacher of others". Not to promote the so-called social discursive consciousness or social critical spirit of "good teacher", but often just to their own side of the natural scenery or even small flowers and grasses passionate singing, just a thousand kinds of life situation voice sighs. For decades, he has kept close to the countryside, kissed the mountains and water, and painstakingly sketched and enjoyed himself! It is gratifying to see that Zhang Jiyu's artistic attitude and pursuit of formal aesthetics, which is more or less tainted with the legacy of impressionism, has produced a number of masterpieces reflecting the interest of life and the imagery of the times, and a number of works highlighting the beauty of the artistic mood and spirituality!

Over the years, due to historical and practical reasons, the art world in the creation of art is too popular "content determines the form". Especially the "system" artists often can not get rid of the "theme first" or by the lure of fame and fortune "proposition essay", so many works of form lack of beauty, pale content, Lack of artistic vitality. Zhang Jiyu's paintings, the boldness of the knife, the beauty of the color, the simplicity of the shape, the vividness of the rhyme, etc., are all attractive to us "form", not necessarily a grand narrative "theme first", and some are even strong artistic expression of the "form first". Some of them are even strong in artistic expression, "form first". The beauty of color is one of the most emphasized elements in his paintings, but his color expression is not a vulgar and fancy "paint game". It can be said that the spirit of Chinese traditional literati and Western abstract imagery have been appropriately expressed in Zhang Jiyu's oil paintings. After more than 30 years of natural cultivation and formal exploration, Zhang Jiyu has been able to rationally give color a kind of charm of the best and the most beautiful while creating with passion, letting it "take on" the role and "mission" of expressing an art form, so as to entrust him with a harmonious and beautiful vision of nature, the homeland, and life. The homeland, to the life of the harmonious and beautiful yearning and desire, so that the form and content here shows the harmony. It seems, or master Wu Guanzhong in the discussion of the art of painting said well: "content should not determine the form, it is the use of form, require form, to the form of wooing, but can not implement the husband-songwriter's right".

In the long-term oil painting sketching and creation, Zhang Jiyu carries a pious, grateful and caring mood towards the nature, through the nature to express their feelings, whether it is the ever-changing light and shadow color image, or spring, summer, autumn and winter of the humanities and natural landscapes, he has to face with a sincere mentality, with their own a unique aesthetic preferences and color preferences to show. He said, "The only way to really master the language of oil painting is to go to nature to receive the baptism of light. Through the perception of nature, he transforms the visual sensation acquired from nature into the sense of expression in his own creation" and "As long as we sincerely care for and understand nature, we will be richly rewarded by nature" (Zhang Jiyu Oil Painting Scenery, p48). What is most enviable is that Zhang Jiyu can actually take advantage of the leisure time of the three-foot podium to passionately paint, consciously or unconsciously, romantically emulate the aesthetic concepts and free spirit of Monet, Cézanne, Van Gogh, Gauguin, and other masters, and like Van Gogh in the maturity of his artistic creation in the past, he still gave up the luxury of devoting himself to the countryside to copy and write nature, to understand nature, to perceive nature, and to create nature, and, with the fear of nature and the gratitude for the countryside, he threw himself into the embrace of nature and the countryside. With a sense of reverence for nature and gratitude for the countryside, he plunged himself into the embrace of nature and the countryside, exploring the artistic expressions of color, shape and brushwork full of aesthetics, and creating a batch of excellent works.

Impressionistic or realistic, abstract expression or not; local sentiment or not, local point of view or not! What Zhang Jiyu tirelessly pursues is a passionate and poetic spiritual aesthetic imagery and its artistic expression, and explores a local oil painting style that embodies the spirit of traditional Chinese literati writing and reflects the imagery of vernacular culture. Therefore, Zhang Jiyu's oil paintings are distinctive and bright in color; streamlined and elegant in shape; dashing and bold in brushwork; and bold, bright and rhythmic in brushstrokes. In a word, the color is intoxicating, the mood is enticing, the meaning is touching, and the atmosphere is moving.