Where was Xie Zongjun born?

Xie Zongjun, a native of Dingyuan, Anhui, studied in China Academy of Art and Central Academy of Fine Arts. Now he is the director of China Artists Association; Executive director of China Gongbi Society and member of expert committee; Director of Chinese Painting Society; Secretary-General of Anhui Artists Association; Director of the Office of the Arts Committee; Deputy Director and Secretary General of Chinese Painting Art Committee of Anhui Artists Association; Special painter of Anhui Painting and Calligraphy Institute; National first-class artist.

Luzhou Chenxi was selected as a business card in Hefei and published in Hefei House Edition of Guangming Daily. Many works are collected by art galleries and museums; Nearly 100 media at home and abroad introduced it.

Chinese name: Xie Zongjun

Place of Birth: Dingyuan County, Anhui Province

Date of birth: 197 1 year

Occupation: Famous painter and connoisseur.

Representative works: Xie Zongjun's Lecture on Green Landscape Painting Techniques and Xie Zongjun's Green Landscape Painting Collection.

Art chronology

From 65438 to 0993, he held his first solo exhibition in Hefei-kurume Friendship Art Museum.

Since 1996, his works have been selected and won prizes in more than 20 exhibitions sponsored by China Artists Association.

In 2000, he was invited to hold art exhibitions in Hong Kong and Thailand.

200 1 invited to hold an art exhibition in Paris, France.

In 2002, Chun Xue Night Singing won the gold medal in the 5th National Art Exhibition.

In 2004, the work "Brilliance" won the "10th National Art Exhibition" Excellence Award.

In 2005, he was invited to hold an art exhibition in Korea.

In 2005, he won the "Gold Award for Special Exhibition of the 16th World Artists' Congress" in cooperation with the "Map of Cultural Celebrities in Anhui Past Dynasties".

In 2005, "Old Wall and New Green" won the "Special Exhibition of the 16th World Artists Congress" Excellence Award.

In 2005, he won the "First Anhui Social Science Award".

In 2005, he won the gold medal in the "First Anhui Art Exhibition".

Since 2006, he has been invited to participate in the academic awards of the 6th, 7th and 8th National Art Exhibition.

In May, 2007, Xiaogang Village and Rural Contract was selected as "National Major Historical Theme Art Creation Project".

In May, 2007, the work "The Rock Palace" was selected for the "One World" exhibition of China painters painting the United Nations family.

In 2007, he was invited to participate in the national art exhibition of the 80th anniversary of the founding of China People's Liberation Army.

In 2007, he was awarded the title of "First Top Ten Young Artists in Anhui Province".

In 2008, he was invited to visit Japan with the delegation of China Artists Association.

20 10 Create a large mural for Anhui Pavilion of Shanghai World Expo.

20 1 1 Created the work "Dream Back to Quyang" for Beijing-Shanghai high-speed railway.

20 12 created the auspicious picture of spring melting for the Great Hall of the People.

20 13 created a large-scale mural "magnificent mountains and rivers" for the VIP room of the Central Party School 1.

20 13 created a large-scale mural "Damei Huangshan" for the VIP room of Xinqiao International Airport 1.

20 14 created a large-scale mural "Tiankai Sky" for the VIP room of Hefei High-speed Railway South Station 1.

20 14 the first batch of top-notch talents in propaganda culture in Anhui province.

20 14 was awarded as "Outstanding Individual in the Work of the National Federation of Literary and Art Circles".

20 15 won the title of "academic and technical leader in Anhui province"

20 15 Create murals for the office building of Anhui Provincial Party Committee in Binhu Central Committee.

20 15 created murals for the VIP reception room of the office building of Anhui Provincial People's Government.

20 16 created murals for the office building of Anhui CPPCC.

20 17 created murals for the office building of Anhui Provincial People's Congress.

20 18 was elected as the representative of the 13th People's Congress of Anhui Province.

20 18 was elected Commissioner of Education, Culture and Health of Anhui Provincial People's Congress.

20 18 was invited to participate in the "Natural Landscape-The Second China Contemporary Green Landscape Painting Invitational Exhibition".

works appreciation

Xie Zongjun's works, with unique techniques and profound artistic conception, participated in large-scale painting and calligraphy exhibitions at home and abroad many times in 199 1, and his work "Homesickness" won the second prize in the first national college students' painting and calligraphy competition. In 2000, he was invited to hold art exhibitions in Hong Kong and Thailand. 200 1 Invited to visit Western Europe and hold an art exhibition in Paris, France.

In 2002, "Chun Xue Evening Singing" won the gold medal in the 5th National Gongbi Painting Exhibition. His unique and extraordinary works are collected by many art galleries, museums and collectors.

In recent years, many huge murals have been created for some universities, airports, hotels, governments and other institutions, such as beautiful dreams, farmhouse music, the spring rhyme of Shushan, the great river map and so on.

His works have been published in nearly 100 publications at home and abroad, such as Guangming Daily, Jiangsu Pictorial, New Art, Anhui Pictorial and Anhui Daily.

works appreciation

publish a book

Xie Zongjun's lecture on green landscape painting techniques

Xie Zongjun's Green Landscape Painting Collection

Mountain Reservoirs in China —— Collection of Xie Zongjun's Works

Jinpin lecture hall

Artistic narration

Meticulous painting is a traditional way of painting expression in China. It covers a variety of expression techniques such as "big turquoise", "little turquoise", "heavy color setting", "golden green landscape" and "boneless". Since the first half of the 20th century, more and more artists have begun to pay attention to China's meticulous painting. From the development of Chinese painting in the past 20 years, meticulous painting has become the most dynamic and fastest-growing painting. But at the same time, contemporary meticulous painting also has some problems such as sweetness, vulgarity, thinness and weakness. How to achieve greater development of contemporary meticulous painting has increasingly become the focus of attention today. The turquoise landscape in China has been dominated by turquoise since the Jin Dynasty, which is the true color of nature and the natural color in the thoughts of ancient people in China. Green landscape painting appeared after the Warring States Period, was conceived in the Eastern Jin Dynasty, was established in the Southern and Northern Dynasties, and flourished in the Tang and Song Dynasties. Turquoise landscape painting shows the aesthetic relationship between man and nature, and it is the expression of human's painting form of natural landscape aesthetic comprehension. China's green landscape not only shows the natural beauty of mountains and valleys, but also shows the artist's spirituality and state of mind in the process of feeling, experiencing and understanding nature.

The color concept of China's green landscape originated from Sheikh's "coloring with the same kind" in Southern Qi Dynasty. Pen and ink and structure are the core issues in the formation of ink landscape painting, while the color and structure of pen and ink are the core issues in green landscape painting. Although the green landscape shows simple, concise, noble and gorgeous effects, it is basically a stylized performance. On the one hand, this stylization is due to the procedural inertia in Chinese painting techniques, and on the other hand, it is simply understood as "coloring". "Color" is the external hue of an object, the hue of a pigment, and "color" is the charm and spirit produced by the mutual reflection of colors. The color concept of China's paintings is different from the scientific analysis and natural description of objective images existing in a certain time and space in western realistic paintings, and it is also different from the ink painting that reflects the beauty of the world with simple black and white chromaticity changes. Turquoise (color) landscape is objective and rational in observation method and accurate in expression method. Of course, this realism is essentially different from the expression of form, quality, color and light and shadow space in western classical painting. The shaping of China's green landscape is based on the situation, including the perception of objective, natural and vivid forms, and the presentation of the perfect form of subjective ideals. China's colorful landscapes have accumulated rich creative experience in the long development process. Looking back on the development of China's painting, from Qin and Han Dynasties, Wei and Jin Dynasties, Tang and Song Dynasties, whether it is court painting, religious art or secular culture, meticulous painting and color matching with the rise and fall of the Chinese nation are the basic manifestations of China's fine arts, thus forming a brilliant classic sequence of masters and their works, and a complete academic theoretical system with national colors has long been formed. From a broader perspective, artists all over the world regard color as the main means of painting and have made remarkable achievements. In the process of the great rejuvenation of the Chinese nation in the new century, we have no reason to abandon the precious artistic wealth created by our ancestors today. It is a pity and prejudice to ignore the view that our ancestors created brilliant green mountains and rivers. With the great changes in China's social politics, economy, cultural form, people's living environment and aesthetic concept, the diversity, inclusiveness, democracy, existence, nationality and popularity of China's fine arts will inevitably lead to the multipolar development of culture and art, and the green landscape should be a wonderful flower proudly blooming among them.

No matter from the perspective of multi-dialogue in the era of globalization or from the internal logic of China's contemporary development, if we don't speed up the excavation, collation and research of traditional green and colorful heritage, and establish and develop a unique national color language, then we will lose at least half of our art career in the contemporary world art forest.

In the overall pattern of contemporary China art, the situation that ink painting and literati painting dominate the world no longer exists. The innovation and exploration of modern turquoise landscape painting in form, content, techniques and other aspects have triggered our re-examination and understanding of this ancient style. In this era of rapid development, the thriving society once again has the opportunity to come together. Colorful life and diverse cultural forms provide modern turquoise landscape with the echo of the times, realistic blueprint, material and cultural bedding and space for alternative aesthetic needs, which enables us to breathe the fresh air of the times sensitively, turn to the main theme of the development of the times and find a place to show our artistic charm. In fact, this also provides an opportunity for the revival of green landscape painting. Today, we put forward some words such as "big turquoise", "little turquoise", "heavy color", "golden green landscape", "boneless", "modern turquoise" and "great meticulous brushwork" to express the spiritual pursuit and aesthetic taste of modern people, hoping to find the growing point of language resources and styles from the tradition and create a new style different from the traditional one through open absorption and expression. Only a brand-new painting language gives a new interpretation to the traditional green landscape and integrates it into modern life can it be full of vitality and have a strong impact. The charm of green landscape cannot be expressed in a few words. As the source of thousands of years of civilization and freehand brushwork, each has its own merits, but it is concise and full of details, avoiding simplicity but showing gorgeous self-pity, close to being bold and generous. Now there is no one style of painting that can dominate. People's aesthetic tastes began to be diversified and complicated. Oil paintings, gouache, watercolors, prints, murals, wall-hung sculptures, etc., people also like and need, at least for visual aesthetics. From the material point of view, the turquoise landscape in China is rich in color, including "gold foil, silver foil, azurite, stone green, cinnabar, vermicelli, realgar, pearl powder, heshi, cyanine, hafen and rubber alum". , natural mineral color selection, exquisite workmanship and durability. Wang Ximeng's A Thousand Miles of Rivers and Mountains in the Northern Song Dynasty is still as bright as new. Green landscape painting is not as tacky as people think. The real green landscape is not only painted "green" and "green", but also "green". It is light green, just like the ink is not high and simple, and a few strokes can't be called "one product". Mr. Pan Tianshou said: The color should be light and dark, bright and elegant, heavy and quaint, naturally not floating, heavy and turbid, angry and tacky. In fact, a good turquoise is just an atmosphere, the spirit of the temple, the spirit of wealth, the virtue of China people's life and the beauty of masculinity. Moreover, from the perspective of the painting method of green landscape, it is impossible without a good foundation of ink painting, and ink painting also needs to be hooked, smashed, spotted and dyed; It also emphasizes the use of pen, ink and line, and emphasizes "pen color". In the category of "great meticulous brushwork", it has extremely important aesthetic inheritance value in today's era. Of course, the inheritance and development of green landscape painting is indeed restricted by many objective factors. Due to the complexity of expression techniques, the relative lack of materials and the high price, the creative process of techniques makes it difficult for some painters to learn to use them. Traces of the famous green landscape are rarely preserved and rarely displayed. Coupled with the limitations of traditional printing technology and preservation conditions, there are few temporary paintings handed down from generation to generation, and there are few detailed records on pigment production. Some technologies are only learned from teachers or at home, so it is difficult to spread them widely. Although literati painting is still one of the main factors that directly affect the development of landscape greening to a certain extent, the formation of different styles and techniques of traditional landscape painting is the appearance, and the difference of cultural personality is the more essential reason. Green mountains and green waters are brilliant, and more are entrusted with bright and cheerful thoughts and vigorous ideals. When we appreciate the green mountains and green waters from the rich and complicated traditional heritage, it should be said that this is not an accident, but a careful choice of life perception and social value standards. Of course, the process of learning turquoise landscape painting is difficult. The king of Qing Dynasty said: "When turquoise is placed, the body should be serious, the spirit should be clear, and the strength should be strong. It takes more than 30 years for turquoise to reach perfection." Today, we choose turquoise, which also shows our concern for the living environment of human beings, the author's desire for thick green, his love for the primitive harmony of nature and his persistence in the realm of silence.

The exploration of contemporary Chinese painting is quietly shifting from restlessness to calmness and depth. At first, the sudden influx of foreign cultures made people shine, and eating raw food became a fashion. But mechanically copying is not conducive to digestion, and chewing slowly can effectively absorb nutrients. Painters with national feelings finally realized that "reference" is not equal to "substitution" and finally broke through from inferiority and anxiety. Reflection on the cross-context innovation and broad vision development of contemporary Chinese painting. Green landscape also advocates participating in this breakthrough, and joining the lineup of promoting the spirit of national culture with a firm attitude of discovering the essence of traditional art. We have also begun to pay attention to the colorful secular scenes under the background of contemporary civilization and the various tastes of contemporary people's deep heart. We have every reason to expect a unique understanding of modern turquoise color expression space, and modern turquoise landscape painting will certainly cross the depth of color language and move towards the contemporary era. The reason why green mountains and green waters can accurately link the times and reflect each other is because the cultural connotation of green mountains and green waters is heavy and ambiguous, and it has been running through to this day. Modern green is always permeated with the breath of life and engraved with the imprint of reality. Paying attention to the contemporary era, paying attention to major themes, and determined to transform and sublimate on the basis of inheriting the tradition, China's turquoise landscape painting will surely become profound, mellow, mature and lofty with its particularly full and distinctive characteristics!