Where was Hong Ning born?

Hong Ning, 1934, born in Fuzhou, Fujian, whose real name is Hong Weizhong, is one of the important representatives of the third generation painters in China. 1958 graduated from Zhejiang Academy of Fine Arts, that is, the oil painting department of China Academy of Fine Arts, and studied under Yan Yan, Si, Fei Yifei, Wang and other pioneers of China oil painting in the 20th century. The main representative works are "Hongning Landscape Collection".

Chinese name: Hong Ning.

Alias: Hong Weizhong

Nationality: China.

Place of birth: Fuzhou, Fujian

Date of birth: 1934

Occupation: painter

Graduate school: China Academy of Fine Arts.

Representative works: Travel Notes on Mountains and Waters, Landscape Collection of Hong Ning and Oil Painting Collection of Hong Ning.

Main achievements: His works have been collected by art galleries and collectors at home and abroad.

Learning from: Yan,, Temple, etc.

painter

personal record

1934 was born in Fuzhou, Fujian, and his real name was Hong Weizhong.

1958 graduated from Zhejiang Academy of Fine Arts, now majoring in oil painting in China Academy of Art. He studied under masters such as Yan, the pioneer of oil painting in China in the 20th century. Graduation oil painting "Going to the Countryside" was published by Shanghai People's Fine Arts Publishing House and collected by China Academy of Art. Portrait participated in the national art exhibition, and Still Life participated in the tour exhibition of six provinces and one city in East China. Over the years, he has created oil paintings and Chinese paintings and spread them at home and abroad.

1992 "Hong Ning Ink Painting Exhibition" was held in Taibei.

1992 Hongning Landscape was published in Taiwan Province Province, 1997 Hongning Oil Painting Exhibition was held in Taipei.

1998 Hong Ning's oil paintings were published in Taiwan Province province.

Hong Ning Oil Painting Exhibition was held in Taibei, Kaohsiung and Taichung from 65438 to 0999.

In 2005, he participated in "China Art Fair" in China.

In 2006, "Lin Fengmian, Pan, Hong Ning and Chen Oil Painting Exhibition and Zhang Daqian, Qi Baishi and Xie Chinese Painting Exhibition" was held in Taiwan Province Provincial Art Museum.

20 10 "60th anniversary of the founding of People's Republic of China (PRC)"-oil painting "Rose fragrance" won the gold medal.

20 10 Hong Ning Art Exhibition attended Shanghai Spring Art Salon.

Hong Ning's works have been introduced by such publications as Collection of Heaven and Earth, Art of Collection, Artist and Art of China.

Biographies have been compiled into dictionaries such as Directory of Contemporary Artists in China, Dictionary of International Modern Painters and Sealers, and Dictionary of World Painters and Sealers.

Oil painting characteristics

A painter from China.

Mr Hong Ning is one of a group of mainland oil painters who paint both oil paintings and Chinese paintings. There are not many painters in this group, and Mr. Hong Ning is one of the few painters who draw both landscape paintings and landscape paintings in Chinese painting. This is compared with those painters or landscape painters who spend time painting a few ink pandas, painting an unusual stone, or "four gentlemen" and "ink play"

Chinese painting theory

Zong Bing said in the Southern Song Dynasty that "mountains and rivers form a flat road", which means that China people embody the concept of harmony between man and nature and the idea of harmonious coexistence between man and nature through landscape painting. However, China people are too philosophical. "Painting Taoists take ink painting as the most important thing, bringing out nature and creating nature" (Wang Wei), and they only pay attention to the "quietness", "emptiness" and "emptiness" of mountains and rivers to Zen and Taoism. West Renye Fang has their ideas. The unity of God and nature makes people worship nature infinitely. They pay attention to and imitate nature, thus developing a set of scientific methods to describe nature. Oil painting has incomparable and unsurpassed advantages in expressing the bizarre material world. Then, it is undoubtedly the intentional performance of contemporary painters to combine the transcendental, spiritual and emotional expressions in China's landscape paintings with the rich and heavy characteristics of western oil paintings to express complex colors and objective things. Of course, this puts higher demands on the quality, cultivation and skills of painters. Since the beginning of this century, many painters have tried this kind of integration and made different achievements.

get through

Mr. Hong Ning graduated from Zhejiang Academy of Fine Arts, one of the most important fine arts institutes in China in 1950s, which is now China Academy of Art. He studies oil painting. At that time, he made a full study of Russian and Soviet oil paintings. This art evolved from French oil paintings of outward-looking schools enabled Mr. Hong Ning to master the ability to express things and their complex colors. After that, I came into direct contact with many original oil paintings from Russia, France, Romania and the United States. In the study, appreciation, pondering and research, Mr. Hong Ning's solid oil painting skills have been further improved. Over the years, his oil painting sketches and creations have consolidated his existing foundation in oil painting. In the 1980s, painters of oil painting and landscape painting began to notice the landscape painting in Chinese painting. He studied tradition, understood the meaning of ink painting, grasped the realism of artistic conception, and paid attention to the unique virtual and mental image of Chinese painting. The further study of China's ancient painting theory made Mr. Hong Ning deeply realize the essential difference between China art and western art, but the comparison between China and the West at the same time made him realize the shortcomings of the two arts and the ways and possibilities of their mutual integration.

Hong Ning Tegong

Hong Ning created China landscape painting in 1980s. Most of his landscape paintings come directly from sketches and reality, which of course benefits from his attainments in western painting. At the same time, he pays more attention to the artistic conception of landscape painting, the effect of ink dripping, the treatment of truth and falsehood in smoke clouds, and the wonder of people in the vast expanse. His landscape paintings also use various textures to make their pictures rich, vivid and vivid. Hong Ning's landscape painting has some traditional influences, but it retains some characteristics as a western painter and has its own characteristics in the field of landscape painting. If the painter's landscape painting is different from other landscape paintings, then the landscape painting of this western painting is also self-contained. Heaven and man are one. /Man is an inseparable part of nature.

Mr. Hong Ning likes to visit famous mountains and rivers, scenic spots, Xiamen Botanical Garden, Jiangnan Water Town, the extraordinary Huangshan Mountain, the majestic Three Gorges and Jiuzhaigou. His paintings are everywhere. This painter, who is good at sketching, painted a landscape, expressed his feelings for himself and left oil paintings. However, when we look at these kinds of landscape paintings, we can clearly feel the difference from ordinary landscape paintings. Mr. Hong Ning's landscape painting is not a purely improvisational realistic work, but a Chinese-style "image" and "artistic conception" in which the painter improvises, recreates according to emotion and integrates subject and object. Hong Ning's oil paintings often adopt a horizontal composition that is extremely rare in western landscapes, and the scenery is often "far away" to take advantage of the situation. In China, the landscape is "high, flat, far" and "far, far", which broadens its realm and deepens its greatness, not to mention the majestic and magnificent seascape of the Three Gorges. Even under the majestic Jiuzhai, galloping Huanglong and winding mountains, it has emerged, while the quiet and beautiful Jiangnan water town has been regarded as far, prone, wide, far and lost. This vast, noble, broad and profound realm certainly contains some understandable but difficult to express oriental philosophical charm, and its paintings are certainly more meaningful to read than those who are obsessed with local details. Hong Ning's handling of this "distance" is unique because of his exquisite embellishment of local areas. Just as traditional landscape painting is "out of reach" but close at hand because of the exquisite setting of houses, figures, pontoons and plank roads, the vast realm of Hong Ning landscape painting often takes Xiao Lou and houses as the finishing touch, which integrates nature with human activities and embodies the oriental spirit of harmony between man and nature. Characteristics of Oriental Oil Paintings

The characteristics of this oriental oil painting landscape painting are mostly to present things clearly. Landscape painting generally takes middle and close shots, and generally does not let clouds cover the fog. However, China's paintings adopt a dialectical way of thinking, so it is extremely important to deal with the layout of the virtual and the real in the paintings. Mr Hong Ning was deeply impressed by this. Hong Ning's paintings are full of water. It goes without saying that rivers, lakes and seas contribute to the expression of momentum, and the flow is uncertain. Clouds, waterfalls, streams and snow in this impermanent form play an important role in Chinese painting. In his description of clouds, snow-capped mountains, streams and waterfalls in Jiuzhaigou Huanglong, Hong Ning can freely deal with objective images in a virtual and abstract way. In the comparison of the relationship between reality and reality, he has the surreal performance function of China's landscape painting, and at the same time has the special form of traditional landscape painting. In this treatment, Hong Ning, a painter trained in western oil painting techniques, treated his color expression in the way of China. In his paintings, the authenticity of the edge of Hong Ning is concrete, but in the hazy image, he gives a complex color expression. This situation is particularly prominent in the trees and grasslands in its landscape. These grass trees, like water, which have no fixed image, give the painter an opportunity to fully and freely express the independent charm of color; At the same time, these hazy and beautiful large-area color blocks contrast with the concrete real objects in the picture, showing the unique relationship between oil painting landscape painting and ink painting landscape painting. The painter's rigorous realistic reproduction ability can be combined with his generalization and abstract expression to form his unique thought of melting things.

The combination of oil painting and Chinese painting

Indeed, the combination of oil painting and Chinese painting is not an easy task. The great difference between the two artistic systems of the East and the West makes this combination more difficult. We once had a simple method of adding decorative colors to the single line of oil painting, which led to the nationalization and vulgarization of oil painting. To make oil painting close to the East, we must understand the characteristics of both sides and maintain the advantages of oil painting. If the length of oil painting is especially reflected in its unique richness and massiness in color expression, then comparing Hong Ning's elegant and simple ink landscape painting with his oil painting landscape painting, the latter is a very prominent feature. The flattening of Hong Ning's picture makes it easier for him to get rid of the strict color modeling procedure in the West, which makes it possible to present colors independently. It is not difficult to find that the virtual colors that can be seen everywhere in Hong Ning's landscape paintings are obviously subjective, emotional and idealistic, just like the extreme concept of ink and wash forms. However, these colors are not completely divorced from reality, but strictly follow the law of similarity and dissimilarity of western colors. In the harmony and richness of various colors, they form the unique charm of emotional expression, which makes Hong Ning's oil paintings have real oil painting characteristics. Hong Ning is also good at absorbing the ever-changing expressive force of China's painting pen, so as to overcome the hard pen method of western oil painting. In his own paintings, Hong Ning used the general strokes of Chinese brush, such as rigidity, width, solidity, thickness and smoothness, and the superposition, interlacing and hiding of complex forms between strokes, which changed from the important feature of "using the pen as the bone method" to the characteristics of oriental oil painting. This loose and changeable brushwork effect, combined with freehand brushwork and informal modeling, makes the performance characteristics of Shan Ye, Woods, ponds and waves in Hong Ning landscape paintings particularly distinct. Mr. Hong Ning galloped between two kinds of Chinese and western landscape paintings, and his dual nutrition formed his unique characteristics in landscape painting and landscape painting. The exploration of the oriental characteristics of Hong Ning's oil paintings gives powerful inspiration to the development of national oil paintings in the ascendant.

Executive Deputy Editor of Economic Science

academic degree

1980 graduated from Peking University majoring in economics and political economy.

Business experience

1980 Up to now, Peking University Institute of Economics.

research direction

market economy

Comparison of economic systems

financial regulation

Main work

Evaluation of Sun Yat-sen's economic management thought, paper of Sun Yat-sen's economic thought seminar in Taiwan Province Province, June 5-April 38, 2003.

Establishing and Perfecting China's Financial Supervision System, Guangxi Financial Research,No. 1, 2003.

World Economy in the 20th Century, China International Broadcasting Press, 2002.

Comment on Financial Liberalization in Developing Countries, Economic Science, No.6, 2002.

China Capital Market under Financial Globalization, Guangxi Financial Research,No. 10, 2002. Financial liberalization and financial supervision, Economic Science, No.5, 200 1.

International experience in solving non-performing assets and its enlightenment, Financial Research No.5, 200 1.