Where was Zhao Man born?

Zhao Man, female, national first-class artist, member of China Artists Association, member of China Museum Society, member of China Figure Painting Art Committee of Henan Artists Association, vice chairman of Zhengzhou Artists Association, professional painter of Zhengzhou Art Museum (Zhengzhou Painting Academy), top-notch talent enjoying professional allowance from Zhengzhou Municipal Government, and visiting professor of Art College of Yangzhou University.

Chinese name: Zhao Man.

Alias: Yinze

Nationality: People's Republic of China (PRC).

Ethnic group: Han nationality

Date of birth: 1976

Occupation: China painter

Graduate school: Xi Academy of Fine Arts, Department of Chinese Painting.

Representative works: Kwai Feng, Yao Lu, Life Interest, Where is Hometown, Hometown, Cheongsam Beauty, etc.

brief introduction

Zhao Man, female, born in 1976, originally from Feixian County, Shandong Province, graduated from the Department of Chinese Painting of Xi Academy of Fine Arts, and is a national first-class artist. Member of China Artists Association, member of China Museum Society, member of China Figure Painting Art Committee of Henan Artists Association, professional painter of Zhengzhou Art Museum (Zhengzhou Painting Academy), visiting professor of Art College of Yangzhou University. Zhengzhou Municipal Government enjoys professional allowance for top-notch talents. Mainly focus on the creation of freehand brushwork figures in Chinese painting. His works have been exhibited in various national art exhibitions for many times and won awards, and have been collected by domestic and foreign art institutions and collectors such as Hong Kong and Singapore. He is a famous contemporary painter.

Personal work

Representative works include Where to Go in Guanxiang, Angels, Mo's Hometown and so on, which were exhibited in the Third National Art Exhibition.

In the national exhibitions such as "China Love the National Art Exhibition" and "The Fourth National Painting Academy Excellent Works Exhibition",

Many award-winning exhibitions.

Many works are collected by art galleries, collectors and collectors in Singapore and Hong Kong.

He has published many works and papers in Pictorial, China Calligraphy and Painting, Fine Arts, Academy of Fine Arts, Calligraphy Guide and Fine Arts.

In 2009, Zhao Man's Prose Collection was published by China Federation of Literary and Art Circles Press and won the Zhengzhou Excellent Achievement Award.

Comments from schools

Liu Dawei (Vice Chairman of China Federation of Literary and Art Circles and Chairman of China Artists Association)

Zhao Man's sketches of contemporary figures are very good, and his image portrayal is in place, which conveys the impetuous and confused mood of modern people. This kind of work is the realism we advocate now, and it is by no means a naturalistic work that simply depicts the external image. It is difficult for a figure painter to express this profound and subtle emotion, but we can see from her works that she does have this ability and has a solid foundation in realism. The overall coordination of large-scale creation is not easy. She can control such a large painting (stream) well, and her performance is relatively easy, which is rare among young painters. Moreover, Jiao Mo's brushwork and rendering are also very attractive, with many interesting details. The atmosphere created by the cold spring is very interesting, and you will be attracted by these parts. There is a blend of ink and color in the darkness, which is very rich and has a unique visual effect. It can be seen that she is exploring a brand-new look and conveying a unique and innovative picture, which will bring new enlightenment to the current figure painters.

Yang Lizhou (vice chairman of China Artists Association, curator of China Art Museum, national first-class artist)

I feel very happy after reading these works by Zhao Man today. It is really amazing that she can draw so many huge works in such a big size, and her ability to control big paintings, the strength of pen and ink, the size she conveys and the power she carries. She can also draw such solid realistic works with raw rice paper, which is an ability in itself. She has reached a certain height in modeling, pen and ink language, and her ability, I think, should be able to undertake large-scale works with more historical significance. This complete pursuit of self-expression and expressive ability is very rich, which is also rare among contemporary young painters. We should select talents in an eclectic way, so that a talented painter like her can independently declare and create major national historical themes, otherwise it will be a waste of talents. The series of large-scale works "Kwai Feng" created by her are large in volume and capacity, and her expressive ability has surpassed that of young painters of the same age, and she has the excellent quality of a figure painter.

Lu Yushun (vice president of China National Painting Academy, director of China Artists Association, famous painter)

Zhao Man's figure painting is realistic, and she has a strong ability to shape and express the life and living conditions of contemporary figures. Her thinking about life and art is reflected in her in-depth exploration of her inner world. Her works are full of vitality, love for life, expression and display of life are in place. As can be seen from her works, as a young painter, she keeps pace with the pulse of the times and has a strong spirit of creation and innovation. Her works have distinct characteristics of the times and profound imprint of the times, which brings us a strong understanding. I deeply wish and wish Ms. Zhao Man more and better works and greater achievements in the future.

Liang (Vice President of Chinese Painting Academy of China National Painting Academy, a famous figure painter)

Zhao Man's paintings give art a special meaning. It can make you feel related to the emotions in the inner secret, which may be like the context of "petals falling like tears and lonely birds moaning" in ancient poetry, but a specific complex makes her works related to her emotions and touches that profound experience. I think the series "Kwai Feng" was also produced under such circumstances. Instead of drawing sunflower varieties, she endowed sunflower with spiritual connotation and created formal language. The linguistic symbols she formed always arouse the audience's guess. Just seeing her words made my heart tremble: "I am a person who is used to walking in the wilderness for a long time." A girl in her thirties said there must be a story in it, and I guess there is a deep meaning in her words. A girl can live a very warm life. I think I have great respect for her ability to draw so many pictures with so much effort. I think art sometimes needs a kind of religious piety. Without this belief, most painters just stay in the craft. It is with this belief that she can have the investment to paint, which is what impressed me.

Shang Hui (director of China Artists Association, member of expert committee of National Center for Contemporary Art Research, executive editor of Art magazine)

When Zhao Manchuang made a series of "Sunset Sunglow and Kwai Feng" which revealed her own life experience and spiritual image with a huge ink freehand brushwork, she also turned her ink freehand brushwork into symbolism. Symbolism, like realism, has the realistic spirit of humanistic care, but it may be more subtle and tortuous in expressing this humanistic care, so it often appears richer and deeper. Zhao Man's figure painting has a realistic character, but her characterization is not a rigid sketch, but a structural understanding and dynamic grasp based on sketch. Therefore, her brushwork is also vivid, which not only pays attention to the actual writing of images and the expression of volume, but also pays attention to the aesthetic independence of brushwork and the contrast between shade and dryness. She likes to use ink to express the gray scale of the picture, and the hazy ink color has been kept wet, thus enhancing the richness and spatial expression of the picture. In the expression of characters' faces, she transformed this kind of Su Mo into the application of Su Cai, thus showing colorful charm in the light color layer. When she transformed this painting into a symbolic giant figure painting, the picture became dense and vigorous, and a large area of thick ink and wet color was full of meaning because of its richness. .

Tang Yongli (head of the Department of Traditional Chinese Painting, doctoral supervisor, famous painter).

Zhao Man's study and mastery of Su Mo can be seen from his works such as Life Fun and Consumer Times. She has many ways to deal with pictures. This light ink is very expressive and easy to draw. The young painters who come out of the college now have a good modeling foundation and many realistic skills, but most of them stay on the surface of the image. Her works have broken through this surface description and entered a spiritual expression. Her creation of a big atmosphere and her handling of this magical, absurd and somewhat eternal background are very distinctive.

Xu Encun (editor-in-chief of China Fine Arts, a famous art critic), a female painter of Zhao Man in the 2nd/10th century, is young, wise, talented, well-educated and superb in skills. Standing shoulder to shoulder with her contemporaries, she lamented that she was a rising star, and her painting was difficult to be emotional, so she had the impression of directly taking the charm, which was the image of freehand brushwork, that is, endless words and incomprehensible meaning. Pen and ink have both form and spirit, so they are poetic, elegant and delicate, meaningful and full of charm. It is actually from the perspective of women that the unique perspective of female painters has been fully demonstrated. As the ancients said, Zhao Man belongs to the latter. Rereading his works, he was deeply impressed by his calmness. Modern people paint the ancients vividly, so it is better to describe the scene in a reduced way. In this respect, Zhao Man is probably the best. Look at his paintings, the rhythm is smooth, the rhythm is ups and downs, all like flowing clouds, coherent from beginning to end, nuanced and picturesque. Xin Mao enjoyed Zhao Man's summer paintings in Maple Leaf Gardens, Xu Jing.

Academic evaluation

Wang Yong (famous art critic and academic host of Beijing International Art Biennale)

Zhao Man is not only good at painting ink paintings, but also good at writing essays. I think she has a good overall cultural accomplishment and a wide range of knowledge, not only Chinese painting, but also philosophy, literature, western art and so on, with a broad vision. Perhaps it was her unique life experience that made her draw this kind of sunflower, and it was the kind of large sunflower with strange shape, strong vitality and strong shock. This reminds people of Mo Yan. Nobel Prize in Literature's evaluation of Mo Yan is a fusion of magical realism and folk stories, and a fusion of history and contemporary society. Our China art, especially contemporary China art, lacks imagination and romantic fantasy. However, Zhao Man's works can be sublimated from reality to surreal illusion, and her personal experience can be integrated into it, which can bring people a mysterious appreciation experience. I think these are very valuable, and some important elements that form her personality characteristics are also her unique advantages. Her "Beauty of Grass" seems to make sense in these works, not just painting beautiful women for the sake of painting beautiful women. In her article, she wrote about the ideal of beauty expressed by ancient literati in their poems, such as using Cao Zhi's Beauty to explain her creative ideas. , very meaningful. She boldly explored in pen and ink, and painted women with ink, giving full play to the characteristics and advantages of ink, and liberating the shape and color.

Xia Shuoqi (exhibition art director of the Ministry of Culture, editor of China Artists Association, founding editor of Art magazine)

It is amazing that a young painter like Zhao Man can make such a bold and fruitful exploration in the field of Chinese painting. I think her figure painting is worthy of recognition in these aspects, including the dripping effect of ink and wash. I read two paragraphs written by Zhao Man when I was watching her exhibition. Although I took a quick look, I can see from these words that Zhao Man is extraordinary, and she has profound literary accomplishment. We used to say that kung fu is outside poetry and painting. Her literary accomplishment and cultural accomplishment will definitely affect her future creation. I have great expectations for Zhao Man.

Chen Zui (doctoral supervisor and famous art critic of China Academy of Fine Arts)

Zhao Man's paintings are really good. At this age, it is not easy to stand out from many artists, and it is even more rare for a young female painter to have such achievements. Her works give me the feeling that, first of all, she has a good foundation, which is manifested in character modeling and strong realistic ability. When we look at Zhao Man's paintings, you can say that she is a literati painting, she is surreal, and she is realistic. She has many characteristics. She will have unlimited room for development in the future.

Yi Lee (editor-in-chief of Art Watch, a famous art critic)

It's really not easy for a female painter to write articles, fill in lyrics and write poems. Zhao Man's works can be divided into two categories: girls' series, a little more. Useful ancient poems include Wei and Jin poems, Su Mo in brushwork, light brushwork, delicate lines and pen and ink, classical furniture, rockeries, porcelain, and young women in the 1930s. All these elements are very traditional, both realistic and not completely realistic, and interesting. They should be very popular among the middle class now, and they must have a selling point in the market. The other kind is exploratory works, and there are many large-scale creations of such paintings. I like the series "Kwai Feng", which is very interesting. Her "Sunflower" is different from what we said before: "Sunflowers are blooming towards the sun". Her sunflower is the protagonist of the picture, and the people in the sunflower are the same as the sunflower. Kwai people are integrated, and they also show the ink effect of dropping ink. Man and sunflower blend together. These exploratory works reflect her thoughts on how to advance and transform ink painting in today's era. Pursuing personal independence, I think Zhao Man has drawn a wide road, which is not simple. There are very few painters who can write prose now. Reading her articles is very touching, with jumping thinking and endurance, so there is great room for her future development.

Gao (Professor of China Academy of Fine Arts, art critic of China National Academy of Painting, curator of Pan Tianshou Memorial Hall)

I was surprised to see Zhao Man's paintings. I find it unusual that she has such heroism. I feel that her works are rich and realistic, with Jiangnan's attention to the change of pen and ink and her attention to the use of pen and ink. She has very modern and different schools of expression in the north and south. The work itself is well painted and experienced in the refining of pen and ink. Some are very western, including rubbings and realism.

Shao Jianwu (editor-in-chief of People's Daily, art market research expert and famous art critic) Zhao Man's literary talent is hard to find in the art world. I really appreciate this state of Zhao Man. She really lives like a scholar, reading, writing, drawing and thinking in her own world, which is rare in our time. Her greatest talent is that she has read so many books, and she can freely play from what she has read, including philosophy, geography, history, literature and religion, and write casually and interestingly, which requires a mastery of words. I think her series of "Kwai Feng" can have a dialogue with Xu Jiang. Xu Jiang's "Kwai Garden" shows her thinking about a world latitude from Europe to China and from east to west, while Zhao Man's "Kwai Feng" comes from the west of China and traces back to western culture and the wasteland in China's history. The wilderness and bones in her paintings have a historical desolation, and the angle is different from that of Xu Jiang, which is also very meaningful. We can read something about our times from these paintings, and the future is limitless.

Ye E (Director of Exhibition Department of China Art Museum, Doctor of Fine Arts)

I don't think there are so many talented artists like Zhao Man nowadays. After reading her writing, I was really impressed by her literary talent. As a woman, I am proud of her. My major is figure painting, and I wrote a monograph on the development of figure painting in the 20th century. So I am very concerned about the development of figure painting. Zhao Man's works not only reflect her realistic creation practice, but also reflect her deep thinking about life and human living environment. From her works, we can feel that the characters she depicts are not only an intuitive reflection of personal feelings, but also a reflection and questioning of human nature. The characters in Kwai Feng no longer come from a specific individual in the world, but from the world, which many modern character painters lack. This is of the greatest value and significance to contemporary China painting circles.