Zhao man

Zhao man

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Zhao man, female, national first-class artist, member of China Artists Association, member of China Museum Society, member of Chinese 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 with professional allowance from Zhengzhou municipal government, visiting professor of Art College of Yangzhou University.

brief introduction

Zhao man, female, Yin Ze, was born in 1976 in Fei County, Shandong Province. She graduated from the Department of Chinese painting of Xi'an Academy of fine arts and is a national first-class artist. He is a member of Chinese Artists Association, Chinese Museum Society, member of Chinese Figure Painting Art Committee of Henan Artists Association, professional painter of Zhengzhou Art Museum (Zhengzhou Painting Academy), and visiting professor of Art College of Yangzhou University. Zhengzhou municipal government enjoys professional allowance for top-notch talents. He is a famous contemporary painter. His works have been exhibited in various national art exhibitions and won prizes. He has been collected by art institutions and collectors at home and abroad such as Hong Kong and Singapore.

personal works

Representative works such as Yao Lu, where is the village, angle and village road have been exhibited in the third national Chinese painting exhibition, the national art exhibition of Chinese feelings, and the fourth national excellent works exhibition of Chinese Academy of painting. It has been collected by many art museums in Singapore and other places. many works and papers have been published in pictorial, Chinese calligraphy and pictorial, fine arts, fine arts, calligraphy guide, fine arts and other newspapers and magazines. In 2009, his personal anthology "Chen Lu Wei Yin - Zhao man's prose anthology" was published by China Federation of literary and Art Publishing House and won the outstanding achievement award of Zhengzhou literature and art.

Comments

Liu Dawei (vice chairman of China Federation of literary and art circles and chairman of China Artists Association) and Zhao man's sketches reflecting contemporary characters are very good. The image depiction is very good, conveying the impetuous and confused mood of modern people. Such works are the realism that we advocate now, not the naturalistic works that simply describe the external image. It's very difficult for a character painter to express this deep and subtle emotion, but we can see from her works that she really has this ability and has a solid foundation in realism. The overall coordination of large-scale creation is not easy. Such a large painting (Liuqi) can be well controlled and easily expressed, which is rare among young painters. In addition, the use of ink and rendering are also very attractive, with many interesting details. The atmosphere created by chilly spring is very interesting. You will be attracted by these parts. In the dark, there is a blend of ink and color, which is very rich and has a distinctive visual effect. You can see that she is exploring a new look. The image conveyed by this look is very unique and innovative. All these will bring new enlightenment to today's figure painters. Yang Lizhou (vice chairman of China Artists Association, curator of China Art Museum, national first-class artist) Zhao man's works brightened my eyes after seeing them today. She can draw so many huge works with such a large size, and it's really amazing that she has the ability to control the large paintings, the strength of the brush and ink, the large volume she conveys, and the powerful force she carries. She can also draw such solid realistic works with raw rice paper, which is a kind of ability in itself. She has reached a certain height in modeling and writing language, and her ability, I think, should be able to undertake large-scale works with more historical significance. This kind of full pursuit of self-expression, and the expression of a very rich ability, in contemporary young painters is also very rare. We should not stick to one pattern to select talents, and let a painter with outstanding talents like her independently undertake the declaration and creation of major national historical themes, otherwise it will be a waste of talents. The volume and capacity of her large-scale works of Kui Feng series are very large. This kind of expression ability has surpassed the young painters of her age, and has the excellent quality of a figure painter. Lu Yushun (vice president of China National Academy of painting, director of China Artists Association and famous painter) Zhao man's figure paintings have the characteristics of realism. Her depiction of the life and survival status of contemporary characters has strong shaping ability and expressive ability. Her thoughts on life and art are all reflected in her deep excavation of her inner world. Her works are full of vitality. Her love for life, expression of life and display of life are all reflected in her works,, From her works, we can see that as a young painter, she keeps pace with the times and has a strong spirit of creation and innovation. Her works have vivid characteristics of the times and deep marks of the times, which bring us a strong understanding. From her Kuifeng series of works, we can feel the breath of shock and innovation. I deeply wish and wish Ms. Zhao man more and better works and greater achievements in the future. Liang zhanyan (vice president of the Chinese Painting Academy of the National Academy of Chinese painting, famous figure painter) Zhao man's paintings give art a special meaning. It can make you feel that it is related to the emotion in the secret place of your heart. It may be like the context of "feeling flowers splashing tears, Hate Birds startling" in ancient poetry. It is a specific complex that makes her works relate to her emotion, and touch the deep experience. I think the "Kuifeng" series is also produced in such a situation. She is not painting sunflower, she has given it Kui's "shape" is a kind of spiritual connotation and creates a kind of formal language, which is related to her feelings. I think this is the place where she can move others. This kind of language symbol formed by her always triggers the audience's conjecture. I saw her words just now, which 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 that there must be a story. I guess there is a deep meaning in her words. A girl can live a very warm life, she can put so much effort to draw so many paintings, I think I have great respect, I think art sometimes needs a kind of religious piety, without this belief, most painters just stay in the craft. She has this kind of faith, can have this investment to draw, this is let me have the touch. Shang Hui (director of China Artists Association, member of the expert committee of national contemporary art research center, executive editor in chief of art magazine) when Zhao man created the "Twilight wild Kuifeng series" works revealing her own life experience and spiritual images in the form of giant freehand brushwork, she also turned the creation of freehand brushwork figure painting to symbolism. Like realism, symbolism has the realistic spirit of humanistic care, but it may be more obscure and tortuous in the way of expressing this kind of humanistic care, so it often appears more rich and profound. Zhao man's figure painting has the character of realism, but her figure shaping is not a rigid sketch modeling, but a structural understanding and dynamic grasp on the basis of sketch . As a result, her pen also appears to be dexterous and vivid. She not only pays attention to the real writing of the image and the expression of the volume, but also pays attention to the aesthetic independence of the pen meaning and the contrast and change of the thick, light, dry and wet. She likes to use sumo to express the gray level of the picture, which keeps the hazy and dense ink color, thus enhancing the richness of image and space expression. In the performance of the characters' faces, she turns this ink into the use of sucai, so as to show the rich charm of huazi in the light color layer. When she transformed this painting method into the symbolic giant figure painting creation, the picture also became thick and powerful, and the large area of thick ink wet color appeared full of meaning because of the dense and colorful.. Tang Yongli (director of the Department of traditional Chinese painting of the Central Academy of fine arts, doctoral supervisor, famous figure painter) from the works of Shengxi and the consumption era, we can see that Zhao man has a lot of ways to deal with the pictures. This kind of light ink has strong expressive power and easy painting. Now the young painters in the college have a good modeling foundation and realistic skills There are many good ones, but most of them stay on the surface of images. Her works break through this surface description and enter into a spiritual expression. Her creation of big atmosphere and her treatment of this kind of background with magic, absurdity and a sense of transcending time and space are very distinctive. Xu en Cun (editor in chief of China Fine Arts, famous art critic)

Zhao man, a female painter in the 21st century, is young, wise, talented, well-educated and skillful. She stands out on a par with her contemporaries. She sighs that she is a rising star. The difficulty of painting lies in her feeling. Therefore, she has the beauty of beauty. This is the image of freehand painting. That is to say, she has endless meaning, and her meaning is beyond her pen, It is full of mountains and forests. It is poetic and picturesque. It is full of exquisite feelings. It is full of charm. It can be read as if it is on the spot. In fact, it is from the perspective of women. The unique perspective of female painters is fully displayed. The ancients said: Qi is thick, then nourish the spirit and enter the run, Zhao man should belong to the latter, re read his work, deeply impressed by his ease and calm. In modern painting, the ancients preferred vividness rather than the reduction and narration of scenes. In this sense, Zhao manke is the best. His paintings are smooth in rhythm and undulating in rhythm. They are all like flowing clouds and flowing water

Chinese PinYin : Zhao Man