Cui Qiang

Cui Qiang

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Cui Qiang, male, born in 1974 in the Tang Dynasty in Hebei Province. Graduated from Hebei Arts and crafts school in 1995, graduated from the Department of traditional Chinese painting of Tianjin Academy of Fine Arts in 1999, and now teaches in the Department of traditional Chinese painting of the Academy of fine arts of Hebei Normal University. Master of Arts degree, associate professor, deputy director of Chinese painting department. Member of China Artists Association, Beijing fine brushwork heavy color painting association

Hebei yishutang painting and Calligraphy Academy

Honorary president.

Creative idea

A serious talk may be a pile of rubbish, and a serious painting may be a pile of useless paintings. Looking at those flowery and time-consuming "fine brushwork" now, it seems that they are "inhumane" when they say a boring sentence, and the judges of the national art exhibition are more compassionate. As for tradition, each of us has the need to trace the origin, but this can not be used as a reason for indifference to contemporary life. Similarly, ignorance and excessive mischief can only produce cultural deformities. A meaningless article, no matter how gorgeous the rhetoric is, can not be moving. Choosing the way of Meticulous Brushwork is the need of your own expression. When you feel numb, you will choose your own way, because you don't want to hang yourself in any tree.

Exhibition honor

2002

Hebei painters' sketching works exhibition, silver award won inheritance and creation · Hebei Normal University Academy of fine arts teachers' Works Exhibition

2005

The 16th Congress of the International Association of stylists · special exhibition of fine arts the third exhibition of outstanding works of the National Academy of painting

2006

The third exhibition of Chinese painting and oil painting in Western China won the Bronze Award the exhibition commemorating the 70th anniversary of the victory of the long march of the Red Army the sixth national fine brushwork exhibition the 19th exhibition of new artists inheritance and creation 2002-2006 exhibition of teachers' works of the Academy of fine Arts of Hebei Normal University 2006 annual exhibition of Chinese painting, won the excellent award 2006 today's Chinese art exhibition

2007

Contemporary Classics 2007 Chinese Painting Invitation Exhibition the second contemporary Chinese Painting Academic Forum academy fine brushwork · the second national youth fine brushwork artists art exhibition Chinese contemporary strength school national painter Nomination Exhibition and Minnan style gathering activity the fourth national fine brushwork Exhibition

2008

Zhuangshang painting language 2008 eight people exhibition academy fine brushwork · the first national youth fine brushwork new art exhibition spring blossoms · young artists' works exhibition Academy online · Chinese born in the 70s ink painters Nomination Exhibition boutique 2008 · new works exhibition of Chinese fine brushwork artists flourishing age Danqing · national famous Chinese painters Invitation Exhibition 2008 contemporary 100 people and 100 works Invitation Exhibition ink flavor · 2008 contemporary famous Chinese painters' Art Invitation Exhibition the first ink wash Huashan national famous Chinese Painting Invitation Exhibition the first Chinese Landscape Painting Art Biennale, won the excellent award entering the college · contemporary university famous Chinese painting teachers' Works Exhibition

2009

Rongju · 2009 National Academy of Painting Academic Exhibition Hebei landscape impression 2009 Hebei representative landscape painters' creation status 100 painters' ceramic art creation exhibition entering Taihang · celebrating the 60th anniversary of the founding of the people's Republic of China Hebei outstanding artists' works exhibition civilization and ecology · contemporary urban ink painting exhibition seeing so many beautiful rivers and mountains 2170 Chinese landscape painting exhibition Lingshan elegant collection first The 4th China Buddhist art works Invitational Exhibition

2010

The third contemporary Chinese Painting Academic Forum and the third contemporary Chinese Painting Academic Exhibition Zhuang Shanghua · 2010 works exhibition thoughtless · young artists joint exhibition into Taihang · Hebei outstanding artists' painting activities into Taihang · Hebei artists' works Guangdong Invitation Exhibition view · Chinese contemporary landscape painters after 70 Invitation Exhibition into Taihang · Hebei artists' outstanding works Exhibition 2010

2011

The third invitation exhibition of contemporary Chinese ink artists entering Taihang 2011 outstanding works exhibition of Hebei artists academy fine brushwork 2011 Second National Youth fine brushwork art exhibition Hebei art masters works exhibition Zhuangshang discourse 2011 works joint exhibition Hebei art masters works exhibition

auction

In 2011, the work "Dragonfly of the absurd play of time and space" was sold at Beijing Rongbao 2011 autumn art auction for 46000.00 yuan

Personal publishing

"Mei Lan Zhu Ju · painting techniques" in 2005; "freehand brushwork flowers · painting techniques" in 2005; "green landscape · painting techniques" in 2005 (co authored); "Zhuangshang painting language art series · Cui Qiang" in 2006

Important collection

2006 Xiamen Art Museum 2007 China Art Museum 2008 Hebei art museum

Others' evaluation

——Appreciating Cui Qiang (enjoying the new snow in the early cold) when I first saw Cui Qiang's work in a large-scale Chinese painting exhibition in Shijiazhuang, Hebei Province, I was suddenly moved by the painting "Jinghu after the snow" and stopped to have a detailed look. On the lake bank after snow, the sky is vast, the cold branches are sparse, the small trees are standing, and several big stones lie on the lake bank. The composition is very simple, but it contains infinite feelings. Although the brush and ink are a little light, it also coincides with the cold and lofty realm of the painting. From this, I noticed this young painter who graduated from the Department of Chinese painting of Tianjin Academy of fine arts, and had an in-depth exchange with the shy and introverted him. I saw his different series of creations, tasted his rich inner world, and felt that the young generation of painters were quietly carrying out the modern transformation of Chinese painting in the process of inheriting the tradition. Cui Qiang's traditional Chinese painting as a whole originates from tradition and expresses his own feelings. For tradition, he has a kind of perseverance and meditation to enter the Buddhist cultivation. What the Badashan people give Cui Qiang is not only his simple composition form, but also his abstract idea of all things in nature. For Cui Qiang, his daily brush and ink work is not only a burden, but also a pleasure of life. In other words, he doesn't deliberately practice, but the days pass by in such a way that he reads, conceives, grinds and moves his brush every day. It's quiet and plain. Cui Qiang's paintings remind me of the famous Japanese film director, Ichiro Ozu, in the 1930s. At that time, he was more famous than Akira Kurosawa, and his directing style was plain and concise. The representative work the tale of Tokyo expresses his philosophy of life. He controls the emotions of the characters just right. He is sad but not resentful, sad but not hurt, showing the taste of sake. Like an old man, Koizumi's films calmly narrate his life, showing the loneliness and desolation of urban old people. Although people can get a lot of things in their life, they are still alone in the end. His films are close to the slow pace of the original life and show the delicate feelings of the five flavors. Our life, like traditional Chinese painting, has some small changes every day, and we can't repeat big things. In hundreds of years, we have inadvertently pushed the brush and ink language and tradition of Chinese painting to today, and generations of great masters have emerged. Cui Qiang's early flower and bird paintings have a certain calmness in Chen Chun's paintings. He uses a little freehand brushwork to express the ordinary flowers and plants on the earth in autumn, and uses his refined brush and ink to express his peaceful mood of "counting flowers under the woods by the water". In these works, it seems that he didn't see his deliberate pursuit of formal language. Everything is just as we can see. The painter wrote straight away. He understood that in the traditional Chinese painting theory, "the big image is invisible" is not carved, and the highest form exists in the formless. In Cui Qiang's paintings, we can often see such inscriptions as "elegant rhyme, dense and quiet", "few cold snow", "new snow falling" and so on. We can see his admiration for some kind of quiet and lofty realm in late autumn and early winter. This is not the dusk of "broken bridge outside the post, lonely and ownerless", but after the fresh snow, looking up at the clear sky and listening to the sounds of nature, just Cui Qiang's quiet performance. Here, Cui Qiang's quietness and simplicity become an attitude, a character and a style. "Burning plum series" is Cui Qiang's experimental work. He selected part of the plum painting on warm color paper to burn its outline, and then mounted it on rice paper, supplemented by calligraphy. A noble traditional theme is expressed in the form of a broken tablet, in which the traditional culture is cherished, and the picture is somewhat new. Cui Qiang thinks that the beauty of plum writing lies in the taste of mountains and fields. When he starts writing, he can make his heart feel better. In the process of plum blossom painting, the most important thing is that the heart follows the meaning of things, the nature follows the spirit, and the process of painting is not deliberate or artificial. He regards the process of painting as a way of life to cultivate the mind and the Zen. Just as he said, "the one who knows more has some Zen in his works, but the one who doesn't know more has never participated in Zen. Those who have no knowledge are responsible for the fact that I have no husband's spirit in my writing, but I don't know the language of Qi. The bold and heroic people who are writing should integrate their partial knowledge with their nature. " Landscape painting is the main direction of Cui Qiang's creation in recent years. His landscape paintings, as far as brush and ink are concerned, have the Qingyuan of Shi Tao and the freedom of law, but in composition, they have some kind of space consciousness of Western landscape painting. One part of his "landscape series" is based on copying to study the ancient brush and ink formula and the combination of hills, the other part is based on the unique combination of fine brush to sketch and refine the scenery of Taihang Mountain, so as to present the modern landscape intention in the composition of the picture, but show some interest of traditional landscape texturing in the coloring of brush and ink. For the former part, Cui Qiang needs to inject more subjectivity into contemporary painters, and strengthen the performance of the main body in composition. For the latter part, Cui Qiang should strengthen the generalization of form on the basis of sketching, and gradually establish his own overall style of painting. How to integrate the two parts without trace is the problem Cui Qiang faces

Chinese PinYin : Cui Qiang