Li Tong
Li Tong
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Li Tong was born in Yongchun, Fujian Province. He was born in Hangzhou in 1967, graduated from figure major of Chinese Painting Department of Zhejiang Academy of Fine Arts in 1990, and graduated from graduate class of Chinese Painting Department of China Academy of Fine Arts in 2000. 2011 doctor of Chinese painting creation practice and theoretical research, Department of Chinese painting, China Academy of fine arts. He is currently teaching in the Art Education Department of China Academy of fine arts.
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Teacher of China Academy of Fine Arts
Life of the characters
1986-1990 studied in the Department of traditional Chinese painting, Zhejiang Academy of fine arts. From 1998 to 2000, he studied in the graduate course of Chinese Painting Department of China Academy of fine arts. 2000-2002, teaching assistant, Yujiang Institute of technology. 2002-2003, he taught in the International Fashion Technology College of Zhejiang Institute of technology, and served as the director of the basic teaching and research section. From 2003 to July 2007, he taught in the school of visual arts, China Academy of fine arts, and served as the professional director and lecturer of the teaching and research section of traditional Chinese painting in the Department of painting. August 2007 - now teaching in the Department of fine arts education, China Academy of fine arts, as a professional teaching work of Chinese painting studio.
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Peach blossom and flowing water are gone, but there is a different world
——Li Tong and his paintings
1
When I face Li Tong's painting, I can't help thinking of Li Bai's poem: "ask me what I want to do to live in the green mountain, smile but don't answer, my heart is free. Peach blossom and flowing water are gone. There is a different world, not the world. " (Q & A in the mountains). Li Tong's paintings are very quiet. We can feel the leisure in the quiet through the expression of the characters. Although the trees and stones in the paintings are not as beautiful as people's eyes, they are also like the mood of the characters. In his paintings, people and scenery are the same as nature. This is not the human world, but the ideal world in Li Tong's mind and the ancients' mind. Li Tong is very lucky. He graduated from the Chinese painting figure major of the Chinese Academy of fine arts, then studied in the graduate class led by Professor Wu Shanming, and now teaches in the Chinese Academy of fine arts. The Chinese Academy of fine arts has an excellent tradition in figure painting, and the figure painting of Zhejiang School plays an important role in the field of Chinese painting. In order to capture the shape of the human body and portray the characters truly, the teaching of figure painting in modern colleges cannot do without the lesson of sketching. In traditional Chinese painting, there are two main ways to sketch from life: pencil sketch and ink sketch. If the former is basic training, then the latter belongs to the specialty of traditional Chinese painting. What I saw at Li Tong's home was a large number of pencil sketches of characters. When I first saw his sketch work in his graduate class graduation exhibition, I was surprised that it could be done like this! Western sketch is based on strict perspective and the law of light and shadow change, which requires the true representation of objects. The objective is the standard, and the subjective dynamic processing can not go against the objective reality. In the west, the center line of sketch is formed by the intersection of faces, that is to say, it is produced by the transformation of faces, and it does not leave the line of face. When showing the curve, it is often summarized by segmented straight lines. The curve on the image of the picture is cut by straight lines. Looking at Li Tong's sketches from a distance, there are also light, shade and shapes. When you look closer, it is totally different from the previous sketches. The paper is full of curves. Li Tong used flow curves to show the changes of surface and shape displayed by curve group. The lines in Li Tong's sketch works are moving, with the changes of virtual reality and texture, which reminds me of his analysis of the Tang and Song dynasties. In his eyes, fine brushwork and ink drawing is a very rich and delicate world. The combination of lines has its own aesthetic value while showing the physical image. This aesthetic difference has become an important factor in the style characteristics of different works. When he uses the pencil in the sketch to convert the lines in the prompt figure shape at the same time, it will create a special atmosphere under the joint action of the line group, thus producing the artistic conception of traditional Chinese painting. Li Tong's sketch can still show the accuracy of the figure's shape, and is implemented in every detail. At the same time, it can give the figure more vitality and vitality, and also can convey the spirit of the figure, and wear his personal aesthetic taste. Sketch, as a kind of painting, was introduced from the west, but Li Tong did not follow the way of expression which embodies the Western way of thinking. He once showed me a lot of pencil sketches, and I marveled at the animals among them. Li Tong's sketches did not solidify the images into sculptures, but were all living creatures. Liu Xie's Wenxindiaolong: "it is a place where poets feel things and connect with each other endlessly; when they linger in all kinds of things, they chant audio-visual areas; when they write Qi and picture, they not only follow things in order to move freely, but also adopt sound and linger with the heart." This is the artistic thinking of the Chinese people, which is reflected in Li Tong's sketching. Therefore, his painting is no longer able to reproduce the real characters, but focuses on the feelings of things and the Enlightenment of things to the heart.
2
Li Tong's home is only a wall away from the former residence of Huang Binhong, a master of traditional Chinese painting in the 20th century. His understanding of the tradition of traditional Chinese painting is far higher than that of ordinary people, which seems to be due to some reasons. In his time, Huang Binhong sighed: "young students are popular in Western art, and Chinese painting is suitable for its declining autumn." After Huang Binhong's death, his paintings were finally valued and recognized by people. He said: "calligraphy in Jin and Wei dynasties, painters in Tang and Song Dynasties, all work for exploring the source." his paintings are deeply rooted in the tradition of traditional Chinese painting. after entering the 21st century, traditional Chinese painting has not gone out of the shadow of depression on the whole, but a group of young and middle-aged painters who grew up after the Cultural Revolution have had a more in-depth thinking about the tradition and development of traditional Chinese painting, and have made remarkable achievements. Compared with traditional figure painting, the achievements of traditional figure painting are self-evident. Li Tong's figure painting has fine brushwork and freehand brushwork. In recent years, his breakthrough in freehand brushwork is very significant. In his field of vision, the Tang and Song dynasties are extremely important. He has a deep research on the meticulous painting of the Tang and Song Dynasties, regardless of landscape, flowers and birds, figures. walking into Li Tong's studio, the table full of bottles, cans and jars is very eye-catching. These are the things he fiddles with. What he doesn't know is that it's a chemical laboratory. In fact, there are all kinds of pigments in the bottle, and some of the utensils on the table are used to stir up these pigments. My understanding of the pigments in Chinese painting started from him. I knew the significance of traditional mineral pigments in Chinese painting. He stressed that the current tin tube pigment is only a substitute for the traditional pigment which is similar in hue and can not achieve the desired performance effect. He said that pigment is qualitative. From the perspective of color, the difference between Chinese painting print and the original is that besides hue, pigment also conveys the feeling of texture on paper, which plays an extremely important role in creating the artistic conception of the work. The hue of traditional Chinese painting also reflects the aesthetic pursuit. The hue itself has some differences, such as elegance, vulgarity, clarity and so on. Together with the possible change of texture, it has become one of the important means of expression of traditional Chinese painting. At the request, he would be happy to show me and explain it carefully. Li Tong not only paid attention to pigments, but also studied ink, paper, silk and pen deeply, because he knew that all these were closely related to the expression of aesthetic implication of his works. Li Tong's understanding of tradition lies in the whole and the whole of tradition. This kind of understanding is not for the sake of understanding. He talks about his understanding to us, not for showing off. He really wants to tell you, because this is what he loves, and he hopes that people who also love traditional Chinese painting will know it. His familiarity with ancient paintings is far beyond that of ordinary painters. For so many pieces of Song people's sketches handed down from generation to generation, he will tell you which themes have which ones, where are their differences, which line drawing technique is in that painting, and even which silk painting has what characteristics. in Li Tong's paintings, we can see the special meaning under his vivid brushwork. We feel very kind and infatuated. That is the charm of Chinese painting itself.
3
Li Tong's paintings have a personal style, showing many different places from people nowadays. Here I just want to talk about two characteristics of his paintings, quiet and ethereal. "Quiet" is a kind of aesthetic pursuit, a realm, strictly speaking, it should not be used to refer to a certain personal style. Their works are very quiet. However, in Li Tong's paintings, Jing should be mentioned, because it has a special significance compared with many paintings in the current painting world. Su Dongpo has a poem: "quietness leads to group movement, emptiness leads to ten thousand realms." For nature, movement is absolute, and stillness is relative. But for human's inner experience, stillness is eternal, while movement is instantaneous and temporary. The inner peace can make you comfortable. If the heart follows the movement of the instant change, it will lose something when it moves past. If it turns to pursue more, it will fall into trouble. The realm of Chinese art requires transcending concrete, real and limited things, because it is impossible to have peace of mind if we stick to these things. In Chinese tradition, art is to raise people, raise people's eyes, raise people's hearts, so that the soul can be promoted and purified, and finally improve the quality of life in spirit. nowadays, in order to attract the attention of others, many so-called painters change their patterns to stimulate, distort their shapes, flood their colors, and call themselves personalities. Their paintings aim to seek the money of the viewer, regardless of their own value. In such an environment, the stillness in Li Tong's paintings reflects his different realm from human beings. for Li Tong, the quietness in his works is not a deliberate pursuit, but a natural result. I can feel his inner peace when I am with Li Tong
Chinese PinYin : Li Tong
Li Tong
