Chen Qi
Chen Qi
This data is participated and reviewed by the artist data authority and certification network platform.
Chen Qi, PhD, executive vice president, professor and doctoral supervisor of Graduate School of Central Academy of fine arts. He is a member of the exhibition appraisal committee of the China Art Museum, a member of the printmaking art committee of the China Artists Association, Secretary General of the printmaking Academy of the National Academy of painting, and a distinguished professor of Renmin University of China.
His works successively won the Bronze Award and excellent award in the 7th, 8th and 9th National Art Exhibition, the Gold Award in the 13th Print Exhibition and the excellent work award in the 5th Beijing International Art Biennale. The Museum of fine arts of China, Shanghai Art Museum, Guangdong Art Museum, Jiangsu Art Museum, Zhejiang Art Museum, Hubei Art Museum, Art Museum of Central Academy of fine arts, National Father Memorial Museum of Taiwan, Guan Shanyue Art Museum, Shenzhen Art Museum, Qingdao Art Museum, Harbin Art Palace print Museum, British Museum of Great Britain, British Victoria Albert Museum, British Museum of fine arts Collected by Ashmolean Museum, Oxford, Sotheby's Institute of art, London, National Library of New York, Fukang Art Museum, Vienna Youth Art Museum, Austria, European woodcut foundation, etc.
He has published printmaking techniques, Chen Qi's paintings, Chen Qi's woodblock paintings, 1963, Chen Qi 1983-2013, Chen Qi woodblock prints, master of knife engraving and master of painting: a comparative study of Chinese and Western printmaking forms before the 20th century, etc.
Features of works
No matter he Zhi Lian Zuo, explain being, flower dance and dream butterfly, they are all permeated with a strong traditional humanistic temperament, which has a typical meaning of Zhuang Chan. From the series of Ming style furniture in 1987, the series of Qin in 1990, the series of he in 1995, the series of interpretation in 1999, the series of Mengdie, and the series of Foyin in 2002, all of them originate from the thinking of the essence of Chinese traditional culture and the interpretation of modern concepts. his works are profound and thoughtful, such as Ming style furniture, Qin, etc. In a series of works, such as lotus, dream butterfly, seal of Buddha, passing water and fleeting years, Chen Qi describes and combines the stories of lotus, bergamot, butterfly and Zhuang Sheng's dream butterfly, which are full of symbolism in traditional Chinese culture, creating a dreamlike picture.
Summary of comments:
With more than 20 years of research and practice, Chen Qi has become the leading contemporary artist in China who creatively innovates the traditional watermark technology. From the beginning of the new trend of the eighth five year plan, he bravely transformed from modernism, combined with the idea of Western painting to express the light and dark sketch level, expanded the aesthetic shackles of watermark limited to Chinese ink and modernism, and actively explored the contemporary expressive power of watermark as an independent artistic language. The printing process of his works weakened the limitation of the draft, and gave full play to the role of artists in the process of creation Subjective consciousness, impromptu inspiration and random traces embody the flow of consciousness. What's more, he paid attention to the concept of watermark woodcut as a cultural heritage and the methodology of artistic creation, and entered the contemporary art experiment beyond aesthetics. Curator Tuoni Chen Qi's excellent production is undoubtedly one of the important factors to conquer the audience, which is also admired by his peers. His accurate grasp of air pressure fine line, purification of black and white and gray color, strict control of moisture, just right charm, wood grain, texture effect, etc. have reached an amazing level. What's valuable is that Chen Qi paid attention to skills rather than infatuated with them. He studied physical properties and then stripped them. Chen Qi summarized the creation process of lotus series as three stages: natural imitation, integration of object and self, and character symbol, which can also be seen as the process of intensive research object, exploration of physical property, integration of object and self, and sublimation of object as spiritual carrier. The in-depth study of tool materials and natural attributes of objective images provides the technical premise of realistic representation; and the subjective stripping of lotus as the self-identity of plants However, the attribute makes it become the medium symbol of emotional expression, and truly create a "clean and aboveboard" spiritual world. From the character symbol of "out of the mud but not stained" to the allegory of abstract idea, Chen Qi seeks the breakthrough point and spiritual theme in the unity of opposites such as the limited and infinite space, the blink and eternity of time, the freedom and restraint of behavior. This orientation will undoubtedly make Chen Qi's creation more independent and profound. - Qi Fengge, Dean of the school of art, Shenzhen University, Chen Qi shows a kind of pure spirit in artistic creation and research. He is a contemporary artist I admire very much. Chen Qi has a deep understanding of the theory of "ink is divided into five colors" in Chinese painting theory, which has the speculative nature of Chinese philosophy. "Ink is divided into five colors" is the philosophical proposition of traditional Chinese painting theory and the core of traditional Chinese aesthetic theory. It is the aesthetic concretion of the great road spirit that Chinese sages pursued, which is simple, pure and undivided. Chen Qi grasped the core proposition of traditional Chinese art and launched her own creative activities. He wants to let people through the experience of ink more directly play out the imagination of the soul of painting. water is one of the "five elements" in traditional Chinese philosophy, and it is an important part of material. At the same time, Chinese philosophers also endowed the material form of "water" with spiritual meaning. The proposition of "the best is like water" is to explore the rich metaphorical meaning of "water", which is usually called "Virtue". Chen Qi focuses on the abstract expression of water. In the abstraction of "like and not like", he makes the human body realize the elaboration of "water" in traditional philosophy. Chen Qi's skillful and almost superb watermark woodcut technology, as well as the rich texture and ink color produced by the combination with paper, ink and other media, make people feel the pursuit of simplicity, simplicity and purity. Chen Qi's art is full of the spirit of Chinese philosophy, and it is completely contemporary. - Guo Xiaochuan (researcher of China Academy of Arts and famous art critic) in Chen Qi's works, a gentle and elegant gesture, like the one often mentioned in Buddhist stories, is permeated with compassion, wisdom, tolerance and expectation between the fingers and palms of the kneading formula. The self incarnated, tiny, humble and dying butterfly is slowly flying towards the expectant bergamot. Between bergamot and butterfly, there is a contrast and tension relationship of one big and one small, one main and one auxiliary, one moving and one static. Chen Qi explained that butterfly is self, or the universal life. In dream butterfly and seal of Buddha, Chen Qi shows the three stages of butterfly: butterfly, airplane and skeleton, which may symbolize the youth, decline and death of life. The Buddha gazes at the butterfly's flight and transformation with his hand as his eye. At the same time, the Buddha gently touches those tiny lives with his hand as his heart. In these works, Chen Qi not only composed the ode of life, but also sang the elegy of life. He eulogized the broad and profound destiny symbolized by the Buddha's hands, which may be the embodiment of some natural and rational way of life, and lamented the short life and the cold survival of the individual with withering and death as the ending. There is some loss, some melancholy, some melancholy. However, Chen Qi obviously doesn't want to strengthen these things. He can always replace the deep with the ethereal and the gray with the clear in the way of lifting the weight as light as possible. - art critic Wan Shuyuan
Major solo exhibitions:
1992 Chen Qi prints exhibition Jiangsu Provincial Museum of art 1993 Chen Qi watermark prints first exhibition ճ China Museum of art 2006 Chen Qi 20 years prints exhibition Nanjing Danfeng Yulu Art Museum 2006 Chen Qi woodcuts 1989-2002 London banksidegallery 2008 Chen Qi woodcuts British Oriental Museum 2009 1963 longyibang Gallery 2013 time Compendium - Chen Qi Art Works exhibition, National Museum of China, 2015, 96 times printing plural art in the digital age, amy Li Gallery, 2016, Chen Qi time 1983-2016 works exhibition, Shanghai Peninsula Art Museum
Major group exhibitions:
2007 China modern water print art exhibition / Shenzhen Art Museum 2008 the third Beijing International Art Biennale / China Art Museum 2009 revival of tradition - China contemporary art exhibition / Germany Frankfurt Contemporary Art Museum 2010 three dimensional China - China contemporary art exhibition / Greece Thessaloniki Press Association Exhibition Hall 2011 multiple impressions - China contemporary print art exhibition / University of Michigan The 5th Beijing International Biennale 2012 / China Art Museum 2013 I am in - China print art studio alliance exhibition / the 12th National Art Exhibition 2014 / China Art Museum 2015 post printing - the first CAA international print Biennale / China Art Museum 2016 Chinese contemporary print masters literature exhibition / China print Museum 2017 Shanghai International Print Biennale/ Shanghai Chinese Art Palace
Main Awards:
Silver Award of 1989 mainland young print artists exhibition, bronze award of the 7th National Art Exhibition, excellent works award of 1990 China Youth Print Exhibition, special award of Biella (Italy) International Print Biennale, outstanding award of 1991 Taipei Beijing contemporary print exhibition and bronze award of 1992 National 11th Print Exhibition
Chinese PinYin : Chen Qi
Chen Qi
