An exhibition of Luan Bu's oil paintings called for from afar opened punctually at 10:00 on April 16 in gallery, Jiangxi Province. The opening ceremony originally planned to be held in the square in front of the museum was changed to the lobby of the museum because of an unsolicited moderate rain. Attending the opening ceremony were Chi Hong, director of the Jiangxi Provincial Department of Culture, Tian Yanguang, secretary of the party committee of National normal University, Yang Shenjun, dean of the School of painting of the Chinese Academy of Fine Arts, and Mark, Buck, PhD in art history from the University of Cambridge in England. Because of the large number of people, many spectators had to stand in the rain outside the hall.
I wanted to squeeze into the vestibule and see several famous artists coming from afar up close. Because I couldn't stand the crowding, I retreated outside the hall and listened to the opening ceremony with umbrellas. Since the establishment of the gallery Museum, I have attended the opening ceremony of various art exhibitions and seen exhibitions more than a dozen times, but it is rare for the audience to have such enthusiasm for exhibitions of this size and scale today.
At the end of the opening ceremony, the host announced the beginning of the exhibition visit. under the leadership of the relevant leaders, the crowd of visitors filed into the exhibition hall, entered the spacious and bright exhibition hall, and looked around. a large exhibition hall is full of oil paintings of different sizes, different contents, various means of expression, gorgeous colors and elegant frame decoration. The 120 oil paintings on display here are Luan Bu going deep into Xizang's experience of life and expressing his feelings in the special language of oil painting. When you see the picture, you can feel the author's fierce pulse, as if you are in the line of Tibetan prayers, standing on the ridge of the golden corn harvest, in the team of horses ready to set out. You may have seen a lot of paintings, pictures, picture albums and original works that reflect Xizang's theme, but it is probably the first time to appreciate so many authentic works by a painter at the same time. In particular, there are a number of 6-meter masterpieces, each of which is made up of more than 2030 life-size portraits. The scene is magnificent and eye-catching, making people have a strong visual impact. It has to be shocking and touching.
The whole morning exhibition can be said to be a mixture of surprise and excitement. To sum up, I have the following feelings:
1. The quantity, capacity and taste of the works are unprecedented. Lembu from the gestation theme to the experience of life, from the creation to the work exhibition, before and after only 6 years, in the creation time marked in the works can be seen that most of the works were produced between 2012 and 2016. Among them are 68 large paintings. On average, at least 20 paintings have to be created every year. This is inconceivable with the speed at which some great painters produce a fine work or several works a year. He should not only have the spiritual motivation to be obsessed with painting, a large amount of material, super-strong will, skilled skills, but also strong and full of physical strength. However, Lubu overcame all kinds of difficulties and resistance and became a truly prolific painter. In Lubu's own words: I draw silently and diligently, eliminating all kinds of interference. I think I have a strong psychological quality, don't I? To be able to create so many works every year, of which the psychological bearing ability to control a six-meter painting is not something that anyone can do, I try to do it. I can feel the harvest of all my efforts in these paintings.
In the face of the oil painting on display, I really want to say with a sigh: it's not easy, it's really not easy. I have the most say in this point. One day at the end of June last year, when I met Lembu, who had been away for more than a decade, I was amazed at how old he was. His sturdy figure was bent, his face was black and thin, and his silver hair was sparse. Self-pressurization, overloaded with both mental and physical work, is overdrawing the carrying capacity of his life. This kind of pay is no less than the efforts and hard work of the Olympic champion. It has returned to the excellent and immortal masterpiece and won the love and respect of the broad audience.
2. His courage and challenging spirit. For a long time, there have been numerous works reflecting the theme of Xizang in all kinds of art works, especially oil paintings, among which there are many famous celebrities who are famous at home and abroad for their images of Tibetans. However, Luan Bu went against the trend and challenged himself when everyone gradually faded out of this kind of subject matter. In the choice of what to paint at the moment, duty-bound, firm faith, more than a dozen times deep into the snowy plateau, settle down, experience life. He said: every time I go, I am so excited, every time I go, I experience tribulations, and every time I go there is full of gains. I will look for broad and far-reaching hopes in the plateau, I will experience the breath of life among Tibetans, I will feel God's love in temples, and I will smell nature in the landscape. This batch of works has a grand narrative, Luan Bu with his own perspective, a panoramic performance of the living state of Xizang people, truly reflects their personality characteristics and emotions, with the unique flavor of the snowy plateau. These works also have the panoramic features of a wide screen, which highlights the breadth of the sky and the breadth of the earth unique to the Western region. The work once again leads us to visit Xizang to feel the wonderful beauty of blue sky, green water, white snow, simple and honest people.
3. The profound cultural accomplishment and creativity of his works. This profound cultural connotation and self-cultivation comes from extensive reading and profound thinking and perception. He was the first painter of our generation who used Wechat to read art reviews and appreciate Chinese and foreign art works. Over the years, he has been in the habit of reading, sharing and reprinting 3-5 (group) articles and paintings every day. This habit has become his must-do homework, no matter how busy he is, no matter where he is. It has an imperceptible influence on the renewal of artistic concepts and the formation and promotion of the quality and style of works. Lubu sighed: compared with the fashion language, the subject matter of my painting seems to be a little old, but it is carefully tasted. There are also many modern fashion symbols in these oil paintings. Now the use of the composition of painting, the modern expression of the sense of shape, the exploration of the avant-garde character of color, the analysis and reorganization of symbolization, trace, material, especially the control of a variety of painting factors, rhythm and rhythm, and so on. It is the concentrated presentation of my painting research and accomplishment over the years. If an expert has seen his works, as long as he speculates a little, it is not difficult to find that his thinking and exploration on the style, form, color, and brush strokes of oil paintings are omni-directional, especially in recent figures and landscape paintings. It has the charm and elegant demeanor of traditional Chinese painting, which is interesting. This kind of change and promotion, if there is no solid realistic modeling ability and artistic accomplishment as the premise, it is impossible to reach the current level and level. Such works include "Harvest Song", "Girl in the Festival", "Song and Dancer" and so on.
With regard to the theme and performance of Luan Bu's works, I have also heard some comments. While affirming the author's basic skills and modeling skills, they put forward that his works did not form a personal style and characteristics. It is basically a replica of Ma Hongdao and Chen Danqing. I beg to differ from this view. The reasons are as follows: (1) the background of the paintings is different, although they are all Xizang themed paintings in the 1980s and 1990s, when the thematic painting advocated realism, Xizang was still relatively poor, backward and simple in folkways at that time. the painter used realistic painting to record the real living conditions of Tibetans. The image is black and thin, the expression is serious, and the behavior is sleepy. However, today's Xizang has undergone earth-shaking changes through reform and opening up and with the support of the motherland's strong manpower and material resources. The Tibetan area in Lubu's oil painting is sunny, full of vigor and vitality everywhere, and the faces of Tibetans are permeated with festive spirit. (2) the forms of expression are different. When we saw the pictures of the Tibetans before, most of them used classical realistic techniques of expression, which was more appropriate and natural to reflect the simple folk customs, folk customs and their emotional temperament, but the form of expression was relatively simple. Luan Bu's oil paintings are diverse and colorful. There are pictures that are famous for their realism and narrative. For example, several large paintings, such as novels, have to be carefully savoured; there are realistic and freehand brushwork, lyrical pictures that make people have a long aftertaste; pictures with exaggerated colors and gorgeous expressions of intense emotions are exciting; and pictures with similar colors to create warm emotions are like prose, like gurgling streams, and exploratory painting forms based on freehand brushwork are like poetry. In Lubu's own words, this is to meet the appreciation needs of audiences with different aesthetic and hobbies, and it is also a bold attempt to challenge themselves. (3) the development and utilization of painting ontology language is different, realistic painting used to occupy a dominant position in the past. However, with the era of image generalization, thematic creation is faced with many difficulties. Compared with photographic lenses, the advantages of realism in plot and narrative are weakened. Lembu seeks to bring forth new ideas in the ontological language of painting, first of all, renew his understanding of thematic painting, give it a broader definition, and include abstract, expressive painting concept research and formal research. Give full play to the specialty of oil painting materials, and do more exploration, thinking and treatment in the means and methods of expression. Constantly seek new feelings in life experience, strive to give more humanistic nature in creativity, and improve the quality and connotation of the works.
When some people talk about painting style, it is still understood as a symbolic, fixed mode of expression, which is somewhat outdated and does not accord with the innovative concept of diversity and keeping pace with the times. Those who hold this view do not know much about Lombu's experience of artistic exploration. They might as well come to the exhibition site and carefully watch and study the authentic works of Luanbu. You should feel differently before.
4. The author's skillful and sophisticated oil painting skills are surprising. He poured his deep affection for the Tibetans into the paintbrush and expressed it on the canvas with his bold and unrestrained brush strokes. In particular, Lemb is good at controlling the big picture. There is a consensus in the industry: it is difficult to draw characters in painting, it is more difficult to draw group portraits, and it is even more difficult to draw large group portraits. However, he rose up to meet the difficulties and conquered them with amazing will and skillful skills. Among the many combinations of characters, the rhythm, primary and secondary, density, emptiness and reality of the whole picture are all right. Especially in the portrait details of the portrait, spent a lot of effort, the character's personality characteristics, facial expressions, dynamics, clothing and so on are pondered over and over again. Miraculous, lifelike, truly touching. His masterpieces include in the Sunny Day, the Harvest season, the Knight on the Plateau and so on. The spectacle of the painting scene, the beauty of the composition, the beauty of the color, the subtlety of the shape, and the chic strokes of the painting. Let people never forget, linger.
The distant call for Luan Bu Oil painting Exhibition is a perfect appearance in his whole artistic career, which plays a positive role in promoting the revitalization of Jiangxi art. His exemplary role should not be underestimated. He called on more people who are interested in trudging on the road of painting, especially young painters, to get rid of their illusions, abandon impetuosity, take every step in a down-to-earth manner, and grasp the direction of what to paint, how to think and choose, to constantly push through the old and bring forth new ideas in oil painting, to seek new feelings in life experience, and to keep pace with the times to find breakthroughs and innovations in painting forms.
As a friend of Lubu, I admire his obsession and dedication to art and congratulate him on the successful display of his oil paintings. I am more concerned about his health and hope that he will walk more calmly and firmly on the road of art in the future. After all, he is 60 years old. To cherish life is to cherish art. Luan Bu might as well adjust after painting and make a summary and record of his Xizang's artistic journey and creative experience, so that it can be passed on and carried forward as a precious cultural heritage.
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