Shijiehong's works: Chinese Painting · Heart Whisper Ripple Light, Shijiehong's works: Chinese Painting · Wall Corner, Shijiehong's works: Chinese Painting · Thin Mist.
Shijiehong is a member of the Chinese Artists Association and a second-level national fine arts master. He is also the deputy editor of "Calligraphy and Painting Research" and "Chinese Artists". He graduated from the Art Department of Henan University and studied in specialized classes such as the "Landscape Spirit" class of the Chinese Painting Department at the Central Academy of Fine Arts and Fan Yang Studio at the National Chinese Painting Academy. His works have been frequently exhibited in national art exhibitions and won awards. Many of his works and academic papers have been published in various domestic art journals and collected by many art institutions. He has published several books including "Shijiehong's Selected Chinese Painting Works", "Shijiehong's Landscape Painting Collection", "Case Study on Contemporary Famous Chinese Painters - Shijiehong's Freehand Brushwork Landscapes", "Contemporary Chinese Calligraphy and Painting Masters Series - Shijiehong's Selected Works", "Sacred Domain Traces - Shijiehong's Sketch Collection", "Young Masters Book Series - Shijiehong", "Contemporary Chinese Ten Artists Collection - Shijiehong", and "Famous Chinese Painting Masterpieces Series - Shijiehong".
The formation of Chinese painting involves many factors. In terms of aesthetic thought, it is mainly influenced by classical Chinese philosophy, while in painting techniques, it remains under the influence of traditional residential houses. As ancient poems depict: "Clouds arise between beams, winds blow out of windows" (Eastern Jin Dynasty · Guo Pu), "Mountains are listed in the window, towering forests overlook the courtyard" (Six Dynasties · Xie Tiao), "Rivers and mountains support embroidered doors, sun and moon are close to carved beams" (Tang Dynasty · Du Fu), "Mountains emerge in the picture during meditation, water flows into the night window as wind and rain" (Song Dynasty · Mi Fu). From these poems, we can understand the spatial consciousness of the ancients who encompassed heaven and earth within their gates and absorbed mountains and rivers into their chests, which was undoubtedly subtly influenced by residential houses. When we wander through old villages and towns with deep alleys and high walls, we often unconsciously become infected by the beauty of residential houses, like drinking fine wine, drunk in its charm. Many Chinese painters like to paint traditional residential houses because they easily stir the painter's imagination and emotions. From residential houses, we can feel an intangible and colorless void. "Being empty and tranquil aligns with the virtue of heaven" (Zhuangzi · Ke Yi). The large solid walls of residential houses rarely have windows, simple and quiet, "so dense that no wind can pass, so sparse that horses can walk." The blank background in Chinese paintings isn't a vacuum but rather the flow of cosmic spirit and grace. Da Chongguang said, "The interplay of reality and void creates a wonderful realm where there is no painting."
I named my recent artistic creations themed around ancient towns as "Sacred Domain Traces." My sketching footsteps have traversed places like Shangri-La, Lijiang, Shuhe Ancient Town, Phoenix Ancient Town, Hongcun and Xidi in Anhui, Wuyuan in Jiangxi, etc., capturing majestic mountains and beautiful waters, experiencing local customs, and feeling the "never regretting despite wearing thin clothes" pursuit of exploration. Facing each scene, I immerse myself fully, projecting my emotions onto the scenery, merging subject and object, as the saying goes, "Climbing a mountain fills one's heart with the mountain, facing the sea overflows one's heart with the sea." Therefore, before I start painting, I am already captivated by the scenery. However, emotional brushstrokes aren't without method; before putting ink to paper, I often discard redundancy and keep essence, remove clutter and preserve truth, delve deeply into the scenery, investigate physical principles, summarize painting methods, conceive landscapes in my chest, and every stroke is continuous and varied, following my heart and merging with the object, hence using the brush with emotion and posture, sound and spirit, letting each stroke flow from my innermost being,寄托 emotions in the painting, finding joy in it. In creation, I strive to find the language that best expresses my inner feelings, which are tranquil, subtle, and faint traces of ink and charm, slightly melancholic and somewhat blurred. They can experience the taste of bygone eras and enter the reality of modern life. The "Ancient Town" series adopts traditional landscape painting composition methods while introducing modern composition methods, breaking the realistic structure of the picture, recombining various architectural parts of residential houses, overlapping, superimposing, displacing, integrating more content and visual elements, emphasizing the independence and perfection of lines in ink techniques, seeking the clarity and saturation of ink, constructing a profound and illusory space, and meticulously portraying the structure and details of each house. To better express the artistic conception, I use various techniques such as squeezing, pointillism, superimposition, washing, allowing colors and ink to seep and flow randomly, repeating this process more than ten times to complete the work, creating a clear and lasting, solemnly peaceful, elegant and distant artistic conception, as if the vast world lightly floats into my eyes, permeating my ink and brush. Just as Shi Tao said, "Use emotion within the ink and brush, release the mind beyond the ink and brush."
I often live together with the people in ancient towns, understanding their customs and living habits. By observing life closely and summarizing painting principles, I lead with subjective emotions and the state of objects, constantly trying new methods to establish techniques suitable for me, searching for individual vocabulary in nature, gradually building my own language system and painting style. Shijiehong
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