Born in Xi'an in July 1935, his ancestral home is Chang'an, Shaanxi Province. In 1960, he graduated from the Department of Traditional Chinese Painting of Xi'an Academy of Fine Arts and stayed at the school to teach.
In 1962, he was transferred to Xi'an Special Arts and Crafts Factory.
In 1977, six Jiao Mo landscape paintings were included in Tianjin People's Fine Arts Publishing House's Landscape Drawings. The landscape painting "Shu Road Today" was published by Shaanxi People's Publishing House.
In 1979, he painted "Qinling Baocheng Railway" for the Shaanxi Hall of the Great Hall of the People. Ten landscape sketches are collected by Tianjin Museum of Art.
In 1981, he was transferred to Shaanxi Academy of Traditional Chinese Painting as a full-time painter. "Yellow River Hymn" participated in the "Art Exhibition of the 60th Anniversary Celebrating the Party's Founding in All Provinces and Autonomous Regions" sponsored by the Ministry of Culture and China Aesthetic Association, which was later collected by the Chinese Art Museum.
In 1983, 12 works participated in the Shaanxi Landscape Painting Exhibition sponsored by the Shaanxi Provincial Culture Department and were included in the Selection of Shaanxi Landscape Paintings.
In 1984, Spring to Northern Shaanxi participated in the 6th National Art Exhibition.
In 1985, more than forty works participated in the exhibition of works of Shaanxi Academy of Traditional Chinese Painting at the Chinese Art Museum. The Autumn Rain is collected by the Chinese Art Museum. "Welcoming Spring" was published in "Art" No. 1985.5 and "Selection of New Works of Chinese Painting" edited by Tianjin People's Fine Arts Publishing House. "Two Pages" was published in "Chinese Painting". Nine works participated in the exhibition tour to Denmark and Iceland sponsored by China Exhibition Company. Ten paintings participated in the "Shaanxi Academy of Traditional Chinese Painting Works Exhibition" held in Guangdong Academy of Fine Arts, two of which were collected by Guangzhou Academy of Fine Arts. He was absorbed as a member of the Chinese Artists Association and elected a member of the Shaanxi Branch of the Association of Fine Arts.
In 1986, he participated in the "Symposium on Traditional Chinese Painting in Yangling, Shaanxi Province" co-sponsored by the Chinese Academy of Art, the Academy of Chinese Painting, the Shaanxi Association of Fine Arts and the Shaanxi Academy of Traditional Chinese Painting. The paper "The Present Value of Traditional Chinese Painting Brush and Ink" was published in Art 1986.9, Chinese Painting 1986.3, Plastic Arts Research 1986.10, and so on. "The Art World" was published in 1986.3. The two works were published in Art No. 10, 1986.
In 1987, he was awarded the first-class national artist. "Sai Shang Hongbo" in "Chinese Painting"
Issue No. 1, 1987. Nine works were included in Selected Works of Shaanxi Academy of Traditional Chinese Painting.
In 1988, he held a personal exhibition in Shaanxi Artists Gallery, exhibiting more than 50 works. In the same year, he visited Japan with Zhang Zhenxue, Guo Quanzhong and Cheng Zheng for academic exchanges.
In 1989, Chinese Painting and Calligraphy published five works and five papers, Processes and Results.
In 1990, he held a personal exhibition in Geshan Art Museum, Taipei City, and published Cui Zhenkuan's Paintings, which included 57 works. "Artist" issue 90.3 published four works and Qian Zhiqiang's article "Wonderful Enlightenment and Spirit - On Cui Zhenkuan's Landscape Paintings".
In 1991, the Hong Kong Wen Hui Bao published two full editions of its works in September and November, and Yang Yunfeng's article "Roots in the Field of Life". The work Northwest Wind was published in Art 1991.3. Write "Talent and Perseverance - Luo Ping's Breakthrough and Sublimation" for "Luo Ping'an Painting Collection".
In 1992, dozens of works were created in Hexi Corridor.
In 1993, Qilian Wind and Snow was invited to participate in the joint exhibition of Korean and Chinese artists (Korea).
In 1994, a personal painting exhibition was held in the China Museum of Art. More than forty paintings were exhibited and academic seminars were held. The Chinese Painting magazine published an article "Art Critics Talking about Cui Zhenkuan's Painting Exhibition" in March 1994. It published 14 works and Qian Zhiqiang's article "The Heart of the Sea of Brush and Ink--Reading Cui Zhenkuan's Painting". "Fine Arts" published 5 works in 1994.4 and Zhang torch's article "Deep Pen and Ink Feelings". "Chinese Painter" published three works in issue 1994.10 and Lang Shaojun's article "Pen and ink, northwest landscape and other - also on Cui Zhenkuan's new landscape works". Three works were published in the overseas edition of People's Daily and China Daily. Four works were included in the History of Modern Chinese Painting by Henan Fine Arts Publishing House. "Yangguan Twilight Picture" was selected as the outstanding works exhibition of the 8th National Art Exhibition.
In 1995, a personal painting exhibition was held in Shaanxi Art Museum, with more than 40 paintings on display. In Xi'an Academy of Fine Arts, an invitation exhibition of Cui Zhenkuan's landscape paintings was held. More than 30 works were exhibited, and a large-scale academic lecture was held.
In 1996, at the invitation of Mr. Wu Yi, a travelling artist, he visited the United States with Lang Shaojun, Zhu Daoping and Wang Ningyu, participated in the International Symposium on "Traditional and Modern Problems of Chinese Painting", and visited art museums in New York, Washington, Philadelphia, Princeton, Boston and Chicago. At the invitation of Jiang Wenzhan, Chen Guoyong and Fu Jiayi, he visited France and held a joint exhibition of Chinese painting and calligraphy in the Museum of Laval, exhibiting more than ten works. Visit art museums in Paris and Amsterdam.
In 1997, "Book and Painting" 97.1 published seven papers "On the Psychological Mechanism of Landscape Painting Creation". In the Art Museum of Shaanxi Academy of Traditional Chinese Painting, a personal exhibition was held with more than 20 works on display. Nine of the works participated in the "Shaanxi Contemporary Chinese Painting Exhibition" exhibited at the China Art Museum and Jiangsu Art Museum, and seven of them were included in the "Selected Works of Shaanxi Academy of Traditional Chinese Painting".
The 1998 work "Autumn Forest" was invited to participate in the "98 China International Year of Fine Arts - Contemporary Chinese Landscape Painting and Oil Painting Landscape Exhibition" sponsored by the Ministry of Culture. Jiao Mo Landscape was invited to participate in Nanjing Canadian Century Star-China Art Biennale and was published and collected by Jiangsu Painting Magazine. The work "Qiuyuan" was selected as "Complete Works of Modern Chinese Art". Henan Fine Arts Publishing House publishes "Chang'an Ten Cui Zhenkuan Paintings Collection", which receives 15 works. In 1999, Dryland participated in the 9th National Art Exhibition. Jiao Mo Landscape was invited to participate in the National Landscape Painting Exhibition of the Fiftieth Anniversary of the Founding of the People's Republic of China.
In 2000, Cui Zhenkuan's New Works Exhibition was held in Shaanxi Art Museum. Winter was selected in the Collection of Contemporary Chinese Art, 1979-1999. "Old Street" was exhibited in the Chinese Art Museum at the "Exhibition of Advanced Talents in Chinese Painting" sponsored by the Ministry of Culture and the Academy of Chinese Painting. "Research on Chinese Painting" published 14 works in the 1st issue of 2000 and Chen Yungang's article "General Relation between Pen and Ink--On Cui Zhenkuan's Works". He was included in the Yearbook of Chinese Fine Arts, Volume 2000. "Happy Plain Residence" participated in the "Chinese Painting Nomination Exhibition of the Light of the Chinese Century" sponsored by the Arts Committee of the Chinese Artistic Association. Participated in the Beijing Century Art Exchange Center's Western European and American Art Mission, visited Paris, Marseille, Rome, Venice, Milan, Florence, the Vatican, Madrid and other art museums.
In 2001, ten works participated in the "Exhibition of Chinese Contemporary Hundred Painting Fans" sponsored by the Arts Committee of the Chinese Association of Fine Arts, and two works participated in the "Invitation Exhibition of Chinese Painters in the New Century" sponsored by the Chinese Association of Fine Arts. Ten pieces of works and Chen Xiaoxin's article "On Cui Zhenkuan's New Landscape Painting on Zhenzai's Appeal for Heaven's Weeping" were published in the bimonthly issue of "Art Circle" from March to April 2001. Ten paintings and Shao Yangde's article "The West Wind of Ancient Road--Comments on Cui Zhenkuan's Landscape Paintings" were published in "Artist" on June 2001. One of the works participated in the "Invitation Exhibition of Western Chinese Paintings of Love" sponsored by the Chinese Art Association and Yanhuang Art Museum. The work "Qiuyuan" was selected as the "Centennial Chinese Painting Exhibition" co-sponsored by the Art Department of the Ministry of Culture, the Chinese Art Association, the Chinese Art Museum and the Academy of Chinese Painting. It was included in the "Centennial Chinese Painting Collection 1901-2000". The work "Home" was selected as the "National Painting Academy Biennial Exhibition - First Chinese Painting Exhibition" sponsored by the Art Department of the Ministry of Culture and other units, and was included in the "National Painting Academy Biennial Exhibition - First Chinese Painting Exhibition Works Collection".
Cui Zhenkuan was born on July 1, 1935 in Xi'an, Shaanxi Province. He graduated from the Department of Traditional Chinese Painting of Xi'an Academy of Fine Arts in 1960 and remained in the school for teaching. In 1962, he was a craftsman of Xi'an Special Arts and Crafts Factory. He was a painter of Shaanxi Academy of Traditional Chinese Painting in 1983 and is now a first-class artist of the Academy. Member of China Artists Association, member of Shaanxi Branch of AA, member of Arts Committee, and researcher of poetry, calligraphy and painting in Provincial Research Museum of Culture and History. He is good at landscape painting and likes to express nature with dense lines and numerous points. ,
The work "Yellow River Hymn" was selected for the exhibition of art works celebrating the 60th anniversary of the founding of the Party in provinces, municipalities and autonomous regions, which was hidden in the Chinese Art Museum; the work "Welcoming Spring" was selected for Danish exhibition; and the work "Spring to Northern Shaanxi" was selected for the 6th National Art Exhibition. His works are also collected by Tianjin Museum of Art and displayed in the Great Hall of the People. In 1988, he held a personal painting exhibition in Shaanxi Province and visited Japan with the provincial art troupe in the same year. In 1989, Chinese Painting and Calligraphy published works and papers Processes and Results.
In 1990, he held a personal exhibition in Geshan Museum of Painting in Taipei and published Cui Zhenkuan's Collection of Paintings. In 1991, the paper "Talent and Perseverance - The Breakthrough and Sublimation of Luo Ping" was published in "The Art Circle" (No. 3, 1991); and Hong Kong Wen Hui Bao published two full-page works and comments. In 1994, a personal painting exhibition was held in the Chinese Art Museum. Frost Forest and Autumn Plateau are collected by the Chinese Art Museum. "Fine Arts", "Chinese Painting", "Chinese Painter", "Oriental Calligraphy and Painting" also published 30 works and 4 commentary articles. "Yangguan Twilight Picture" participated in the 8th National Art Exhibition Excellent Works Exhibition. Publishing Cui Zhenkuan's Paintings. In 1995, an exhibition of personal paintings was held in Shaanxi Art Museum, and the works were published in the whole edition of Cultural and Art Daily. In Xi'an Academy of Fine Arts, "Cui Zhenkuan Invited View Exhibition of Landscape Paintings" was held, and a large-scale academic lecture was held. In 1996, he visited the United States and participated in the International Symposium on Traditional and Modern Problems of Chinese Painting. He visited France and held a four-person joint exhibition. In 1997, "Book and Painting" published seven works and the paper "On the Psychological Mechanism of Landscape Painting Creation". In Shaanxi Academy of Traditional Chinese Painting Art Museum, a personal painting exhibition was held, and the whole edition of Cultural and Art Daily published works and papers. Nine works were exhibited at the Shaanxi Contemporary Chinese Painting Exhibition in the Chinese Art Museum. In 1998, Qiulin participated in "Contemporary Landscape Painting and Oil Painting Landscape Exhibition", "Jiao Mo Landscape" participated in the first biennial exhibition of Jiangsu Painting Journal; "Qiuyuan" was compiled into "Complete Collection of Modern Chinese Art" (Landscape Volume); and participated in "Symposium on Chinese Painting Creation" and observation exhibition sponsored by the Chinese Painting Research Institute.
Cui Zhenkuan's Poplar Series in 1997 developed Cui Zhenkuan's full composition in the mid-1990s, where transcending form and contour becomes the primary structural factor. The stubborn vitality of Populus euphratica forest and the harsh natural environment are clearly reflected in the dense intertwined and twisted dots and lines.
White Deer Plains II
173 x 130 cm 1998
The 1998 White Deer Plain Series put the reproduction of rural farmhouses in a minimal and concise expression, highlighting the desolation and ruggedness of the natural environment, reflecting the overlapping pressure of the structural lines of mountains and bushes with dense short lines and different shallow points, and showing vigorous vitality in bitterness.
The 1999 Canyon Series is mainly composed of thirsty brush rubbing or multi-layer covering dyeing. The distribution of black and white well integrates the relationship between the local and the whole. The vitality of the local pen does not weaken but strengthens the structure of the whole.
Weibei Series pays more attention to close-range features. On the one hand, subtraction weakens the image description of the object and flattens the relationship between the front and back of the contour. On the other hand, addition increases the thickness and overall strength of the local ink. There is a brighter group structure around the center of the picture. The overall relationship between light and shade is subordinate to this core. They are oriented and orderly.
The Southern Xinjiang Series is more vigorous and old, with the structural strength of Cezanne's paintings. The Northern Shaanxi Series, written in 2000, is lax, orderly and unhurried, showing a calm and unabated realm of life in a unified and partially different point-line organization.
193 x 140 cm 2000
Judging from the changeable and powerful linear organization of Ziyang Series, Cui Zhenkuan has been able to express his mind freely in different subjects and scenery with changeable strain, unconstrained law and beyond the material level, so as to achieve the image of pen and ink as he likes and does not overstep the rules. Although Chang'an is located in the west, it lacks much information about contemporary pop art, but it is far from secular. Cui Zhenkuan is facing nature directly and breathing angry. He cares about walking freely and freely, and gains aesthetic pleasure which is difficult for ordinary people to appreciate. As Shi Tao said, landscape painters should not be secular life and external objects. To be deceived, "I conceal things with objects, dust with dust, then the heart is not tired, the heart is not tired, then there are paintings."
Cui Zhenkuan's decades of continuous exploration further validates the creative characteristics of Chinese painting, that is, not to take the change of cultural information and changing concepts from one place to another as the driving force, but to find the right one, with the broad tradition of Chinese painting as the resource and the deepening and innovation of the continuous artistic language as the main reason. Cultural entry and unique expression of contemporary humanistic spirit. Here, persistent and dedicated artistic attitude and unremitting practice are still the only way to penetrate into the profound art of Chinese painting.
Cui Zhenkuan's landscape painting also strengthens his confidence in the development of Chinese painting, that is, its cultural significance to the whole mankind in the new century. After the 1998 Shanghai Ink Biennale was broadcasted on NHK, the national television station of Japan, it attracted the attention of Japanese art circles. The views of famous artists and critics from Japan, such as Shimizu Min, deserve our attention. They believe that:
First, with the theme of integration and expansion, and with the traditional Chinese ink and wash form to reflect the spiritual activities of modern people, it is unique to such an ancient cultural country as China.
Second, cultures with characteristics in different regions of the world have become more and more unitary under the influence of strong Western cultures. The Shanghai Biennale gathers modern Chinese ink and wash artists from all over the world. The exhibition of works and itself constitute an action - multiculturalism is necessary.
3. Although ink and wash art can not fully undertake the task of the revival of Oriental art, it is not only a tool, but also an integral part of maintaining Oriental spirit, which shows the vitality of traditional Oriental Art in the new era.
4. The development of Chinese ink and wash art will greatly stimulate the development of art and culture in Japan and Asia. The development of modern art in Asia can not be separated from the spirit of originality in China.