在当代中国画领域，杜滋龄是一位风格独特、成绩斐然的画家。他的写意人物画深得中国传统美学“以形写神”的要义，其作品兼具南北技法之长，又能熔铸成一家笔法，在结合写生的基础上，形成了浑厚华滋、畅快洒脱的风格。他多年来醉心于西域边陲的自然、人文景观，以饱蘸深情的笔墨刻画了这块神奇土地的人物风情和自然风貌，其孜孜不倦的精神受到画界赞许。此次入选“当代国画优秀作品展———天津作品展”，杜滋龄的<雪域藏女> 、 <高原风>等作品得到了京津两地美术评论家的一致肯定。有评论家认为，他的用
Du Ziling was born in Tianjin in 1941. He started working as a commentary editor in Tianjin Fine Arts Publishing House in 1958. From 1979 to 1981, he studied in the Graduate Class of Chinese Painting of China Academy of Fine Arts. He was taught by Mr. Ye Shaoyu and Mr. Li Zhenjian. From 1981 to 1996, he was successively deputy editor and chief editor of Tianjin People's Fine Arts Publishing House. In 1996, he was transferred to Nankai University as Chairman and Professor of the Department of Eastern Arts and engaged in the teaching of fine arts.
Since 1984, he has published many monographs and collections, such as Selected Works of Du Ziling's Sketches, Basic Training of Sketches and Collections of Du Ziling's Paintings. Many works have been exhibited at home and abroad, and have won several national awards. He has visited Pakistan, Japan, Russia, Germany/France for artistic exchanges, and now serves as the China Association of Fine Arts. Director, member of Chinese Painting Arts Committee, vice chairman of Tianjin Art Association, senior consultant of Beijing Tangfeng Art Museum, etc.
Du Ziling's figure painting combines the merits of North and South figure painting. It not only has the dignity of the North, but also learns the spirit of Zhejiang School figure painting. His paintings are accurate in shape and vivid in image. His characters stand out in facial portrayal, paying special attention to the eyes, making them exquisite and vivid. In the control of ink color, special attention should be paid to the distribution of large areas of ink and grey, so as to achieve simple and appropriate, the combination of virtual and real, fluent brushwork, natural and natural; artistic language should be deep and simple, elegant and popular.
His brush and ink have its momentum in the north, and add its rhyme in the south. His brushwork is fresh and free. He pursues the flexibility and moisturization of the rhyme without drawing, astringent, strange and dangerous brushwork. He also uses Huang Binhong's dry, moist and bony painting method in landscape painting as well as his thick and graceful "ink, density, thickness and heaviness" for reference. Style of painting. In terms of color, he prefers black and white, and is good at cloth and white. In his works, he intentionally weakens the flickering color blocks, strengthens the contrast and rhythm between black and white. Ink does not hinder color, and color does not hinder ink. Ink blends into interesting and distinct colors, so that the spirituality and essence of ink painting can be brought into full play.
Born in Tianjin in 1941.
In 1958, Tianjin Fine Arts Publishing House began to work as a commentary editor. Visits to Germany, France, Belgium and the Netherlands in Europe. He won the Czechoslovakia Bratislava International Youth Reading Illustration Excellence Award.
In 1963 and 1958, he won the second National Comic Prize, and four Tianjin Luxun Literature and Art Award, Gold Award and Excellent Works Award.
In 1979, he studied in Graduate Class of Chinese Painting of China Academy of Fine Arts. He was taught by Mr. Ye Shaoyu and Mr. Li Zhenjian.
From 1981 to 1996, he was deputy editor and chief editor of Tianjin People's Fine Arts Publishing House.
In 1987, he led a representative of Chinese artists to visit Pakistan. He was awarded the Excellent Works Award of the Japanese and Chinese Ink Painting Exhibition for the second time.
In 1989, he went to Tokyo, Japan, to hold a personal painting exhibition.
In 1991, he participated in the second visit of the Chinese publishing delegation to Japan.
In 1993, he went to Kuala Lumpur, Malaysia to hold personal exhibitions and lectures.
In 1994, he visited Russia and exchanged art.
In 1996, he was transferred to Nankai University as Chairman and Professor of the Department of Eastern Arts and engaged in the teaching of fine arts.
In 1998, he went to Britain, France, Austria and Italy for cultural and artistic research.
In 2000, he visited Egypt, Turkey, Greece and Israel for cultural and artistic research.
In 2001, 56 large-scale national art exhibitions were produced for the Central Ministry of Culture.
In the field of contemporary Chinese painting, Du Ziling is a painter with unique style and outstanding achievements. His freehand portraits are deeply rooted in the essence of traditional Chinese aesthetics, and his works have both the merits of North and South techniques, and can be melted into a brushwork. On the basis of combining sketch, he has formed a rich, flowing and free style. Over the years, he has been fascinated by the natural and humanistic landscapes in the border areas of the Western Regions. He has depicted the characters and natural features of this magical land with his affectionate pen and ink. His tireless spirit has been praised by the painting circles. This time, Du Ziling's works such as "Tibetan Women in Snow Areas" and "Plateau Wind" were unanimously affirmed by Beijing and Tianjin art critics. Some critics believe that his use
The pen is thicker and smoother than before, and finer in its thickness. This is precisely the result of artists'constant exploration of artistic forms and long-term accumulation of life.
Du Ziling is known as one of the representative figures of contemporary "frontier fortress painters". The reason why he has been "biting" the subject for a long time is that he loves the snow world in his heart. He told reporters that this land is vast, the people are simple, and has a deep cultural heritage, which gives him the impulse to create. Since the 1980s, he has gone to the western border to experience life many times. The harsh natural conditions on the plateau are unbearable; the extraordinary experience of fighting Tibetan dogs is still breathtaking, but these difficulties have resulted in exquisite works.
As an outstanding contemporary figure painter, Du Ziling made great efforts, diligence and talent in character sketch during his youth, and made rapid progress. He was appreciated by Guo Jun, then president of Tianjin People's Fine Arts Publishing House, and strongly recommended to Mr. Ye Shaoyu. He paid tribute to his teachers and learned art, which made a good story for the art circle. This has a profound impact on the formation of his later artistic style. Mastering highly skilled sketch skills is very important to the painter. It is one of the basic skills of modeling. It makes the painter's eye observation keen and the hand performance fast and accurate, complement each other. More importantly, it trains the painter's image memory, and achieves the vividness of artistic creation. In the older generation of artists, Mr. Ye Shaoyu and Mr. Huang Qianzhu are the best models. Most of the contemporary famous families have benefited from this, and Du Ziling is undoubtedly one of the best.
Du Ziling studio adheres to the educational method of "describing spirit by form, studying at home and abroad, getting close to life and producing more excellent works", aiming at cultivating the ability of portrait sketching, steganography and modeling, as well as the freehand brushwork skills and methods of portrait, cultivating students'respect for artistic rules, life feelings and reflecting the masters with the characteristics of the times. Creation of inscriptions and freehand figure paintings with a strong flavor of life. Life is the source of creation, and life is the painter's teacher. "A touching person comes first."
Emotional input is the key factor of success in creation, and "emotion" promotes imagination and understanding, thus constituting a new artistic conception. For this reason, in the first semester, I led all the students to the Luliang Mountains of Shanxi Province to go deep into the countryside, mines and iron and steel works to sketch. Second semester to Gannan Tibetan area, Sichuan Daliangshan Yi Nationality sketch. In sketching, the students really take root in life and reflect reality, take the expression of contemporary life and the spirit of the times as their responsibility, and in sketching shape structure, the ability of capturing characters, and the basic skills of writing and ink. Through a large number of sketches, we can truly understand the simple folk customs and profound cultural connotations of the grass-roots people, and bring back a large number of creative materials.
In real life, Du Ziling realized that the creation of Chinese figure painting can not only practice the techniques included in Chinese figure painting, but also learn the nutrition of Chinese painting brush and ink from the techniques of flower and bird painting and landscape painting. The sketch, dot-dyeing, ink-splashing, sketch, rubbing, dot-dyeing techniques in landscape paintings, ink-accumulating, ink-breaking and ink-splashing techniques in central, lateral, Tibetan and Lufeng brushwork and ink-splashing techniques in figure painting are all absorbed. In addition, the practice of calligraphy should be emphasized. In order to enrich the diversity of figure painting techniques, we should seek change in pen and ink, enrich in simplicity, smooth in depth and rigor, subtle and implicit in plain, elegant and beautiful in gentleness. Based on life, sublimate life to art, enrich life with art, and enrich art with life.
In his early years, Du Ziling was a master of figure painting such as Ye Shaoyu. His early creation was dominated by illustrations and comics. In the early 1980s, he studied Chinese freehand figure painting techniques systematically in the postgraduate class of the Department of Chinese Painting of Zhejiang Academy of Fine Arts. In his later creative practice, he inherited the traditional national artistic spirit on the basis of solid modeling skills, and at the same time, integrated the skills of Western methods into the brush and ink, gradually formed his own artistic style.
Although Du Ziling took a realistic road, he did not stick to the original ecological characters and natural features in his writing. He pursued a kind of heavy beauty. In this "Exhibition of Excellent Contemporary Chinese Painting Works - Tianjin Works Exhibition", his "Plateau Wind" used ink-accumulating painting to paint the costumes of characters. The layer-by-layer aggravated ink color and vigorous lines are quite in place to express the texture of clothing lines. He said: "The traditional freehand figure painting emphasizes easy brushwork, and sometimes it is not ideal to use such brushwork to deal with modern works. I use the ink accumulation in landscape painting to figure painting, so as to strengthen the thickness of the brush and ink. And the thickness of the pen and ink is one of the criteria to measure the depth of art.
In addition to his favorite snow theme, Du Ziling has not put down the illustrations in recent years. In his opinion, drawing illustrations is a must. To express characters with ink, we must have an accurate grasp of the times in which the characters live and be familiar with the original works.
In the field of contemporary Chinese painting, Du Ziling is a painter with unique style and outstanding achievements. His freehand portraits are deeply rooted in the essence of traditional Chinese aesthetics, and his works have both the merits of North and South techniques, and can be melted into a brushwork. On the basis of combining sketch, he has formed a rich, flowing and free style.
Mr. Du Ziling's creation inherited Mr. Ye Shaoyu's creation method of quick-writing painting. His brush and ink lay stress on frankness, simplicity and vividness. Every time the brush and ink moved quickly and carelessly, it made the brush and ink produce rich and colorful changes, or dry and dry in the wet, rich and weak changes, as natural as possible. In addition to pursuing the change of pen and ink in general, Mr. Du Ziling also pays special attention to the description of characters'eyes. Because a person's eyes are the window of his mind, how the painter describes them often depends on how well he conveys the God of the object.
For example, "Karachi Women" in the treatment of the eyes of the protagonist in the picture, is particularly particular, he not only carefully grasped Mou Zi's expression, but also in ink, also use three waves nine dyes. Mobilizing Du Ziling's potential self-cultivation and ability, not only created a distinct personality image, but also created a variety of performance techniques in his works. Dai people are in the green environment of subtropical zone. They are enthusiastic, simple and colorful. Therefore, in his creation, he integrated the change of color relationship and expressive ability in western paintings into the smooth and mellow expression of Chinese painting, which properly embodied the national characteristics and personality of Southern China.
As a disciple of Ye Shaoyu, Du Ziling's time in sketching is very deep, and has a more profound influence on the formation of his later style of ink figure painting. It is very important to master highly skilled sketch skills, which is one of the basic skills of modeling. In terms of technique, it makes the artist's eye observation keen and the hands of the quick and accurate complement each other, training the visual memory. In the 1950s and 1960s, sketch was generally offered as a specialized course in art colleges, but because sketch and other "long-term homework" occupied the main position, sketch became a supplementary subject or extra-curricular homework. The level of sketch of diligent and lazy students differed greatly, but they could graduate. From a deep point of view, sketch and sketch are different concepts for Chinese painting majors. First of all, sketch is a form of technique that is passed down from the West. In fact, sketch is the basic skill for oil painting. The basic principle is accurate reproduction. Observation and expression are all about "body" and "surface". Even if there are "lines", sketch is also interpreted as "the boundary between face and face" or "the horizon between body and space"; while sketch is the Chinese tradition. The concept of painting is similar. To put it simply, one is vivid, the other is concise, and the third is beautiful lines and rhythms.
Du Ziling's entry into Zhejiang and America in 1979 was the most decisive step in his life. Under the guidance of Professor Li Zhenjian, the postgraduate class of the Department of Chinese Painting in Zhejiang and America has painted the human body in ink and wash for half a year. It has not only studied the key problems of structure and anatomy, but also raised the problem of combining shape and ink practice to a new height. The two-year study is open, and it has absorbed nutrition from all ages, all over the world. After coming out from Zhejiang, Du Ziling benefited most from his continuous sketching trips to all parts of the country, especially in the Northwest. His trips to Xinjiang and Tibet broadened his horizons and deepened his understanding of life experience. This is absolutely important for a painter's spiritual development, not just for his skill.
In his decades of painting career, Du Ziling has traveled all over the rivers and villages. At the same time, in the process of a large number of sketches, he studied in depth the experience of traditional painting, to understand the laws summarized by predecessors in life. The purpose of sketching is to grasp the objective law. Therefore, his figure painting is first faithful to the object and takes the object seriously. However, life itself is not art. If we want to promote real life and real people to the artistic situation, instead of staying faithfully to convey and reproduce life, we must devote thought, emotion and artistic conception to creation. Subjective emotional participation and artistic conception deepening are the soul of art.
Du Ziling naturally concentrates on the pursuit of life and the spiritual world of human beings as he begins to enter the artistic world from the characters in his life. In all his artistic conceptions of sketch creation, accompanied by the expression of pen and ink, he gradually found that the most interesting and passionate creators were those who showed the vitality of their personality. Every outline reflected by sunshine or snow, every wrinkle squeezed out by a smile, and the rich inner spiritual details and personality characteristics of the painted person make him pursue it excitedly and energetically.
He has a special sensitivity to grasp the characters'psychological activities and modeling characteristics, and has a special control ability to shape complex and changing characters with brushes. Therefore, his sketches are actually a kind of artistic holistic thinking embodied by his rich thoughts and feelings and his grasp of the delicate relationship between the inner world of the characters. How could he discover the special beauty of Dong girls in his paintings without his in-depth observation, leaving behind the happy words of March and the tranquil smiles? It is in this sense that his figure painting is not only a concentrated reflection of the inner feelings and spiritual activities of the characters described, but also an embodiment of the author's own feelings. Painting by stroke is not only the expression of the external characteristics of the characters, but also the expression of the feelings that change the moment into eternal beauty.
In the late 1970s, I enrolled in the postgraduate class of figure painting in the Department of Chinese Painting, Zhejiang Academy of Fine Arts. During my postgraduate study, I studied and inherited the characteristics of Zhejiang School figure painting, so that in the development and study of ink figure painting, ink is free and easy, dry, wet, thick and light. It can finish the creation of figure and God with dot dyeing and line drawing in a short time. After graduation, because in the creation, I feel that if only focus on the method of dyeing, should be light, elegant feeling, thus suitable for light, scattered (not holistic) ills. Therefore, it also studies the layered dyeing method, which is highly praised by the North, in order to make the picture rich and Chinese. At present. In terms of artistic style, my ink and wash painting aims at learning from the characteristics of the north and South schools, and strives for the style of thick brush and ink, Huazi, free and easy, and the whole. Character modelling is to depict God in form. In strict and general grasp of body structure, the final requirement of figure painting is to "borrow god".
In the subject matter of figure painting, I take the life subject of modern figure painting as the main target. Figure painting involves a wide range of subjects, ancient celebrities, historical stories, Tang poetry, Song poetry and other poetic paintings. To strengthen the artist's grasp of the characters in modern life, it involves portraits of leaders and modern celebrities, as well as military history, revolutionary history and custom paintings of modern people's lives. I focus on the study of Chinese ethnic minority customs and paintings. Because China is a large family composed of all ethnic groups, 56 ethnic brothers work together for the construction and prosperity of the motherland. For decades. I went deep into Tibet, Mongolia, Hui, Dai, Korean, Miao, Buyi, Tajik, Uygur, Kazakhstan, Kirgiz, Yi, Zhuang, Dong, Yao, Hani and other nationalities to live in depth. When it comes to ethnic groups, I don't need to refer to people. That is to say, they can draw pictures reflecting their lives. That is to say, for many years, I have been creating paintings reflecting multi-ethnic life. At the same time, he also painted portraits of some revolutionaries and literary and artist celebrities, and created many illustrations involving literary works. Three illustrations of Mr. Laoshe's recently completed "Camel Xiangzi" have been published in a recent collection of personal paintings. In addition, I like to draw ancient celebrities whom I admire in my heart. I often repeatedly paint the life and poetic paintings of "Su Shi". He is an example of my pursuit of personality, so modern people's national customs and ancient rhyme figures are also my object of description.
In terms of artistic skills, I like Chinese traditional ink-and-wash brushwork, especially ink-based works. When dealing with the situation in today's snowy plateau life, mostly snow scenery, because of the black and white taste in art. It is also my aesthetic pursuit. I think the beauty is silent, the impact of black and white, and the pursuit of magnificence and simplicity. With the spiritual strength of calligraphers and paintings, Mr. Huang Binhong, a master of mountains and waters, and the connotation of his pen and ink, I strive to complete my pursuit and artistic climbing point.