马国强 画家、新闻出版家。原籍河南省温县，1952年1月出生于驻马店市。 1975年毕业于河南大学美术系中国画专业，师从王威、丁中一、杨力舟。 1982年被选入文化部中国画研究院（现中国国家画院）第二期人物画创研班进行创作，面聆叶浅予、黄胄等大师教诲。
马国强先生的绘画理念是：把自己的艺术取向在物我之间，寻找恰到好处的契合点，既不走“物”的极端，也不走“我”的极端，他试图在两者之间架设沟通的桥梁。 在“ 物我”之间，使他的创作领域更为广阔，也使他在艺术上显示出一种游刃有余的自信与自由。在“物我”之间，是一种艺术上的智慧表现。
Ma Guoqiang is an influential figure painter in contemporary Chinese painting. He was the art editor and chief editor of Henan Picture Newspaper. Vice-editor of Henan Daily and editor-in-chief of Dahe Daily, Executive Deputy Director of Henan Radio and Television Bureau, Chairman of Henan Wenlian Federation and Chairman of Henan Artists Association. Now he is the vice president of the Chinese Painting Society, the researcher of the Chinese National Academy of Painting, the director of the Chinese Artists Association, the member of the Chinese Painting Arts Committee of the Chinese Artists Association, the researcher of the Chinese National Painting Academy, the honorary chairman of the Henan Literature and Art Association, the honorary chairman of the Henan Artists Association, and the chairman of the Henan Chinese Painting Society.
He has been engaged in the creation and research of Chinese figure painting for more than 20 years. His works are mostly based on modern life, national customs and historical figures. The figures in the pictures are accurate, vivid, exaggerated and moderate, the lines are smooth and elegant, the wind is strong, the ink color is rich and weak, and the reality corresponds to the reality. They have strong oriental charm and strong modern aesthetic taste.
On August 21, 2011, Ma Guoqiang's Individual Works Exhibition "Life, Life - Ma Guoqiang's Ink Figure Painting Exhibition" was held at the Chinese Art Museum. This is the first time that Henan painters have held a high-standard personal exhibition in the highest Hall of art in China.
Mr. Ma Guoqiang has been engaged in the creation of Chinese ink figure painting for a long time, with strong personality characteristics and strong academic taste. It has great influence in Chinese painting circle and is one of the few powerful painters in contemporary Chinese figure painting circle.
Mr. Ma Guoqiang's creative attitude is rigorous, and he never publishes his works with leisurely brushwork and casual entertainment. Every work, whether small or large, must take sketch of life as its prototype, without duplication or fabrication, with distinct personality and similarities. His works have a strong flavor of life and the times, so his works are based on both sketch and sketch. Higher academic quality is highly praised by the academic circles, and at the same time, it is favored by fans and collectors for its healthy image and difficult painting skills. Ma Guoqiang's ink and wash figure paintings integrate traditional ink and wash techniques with modern painting concepts. They are characterized by realistic characters, profound modeling skills and elegant and vivid brush and ink. They are not only rigorous in academic painting, but also empty in Chinese literary painting. Especially, they have great breakthroughs in the mastery, application and development of the line. Ming's personal style.
On Ma Guoqiang's Art
Mr. Ma Guoqiang's painting features can be summarized as six fonts are correct, generous and clear.
The righteous person has a clear vein of inheritance and innovation, simple and spicy lines, elegant ink and wash, steady and full composition, clear and honest expression, which can be called Confucian custom and magnificent; the strong person, with pen and pen, five brushes and seven ink biting together, strong and powerful, and full of inner strength; the clear person has a super-leisure spirit in the overall picture. It's like a thread. It's like the rising of the first moon on the horizon. Lingling is more beautiful than the sounding of the Yuanquan. Mr. Ma Guoqiang is diligent and unremitting, catching up with Bonian in one hand, keeping pace with the pulse of the times, melting tradition and reality in one furnace, taking essence and using grandeur, combining form and spirit, changing his style, and suddenly creating his own style different from that of his teachers. Its image, realm and beauty of brush and ink show a unique artistic personality, which is unique in today's painting world.
First, the chief feature of Ma Guoqiang's art is to draw materials calmly in the hot real life so as to express the grand purpose of "painting for thousands of grass-roots workers".
In Mr. Ma Guoqiang's writings, there is no far-fetched commentary, which is based on the advanced ideas, and there is no inexplicable fear of being in Lushan without distinguishing between the West and the east, but it has real touching and in-depth thinking. There is concern for hard work, sincere admiration for a sunny smile, perseverance in difficulties, calmness in vicissitudes of life, and a grasp of the voice of the times and an interpretation of the true meaning of life.
Mr. Ma Guoqiang's writing style is mainly composed of ethnic minority figures, ancient costume poetry figures and grass-roots workers in Central Plains. All along, these three kinds of objects of expression are intermingled with the painter, and each has its own advantages in art.
Mr. Ma Guoqiang's choice of "grassroots workers in the Great Plains of the 21st Century" as his main direction of attack is also convincing to his keen artistic insight. In this regard, a number of new realist works, represented by "Builders (Migrant Workers)", have emerged and become aggressive. In this magnificent work, which depicts dozens of characters, the painter creates a brand-new image of characters and artistic conception of pen and ink. Despite the fact that there are storms, frosts and snow, depression and anxiety, the group atmosphere they create in the picture has a beautiful and lyrical mood, fresh, happy, natural, bold, optimistic and perseverant. This is a typical plain people's spiritual outlook, simple and courageous, tolerant and open-minded. The painter's exquisite and unrestrained brush strokes fully depict and fully demonstrate this touching group temperament, which not only has a strong realistic appeal, but also has artistic value that can not be ignored.
Secondly, on the basis of solid realism, it is another big end of Mr. Ma Guoqiang's art to exert the spirit of Chinese pen and ink. Mr. Ma Guoqiang's excellence lies in that he is not addicted to "technology" but can't extricate himself from it. He is very conscious that realism is a means rather than an end. The introduction of western realism has undoubtedly broken the distortions and shackles of life caused by the traditional ink and wash formulas of empty concepts, but the core essence of traditional Chinese painting is freehand brushwork, which is the mastery of cosmic spirit on the basis of figurative depiction. If this is not allowed, it will inevitably fall into the quagmire of "anti-jade on the vertebral wheel, easy to carve the palace on the cave". Based on this, his ink figure painting creation, always pay attention to grasp the overall situation of the body, the key position is strictly positioned, the non-key place is properly placed, there are exaggerations and omissions, based on realism to consider freehand brushwork, rich in concise, complex to complete, pleasing to the eye and rewarding to the heart.
Straightforward pen, lively image, concise composition, abundant ink and wash with the center to make the turning pen mark happily soaked away, with dry side, will be dry, fresh and romantic, virtual and real, to build a similar and more strange aesthetic system. These creative imprints with strong individuality are the guideposts of the spirit of Chinese pen and ink to Mr. Ma Guoqiang's artistic heart.
Third, it is the third Concerto of Mr. Ma Guoqiang's art.
Chinese painting or calligraphy, the most basic starting point is the line, the smallest element is also the line, Chinese painting is different from Western painting in the form of lines with calligraphic interest. The world of Chinese painting, which is structured by lines, contains the cultural characteristics of many kinds of arts, and is organized and regularly superimposed by lines, points, horizontal, vertical, skimming, scratching and turning points. When waving, the lines seem to be broken and connected, the invisible place is haunting, the pen is not connected with the pulse, or beautiful and fluent, or skillful shape, or natural spiritual longitude, more self-contained pattern.
In 1986, Chinese paintings tits, light morning mist and spring warmth were selected for the 6th National Art Exhibition. Among them, tits were selected as excellent works in Jinjing and spring warmth was included in the New Series of Chinese Literature and Art, Art Volume. Liangshan Autumn was selected as the eighth National Art Exhibition, and "Helpless City" was selected as the first Chinese Painting Exhibition and the 1993 Chinese Painting Yearbook. He was selected as the "Oriental Rhyme and Achievement Exhibition of Chinese Painting Creation" by the Chinese Academy of Fine Arts, the "Huang Binhong Art Award" awarded by the Chinese Academy of Fine Arts, the "Academic Exchange Exhibition of North-South Persons and Contemporary Chinese Figure Painting" sponsored by the Chinese Academy of Fine Arts, and the "Shenzhou Song" long volume creation sponsored by the China International Calligraphy and This work travels in space aboard the Shenzhou VI spacecraft. He was awarded the honorary title of "Excellent People's Artists" by the National Science and Technology Award Office and the Chinese Artists Association.
"Shanghe Gong" was selected into the comprehensive painting exhibition to commemorate the 50th anniversary of 5.23th anniversary and collected by Taipei National Father Memorial Hall. Hello to the Little Navy"was collected for Chairman Mao Memorial Hall and compiled into"Chairman Mao Memorial Hall Collection of Paintings". In May 1998, the authoritative official magazine of Chinese art circles, Fine Arts, was emphatically commented on on the scale of 9 pages. In January 2001, CCTV's "Art Star" column also focused on the topic of "Contemporary Chinese Ink Figure Painters". He has held individual and joint exhibitions in Kaifeng, Zhengzhou, Hong Kong and Taipei.
In 1995, Ansai waist drum was selected into the Eighth National Art exhibition; in 1997 and 1999, it was awarded the title of "Baijie in Chinese painting circle" twice by the Chinese Federation of China; in 1999, it was selected into the Ninth National Art exhibition; in 2001, it was selected into the "Hundred Years Chinese Painting Exhibition" and in 2003, it was selected into the "Hundred Years Chinese Painting Exhibition". The Academy of Chinese Painting "Oriental Rhyme and Achievement Exhibition of Chinese Painting Creation"; the "Huang Binhong Art Award" awarded by the Academy of Chinese Art in 2004; the "Banna Fair" was selected as the 10th National Works Exhibition in 2004; and the "Academic Exchange Exhibition of North-South Characters and Contemporary Chinese Figure Painting" sponsored by the Academy of Chinese Art Creation in 2005; In 2005, he was awarded the honorary title of "Excellent People's Artists" by the National Science and Technology Award Office and the Chinese Artists Association; in 2007, he Shan was awarded the third prize in the National Art Exhibition on the 80th anniversary of the founding of the army; and he published "Ma Guoqiang's Personal Painting Collection", "Ma Guoqiang's Personal Painting", "Ma Guoqiang's Personal Painting Selection" and "Modern China". Chinese Character Gallery Ma Guoqiang's album and other collections.
Every successful painter has to go through a hesitant and confused exploration process. As an art class, Mr. Ma Guoqiang first studied brushwork and brushwork, and made some achievements. Affected by the fashion of the times, he once thought that Chinese painting should be large, vertical and horizontal brushwork, ink-wash incisive, or graceful brushwork, weird shape. So, abandon the fine brushwork, small freehand brushwork and turn to ink-splashing freehand brushwork, but over time, always feel less rational, less plain. So he turned around and turned back to his freehand brushwork. Regardless of the gains and losses of national power in choosing freehand brushwork, it does not mean that freehand brushwork is not good. As far as the artist's personality is concerned, although he is a man of temperament, he is more pure and simple, introverted and rational hidden in his bones. In this regard, it is not difficult to understand that, just when the painter himself was so intoxicated and overturned the river and the sea, he suddenly stopped and returned to the freehand sketch. With his journalist's experience and sensitivity, he created a series of works reflecting the image of ordinary people in real life, thus forming a unique form of re-realism and re-expression. Language and style skills.
Some people want to classify Ma Guoqiang's paintings as "literati paintings", because he has painted many paintings with the color of "literati paintings" of nobles, ladies and their free spirit in ink and brush. He did have a passion for the traditional "literati painting". However, Chinese traditional "literati painting" with profound cultural connotations and high aesthetic qualities, which integrates "poems, books, paintings and seals", is a treasure in the world's art gardens, but with its development, non-paintable things are constantly strengthened, and the factors of painting itself are weakening. So he came back halfway. Nowadays, there is no lack of leisurely brushwork in Guoqiang's realistic paintings, but it is not just a simple freehand brushwork artist who deliberately pursues the occasional effect of ink and wash. More rational thinking is absorbed in his works. Therefore, using the old value system of "literati painting" to point out Ma Guoqiang's art is undoubtedly a misplacement. Because he does not belong to the past, but to the present. The artistic foundation of a strong country is the childlike feelings of the working people. His art transcends regions and nationalities and carries the ideals of human truth, goodness and beauty. For figure painters, there is nothing more important than having a positive attitude towards life.
Mr. Ma Guoqiang insisted on sketching, especially taking sketching as a daily course. He persisted in sketching. His solid sketch skills and diligent sketch training laid a solid foundation for his future sketching and creation. His paintings do not copy the ideas and techniques of Western paintings, but absorb the nutrients of modelling while emphasizing the significance of line life. He painted with calligraphy, and the lines of the center and the flank were freely swimming on Xuan Paper. His rhythm and strength fully reflected the artist's rhythm of life. From its dense, delicate and skilled lines, it not only embodies a visual conquest, but also implies a deeper meaning of the painter.
Mr. Ma Guoqiang's painting idea is: to put his artistic orientation between things and me, to find the right point of convergence, neither to go to the extreme of "things" nor to go to the extreme of "me". He tries to build a bridge of communication between the two. Between "material self" and "material self", it makes his creative field wider, and also makes him show a kind of self-confidence and freedom with ease in art. Between "thing and me", it is an artistic expression of wisdom.
Mr. Xu Encun, a well-known art critic, said, "In the works, we can see that the painter's works are the combination of realism and expression, image and image, form and spirit, objective and subjective. Therefore, the painter's works are different from the general vivid charm and vitality................................................. ... The center of the brush and ink language turns to the side, the change of the lifting and pressing in the strokes, the arrangement of the ink color, the use of the ink in the strokes, the ink in the strokes, and the use of the dry strokes and the flying white, all add rhythm to the picture, the fluctuating changes and the formal meanings. As a result of this treatment, the characters in the painter's strokes naturally move to the object. Between them, I have acquired a sense of vigor and modernity, which is both intentional and unconscious.
Ma Guoqiang has a mantra: "Good painting, good painting, good painting". This should be a true portrayal of his artistic view. It is in accordance with this artistic spirit that he will draw the plough deeper and deeper in the real land. We sincerely wish Mr. Ma Guoqiang every success in his art career.