Junior Zhonghai, courtesy name Baodao, name Yiyi, and Zhai Hongtang, was born in Shandong in 1956. He is currently the curator of "One Road Beijing Art Museum" (Junior Zhonghai Art Museum). Distinguished Professor of Renmin University of China, Tutor of Haishanshui Calligraphy Studio in Renmin University of China Junior High School, Executive Vice President of Huang Binhong Art Research Association, Vice President of Beijing Chinese Artists Association. Member of China Artists Association, member of Chinese Calligraphers Association, vice president of Chinese Painting Artists Association, editorial board member of "Chinese Painting Circle" magazine, editorial board member of "Chinese Fine Arts" magazine, member of the presidium of Hebei Calligraphers Association, deputy director of the evaluation committee, Served as the vice chairman of Qinhuangdao City Federation of Literary and Art Circles, the vice chairman of the Artists Association, and the vice chairman of the Calligraphers Association.




junior high sea near shadow










Published painting collections: "A Landscape", "Junior Zhonghai Painting Collection", "Junior Zhonghai Painting Album", "A Scorched Ink Landscape" and "The Great Way to Jane - A Landscape", "The Great Dao Is Formed - A Scorched Ink Landscape", calligraphy album "Junior Hai Calligraphy" Nearly 20 books, such as "Junior High School Sea Cursive Script Thousand-Character Essay", etc.







Published theoretical works: "A Discourse on Painting", "A Discussion on Jiaomo", "A Discussion on the Essentials of Jiaomo", "Da Dao. Daya. Huang Binhong", "A Discussion on Taoism for Junior Zhonghai Teaching", "National Jiaomo", etc.






His painting and calligraphy works and theoretical articles have been published successively in "Art", "Art Observation", "Chinese Painting Observation", "Chinese Painter", "Art Newspaper", "Chinese Calligraphy and Painting Journal", "Calligraphy Herald", "People's Daily", "China Art Newspaper", "China Information Dozens of professional media and mainstream magazines, such as China Newspaper, Collection, and China Collection, have made special publications, and CCTV, Beijing TV, Shandong TV and many other columns have made special interviews and reports for many times.








Awards

The paintings "Autumn Rhyme of Taihang" and "Fog Locking Taihang" were selected into the 20th National Exhibition of New Artists and New Works of the China Artists Association. "Won the highest award of the 2008 National Chinese Painting Works Exhibition by the China Artists Association. In 2009, the huge landscape painting "Huaxia Fenggu Tu" was collected by the Great Hall of the People. The Fourth National Exhibition of New Artists and New Works hosted by the Calligraphers Association and the first Chinese Calligraphy Art Exhibition. He was jointly rated as one of the 100 Chinese outstanding painters with the most collectible value in the 21st century by China Painting Famous Artists Network, Shandong Radio and Television News and China Collectors Club.







Famous critic Mr. Xue Yongnian’s initial impressions and impressions of Junior Zhonghai:

The first point is the scorched ink landscape and challenging the limit. There are two types of landscape paintings by Junior Zhonghai, one is ink landscape and the other is scorched ink landscape. Ink and wash landscapes were born out of Huang Binhong, traced back to the Northern Song Dynasty, and learned from various masters. The paintings are very flavorful and have the atmosphere of the times. The scorched ink landscape painting is especially good. There are also two types of his scorched ink landscapes, one is large and relatively complex. The other is sketches, especially fans, which are very simple. There are thousands of hills and valleys in the complex, but the charm is flowing, and the simple three strokes and five strokes are sparse and simple but full of vitality.







Li Futang, one of the Eight Eccentrics of Yangzhou in the Qing Dynasty, said: "Water is the introduction of brush and ink, and when you use it properly, you must concentrate on your spirit." Indeed, the expressive power of brush and ink depends entirely on the ability to use the brush, apart from the "handling and turning" of the brush. Adjustment of water to ink. The biggest difference between scorched ink landscapes and ink landscapes is that scorched ink landscapes compress the amount of water to a minimum. Painting with scorched ink with extremely low water content makes it more difficult to run the brush. It is easy to stagnate and difficult to be flexible. It is also more difficult to "separate ink into five colors". Because the five colors of "ink is divided into five colors" are generally considered to be "scorched thick and light clear". Painting with burnt ink that is thicker than thick ink is equivalent to dancing with double shackles. For this reason, since ancient times, there have been very few people who purely painted landscapes in scorched ink.







However, Junior Zhonghai boldly challenged the limit, using the deepest ink, the least amount of water, the simplest form, and the most difficult freehand brushwork to paint landscapes with rich expressiveness, using the skill of calligraphy to use brushes, thirsty pens to draw scorched ink, Introducing the meaning of gold and stone, drawing new ideas, drawing realms, drawing temperament, forming a unique style that is vigorous, rich, vast and elegant, which is a result of challenging the limit.







The second point is to use calligraphy into painting and good fortune in hand. Li Kuchan, the most admired disciple of Qi Baishi, said: "Calligraphy is the height of painting, and painting is the ultimate." It means that calligraphy, with the meaning of painting, has the height of art; painting, the realization of the pursuit of calligraphy, is its fundamental law.







Junior Zhonghai's scorched ink landscapes are undoubtedly the product of "learning from nature and gaining the source of heart". He often goes out to observe and sketch, and also pays attention to cultivating his temperament and cultivating the light in his heart. However, although he admired Zhang Ding's realistic style of scorched ink landscapes, he no longer followed the realistic path, but painted the hills and valleys in his chest, showing the waves at the bottom of the brush, and the composition was based on the big and the small, and the trees and stones were left behind. The enslavement of objects, the relationship between brush and ink and objects are in a close relationship, and the rhythm between brush and ink and the rhythm of the soul is in harmony.









He pays more attention to dry brushwork, more attention to flying white, and more attention to seeking dyeing without ink. After removing the scorched ink outline, only the thirsty brush is dry and chapped. It fully demonstrates the function of expressing emotion and individuality with calligraphy and painting with brushes, and also exerts the effect of combination of brushwork in roughly representing objects and at the same time reflecting the generation and change of the universe, just like the summary of Sun Guoting's "Book Book": "Emotional and verbal expressions Taking the meaning of being coquettish, yang, yin and misery are based on protecting the body and the heart of the world." It means that the movement of brushwork can express poetry and temperament like Guofeng and Chusao, and the diversity and unity of its forms are completely based on "one Yin and Yang are the natural law of Dao. His scorched ink landscapes create a second nature that communicates with the spirit of heaven and earth. It can be said that he has successfully realized Dong Qichang's expectation of "good fortune is in hand, and there is nothing but life in front of us".








The third point is to enrich the culture of learning and inheritance. Guo Xi of the Northern Song Dynasty had already advocated "painting with meaning outside, and the unexpected is wonderful". , although there are only a few who understand painting.” Xiaohua means understanding painting, and the prerequisite for understanding Chinese painting is to understand Chinese culture, and the only way to understand Chinese culture and inherit Chinese culture is to read books, thousands of books.









After reading Junior Zhonghai's "One Way on Painting" and "One Way on Jiaomo", I feel that he has a wide range of reading and a rich knowledge. His knowledge structure is not quite like those born in the 50s, and even surpassed those born in the 40s and 30s. There is no shadow of tradition by realism and modernism, and he can directly inherit the context of the older generation of scholars and painters such as Huang Binhong.








Regarding his profound and profound knowledge, I will give two examples. One is that he is familiar with Dai Benxiao. Among modern painters and scholars, apart from Huang Binhong, Wang Shiqing, and Xu Hongquan, very few people have studied Dai Benxiao's poems on paintings, but Junior Zhonghai has learned from Dai Benxiao's inscription to Hongren's "Reading Meng Zhuang Qiwu Theory" , to realize the artistic realm of traveling between gods and objects, sharing the same machine with Tao and forgetting both objects and me.






The other is to deeply understand Shi Tao. In the past, most people who quoted Shi Tao's painting theory often emphasized Shi Tao's early "I use my own method", while junior Zhonghai pointed out that Shi Tao once said in his later years: "There is only one method in the vast and vast cover. In the past, it was illegal...it could be my law, or the ancients' law." He understood Shi Tao's painting theory with the concept of development, and keenly observed Shi Tao's great enlightenment in his later years and his change of attitude towards tradition.








The fourth point is to enter and exit the ancients and achieve one's own family. The development of Chinese painting has its own laws. Ancient literati paintings and freehand brushwork belong to the traditional elite paintings, and their appearance and development are logical. However, since the 20th century, under the impact of Western powerful culture, the conditions for the survival and development of Chinese painting have undergone tremendous changes. Western-style fine arts education has destroyed the inheritance system of Chinese painting. The ideological trend of scientism, in the era of national salvation and revolution, made traditional Chinese painting regarded as neither scientific nor useful to transform the old world, and was in the position of being transformed. Literati painting and freehand brushwork, which inherited the context of Chinese painting, were the first to bear the brunt. , thus causing a break between innovation and tradition of some Chinese painters.









Junior Zhonghai's art originated from Chinese calligraphy, which is not easy to be transformed by Western learning. His paintings are especially aided by calligraphy thinking, which is based on law and technology, and finally becomes the scale of the mainstream discourse of the times. To be specific, he is a man who brings forth the new from the tradition, he enters the ancient from the beginning, studies the tradition in a down-to-earth manner, studies the experience and wisdom of the former sages, and then finds a foothold and growth point from the tradition, and uses the ancient method to improve his life. The development of reforms comes out of one's own will.









When he interpreted Dong Qi's "First have ten thousand capitals, then have endless resources" and "Nezha tear down the flesh and return to the mother, tear down the bones and return to the father" in "On the Method of Obtaining", he said: "Only when the sea is inclusive of all rivers can it become a vast ocean. Absorb the tradition and digest the tradition, and then nourish yourself to build on the foundation of the tradition and forge your own style.” His inheritance and creation of scorched ink landscapes are just like this.

Well, let’s appreciate the works of calligrapher and painter Junior Zhonghai here first, thank you for watching!


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