Host:Chinese Artists Association
Co-organizers:Xiamen Federation of Literary and Art Circles,China Academy of Art Market
Organizers:Fujian Artists Association,Fujian Academy of Painting,Xiamen Artists Association,College of Art of Xiamen University,College of Arts and Crafts of Fuzhou University,College of Art of Jimei University,Xiamen Academy of Painting,Xiamen Art Gallery,handed down,Xiamen Art Legacy Palace Gallery
Exhibition period:Nov.14-Nov.24,2015
Producer:Chen Zhen
Schemer:Qian Chenxiang
Artist profile
Wang Laiwen was born in 1968 in Zhangpu,Fujian.He graduated from College of Art of Fujian Normal University and for further education,he also attended the first Doctoral course of Chinese painting organized by the Ministry of Education.He enjoys many titles:Director of China Artists Association,Vice-president and Secretary of the Party Secretariat of Fujian Federation of Literary and Art Circles,Deputy director of Fujian Provincial Art Committee Vice-president of Fujian Artists Association,adjunct professor of Xiamen University,Masters’supervisor and President of Master's Thesis Committee in College of Art of Fujian Normal University,long-term member of the Organization Committee and jury consultant of National Art Exhibition,General Convenor of the jury of Fujian Provincial Art Exhibition,Chief Consultant of Fujian Provincial Government Hundred Flowers Awards for Literature and Art,etc..
Keep the Original Intention
--Preface for Flower Line-Drawings of s by Wang Laiwen
Article by Zheng Gong(Deputy director and doctoral supervisor of Institute of Fine Arts,Chinese National Academy of Arts,Deputy director of Art Research Institute)
Recently,I went back to Fuzhou and met Wang Laiwen at the Retrospective Exhibition of Zhou Ying’s Paintings&Modern Master Invitational Exhibition”.I was startled when I saw a batch of his current flower line-drawings.Though the time spent on painting is limited due to his heavy official duties,he has still achieved great success and gained great reputations in enjoyable bird and flower paintings,then why did he turn to traditional Chinese realistic paintings when he got some precious spare time for painting?What’s the mystique behind it?
I still couldn’t find out the reason when I leaved through the paintings.But looking at the lines that were telling something gently on the pictures,the slightly dry and heavy ink application techniques,the ethereal and simple composition,and the scene with profound and delicate implications,it seemed that I had caught a glimpse of Laiwen’s mood during the painting.Paintings,which comply with the characters of the person who drew them,imply the painter’s view and bosom.I guess that Wang Laiwen didn’t abandon freehand brushwork and turned to specialize in fine brushwork.He might just think that it is necessary to go back to traditional Chinese realistic paintings and regain the long-lost feeling,so that he can face the rapidly changing modern painting circle with a posture containing the memorable and original intention.
As for traditional line drawing,what is the original intention?In ancient time,line drawing,also called“painting text”,was widely used in most Chinese painters’works.Xia Wenyan said in the Treasured Book of Painting,“Ancient people’s rough sketch is called painting text.Predecessors often treasured it up as its casual places painted freely have marvelous wonders.”And the interesting thing is that Lu Xun talked about literary“line drawing”skills in the Writing Thoughts like this:Containing the real intention,removing the decorations,and stopping showing off.What he discussed was the rhetoric,aiming at the prevailing ethos of using difficult and rare words to disable the people with“obscuration”and“sophistication”in the literary circles then.Looking at the contemporary Chinese painters,many people are transforming their techniques and retrofitting designs.Among them,there are some try to change the painting shapes,some try to use unique colors,and some try to create original ideas.They want to unlock a new visual field,so the drawing languages are sometimes unavoidably hard to understand.While Wang Laiwen only stays in his studio quietly,inking his pen and sketching what’s in front of him on papers,like daffodil,orchid,plum blossom,water lily,magnolia flower,banana leaves,and cattail leaves by a road or river.All these are Southern views,as well as his hometown’s scenery.Born in Zhangpu County of Zhangzhou,he is a southerner,the little boy who runs in the countryside and loves drawing.For his original intention,the wonder of awakening childishness seems involved,but the true purpose is to search for human’s natures.The“original intention”in Buddhism is the first thought,that is the first feeling and thought before a person tries to think or be aware of it.It’s about Buddha rather than people.While back to human,whether can we think that there is a first gnosis derived from the disposition before we have consciousness?At start,painters seized the world with images.Although sensibility was important,they drew objects with a kind of abstract lines with no lack of rationality.The implication of lines is complicated for Chinese painters.Like what Shi Tao said,that was a“brushstroke”,which opens the door of the primordial world.Ultimately,painting needs pens,and painting is formed by lines.So that’s what a starter should care.
In a sense,we can say that Wang Laiwen is a defender of the tradition.Influenced by Confucianism and Buddhism,Chinese cultural tradition emphasizes those works in which one principle runs through it all,for example,“Remember your original intention,then you can make a good beginning and a wonderful ending.”(Avatamsaka Sutra)But to painters,“remember the original intention”also means a sort of cultural purification,which means painters should conquer a variety of set rules after starting learning painting and find back the simple eyes watching this world in the beginning.Or as another saying goes,“putting down”.Throwing away all the cultural burdens and picking up the“touching”for this world before people have their nationalities.The original intention is empty and open,that’s why it is so peaceful and full of Buddhist mood.While in the expression of images,the emerging of lines has constructed a set of specific looking and thinking logical frames for Chinese,such as“Establishing in the mind before drawing,and then painting with the heart and emotions”and“artistic calligraphy feature in painting”.Traditional Chinese painters can’t deviate from pens and lines,and face the world in front of them and their inner spirit worlds anew.The painters who drew silk paintings in the Warring States Time or Wang Laiwen who painted these line-drawing flowers and plants in the 21st century are no exceptions.
The line drawing of Wang Laiwen has used the double-drawing technique.The drawing language is straightforward with implications,and the shapes are painted realistically and neatly with interest and charm.Going into the implications and interests and charms,you will find that all these wonders are related to his original moving to the matters and the close affinity between him and the pen and lines.Actually,besides personal temperaments,the lines of Chinese paintings are also closely related to learning and cultivation.Graduated from Fujian Normal University,Wang Laiwen has been living in Fuzhou.Although he hasn’t been taught by Lin Zibai(1906-1980)or met Chen Zifen(1898-1976),these two painters who were good at line drawing have great influence in him,so does Zheng Naiguang(1912-2005)with influential double drawing technologies,who returned home from Xi’an in his late years.Comparing to Zhen Naiguang,Wang Laiwen’s line drawing is more realistic,or another word,simpler.When dealing with branch knots,his painting will usually lock the scenes.And for leaves and petals,the lines will stretch naturally with clear texture structures.His paintings with vigorous lines,proper pauses and transitions and occasional intervals develop thoroughly and powerfully from the first stroke to the last one,resolute and decisive.With modest painting sizes and objects,his paintings are not luxuriant or splendid,but pure and fresh.Ink splashing and coloring have an effect of overall coating,easy to present the atmosphere.But they are not as clean and neat.Looking Laiwen’s line drawing is like lightening faint incense when enjoying a tea,eliminating all hubbubs.
I am not saying that Wang Laiwen’s line drawing only focuses on himself or he is indulged in local knowledge,but that his works reflect his introspective attitude,with which he would not be confused by human affairs,and he knows clearly the essence of Chinese painting as well as the relationship between the vitality of art and the real life.Moreover,he knows how to control himself.Wang Laiwen never take his line drawing as rough sketches.Rather,his painting lines are self-contained and complete.
Written in the western suburb of Beijing,October 26,2015
Fairy of Water 23.9x 67.7cm 2015
Fairy in the glass 24x67.6cm 2015
A crab cannot walk straight.24.3x27.2cm 2015
Season of yellow chrysanthemum and fat crab.24.4x27.2cm 2015
Inherent refreshing fragrance 60.1x29.1cm 2015
It is not the wind that refreshes you.38.9x38.9cm 2014
Only fragrant trace remained 60.2x29cm 2015
Fragrant warm wind 33.1x33.1cm 2014
Fragrant plant like a beauty with a kind heart 32.9x32.9cm 2014
Exhibition opening time:9：30am Nov.14,2015
Academic symposium starting time:10:30am Nov.14,2015
Exhibition and academic symposium venue:
Xiamen Art Legacy Palace Gallery
(Address:1 F,Mingxiao Hall,Xiamen Hotel,No.16,Huyuan Road,Siming District,Xiamen.)
