Joe's profile

Joe (1937-) is a famous lacquer artist, a pioneer of modern lacquer art in China and one of the founders of lacquer painting. Hebei Guantao people. 196 1 graduated from the central academy of arts and crafts, majoring in mural painting, 1964 stayed on as a teacher. He is currently a professor at the Central Academy of Arts and Crafts (now Tsinghua University Academy of Fine Arts), a director of China Artists Association, and the president of China Lacquer Painting Research Association. He has held more than ten exhibitions in China, Japanese, French and Soviet Union. Joe's works pay attention to the unity of lacquer and painting, which makes modern lacquer painting constantly innovate while maintaining the traditional cultural character and gradually move towards independence. Known as "the father of lacquer painting in China". The representative works of lacquer painting include Water-splashing Festival, Qinghai-Tibet Plateau and Beidou.

Chinese name: Joe

Alias: Father of China Lacquer Painting

Nationality: China.

Place of birth: Guantao County, Hebei Province

Date of birth: 1937

Occupation: lacquer painting artist

Graduate school: Central Academy of Arts and Crafts.

Main achievements: One of the pioneers of modern lacquer art in China.

One of the founders of China lacquer painting.

Masterpieces: Songkran Festival, Qinghai-Tibet Plateau and Beidou.

brief introduction

Joe (1937.2 ——) lacquer painting artist. Good at lacquer painting and mural painting. Hebei Guantao people. 1937 65438+1was born in a farmer's family in Guantao county, Hebei province on October 24th. 196 1 After graduating from the Central Academy of Arts and Crafts, I began to study lacquer painting and went to Fuzhou, the famous hometown of lacquer ware in China, to study as a teacher. 1964 graduated and stayed in school to teach. 1986 Visiting the former Soviet Union with China Modern Lacquer Painting Exhibition. Since 1987, Joe's oil painting exhibition has been exhibited in China Art Museum, Fuzhou Arts and Crafts Museum and Japan-China Friendship Hall Art Museum in Tokyo, Japan. He is currently a professor at Central Academy of Arts and Crafts and a director of China Artists Association. Engaged in the teaching and research of lacquer painting art for a long time. In 2004, the work "Fishing Songs in the South China Sea" was selected as the first exhibition of Chinese paintings by members of China Artists Association. Distinguished painter and senior art consultant of Beijing tang style Art Museum.

main occupation

There are On Lacquer Painting, On the Development of Lacquer Painting, New Flowers of Lacquer Painting, A Diversified World of Lacquer Painting to See Chinese Lacquer Painting Exhibition, New Flowers of Lacquer Painting to See Carved Lacquer, On the Composition of Decorative Painting, On the Image of Decorative Painting, etc. Lacquer paintings created and designed include Water Splashing Festival (won the second prize of the 5th National Art Exhibition, collected by China Art Museum), Qinghai-Tibet Plateau (won the silver prize of the 6th National Art Exhibition, collected by China Art Museum), Beidou (won the Excellent Works Award of China Lacquer Painting Exhibition in 1986), Bonfire (collected by Oriental Art Museum), Tibetan Girl Shaded by Green Trees, and. He exhibited in the Soviet Union before and after.

Lacquer Painting of Complete Works of Modern Fine Arts in China 1998 0 1 published by People's Fine Arts Publishing House;

Lacquer Art was published by China Academy of Fine Arts Press in August 2004.

Lacquer painting art

Joe's art comes from life and nature, and insists on taking nature as a teacher. Over the years, he visited Dai villages three times, visited Tibetan areas three times, visited the Yangtze River twice and visited Jiangnan four times, and painted a lot of watercolors and gouache, ink and colored ink, sketches and sketches, which not only provided rich materials for his creation, but also strengthened his painting skills. Joe not only pursues the artistic form of his works, but also attaches importance to the connotation of his works, and devotes himself to studying materials and technologies. He advocates the unity of thought, art and technology. Unity of content, form and media; The unity of heart, eyes and hands is also of great reference value to young people studying art.

The Songkran Festival is his masterpiece. The composition of this painting is unique. In the foreground, the painter shows the beautiful back of Dai women dressed in holiday costumes, and sets off a warm holiday atmosphere with the dragon boat race in the river and the boiling crowd on the other side as the background. The rich craftsmanship reflects the painter's skillful control of paint. He displayed a white coat with eggshells, and a colorful skirt combined the silver foil paint polishing method and the mother-of-pearl inlay technology. The water covered with mud and silver also provides the best background for beautiful people. The whole painting is elegant and generous.

From the folk to the father of lacquer painting in China, Joe's lacquer painting has gone through forty-six years. The painter's life and artistic path are not smooth, with twists and turns, ups and downs, seeking in twists and turns, marching in bumps, from excitement to loss, from pain to transformation, from reflection to re-standing, and experiencing great changes in history and reality, culture and art. No matter how history changes, Joe's creation always lingers in the land where he was born and raised, and he never forgets the influence of the people on him, which has been deeply rooted in the life of the Chinese nation. At the same time, the painting art cultivated by lacquer culture made him grow up in modern time and space, breathing modern atmosphere, thus constructing his unique lacquer painting art style which is connected with tradition and modernity. Such lacquer painting not only has modern aesthetic value, but also has important historical significance and humanistic value.

The road of lacquer painting

"It was lacquer painting that made Qiao Shiguang, and it was Qiao Shiguang who made China lacquer painting." I think Joe chose lacquer painting and lacquer painting because the idea of mural painting is not valid. The existence and dependence of art made the best choice for Joe, and showed that this choice was wise, a trend and an objective choice.

1In the early spring of 962, Joe went to Fuzhou to study lacquer art for one and a half years under the leadership of his husband. From the understanding of paint performance, the application of tools, the basic skills of painting and polishing, to the painting, painting and painting of gold, to the red treasure sand (one of the painting skills), "wood shavings" (tin inlay in metal inlay) and "kiln transformation" (one of the ceramic kiln transformation in painting variation), to the eggshell inlay with hundreds of pieces.

This summer, on the way to Fuzhou to study lacquer art for the second time, I was stranded in Hangzhou because the train was blocked. When I saw the huts, bamboo forests, rice fields, shepherd boys, fish ponds and sails in the south of the Yangtze River, the peasant children in this northern country felt cordial and fresh, and their mood suddenly improved. They painted the first lacquer painting in their lives, Land of Fish and Rice. This is a "fine product" made by Joe after learning a certain lacquer craft.

Now it seems that his creative mentality at that time is still unreservedly displayed in front of everyone. The yearning for a beautiful new soul and the persistent pursuit of youth are all reflected incisively and vividly: swimming freely in the fish pond, cheerful shepherds on the ridge of the field and quiet and comfortable huts constitute a small farm scene full of interest. Although, as far as its painting itself is concerned, its painting skills have not been mastered, and the details are slightly rough. More is the lack of their own personality. However, his spiritual elements, artistic language revealed, formal instruments pursued and means of controlling materials and tools have actually covered up the shortcomings of the picture itself, and people have strongly felt the sincere and lush artistic talent revealed from it, which is not difficult to explain his position as the father of China lacquer painting in the future.

Although lacquer painting is related to craft, handicraft industry and folk art, it belongs to painting and has the same characteristics as all painting forms. When most painters devote their lives to painting itself, but for lacquer painting and Qiao Shiguang, they should also care about the possibility and overall harmony brought by lacquer technology. If they only know lacquer art and don't know painting, they can't be lacquer painters, and they can't be lacquer painters. The amphibious nature of lacquer painting is attributed to the uneven and rugged artistic path of practitioners from the beginning.

Out of the desire to explore various possibilities of lacquer painting and the need of teaching, Qiao Shiguang went to Yangzhou to learn Qi Diao and grinding mother-of-pearl, to Chengdu to learn carving and filling, to Pingyao to learn "rubbing color", to try gold and Qi Diao in cooperation with Beijing masters, and to try "cloud carving" (a kind of Qi Diao) in cooperation with Shanxi Xinjiang masters, all of which are reflected in his lacquer painting. From then on, the combination of heart and hand, the collision of soul and thought pushed his skills to maturity, and also played a transitional and paving role for his future artistic perfection.

During his teaching in the Central Academy of Arts and Crafts, the painter Yu Wen's thoughts began to collide with his inspiration with the sudden change of Soviet realistic style, and he felt a sense of rebirth. Facing the impact of western literary thoughts, China painting circles are rethinking. As one of the most representative avant-garde painters of that era, Pang Xun had a profound and positive influence on Joe. The cultivation of folk art forms the basis of Joe's lacquer painting, and also determines his lacquer painting style to some extent. However, the formal rules and artistic language of painting have no national boundaries and are influenced by people's subjective aesthetic taste. At that time, China put forward the absorption method of "taking the essence and removing the dross" in culture, mixing all the good things together and then blending them into his own nation. Of course, there are also many wrong behaviors that treat the garbage thrown away by others as treasure. It is in such an uncertain era pattern that Joe, on the basis of striving to respect the national culture and tradition of China, is eclectic, emphasizing the decoration of lacquer painting, striving for balance, echo, symmetry and harmony, and paying attention to the spatial beauty, planarization and stylization of the picture. It has carried out a deeper transformation with its own practice. He insists on externalization as a teacher, and does not rely on the training of classroom teaching to maintain the original essence of a painter, which is also the artistic attitude and style necessary for a real master of art.

Soon after, the Cultural Revolution broke out and the atmosphere in the Central Academy of Arts and Crafts was tense. Teachers are afraid of being labeled as "bourgeois formalism" and "formalism", but Pang Xun is still called a formalist and "Picasso City God Temple" because of the decisive Lan Society organized in 1930s. Seeing scenes of farce staged, Qiao Shiguang began to dare not cross the line, especially after experiencing the purgatory of "inspiration explosion", the painter's success or failure seemed to become less important, which prompted him to start creating a series of lacquer paintings such as Shaoshan, Yan 'an, Jinghua and Portrait of Mao Zedong in Jinggangshan period with great courage. At that time, some critics thought: "Joe's works during this period were completely a pan-political catering and show." I don't agree with those who hold this view. The aesthetic existence of any art must have its specific era. Under the special environmental background, it is difficult for people to be independent of time and space. On the contrary, they can integrate artistic perspective into social life and keep pace with the times. Art itself should not be divided into right and wrong, but more importantly, human factors and provocations. The painter's psychological contradiction and existence at that time could not be redeemed. In this way, at a higher aesthetic level, he contracted simple local ethnic themes into social reality, which is not simply an external expression of jealousy, but an internal observation of its artistic connotation; No matter from the breadth and depth of the theme, but also from the horizontal and vertical perspective, I think it is an improvement.

As early as "Speech at Yan 'an Forum on Literature and Art" was published, Comrade Mao Zedong put forward the view that literature and art serve politics. Compared with catering to more suspected literary forms, the pure tendency of painting theme is at most a mapping of phenomenon symbols. Joe paid a heavy price, which he didn't seem to realize, that is, when he was working on the interior decoration of the expansion project of Beijing Hotel, his obsequiousness still didn't disappear when the Gang of Four destroyed the batch of "black paintings". Yes, I'm Joe Shiguang! This is the unchanging painter Joe!

However, it goes without saying that all of Joe's creations here only pave the way for higher-level exploration in the future. He is good at collecting materials and practicing sketching, not only painting lacquer, but also painting oil paintings, Chinese paintings, sketches and sketches, because he knows that the essence of sketching is not only practicing and collecting creative materials, but also creating works directly. Different from the general purpose of sketching, Qiao Shi pays more attention to artistic feeling and personality expression. In particular, I tried to introduce China's traditional literature, music and calligraphy skills to enrich my painting. For any artist who is good at controlling the overall situation, this is an important step and even an important shortcut.

In some representative paintings, such as Water Splashing Festival (1978), Guangzhou Peasant Movement Workshop (1977) and Dressed Dai Women (1978), the artistic diversity has been very obvious. Taking the Water-Splashing Festival as an example, the painter selected the backs of several women as the foreground, with the boiling crowd and fierce dragon boat race as the background, painting people to see the scenery, and painting outsiders to look at people. Nearshore, The Other Side and Dragon Boat are all horizontally treated, while the images of several women are upright, and their convergence, mutual correspondence and scattered changes are noticed. This horizontal and vertical interwoven structure seems natural, but in fact it is deliberately arranged. In terms of technology, the white clothes of Dai women are displayed with eggshells, the patterns on skirts are displayed with mother-of-pearl inlays, and the beautiful clothes are displayed with silver foil cover paint. The water is coated with clay silver, and the overall effect is bright and luxurious, just like tang style. In addition to painting, the painter skillfully used the poetic artistic conception of "You are standing on the bridge watching the scenery/people watching the scenery are watching you upstairs//The bright moon decorated your window/you decorated other people's dreams" in Bian's Broken Chapters, which pushed the artistic language of painting to another height.

65438-0979 Songkran Festival won the second prize in the 30th Anniversary Art Exhibition (the 5th National Art Exhibition) and was collected by China Art Museum. This is the result of Joe's pursuit of art and emphasis on life.

Historical evaluation

Joe's lacquer painting is accompanied by the national significance of modernity. It originates from life and transcends life. At a higher modern aesthetic level, it deeply integrates many factors and personal subjective colors of tradition and the West. It has realized the modern transformation from national culture or folk culture. Different from any previous period, his paintings are devoted to capturing the truth and purity of real life, exploring the wisdom contained in this real and pure life, and thinking deeply about the A Ring of Endless Light of life philosophy that may be reflected in this survival wisdom. Whether it is the memory of life, the doubt of fate, historical reflection or natural reverie, it is closely related to the exploration of human society and the ultimate concern for mankind.

Combine art with life,

Combination of tradition and modernity.

This is the mission of Beijing Lacquer Art Research Association.

This is the orientation of lacquer artists in the capital.

We come from all directions,

We walked in all directions.

Joe shiguang

This is Joe's speech at the Beijing Lacquer Art Exhibition, which is not only a poetic extension, but also a true portrayal of Joe's soul. In fact, life is not external, and art is not external. It is alienation created in your heart and in your humanity. Looking for a home that returns to nature means returning to the true nature and essence of human life. The awakening of the painter's subjective consciousness is the ontological factor and internal mechanism of his artistic creation.