Artist 丨 He Shiyang
News Release
At 4:00 PM on April 19, 2013, the 25th exhibition of Yongyan Situation -- He Shiyang's Traditional Chinese Painting works was held by Hanyang Art Center at the "West Lake, Landscape and Culture" gallery of Huanglong Hotel in Hangzhou.
Artists He Shiyang works has a distinct personal style, has attended many exhibitions and published more than the personal album, he boldly coloring in xieyi painting in China, while maintaining the Oriental artistic conception for the fusion of Chinese and western culture, his works inherited the tradition, and just visible to attach importance to the modern's aesthetic feelings, the traditional culture a new interpretation of exploration.
In his works, the forms, states and gestures of the young people in the urban living space are unfolded. With his eyes, he brings us into the sunny area to see fresh scenes and feel the pulse of the city.
Nearly 30 works by He Shiyang will be on display until May 17, 2013.
Foreword
It has been ten years since I took the name of Yongyan Hall as my studio hall.
For ten years, I have been reading and drawing, drinking tea and receiving visitors here with the mentality of making up lessons. The studio consists of three small parts. The first part, with an area of less than 20 square meters, is a collection of living rooms, tea houses and writing rooms. On days when I don't have to go out, I always linger here after breakfast. Make a small bag of tea with white porcelain buckle bowl first, make the unique fragrance of Tie Guanyin diffuse gently in the mouth and studio. Listening to guqin at this time, the happiest daze of the day often comes. Next to the sofa is my computer desk, where I write most of my papers and random thoughts.
Music flowed from the studio through two-meter-wide doorframes. The studio is the main part of the Yongyan Hall, with an area of about 25 square meters. Its important implements are the big picture table, the big bookcase and the big picture board. I am used to painting standing up like a mural, so the large drawing board is inlaid on the wall by two specially made iron plates. Standing painting on the one hand is to protect the cervical spine, avoid occupational diseases. On the other hand, it can improve the flexibility of the pen and avoid the visual errors of the figure painting.
For a long time I had been in the habit of turning over books on the large picture-tables, which were filled with all kinds of picture-books, placards, and books. The four treasures of the study are indispensable tools. On the painting table, at least ten square meters of large and small ink stones and ten ingot inks are placed. Ceramic, crystal and huanghuali penholder are respectively put on the recent commonly used brush; Several pen containers of different materials are filled with the process of my cognitive writing brush.
The reading glasses and a small pine tree, the magnifying glass and a pair of reddish-lacquered axles, the watch and a pair of walnuts, strings of Buddhist beads and a small inkstone bought in Japan were placed on a rectangular mahogany treasure plate. There is also a small tin plate on the edge of the treasure plate, which contains a few old printing clay boxes and a small gourd. Small tin plate is located at the front of the painting table, behind it is a duan old pit stone, in front of a ceremoniously placed my wife just sent me a pot of Guanyin lotus.
Rice paper on the left side of the chair on the small table, in addition to a roll has been cut into the hand roll of the 50's old paper, more is my special special paper. In terms of my understanding of paper, I quite agree with Mr. Wu Hufan's view that "the birth of rice paper prevails and painting study dies".
Leaning against the side of the big bookcase, I found several rolls of zhang Erlao's chicken ball paper to draw "The Wise Master's View" a few years ago. The big bookcase is behind the drawing table and on the left hand side. The connection between them is the antique cabinet. There are some old paintings and some old objects I like on it. Stacks of books piled from the bookcase to the floor, to the edge of the sofa. The big drawing board is on the right side of the drawing table, and it forms a big homonym with the big bookcase. The big drawing table faces south. When I am tired of painting, I sometimes sit on the old chair before the drawing table and look at the balcony. The old chair was from the Qing Dynasty and looked more comfortable with its mother of pearl inlaid on the back.
The balcony is about ten square meters, in front of the studio. East planted a dozen large and small potted plants, invited by the Tiantai mountain orchids are open every year as scheduled. Between the two wooden stools in the south of the balcony, there is a nanmu, and there is an old wooden plaque on the nanmu. Winter afternoon, I often bubble a pot of rock tea sitting on the balcony of the small cane chair, enjoy the wood carved gods in the free shuttle between the clouds and the floor.
Yongyan Hall has been moved twice with me as the gallery hall. The word "Yongyan" was taken in 2003 when Yao Peng was chatting with the guest computer center under the Yuhuangshan Mountain. During this period, I moved home once and settled in my present place since 2005.
Taking "Yongyan Situation" as the title of the exhibition is the result of my spontaneous and spontaneous writing. A lot of writing about the studio certainly doesn't mean much. The living conditions and humanity of the owner of the Yongyan Pavilion have to be acquired by people with predestined relationship through painting.
In the current extremely noisy atmosphere, what kind of attitude should a Chinese painting learner take to face the society and show art? Which is more important to an artist, earning success or artistic achievement? Although it is difficult to clarify many issues in the preface of an informal exhibition, I still hope that in this preface, which is not a preface, I have shown my attitude to some extent.
He Shiyang
Deci Was in yongyan Hall on March 3
The exhibition works
Exhibition site
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