Art resume
Mao Xuefeng,Hall Master of the Desert,The pioneer of Chinese modern heavy-color landscape painting. A native of Lintao, Gansu, he settled in Beijing in 2005. He graduated from the Fine Arts Department of Xinjiang Art University in 1989, and graduated from the Chinese Painting Research Class of Beijing Academy of Painting in 1997. He successively studied in the Central Academy of Fine Arts, Chinese Painter Painting Academy, Tsinghua University Research Class, and Elite Class. Journey to the border to the west for 20 years, with footprints all over the Tianshan Mountains.
Currently a member of China National Advancing,National first-class artist. Dean of Beijing Western China Painting Academy, Dean of China Zhongcai Landscape Painting Academy, Executive Director of the Central Enlightened Painting Academy of China Democratic Progressive and Honorary Dean of Xinjiang Democratic Progressive Enlightened Art Academy, Vice Chairman of the American Chinese Artists Association, Vice President of the Canadian World Artists Federation, Beijing Dean of Damei Academy of Painting and Calligraphy, Curator of Beijing Mao Xuefeng Art Museum, Dean of Beijing Xiongfeng Science and Technology and Culture Research Institute, Vice President of China Shiqi Art Research Association, Honorary Dean of China Confucius Painting and Calligraphy Research Institute. Visiting or part-time professor of Lanzhou University, Yangzhou University, Japanese National Academy of Arts, Hong Kong Academy of Art, Hong Kong International Painting Academy, Shierda University in New Delhi, Dingxi Normal University, etc. deputy dean and researcher of Xinjiang Institute of Landscape Painting, Shihezi University, Xinjiang , Specially-appointed painter of Jiangsu Provincial Chinese Painting Academy, director of China Minority Art Promotion Association of Ministry of Culture, academic host of China Innovative Artist Nomination Event, Honorary President of China Landscape Painting Research Association.
He is a maverick, dedicated to the exploration and practice of Silk Road landscape paintings and the in-depth excavation and expression of the great beauty of the Western Regions, and the creation of Western Region heavy-color landscape paintings. He is a pioneer and practitioner of the theme of Western China's Silk Road landscape paintings. "Mao Xuefeng’s work is an active attempt and breakthrough in the integration of tradition and modernity, abstraction and concreteness, ink and color, and Chinese and Western art. A sense of depth in history". "The magnificence of its realm, the boldness of its meaning, the majesty of hills and valleys, and the symphony of colors have formed a unique painting environment and artistic style." (Excerpted from "Fine Arts" 2003 Issue 9).
Over the years, Mao Xuefeng's landscape paintings have participated in many national art exhibitions, and have been exchanged and exhibited or won awards in more than 30 countries and regions. Hundreds of works have been published in various mainstream journals across the country and overseas.
Successively in the National Art Museum of China, Dunhuang Museum, Tokyo Central Art Museum Ginza, Taipei Art Museum, New York International Art Fair, U.S. Marietta University, Paris Louvre, Dubai, United Kingdom, India, Russia Repin Academy of Fine Arts , Canada, Australia, Europe, Southeast Asian countries and various parts of the country have held solo or joint exhibitions for academic exchanges and lectures, which have been widely praised.
Taste Mao Xuefeng's heavy-color landscape paintings
Author: Li Zhibao (former vice chairman of Tibet Artists Association)
Mao Xuefeng is the founder of Xinjiang's heavy-color landscape painting. This definition is not a problem. But after appreciating his recent series of heavy-color landscape works, I think this statement and definition seems to be too conservative. Because, in my cognition, looking at the entire China, Mao Xuefeng's heavy-color landscape paintings are also unique. Moreover, he has already walked out of Xinjiang, based in the capital Beijing, standing on a new cultural horizon.
Mao Xuefeng's heavy-color landscape paintings are based on the vast and mysterious mountains and wilds in the western part of the motherland. Over the years, he has taken the "Thousands of Clouds and Wonders" of the western landscape as his artistic goal, and has worked hard to blend pen and ink with color. The works have a stern and rigorous design, but they are rigorous in shape, yet relaxed and unrestrained, often making the imagery beyond the pen and ink. Either ink is used as color, or color is used as ink. The form and the meaning are the surface and the inside, which makes people dizzy, creating a feeling that is also true and illusion, just like the sky and the world-the warm sunrise on the blue sky illuminates the earth, The cold moonlight diffuses the holy lake of the snow-capped mountains, and the quiet lake and the deep sky reflect the amber-like royal style of the magical mountains and rivers; the solid and strange mountains are intertwined, as if they contain rich heaven and earth energy, conveying a kind of universal and ancient.
The successful use of mineral colors such as stone green, stone green, Zhu Qi, cinnabar, magnificent and magnificent, the virtual and the real, the color is ingeniously interspersed, the waterfalls and springs meet in a misty, ever-changing camel team; The copper bells that pierce through time and space make people seem to hear the gorgeous music played by nature.
Mao Xuefeng is always sincerely active in the curiosity of life. He knows that when we retreat to the original consciousness, retreat to the original feeling, the world will show us its original appearance, it is transformed into ruins, chaos, stones, mountains and flowing water-concepts and language stare at each other, Dating in a lonely and secret place. He was obsessed with those incomprehensible things, obsessed with a particular favorite image, and even more obsessed with a certain original emotion, obsessed with some of the earliest organic existence, obsessed with the flowers and fruits of the tree of life. This is probably what Nietzsche said: the higher a person's spiritual level, the more he can be pleased with subtle things.
There are many lights in the universe, the light of spirituality, the light of wisdom, the light of nothingness, or the light of reality. How to recombine the light seen in the work to become a part of the picture is the direction of Mao Xuefeng's exploration on this subject. He strives to create an unreal situation in the real scene through the ever-changing light, so that the picture can open and close, so that his works can form a new style. And style is the characteristic and style reflected in a series of works of a painter. As its core and personality, it is more unique, irreplaceable, and even exclusive. The style of Mao Xuefeng's works is inpidualized, and this is where his artistic value lies.
Because the uniqueness of art does not lie in describing this objective external world, but in conveying the present through the artistic image that is both true and illusory, allowing the present to refer to the absent, showing the vision and soul of the universe intertwined and coexist. The secret of this is transformed into a kind of advanced metaphysics, in order to achieve the profound meaning of transforming or enriching the world. Art will rise in a mysterious and purely spiritual action, creating itself like a flame on its burning peak. Burning at a high place can make creation emit a metaphysical light.
The spirit of Chinese art has its philosophical foundation. Chinese culture focuses on the cultivation of the spiritual realm of human beings and pursues the unity of nature and man. Everyone’s inner spiritual experience needs a way to practice continuously, and this kind of inner activity is almost hard to describe clearly in words. Mao Xuefeng’s landscape paintings are the product of throwing that unspeakable spirit to nature. He borrows his own language. Way-to emphasize the color, to find the expression of the "chance" and "qiyun". With this unique symbol, he not only has the expressive power of the image, but also separates from the real thing as much as possible, but it has nothing to do with the real thing. Mr. Huang Binhong said that "everyone who is absolutely not like, they are all deceiving the world." In his works, Mao Xuefeng uses the warmth and coldness of colors and the rhythmic contrast of ink and color, full of symbolic hints, which constitute the unique artistic characteristics of his works. And through the light, shadow, shape, and color in the work, the moving "poetic charm" is conveyed "indicatively".
Chinese landscape painting emphasizes the "three distances", that is, lofty, far-reaching, and peaceful. Ancient and modern great virtues have made various explanations, but in general, they all believe that a "far" must be drawn. And the “far” here seems to refer to not only the “far” in the visual sense, but the “far” that reflects the spiritual depth of the work. Mao Xuefeng's heavy-color landscape works were developed from here. But the difference is that Mao Xuefeng's landscape art style is very different from the traditional six techniques. In this brand-new context, Mao Xuefeng’s art of heavy-color landscapes inherited the green landscapes of Zhanziqian in the Sui Dynasty and the "green, green, golden and green" style pioneered by Li Sixun, Li Zhaodao and his sons in the Tang Dynasty, and even the predecessors of Zhang Daqian and He Haixia in modern times. On the basis of the essence of craftsmanship, it took another approach, even surpassing the spiritual pursuit of the ancestors, creating a unique style that is fresh, gorgeous, thick and remote, and gave us an unexpected surprise.
Mao Xuefeng was born in Lintao, Gansu, the hometown of Majiayao painted pottery culture. The Buddhist culture of Dunhuang Mogao Grottoes and Maiji Mountain, together with the unique and varied natural beauty there, has accumulated a profound and culturally rich and long civilization that nourishes the painter’s soul. He has also honed the painter’s soul for more than 20 years in the Xinjiang border and traveled throughout the motherland. In addition to creating solo exhibitions with Da Zuoguo, he is inspired by the essence of world painting art. Going deep into the origin of painting art, to understand a constantly changing entity, has achieved the painter's unique sense of landscape. In the contemporary painting world where masters are like forests and newcomers are coming forth in large numbers, he has broken out of the cage with his heavy themes, profound meanings, and majestic aura, and has made himself in the painting world with a brand-new look and unique style. He has paid hard work. He is an honest, confident and hardworking artist who understands that there is still a long way to go. I believe that he will continue to break through himself, break through his predecessors, and continuously achieve new artistic achievements in his future artistic journey.
Art Chronology
In 2005, it was nominated by the China Art News as "The West Wind is vast, and there are hundreds of traditional Chinese paintings in the five northwestern provinces."
In 2007, the China Calligraphy and Painting News awarded the "Lifetime Art Achievement Award of 50 Famous Painters in the National Painting and Calligraphy Circle."
In 2006, he won the "World Chinese Artist Outstanding Art Achievement Award."
In 2008, he was awarded the title of "Outstanding Painter in the Thirty Years of Reform and Opening-up" in the National Committee of the Chinese People's Political Consultative Conference Auditorium.
2010 China Federation of Literary and Art Circles was rated as "200 Chinese Landscape Paintings" and "99 Top 100 Chinese Painters".
In 2012, the "Outstanding Achievement Award in Literature and Art" was awarded by the China Federation of Literary and Art Foundation of China.
In 2013, he was named "the most innovative Chinese painting artist in the country" and "15 calligraphers among contemporary Chinese painters". In 2016, it was named "the 30 most contemporary Chinese painters with the most academic value and the potential for market collection appreciation."
His works have won the "United Nations International Peace Year Art Award", "20th Century International Art Professor Special Gold Award", "Asian Chinese Painting Tour Exhibition Gold Award", "2008 Harmonious China Welcomes the Olympics National Art Exhibition Gold Award", "Xi'an World Expo National Art Exhibition Gold Award" , "Contemporary International Ink Painting Exhibition Salon Award", "The 35th New York International Art Fair International Gold Award" and "Sino-US Cultural Exchange Envoy", "Sino-Indian Cultural and Art Envoy", "Sino-Russian Cultural and Art Exchange Ambassador" and other titles . Mr. Mao Xuefeng was invited to give speeches and academic reports in many universities at home and abroad.
In 2008, he was invited to give a speech on "Innovation is the Climbing Ladder" in the Centennial Lecture Hall of Peking University;
In 2013, he was invited by the University of Marrietta in the United States to hold a solo exhibition and gave lectures on "Reading America" and "The Kiss of Chinese Ink Painting and Western Colors" to teachers and students;
In 2014, he was invited by Lanzhou University to give lectures on "The Creation and Development of Heavy Color Landscape Painting" and "My Art Life" on November 10;
In 2016, he was invited to give a speech on "A Long Journey of the Silk Road" at the invitation of Shirda University in New Delhi, India. Mr. Mao Xuefeng has served as the academic host of the nomination activities of Chinese innovative artists for many times. He served as the first dean of the Xinjiang Autonomous Region Painting and Calligraphy Research Institute, and the deputy director of the National Contemporary Landscape Painting Exhibition Organizing Committee.
Published works
"Chinese Art Yearbook", "Chinese Art Family Name Dictionary", "Chinese Encyclopedia•Xinjiang Volume", "Lintao County Chronicles", "Who's Who in the World in America" and other dictionaries. "Fine Arts", "Jiangsu Pictorial", "Chinese Painting", "Art Observation", "Books and Paintings", "Artist Newsletter", "Chinese Calligraphy and Painting News", "Art News", "People's Daily", "Guangming Daily" ", Xinhua News Agency, "European Times", "Macau Daily", "New York Times", "China Painting and Calligraphy", "China Art News", "Global Times", "Chinese Culture News", "Chinese Painter", CCTV Many other media have special reports on his artistic achievements. His works have been selected by Qi Baishi Art Museum, Shanghai Museum, Hong Kong Art Center, Dunhuang Museum, Tokyo Art Museum, Japan, New York University, Taiwan Straits Foundation, Repin Academy of Fine Arts, Russia, Shirda University, India, Louvre Museum in France, and the United States. More than 30 museums, art galleries at home and abroad, including the University Museum of Marière, and collections of many national leaders. The National Cultural Relics Publishing House publishes "Mao Xuefeng Painting and Calligraphy Collection", "Mao Xuefeng Painting Collection" (Da Hongpao), "Mao Xuefeng Calligraphy Collection", "Mao Xuefeng Heavy Color Landscape Painting Collection", and "Mao Xuefeng Art Critic Collection".
Appreciation of Mr. Mao Xuefeng's Works
