Chao Hai s growth process, Chao Hai s character profile

Chao Hai, Han nationality, was born in Xingping, Shaanxi Province in May 1955. He is a member of the Chinese Artists Association. In 1977, he was admitted to the Chinese Painting Department of Xi'an Academy of Fine Arts, graduated in the spring of 1982 and stayed on to teach, and has been a visiting scholar at Chinese University of Hong Kong.

Since 1998, he has been invited to perform 12 large-scale solo exhibitions in important art galleries and museums. His works have been collected by the National Art Museum of China, Shanghai Art Museum, Zhejiang Provincial Museum, Palace Museum, Hong Kong Museum of Art, Guangdong Museum of Art, Jiangsu Art Museum, Shenzhen Art Museum, Shaanxi Provincial Museum of Fine Arts, etc. 1. In addition, there are also Chinese artists and celebrities of the same name such as the host painter of the "Jiangshan Xing" painter group.

Chao Hai, born in Xingping, Shaanxi Province in May 1955, was admitted to the Chinese Painting Department of Xi'an Academy of Fine Arts in 1977, graduated in 1982, and has been a visiting scholar at Chinese University of Hong Kong. He is a member of the Chinese Artists Association.

Since 1998, he has been invited to tour major art galleries and museums for 12 large-scale solo exhibitions. His works have been collected by the National Art Museum of China, the Palace Museum, the Hong Kong Museum of Art, the Zhejiang Provincial Museum, and art museums in Shanghai, Guangdong, Jiangsu, and Shenzhen.

The modern ink paintings of the famous painter Chao Hai have received great influence and high praise at home and abroad. Chao Hai has held 12 solo exhibitions in Hong Kong and mainland China, and participated in a variety of important art exhibitions at home and abroad, and 19 of his works have been collected by the Hong Kong Museum of Art, National Art Museum of China, Zhejiang Provincial Museum, Guangdong Museum of Art, Jiangsu Art Museum, etc., and are regarded by critics as the most valuable and academic representative of contemporary Chinese ink painting. Art critics have praised Chao Hai as an ink painter with a distinctive personality and unique artistic style in the contemporary Chinese painting world, and the oriental ink painting spirit he sculpts in his works is very shocking.

The first impact of Chao Hai's modern ink paintings, especially those of rural figure paintings and animal paintings represented by cows (which are actually extensions of figure paintings), is a huge sense of linguistic strangeness—the various routines, conventions, and paradigms that are constantly repeated in the traditional Chinese painting language system have almost disappeared here and have returned to the void and entered a state of simple and unified disorder: there is a pen without words, there is ink without words, and the original ink language is used as a chaotic wandering, constituting an intriguing and novel context. He even completely abandoned the use of "line" (including thick brushstrokes and large lines), and rarely colored, such as dry, wet, thick, light, slight, rubbing, rubbing, dotting, dyeing, outlining, strangle, painting, plastering, dotting, line, surface, black, white and gray, and other conventional contrasting relationships, all weakened.

Use the pen to go out of the trance, subtle and peaceful; Use ink to see the rhyme, and the rhyme is long. The overall sense of language, seeing Shen Xiong in the subtle, showing grandeur from the illusion, moist and bone, seeing the real with the virtual, thick, but also ethereal, giving people the visual experience of making fire in the ice and containing ice in the fire. At the same time, because its language has extremely profound and pure technical content, and has a unique charm that cannot be imitated and reproduced, it is a historical breakthrough that is full of originality and effectively rewrites the genealogy of Chinese ink language.

Obviously, the creation of this context shows the artist's long-honed ability of inclusiveness and integration, which not only avoids the local imitation of Western painting language, but also transcends the simple reconstruction of traditional vocabulary, which is the ultimate embodiment of the creator's spirit of independent exploration, so as to expand the language function that has been ignored or obscured by Chinese and Western traditions, and use the way of our Chinese painting to speak about the new consciousness of figure painting, and to reveal the influence of world consciousness in our existence. In this way, it can truly express our Chinese's own sense of modernity, which is a difficult trek from the accumulation of survival experience to the breakthrough of language experience, and its artistic stance and exploration direction have strong and transcendent vitality.

Chao Hai, born in 1961, entered the Chinese Painting Department of ** Academy of Fine Arts in 1984. He is a member of the Beijing Artists Association, a member of the China Artists Association, and the presiding painter of the Chinese Artists "Jiangshan Xing" Painter Group. In 2003, he graduated from the third famous class of the Chinese Academy of Arts, and in 2004, he joined the research group of the Longrui Studio of the Chinese Academy of Chinese Painting.

Chao Hai's ink paintings fill the picture with the images of peasants, cows, horses, and trees in the northwest like a majestic mountain, and the dynamic form formed by the accumulation and superposition of brushwork like clouds renders the heroism of seeking the roots of history and culture into a desolate feeling. In his works, the philosophical proposition of "ten thousand in one life, ten thousand in one" of national culture is intertwined, which reflects his spirit of tracing the origin of culture based on the basics.

Chao Hai's widely loved theme of the crane spirit picture, with ink brushwork, dignified, smudged ......Or a crane looks back proudly, or a single crane looks at the shadow, or a crane and a spirit (Ganoderma lucidum) complement each other, giving the crane spirit, a traditional theme of Chinese painting, a new vitality of the times and a high degree of art

It should be said that Chao Hai's ink painting, which is called vernacular expressionism, represents the spiritual orientation of some people. It is a kind of ink painting that has a huge revolutionary movement in the ink painting world and a kind of ink that intervenes in modern life in a relatively superficial form, and to a certain extent, it is an emotional cleansing. This may coincide with the trend of vernacular painting that emerged in the early 20th century, which was a counterpoint to political realism and called for the return of naturalism and humanism. What we are suffering from today is the spiritual poverty brought about by the information age.

Although the premise is different, the pointing is somewhat similar. In an idealistic age of the sunset, it may seem a little incongruous to exaggerate this heroism, but it is precisely this dissonance that brings a clear sound that can be reverie to people who revel in modern civilization.