日期:2024-05-28 09:02:56  点击:
来源:邯郸文化网  作者:苗君

  Bai Yunxiang, a native of Guantao, Hebei, was born in the year of Bing Shen (1956). He graduated from Hebei Normal University's Art Department in the year of Ren Xu, stayed on to teach, and is now the director of the Art Research Institute, a professor, and a master's tutor. He enjoys a special allowance from the State Council.



  Bai's landscape paintings are innovative and experimental, breaking away from traditional patterns. He uses coarse brushes and scorched ink, dragging horizontally and vertically, blending light brown and green with ink washes to create a thick, natural look, revealing the grandeur of his inner landscape. He draws on the strengths of various schools to create his own unique style. His brushwork is vigorous, ink colors are restrained, lines are skillfully matched, and light colors embellish the work, making the ink shine. Bai favors full compositions, filling the canvas with energy, depicting the body and surface of the mountains, revealing their cracks and fissures, narrating their ancient history, and recording the fate of the nation. Solid mountains, flowing mountain air, drifting clouds, and standing trees, occasionally with dwellings, present a lively scene, the habitat of a thriving nation. Such landscapes, with their depicted hills and valleys, reflect the eternal heart of humanity; the brush and ink carry the essence of ancient and modern wisdom. Bai Yunxiang is truly a remarkable talent in the art world.

  Bai Yunxiang resides at the foot of the Taihang Mountains, often painting this very range. His style is heavy, somber, simple, and majestic. The art community believes his work is greatly influenced by Guan Tong of the Five Dynasties and Fan Kuan of the Northern Song. Jing Hao, a pioneer of ink painting theory, also significantly impacted Bai's work. During his university years, Bai studied Jing Hao's "Notes on Brushwork," which outlines the principles of "truth-seeking" and the "six essentials," explaining the essence of shape, quality, spirit, and energy in landscapes. In his early studies, Bai focused on mastering brush and ink, first grasping the shape and quality of objects, then exploring the subtleties of spirit and energy. His teacher, Li Mingjiu, a young and talented artist, demonstrated traditional techniques infused with modern ideas. Through this, Bai realized the principle of "brush and ink should follow the times," dedicating himself to the lifelong pursuit of ink landscapes.

  Upon graduation, Bai Yunxiang had already mastered brush and ink techniques and boldly participated in national exhibitions. His works "Copper Walls and Iron Walls" and "The Heroic Song of Taihang" were selected and awarded, greatly boosting his confidence. Annually, he led students to sketch in the Taihang Mountains, deepening his understanding of the range but growing increasingly dissatisfied with his creations. He experimented with various techniques, often sighing, pondering how to express the accumulated feelings within his heart through painting. After much contemplation, he drew inspiration from Jing Hao's theories, making significant breakthroughs in his brush and ink techniques.






  Bai Yunxiang prefers full compositions, skillfully integrating outlining, texture strokes, rubbing, washing, and dotting. He uses the brush in various ways—center, side, dragging, and reverse—creating harmony between color and ink, with each enhancing the other. He is economical with ink, rarely washing his brush, making the most of the ink on it, avoiding wasted strokes. Each stroke captures the structure, form, light and shadow, lines, and brushwork of the mountains, with the ink's dryness and wetness, density, and lightness all perfectly balanced. He rarely plans compositions beforehand, relying on his deep understanding of the subjects to guide his spontaneous and powerful brushwork.

  The autumnal Taihang Mountains moved Bai Yunxiang deeply. The rugged rocks, the crimson and yellow forests, the cold waters, and the lean mountains, with the autumn wind rustling, provided a fresh perspective. The black rocks at the mountain tops pointed to the sky, and the long slopes were covered with withered grass. The wild wind swept over the grass tips, sometimes like a thousand galloping horses, sometimes as fine as drawn silk. Bai felt the echoes of history and the timeless resonance, like mighty waves stirring his heart. Compared to the steep peaks, the autumn slopes, though less dramatic, were more substantial, serene, and peaceful, conveying a profound stillness and inner strength.

  Bai Yunxiang innovatively developed a unique brush and ink language, consciously reducing the use of lines, breaking the boundaries of outlines and texture strokes, using side brushes and layered ink to achieve a deep, rich effect. He focused on the sense of mass and volume, faithfully representing the surface texture and form of the mountains. While his brush and ink language has a modern sensibility, it is deeply rooted in tradition. His artistic practice gives a contemporary interpretation to Shi Tao's principle that "brush and ink should follow the times," achieving unity in complexity, balance in movement, and harmony in variation. This harmony embodies the essence of Eastern culture.

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