More than six hundred years ago, Huang Gongwang lived in seclusion here, and drew a painting of "Fuchun Mountain Residence";

 

 

 

More than 600 years later, Shi Yongchao, who was born here, buried his heart in the ink in the secluded Zen room.

 

 

 

Shi Yongchao is a national (first) level artist, member of Zhejiang Artists Association, director of Hangzhou Artists Association, vice chairman of Fuyang Artists Association, member of Lu Yanshao Art Research Association of Zhejiang Province, and researcher of Zhejiang Academy of painting.

 

 

 

Today, we have the honor to come to the studio of painter Shi Yongchao.

 

 

 

Sparse forest slope bank, shallow water remote Cen;

 

 

 

Sitting in the maple forest, drinking and drinking;

 

 

 

The heart of surging tide, the feeling outside things.

 

 

 

The life of leisure and seclusion is perfectly interpreted here. It is also the indifference to things that makes Shi Yongchao feel desolate in his paintings.

 

 

 

In the corner of the study, one question and one answer, listening to another art story.

 

 

 

J: Jinyi Society

 

 

 

S: Shi Yongchao

 

 

 

The heart of surging tide

 

 

 

J: when did you start painting? Why did you choose ink as the medium of painting?

 

 

 

S: I'm from Fuyang. Fuyang is also Huang Gongwang's seclusion, so my hometown more or less gives me some enlightenment in the sense of humanity, which is also one of the main reasons why I choose to draw traditional Chinese painting.

 

 

 

Moreover, I like to use a brush to paint and write on paper since I was young. At the age of 16, I began to learn the skills of traditional Chinese painting. A year later, I went to Hangzhou art school to study. At that time, the reform and opening-up began. We were the first group to learn painting there. In order to refine the technique of brush and ink, when I was in my 20s, I worshipped Mr. Sun Yong, President of Zhejiang Academy of painting.

 

 

 

J: do you have an agent? How do you deal with the relationship with the market?

 

 

 

S: there was a gallery that wanted to sign a contract with me before, but because of my loose and free personality, I declined after careful consideration. I will keep a certain distance from the market. It is excellent to have collectors or painting lovers like my works, but I will not deliberately change my style to cater to the preferences of different collectors.

 

 

 

Inherit classics and grasp the times

 

 

 

J: there are many schools in the history of Chinese traditional painting, such as Dai Jin's and Wu Wei's School of Zhejiang, Shen Zhou's and Wen Zhengming's School of Wu, and Dong Qichang's School of Songjiang. In your opinion, are the forms of expression of Chinese traditional painting influenced by the region?

 

 

 

S: the regional impact is certain. First of all, the human nature of each region is different; second is the relationship between teachers and students; third is the style orientation of friends around. For example, Zhejiang School mainly focuses on light and elegant ink color and pays attention to tradition; Shanghai school was influenced by Western painting in the late Qing Dynasty, and its colors were more gorgeous and heavy.

 

 

 

J: I see that your previous works are Xiaoshu and Gaogu, while the recent color design series tend to Tang style. The picture emphasizes the relationship between space and architecture. Why does this change?

 

 

 

S: Chinese painting emphasizes the vitality of the inner universe rather than the sight. It is an ideal landscape. Xiaoshu Gaogu is a realm, and it is also a realm of prudence and simplicity. The key is to express the things in the heart in a proper form.

 

 

 

My recent color works are also an attempt to color. Today's era is prosperous, like the Tang Dynasty, so I can draw some bright things, which is also a grasp of modern elements.

 

 

 

Not expect to succeed, but to be suitable

 

 

 

J: you are a member of the Lu Yanshao Art Research Association of Zhejiang Province. Will Mr. Lu Yanshao's works bring you some artistic inspiration?

 

 

 

S: that's for sure. When Mr. Sun Yong was studying in the landscape painting research class of the Department of traditional Chinese painting of Zhejiang Academy of fine arts, he learned from Mr. Lu Yanshao, and Mr. Sun Yong was my teacher, so this kind of teacher relationship would influence my creation imperceptibly.

 

 

 

Lu Yanshao is a rare master of landscape painting in Contemporary Chinese painting. He has profound academic accomplishment in poetry, calligraphy, painting theory and other aspects. I mainly study his artistic ideas and painting spirit. The first is to go deep into the tradition, master the techniques of writing and ink, and then to sketch, to create what you want to express.

 

 

 

J: most of your works show the images of sparse forest, remote water and seclusion. How does this relate to your attitude towards art?

 

 

 

S: for me, painting is not only the escape and recreation of time and space and mind, but also a carrier of spiritual support, so the content of painting will be correspondingly quiet and desolate. Express yourself, not expect to succeed, but for the right, talk to the quick ear!

 

 

 

J: what is your artistic ideal? What has been supporting you on the road of creation until today?

 

 

 

S: first of all, refine and improve your own brush and ink language, and adhere to achieve better results; second, adhere to your own creative concept, not affected by the prosperity of the world.