Now he is a painter of the Painting and Calligraphy Institute directly under China. He also has in-depth research on Confucianism, Buddhism and Taoism, and is willing to do social charity. Now living in Beijing, he is a powerful painter.
Interpretation of Dunhuang murals from ancient dreams
Dunhuang Grottoes are the largest and richest among the top ten famous grottoes in China. Including Mogao Grottoes, Yulin Grottoes and the West Thousand Buddha Cave. The Mogao Grottoes are the largest and richest in content. There are still 492 well-preserved caves in Dunhuang Grottoes, with more than 2,000 statues and more than 45,000 square meters of murals. If these murals are connected according to their respective heights, a 30-kilometer gallery can be formed.
The existing Dunhuang murals include exquisite murals as early as the 4th century A.D. (Northern Wei Dynasty) to the 4th century A.D.14th century A.D. (Yuan Dynasty), a batch of mural remnants from the 5th century A.D.15th century (Ming Dynasty) to the 9th century A.D.19th century (Qing Dynasty), and the mural remains of national treasures plundered by foreign countries due to weak national strength and frequent wars. According to relevant documents, in the Eastern Jin Dynasty 16 period in 336 AD, a monk who made a musical statue passed by and suddenly saw the golden light. If it looks like a thousand Buddha statues, he wants to build a cave here to worship the Buddha statues. Later, Zen master Faliang also came here and began to build on the edge of Lezun. Since then, monks and believers have successively opened holes and continued. By the Tang Dynasty, more than 1000 Buddhist temples and niches had been built. The Mogao Grottoes, excavated and built by artists and monks of past dynasties, have created unprecedented first-class Buddhist art, and its exquisite statues and paintings are breathtaking, which is a monument in the history of Buddhist culture and art communication.
Dunhuang is a Buddhist holy land, and Dunhuang art belongs to religious art, which is an artistic expression refracted or reflected by human society. As can be seen from Dunhuang murals, religious teachings have two spiritual themes: subjective (religious spirit) and objective (real human society). Religious spirit is enriched and embodied by real life, so the image artistic conception in religion is taken from real life. Religious painting is realized by the painter's knowledge and understanding of religion in painting, and it is also a religion that condenses and embodies religious spirit on the cave wall by using the painter's life, feelings, skills and ingenuity. The contents of Dunhuang murals include:
1. Buddha painting. Buddha, Guanyin Bodhisattva, Manjusri Pu Xian and other Buddha statues, as well as the main Buddha of Fatu and Pure Land, do not have too many plots, and the pictures are mostly scenes of various Buddha statues and rituals. The French lineup is majestic, for people to admire, worship and worship.
2. Story painting. (1) Buddhist stories are stories about the Buddha's own experience, as well as the experiences of becoming a Buddha and past lives. For example, Nine-colored Deer, Demon Change and Feed the Tiger are all stories about Prince Sa's former life lamenting that he had given his life to love others, punishing evil and promoting good, and educating all beings. (2) The marriage story is about the emotional life of young men and women who believe in Buddhism. Such as "The Suicide of a Bhikuni". (3) Social life stories, represented by biographical historical story paintings. Such as "Zhang's Travel with the Army" and "Shafting Map".
3. Fairy tales of China. Such as the story of Fuxi Nuwa in Taoism, the story of Dong and the Queen Mother of the West, the image and plot stories of combining Buddhism and Taoism such as Qinglong and Baihu. It is displayed in caves such as 285 holes and 239 holes.
4. After the change. According to a Buddhist scripture, create a mural, such as "Beijing Jing Bian Tu" and "Infinite Life Bian Tu".
5. Portrait of the provider. Those who invest in opening holes and carving Buddha statues are called donors. They often paint the portraits of donors as murals, called donors or bodhisattvas, and also called merit statues, such as the Xixia King.
6. Flying maids, musicians and dancers. Tian Fei is one of the gods of the eight sects of Buddhism. According to the Buddhist scriptures, they live in the beautiful Baoshan, specializing in picking flowers and dew, and letting flowers bloom. They appeared in the sky, just as the Buddhist said the solemn moment when the drums were ringing and the smallpox was flying. Flying, as an artistic image, appeared in China's ancient paintings, which should be said to be an outstanding creation. They fly not by wings, but by a few ribbons fluttering in the breeze. Whether it is flat, oblique, rising or falling, it is like swimming in the water. Birds fly in the air and look so comfortable, light and wonderful. Dunhuang murals are the most concentrated place in the sky. Among the 492 caves in Mogao Grottoes, there are more than 370 caves painted with flying sky and more than 4,500 bodies. These flying murals are mostly painted in caves, which play a decorative role together with the murals of the whole cave, and also enrich the artistic conception of "the sky is flying and the walls are full of wind". Tian Fei in Cave 32 1 and Cave 320 in Dunhuang are the most perfect representatives of the image of Tianfei in Dunhuang murals. Tian Fei has become synonymous with Dunhuang murals abroad.
In Dunhuang murals, the talents, wisdom, artistic thinking, beliefs and skills of painters for more than ten centuries have made their works brew, accumulate and cultivate the blood and spirit of Dunhuang culture. This historical corridor, which lasted for more than ten centuries, clearly recorded the history and painting process of China. There are many western customs in the murals in the Northern Wei Dynasty, and the shading method of the caves in the Sixteen Kingdoms comes from the western Indian style, that is, the "concave-convex method". The round face is smudged, with prominent traces, and then has a long face, which is the China modeling feature of Emperor Xiaowen of the Northern Wei Dynasty in the mainland. Because the Sui Dynasty was a period of frequent exchanges between the western regions and the Central Plains, they were mixed together. Therefore, this model has obvious characteristics of the combination of Central Plains painting and western regions dyeing, such as the "three white faces" painting of nose, chin and white eyes. The "pen-free shape" in the Tang Dynasty is rich, heavy and moderate in proportion, which is in sharp contrast with the fashion of "showing bones and clearing faces" in the previous generation. There is a saying that "palace dolls are like bodhisattvas, and bodhisattvas are like palace dolls" in the creation of Dunhuang murals in the Tang Dynasty, which shows the trend and pursuit of aesthetic and cultural consciousness of the times. It reached its peak in the middle Tang Dynasty and shone brilliantly. After five generations of precipitation, Dunhuang murals lost their originality, freedom and romance, and began to brew new changes. The painting style of Yuan Dynasty formed the painting skills and rules to enhance the medieval style of China, and the mural style of Ming Dynasty was no longer divided into the Central Plains and remote areas. For example, the tight and flying line drawing of Cave 03 in the Yuan Dynasty is exactly the same as that of the painters of Guanghua and Yongle Palace with colorful mosaic on the Yellow River.
Dunhuang murals are rich in color, gorgeous and mysterious, which belongs to the meticulous and heavy color of hook dyeing method. Mainly based on stone color rendering, thin colors overlap, and finally open the face. This kind of painting makes the picture full, smart and infectious. Tones are mostly white, green, earth red, blue, ochre and other mineral colors. Using these tones to coordinate with each other again, whether it is a grand structure or a tactfully affectionate sketch, it is expressed incisively and vividly.
Dunhuang murals are the result of communication between China and foreign countries (Central Plains) and remote communication (Dunhuang area), and have become an inseparable part of the splendid culture of the Chinese nation. After thousands of years, it has penetrated into philosophy, literature, ethics, education, music, art, architecture, medicine and other fields.
As a way of expression, mural graphics have played a key role in the spread of Buddhist culture, conveying ancient Buddhist belief information between the past and the future. Its transmission is more direct and vivid than words, and it is easy to be understood by all beings.
In society, human beings should interpret Dunhuang murals, because it embodies a noble spirit, that is, equality and compassion. The three fingers of Buddha's right hand in the illustration may be explaining three kinds of compassion to believers and disciples. That is, there is kindness in life, kindness in law and no kindness. Among them, the goodness of law refers to the goodness to the material world arising from the sense of unity of all laws; Seeing all the water is my first step. All wind and fire are my noumenon, which embodies the concept of absolute harmony. This concept is similar to the Confucian concept of "harmony between man and nature" and the Taoist concept of "heaven and earth have the same root with me, and everything is the same with me", and it is the forerunner of modern people's environmental consciousness of "loving the earth means loving themselves". The two fingers under the Buddha's left hand express the unique idea that the external natural environment and human body and mind are isomorphic. "The heart is clean, the soil is clean, and the heart is dirty." The philosophical view reflecting idealism also embodies dialectical thought. If you want to have a pure and pollution-free world, you must first start with ideas and synchronize your mood with the environment, so that you can really lack the ecological environment and human mood.
Lin Qingquan, a young painter, donated books to three schools.
On April 22nd, Lin Qingquan, a young painter from Pingyi, donated his latest works to Pingyi No.1 Middle School, Experimental Middle School and Meng Xing School. This set of China contemporary Lin Qingquan meticulous paintings published by Tianjin People's Fine Arts Publishing House, with exquisite printing and design, can be called Lin Qingquan's masterpiece.
Lin Qingquan loved painting since childhood, and developed in Beijing, mainly based on murals, involving meticulous brushwork, freehand brushwork, calligraphy and Buddhism. He has a special liking for murals, and has done a lot of copying and in-depth research on the murals in Dunhuang, Yongle Palace and fahai temple for more than ten years. His painting skills are solid, the lines of murals are smooth and round, vigorous and powerful, the colors are simple and elegant, the shapes are correct and solemn, and the weather is solemn. Some of his murals have been collected by China Human Rights Foundation, Tianjin People's Fine Arts Publishing House, Japanese Embassy in China and other social groups and individuals, and won the love of all walks of life.
It is reported that Lin Qingquan donated 100 copies to schools this time, with a total value of nearly 10000 yuan.
Lin Qingquan's kindness has been praised by teachers and students. He said that the purpose of donating mural collections to schools is to provide materials for mural appreciation in school art education and cultivate students' aesthetic interest and ability in murals.
Tangmeishan