Text | Zhan Enhua
Liu Chengyin is a maverick, and his paintings are certainly not the same as others. Bearing the printing and painting, entering the tradition first, obtaining its essence. Taking the Song and Yuan dynasties as the sect, collecting Shi Tao, Storing Gong Xian, and learning from other families, his Chinese painting kung fu can be described as pure fire. Based on tradition and focusing on innovation, he often lets his pen and ink swim between tradition and fashion, making his paintings look like a modern beautiful woman dressed in ancient makeup.
He loves natural hills and valleys, and his footprints are all over the famous mountains and rivers. He moves natural landscapes into his own heart. The shape of the pen and ink are all unique in the chest hills. Alpine flowing water, fresh wind and long moon, layers of mountains, dead trees and grass houses, under the brushstrokes, there seems to be a natural sound. It is the artistic realm, the painting realm, the fairyland, and the high realm of the Buddha who has no obstacles. Humanity is: to print and write paintings, as if to write about life.
Innovation is always a mission. Western oil painting and Chinese painting, these two very different "discourses", are presented in the printed paintings at the same time. There is no collision, no conflict, some are just a blend of water and milk, giving people the feeling of not only being unique, but also a new generation of painting styles. This is the printing, and the "this one" in the painting world is always different.
A solo exhibition of Liu Chengyin's paintings will be held at the Pingyin County Library from the eighth to the sixteenth day of the first lunar month in 2022. The exhibition is divided into three parts:
Part I: Lingu Landscape, Showing Traditional Kung Fu.
The second part: The division of natural hills and valleys, writing their own landscapes.
The third part: the integration of The East and the West, showing a unique style.
His "Taihang Autumn Song Series" is a printed splash of ink landscape, his works are majestic, colorful, tension and inner diving, full of charm, both the magnificence of Western oil painting, but also the fun of Chinese national painting. Great opening and great cooperation, great destruction, great red and purple, the "Liu Family Landscape" is fully displayed to the fullest.
Reading the painting of the undertaker, just like the person who reads the undertaker, is calm, atmospheric, and full of the arrogance of daring to lead the way and give up who I am.
(The first from the right is the author of this article)
About author:Zhan Enhua is a member of Shandong Writers Association. He has published a number of works, including the collection of essays "The Watch of the Spiritual Homeland", "The Long Talk of Caolu", and "The Feast of Life"; the poetry collection "Pingyin Yinzan"; the long-form reportage "The Earth as a Guide", "The Witness of Qiangshan Mountain", and "Casting Dreams"; the reportage collection "Questioning the Earth"; and the long novel "The Old Affairs of Meizhuang". The novel "The Past Affair of Meizhuang" won the 8th "Literary and Art Quality Project" Award of Jinan City and the 9th "Literature and Art Quality Project" Award of Shandong Province. Long-form reportage "The Land is a Mirror" (co-authored) Shandong Province's Ninth "Literary and Art Excellence Project" Award.
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