Zhang Bu is a painter with innovative spirit and unique artistic style. His landscape paintings are colorful praises and praises to nature. Full of poetic passion and ideal implication. His description and expression of nature is obviously divorced from the traditional landscape painting model. He replaced the imitation of traditional text with realistic image retrieval; We don't play with pen and ink, but express our passion directly. His landscape works, whether artistic conception or expression. They all show obvious pioneering and creativity.
Zhang Bu's landscape paintings are full of romance. The landscape images in his works are full of poetic aesthetic ideals. Such as the glory of "Golden South Henan"; Deep silence under Shennongjia; The richness and brilliance of Dai village; The freshness and elegance of Banna bamboo dishes. In his works, the painter combines his passion for nature with his inner aesthetic ideal, poeticizes it with artistic charm, praises natural mountains and rivers with romantic feelings, and expresses his spiritual yearning for the ideal home.
On the premise of expressing passion and poetic ideal, Zhang Bu strives for innovation in landscape painting creation. His choice of painting language and the construction of expression form have obviously broken through the shackles of traditional models. Due to his own aesthetic nature and the influence of modern cultural and artistic context, Zhang Bu abandoned the aesthetic concept and formal norms of traditional Chinese painting based on ink and wash. His landscape paintings emphasize the expression of color on the dignified ink base, forming a distinctive style with rich and beautiful but vigorous performance characteristics. Different from many painters who pay attention to color in their landscape paintings in order to blend Chinese and Western styles, Zhang Bu's sensitivity and attention to color stems from his aesthetic nature of growing up in the countryside and being influenced by folk art in his early years. Most of the colors used in his landscape paintings are pure and saturated multicolored primary colors, which are simple, general and lively. His color expression pays attention to images, is full of emotion and vividness, and has symbolic and decorative functions. This feature is consistent with the aesthetic features of traditional folk art in China. Shows the origin of Zhang Bu's artistic creation.
Zhang Bu's landscape paintings, with their distinctive pen and ink colors, express his aesthetic concept of respecting nature and loving life, as well as his artistic purport of praising life and pursuing ideals. His romantic and poetic landscape works not only create an ideal home, but also show the spiritual pursuit and artistic quality of a contemporary China painter who advocates innovation. As early as the early 1980s, Zhang Bu designed three projects for his artistic career: one is to learn the essence of Mr. Li Keran's landscape painting art, inherit it, and consolidate the foundation of pen and ink; Secondly, it strengthened the broad, bold, simple and rigorous painting style of Li School, absorbed the essence of western painting extensively and created its own unique artistic style; The third is to go abroad and become an international painter, so that Chinese painting can be carried forward on the world art stage.
Zhang Bu believes that the works of an accomplished artist should be recognized not only by China people, but also by people all over the world. A true artist should be stateless, and a truly excellent painter should be an international painter. In recent years, Zhang Bu has made unremitting efforts to make Chinese painting art go to the world and integrate into the world art tide more widely.
1982, appointed by the Ministry of Culture, participated in the visit of Romanian artists delegation. Before returning home, he held a sketch exhibition in the exhibition hall of China Embassy in Romania, which was welcomed and praised by Chinese and Romanian friends. A Romanian artist said humorously: God once passed through Romania and left the best things in his pocket here. I never found them, and now I want you to get them back.
1984 held a solo exhibition at the Central Art Museum in Ginza, Tokyo, which set off a big cloth fever. On the first day of the exhibition, Mr. Song, China's ambassador to Japan, attended the opening ceremony and humorously said to Zhang Bu: Today, there was an earthquake in Japan. Zhang Bu was stupefied, and Song smiled humorously: You don't know, the source is here. Mr. Cai Zimin, Cultural Counselor, delivered a speech on behalf of China Municipal Government, and Kayama Matazo, a famous Japanese painter, delivered a speech congratulating the exhibition on its success. The opening ceremony was broadcast live by NHK National Broadcasting Association, Japan's largest TV center, and an exclusive interview with Mr. Zhang Bu hosted by a famous Japanese actor was broadcast in prime time for 20 minutes. The Daily News and other media quickly published commentary articles by famous Japanese art critics. Later, the exhibition went south through Kyoto and Osaka, and finally arrived in Nagasaki, where only 40 of the 65,438+000 paintings were not sold. Some collectors have repeatedly asked Zhang Bu, who has returned to Beijing, to exhibit more works. On one occasion, when Zhang Bu exhibited at the Los Angeles Art Museum, some westerners mistook Chinese paintings for Japanese works. When Zhang Bu explained it to them, someone said, You China people can't draw such a picture. This incident deeply hurt Zhang Bu. Carry forward the traditional art of China, push the art of Chinese painting to the international level, and let the people of the world know about Chinese painting. This is one of the reasons why 1992 resolutely went abroad to settle in Canada at the age of 58. After nearly two years of intense preparation, at the invitation of 1995 National Gallery of Victoria City, Zhang Bu held a two-month large-scale solo art exhibition, which achieved unprecedented success. Dr. Mai, a Canadian art critic, wrote in his comments: Zhang Bu's works are as groundbreaking as those of French Gauguin and Dutch Van Gogh in the mid-9th century. Zhang Bu's current achievements are enough to become one of the greatest painters today. In the past 10 years, he held exhibitions and lectures not only in North America, but also in Asia and Europe. His works have entered famous galleries in various countries, and have been exhibited and collected by some national art galleries and museums. At present, more than one personal album 10 has been published, and more than 20 kinds of high imitation Chinese paintings as big as the original ones have been printed in Japan, which have been signed for sale and released to the public. At the end of April, 2005, Mr Zhang Bu made a special trip from Canada to his hometown of Tangshan. During the visit, he gave a report to the people in his hometown on the topic of "My Art Road". I am a painter from China and a native of Jidong. Tangshan is my birthplace and the place where I grew up. My achievements belong to the people of Tangshan, and I am willing to contribute to the development of cultural undertakings and the rapid development of fine arts in my hometown. From the mid-1980s, he became famous, and began a new attempt, with new changes in the theme, theme, realm and style. 1984 The Autumn of Shennongjia was selected for the 6th National Art Exhibition, and it was outstanding in the large-scale group painting Silk Road created by 1986. These works include Song of Life, Soul of Tianshan Mountain, Paradise on a White Horse, Flame Mountain and Sailimu Lake. Get rid of the reappearance of shallow natural features such as lakes and rivers, hills and bamboo buildings, and pay more attention to the refraction of inner world and the expression of potential thoughts from life, history and society. However, works in the late 1980s, such as Bright December, Midnight Pear Blossom, Last Autumn, River Robbery, etc. , get rid of the shackles of habit, from the realistic description of the external world and emphasize the color sense of objects, in order to pursue a new realm that is more natural and free in feelings and thoughts, more abstract and exaggerated, and more free and unrestrained.