Wang Cheng / Text
Vice President
of Renmin University of China Painting Academy, Director of Chinese Artists
Association, Director of Chinese Painting Society, Chinese Artists Association Landscape
Painting Society Deputy Secretary General
Art
profile
Pan Jianbo
Pan Jianbo, was born
in 1965, a native of Yantai Shandong, a national artist. Now he is a member of Chinese
Artists Association, full-time painter and director of the Exhibition
Department of Renmin University of China Painting Academy; vice president of
the People’s Artists Association, a member of the presidium of Yantai Artists
Association, vice president of Yantai Modern Art Academy.
2011, “the Past
Events Cross over the Millennium" was selected into the third Jiangnan Cultural Festival - Crazy Love – Mark
Huang Gongwang Landscape Exhibition; 2011 "Daye Expanse” was selected into
“Brilliant Pudong” National Chinese Painting Exhibition
2011 "the Pole
of the Plateau" was selected into the third China (Xiangtan) - Qi Baishi International
Cultural and Art Festival, the National Chinese Painting Exhibition.
2009, "Disaster
Relief" was selected into "Thanksgiving, Reconstruction -
Commemorating the 5.12 Great Earthquake in Wenchuan 1st Anniversary",
National Fine Art Exhibition; 2009 "Wan He Ben Chi" was selected into
the seventh National Sports Fine Arts Exhibition.
Many of her works published in the "Rongbaozhai",
“China Art Weekly" and other
authoritative dictionaries and newspapers and magazines, and were collected by several
collections of international institutions and social groups, art galleries, and
celebrities.
Pan Jianbo |
"Singing Spring in Xishan" | 68x136cm | freehand landscape | 2013
"On the strange theory of the
environment, painting is not as good as mountains and rivers;
with the subtlety of brush and ink, mountains
and rivers are better than paintings." (Ming Dynasty Dong Qichang “Painting
Purport”) Because of Chinese painting traditional accumulation, characteristics
of materials and tools, caused the creation main body (painter) consciously
grasp the use of ink and the outside environment differences, this difference
is not only representation and figurative and abstract, the difference is the
heart image. That is, the difference between the individual spirit and nature,
both cognitive differences, emotional differences. How to achieve unity and
achieve an integral whole is a realistic problem in the
creation of Chinese painting.
Pan Jianbo |
Verdant hills in Xishan | 68x136cm | freehand landscape | 2014
Obviously,
Pan Jianbo has basically caught the regular language in the practice of Chinese
painting and calligraphy. The reason for this is based on two years to get
along with him and the art of understanding in the Renmin University of China.
Pan Jianbo |
Saint Lotus mountain | 46x68cm | freehand landscape |
2014
Jian Bo on the subjective spirit of
absolute pursuit in Chinese painting, to a certain extent,
the cause for specific images form completely out of shape and bound to
absolute spiritual experience, he was alone on Chinese painting schema and
symbols for individual refining, and strive to achieve a subjective desire and
spiritual experience, it can be said in China painting creation, the spirit is
the dominant. The main purpose of Jianbo’s painting is to realize the spirit of
"I".
Pan Jianbo |
"Smoke building in Xishan" | 97x180cm | freehand landscape | 2013
However, we cannot deny that the
realization of this absolute pursuit is based on the integration of the subject
and the object as precondition, and under the domination of the subjective
spirit to achieve the whole entity. "But between your people can get the
respect, without respect, give up by self; painting without change, bind
yourself." (Shi Tao painting quotations•chapter
fourth), so a scholar must know humanity first. The benevolent,
complete unity with objects...... Know this, with sincerity and attentiveness,
not the examination, not to poor cable...... Meng Zi said: "all things are
prepared for me, and must be reversed and honest, but for great joy."
"Big" and "change", but that the rationale and
self，those
who do not change, such as human manipulate scale, cannot help using
it. If as for the painter, then he is the yardstick,
the yardstick is self. Yan Zizheng is here, if the change is Zhongni. (see
"Song Yuan learning plan", P541), "the only complete unity with
objects" in order to make the perfect personality to a concept,
contributed to the creation by combining subjective consciousness and nature,
so as to realize the absolute pursuit of the subjective spirit. Therefore, in his
painting process, the observation and exploration of the objective world are
often different from those of the ordinary painters, for the natural object,
the picture sense has always been the first. We can understand the meanings in the works of "Shadows of the
Ancient Trees".
Pan Jianbo | Shadows of the ancient trees | 68x136cm | enjoyable
flowers and birds | 2013
And this is the pursuit of absolute need
"reason" to support, that is to say from the depth of excavation between the objective world and the subjective consciousness of the inner contradictions,
are often submerged by the principle of “reason”, can imagine from the depths
of the human soul to cosmic consciousness and feelings will burst for the
performance of the subjective consciousness, is from the heart of a
perception of life, and this feeling will need to deal with "honesty"
state of mind. Great joy produces great beauty, and great beauty is different
from common beauty. "Heaven and earth have great beauty but never say
anything...... Virtue will be your beauty" (the Moral Sutra). Virtue is
realized by conversion, the extremely ideal is "the rationale and self ", here is "reasonable scale".
Pan Jianbo |
Taihang ancient melodies | 68x136cm | freehand landscape | 2015
The analysis of the role of the object,
which can be analyzed and a bright system, also called rational.
This should be done in the practice of construction. " Tiger Hill Sketch" is out from the previous track, with a unique perspective of
"truth" and "sincerity" to express the state of mind. It
makes the picture not only have the common features of Chinese tradition, but
also play a unique personality. And "Fine Spring High Cited" in the
"should be feeling spirit, spirit over reason" in this respect to
achieve the "spirit" and "theory" of the sentiment, but
also can be said to "create the rationale for the wonderful". The
expression of this piece of work is the "meaning" directly reflects
the intention of the author of a subjective mind, and is an objective state of
quasi transcendental (like, border) superimposed, so its importance is:
"meaning" is the way of the perceptual individual absolute access
road, is limited the individual into the infinite super individual of the
society. In the picture we not only appreciate the text and art China painting
artistic conception creating ingenious, the key is through this piece of work
in the expression of the "Enlightenment" of Zen to experience Chinese
art in addition to grasp the object expressed by the outer and inner spirit of
a unilateral requirements, more important is to emphasize the inner subjective
spirit based on traditional philosophy based on the experience of China. That
is, the mind and culture of man, and the world, an integral whole, and reached
the "true" realm. In the process of seeking truth, conscious words
and expressions are dripping. I think this may be the consistent pursuit of
traditional Chinese painting.
Pan Jianbo | Tiger
Hill | 50x52cm | freehand landscape | 2013
"To
observe things, we must first to study theory, and
grasp it, then as far as observation, do not rigidly adhere to the shape alike."
– Dong You “Painting Postscript of Guangchuan”. For Chinese artists, is to
understand the common sense and their own throughout nature in spirit and
movement of life together and to consciously grasp the use, not to reflect the
visible appearance as the purpose, but from the outside to realize spiritual
awareness of visible things and to enjoy. "Haidai Character" seems to
be shown Jian Bo in the ideal state in a fit way.
We can feel the feeling and the scene in this painting, but the blend object
and I depend on the completely subjective consciousness and cannot be reached,
in the picture, the ink performance must follow the "one hand for
tradition, one hand for life", which can grasp the essence and inherent
law "can be described as the situation and make its enjoyable”, Jian Bo,
on the basis of static to dynamic transmission, change real is virtual, all things
filled with vitality, all the dead were stiff and with art insulation state, so
as to achieve the ultimate ideal of the real "sitting oblivion"
and "materialized".
Pan Jianbo | Fine
spring high cited | 68x136cm | freehand landscape | 2013
The specific ways to achieve the
ultimate ideal, is to create the subject on the nature
of the symbol and grasp the carrier in the performance, conscious, subjective
summary of things external form of description, is the pursuit of performance
beyond the image of things outside mental state or intrinsic
characteristics, it not only from the rich the object of their own,
and depend on the spiritual realm, and rely on the full blending of the two. It
is the aesthetic realm reached by the whole process of feeling and responding
to the whole process of creation. In the process of landscape painting creation,
the first is the painter through the full tour, live sketching and others means,
in nature has accumulated rich experience and impression and self spirit to
achieve harmony and unity, which we called "Meng Yang". This leads to
the creation of the impulse, so the impression and feeling to discard the dross
and select the essential, rejection of the false and retain the true art of
generalization and abstraction in the mind.
Pan Jianbo
| Beautiful enough to feast the eyes | 68x136cm
| freehand landscape | 2013
The whole creation process, not only to
grasp the essence of beauty aesthetic object and to explore, but also to create
ontology thoughts and feelings and the creation mentality of the display and
sublimation, and the organic combination of these two results is "feeling
comes with scene, scene lives with feeling”, and with the rich sense of color
and conscious the art of language, the rhythm of ink strokes momentum,
moistening ink wash, opening and closing the images of the pitch, time and
movement, to be vivid and full performance, structure out of shape and spirit,
feeling and reason, object and I highly harmony of aesthetic realm, to
appreciate the feeling of both the external form of works and the art of image
and formation of these performance factors, inner spirit or the expression of
the creative subject, is full of vigor and vitality of the poetry.
Pan Jianbo | Temple of Fragrant Hills | 68x68cm
| freehand landscape | 2013
The mental and specific forms of the brush
and ink are constantly evolving, expanding and accumulating, and they have
their spirit as the leading and source in each specific ink and brush form.
Adhere to the shape is the basic form of the specific shape of the brush and
ink, serving the shape is the source of the specific form of writing. Beyond
modeling, the schema of self is the fundamental purpose. For the pursuit of
this kind of brush and ink, Jianbo has become a disciple of Mr. Li Keran’s disciple
Mr. Wang Zhenzhong, he has dug out the multiplicity of brush and ink, and gained
a new understanding of the brush and ink accumulation, "Mr. Li Keran Xiangshan
technique of painting about Temple scenic in Guanzhong”, performance directly
reflects Jian Bo attention for inheritance and development of the Chinese
painting.
Pan Jianbo | Stone
and pine tree | 42x42cm | enjoyable birds and flowers | 2015
This shows that the specific expression
of the spiritual expression and the form of everything in Chinese painting is
under the guidance of the conscious painting concept, and strive for unity.
With a thorough understanding of natural phenomena and grasp the regularity of
the summary, with the subjective consciousness as the guide, form accords with
the traditional spirit and aesthetic taste unique ink, follow the basic
principles of painting "nature outside, source inside” of continuous development.
Pan Jianbo | Drunk
to sing on gorgeous branches | 68x136cm | enjoyable birds and flowers | 2015
Therefore, the formation environment and
characteristics of Chinese painting determine that Chinese painting in the
specific form of ink as a spiritual symbol of the carrier at the same time,
because of the creation of different subjects, resulting in ever-changing external form. Therefore, Chinese painting emphasizes a spiritual criterion,
or spiritual and conscious painting idea, which is the internal source and
development direction of the concrete form of Chinese painting brush and ink. Wish
brother Jianbo "make still further progress" in the painting on the road of development and self realization, continue to
use a consciousness brush and ink expression and self perfection.