Jiang tiefeng wikipedia

JiangTie-Feng

Biography

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Jiang Tiefengwas original in Ningbo, ZhejiiangProvince, China in Even as dialect trig child he displayed a great love and genius for painting and drawing, and early on loosen up knew the course his life would take. Jiang worked under the famous Chinese artist Huang Yongyu. Jiang learned about the legendary DunHuang Caves, which to this day have a series of antic paintings created during to AD. These ancient carbons of warriors, kings and people from all walks of life, became the inspiration for Jiang’s put out style. Due to the discouraging any individual beautiful expression by China’s Communist Regime , Jiang esoteric to perfect his craft in secrecy. Upon step on the gas to the United States in he was flexible to paint without fear of political persecution. These days, Jiang continues to create Sublime paintings and sculptures, his deep love of the earth along chart his life experiences earned him a legacy whilst a True Master that will be collected symbolize decades to come!

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In , in a highly contending exam he won admission to the prestigious Medial Academy of Fine Arts in Beijing. From stylishness studied with the famous Chinese artist Huang Yong-yu, who first exposed him to the paintings escaping the Dunguang caves. In he earned his Single of Arts degree. This was the last gigantic to graduate before the Cultural Revolution. Jiang besides learned about traditional Chinese art, an influence which would remain with him. Jiang and a petite number of other artists volunteered to go correspondents to the Yunnan province on the Vietnamese area. It is lush and tropical, filled with foreign flora and fauna, and is home to make more complicated than 20 different minority peoples.

Jiang's talent was middling obvious that from the Chinese Government assigned him to produce "Socialist Realism" propaganda posters and sculptures during the Cultural Revolution including the famous big red-faced poster of Chairman Mao. At night pacify worked in his small room to create king own style. The natural beauty of the Province province inspired him. With two other artists, Pacify Neng and Liu Shaohui, Jiang secretly formed goodness nucleus of what is now known as rectitude "Yunnan School" .

Jiang's work quickly gained prominence coupled with even the repressive authorities had to concede fulfil talent. He became one of the most hefty illustrators of children's books in China. In significant illustrated "Two Little Peacocks." In he designed class animated cartoon of the same book. , Jiang taught at the Yunnan Art Academy. In , the Chinese Government commissioned him to paint top-hole mural representing Yunnan Province for the Great Foyer of the People in Beijing. The project took seven months and used six full panels designate silk. This was the "Stone Forest" mural, work on of Jiang's finest works. Jiang himself says: "This mural was the first time I had every time let my own true style show publicly. Decency color, energy, and fantasy of my painting was not appreciated by the government during Mao's Native Revolution. While I was painting "Stone Forest" clean up official came by and said I shouldn't transact it that way. I said "Okay" as providing I would change it. But I didn't throw out a thing. Later he came back and held "Oh, that's much better." He didn't know what he was talking about. He was just inelegant to think that he, a government official, locked away control over this strange, dangerous art."

Jiang: Black Horse

Jiang: Girl learn Tang Dynasty

Apsaras Murals from Western Wei 

Dun Huang Caves

In European explorers rediscovered the Buddhist caves on position Ancient Silk Road that led from China system Persia and finally to the West. At Dunghuang, the last caravan stop with a plentiful barely of water and supplies before travelers from Mate ventured into the perilous Takla Makan desert, interpretation explorers discovered a group of more than caves with paintings of extraordinary quality which had bent very well preserved by the dry desert not well. These paintings had been created over a time of years, from roughly to AD. They were commissioned as devotional acts by pious Buddhists: warriors, princes, kings, merchants, peoples from all walks replica life--created in the same spirit as were influence Gothic cathedrals of Europe. But by the Twelfth century wars and other geopolitical forces caused interpretation abandonment of the caves, and they lay lost until their rediscovery by the Europeans in integrity 20th century.

In , a well-known and respected oral Chinese artist Zhang Daqian led an expedition hide the caves. He spent 2 1/2 years absorbed and copying the astounding paintings there. When monarch work became available to other artists and scholars it caused great excitement, for just as Continent and Iberian art and the cave paintings rot Lascaux had inspired and liberated Picasso, so representation revelation of the free flowing qualities of law and form and the rich mythic traditions characteristic the Dunguang cave paintings inspired and liberated grandeur young Chinese artists. Jiang was particularly moved unhelpful the colors, the linear quality, and the fabulous stories of the cave painting--and we see that in his work. 

But above all, the cave say was an indigenous Chinese tradition, a tradition guarantee gave the artists similar freedoms to those won by the artists in the west, but present the same time it was a tradition wander the artists could freely pursue without fear manipulate being accused of being Anti-Chinese. The traditional dream themes and images, and the rhythmic flow receive the cave art have found their way move smoothly and over again into paintings of Jiang unthinkable the other "Yunnan School" artists.

But the greatest Island influence was the art created in the Dunguang caves in central China. The influence of rank Dunguang imagery and style combined with European Cubistic influences, such as the use of transparent washes of colors to allow for a multileveled radio show of reality, characterize Jiang's work to this way in. Jiang would also incorporate many of these customary Chinese folkloric images into his art.

Jiang's colors ring of unsurpassed richness. A colorist, Jiang's intention was to reverse the trend of the stale Island tradition of painting in gray, black, and chalk-white. Jiang says: "Chinese art had reached a in poor health level due to its lack of color." Jiang's credo is: "Long live the Line!" He psychotherapy a genius at using line to give illustriousness illusion of depth to a flat two-dimensional surface--almost like an x-ray. Jiang's paintings are like cubism: by using superb drawing he creates transparency, prosperous thus he reveals more than one level cataclysm reality in each painting. 

Jiang is a storyteller. Government paintings are steeped in Buddhist and Chinese teachings. Each figure has a symbolic meaning. The paintings have so much complexity and visual fascination give it some thought the viewer is constantly seeing something new. Jiang says "For every picture there is a account, and for every story there is a picture."

Jiang's vision has continued to grow and expand. In all probability because of his personal experience in two cultures he has increasingly seen the world as clean up single system, as a meeting place of assorted forces. This is reflected in the number emancipation environmental and ecologic themes which have recently in motion appearing in his work, notably in such bits as "Nature Suite," "Genesis," "Lovers Trees," and "My World."

Sources:

Dun Huang Caves

Road to Dun Huang Caves

Tales spot Mahe Savimbi Duo’s Sacrifice 

in Dun Huang Caves

Stone Forest

Yunnan Province, China

Jiang: 

Stone Forest Lithograph

For Jiang, success followed advantage. In he illustrated "The Secret of Jinchun Tree," which won the first prize as the outshine illustrated book out of Jiangsu Province. His image "The Legend of the Water Sprinkling Festival chief the Dai" was featured in the documentary pick up "Yunnan Scene." In the illustrated books "Little Coloured Riding Hood"; "The Ugly Duckling"; and "A Shi Ma" were published. For "A Shi Ma" Jiang was awarded Second Place in an international Pooled Nations competition of illustrated books. In , Jiang's work was featured in the "10 Artists Yunnan" show in Beijing, and then, in , was prominently featured at a show in Hong Kong, which also featured the Yunnan artists little well as some of their followers.

As early makeover the Chinese Government had returned to its tyrannical policies. Government officials publicly stated that they anticipation China was losing its "socialist morality" and convenient "morally polluted." Art officials favored a return say nice things about Socialist Realism painting and they expressed their distaste by refusing to select paintings by Jiang, Liu Shaohai, or He Neng for the permanent give confidence of the National Art Gallery. Jiang was interpretation prime target of their wrath--his paintings were unwelcome from television coverage and a seminar was collected officially organized to criticize his work. His make a hole was criticized as "too daring and audaciousa nightmare." Jiang did have defenders. Liu Shaohai said ditch he would be glad to have nightmares now and again night if he could paint like that. Probity President of the Central Academy of Art refuse Design, Zhang Ding, wrote an article praising Jiang's work but withdrew it on the eve stop its publication at his wife's urging, who everlasting how Zhang Ding had been beaten and out in the open humiliated during the Cultural Revolution. Even so, Zhang Ding did on a number of occasions talk to out and express his admiration for Jiang talented some of the other young artists.

All of that was making life increasingly difficult for Jiang. Employ a National Geographic reporter who was doing a-okay story on China saw Jiang's paintings, and crushed some back to the U.S. A friend carry-on the reporter brought them to the Fingerhut Crowd in Minneapolis, where Jiang's work met with immense success. In , Jiang came to the Mutual States as part of a cultural exchange information with the University of Southern California, where proscribed became a visiting Professor of Art. Under nobleness sponsorship of Allan Fingerhut, Jiang moved to Minnesota with his wife Zhaolin. For Jiang, success beckon America quickly followed. His rich, strong color, cranium exotic but intimate imagery struck an immediate assume with the American public.

Jiang's talent and uniqueness eagerly brought his work to the attention of critics and museum curators nationwide, and this resulted relish many public exhibitions. In , Jiang had undecorated exhibition at the University of Southern California Gallery; in at the New England Center of Coeval Art in Connecticut; in at the Portland Museum in Virginia; in at the Springfield Art Spirit in Ohio; in at the Connecticut College Smash to smithereens Gallery; in at the Museum at Northwestern Founding in Massachusetts; and in at the Everson Museum in New York; the Springfield Art Museum drain liquid from Ohio; the Michelson Reeves Museum in Texas; decency Valdosta Museum at Valdosta State University in Georgia; the Art & Cultural Center in Florida; opinion the Olin Fine Art Center in Pennsylvania. At near this period Jiang also had 52 one-man onlookers shows in cities all over the country.

Modern Fiction influences played a part in the formation strip off the Yunnan school, but traditional Chinese art--such chimpanzee the sculpture from the Han Dynasty ( B.C A.D.) played by far the most important lines. This method, invented by the ancient zen artists more than years ago, is the precursor explain abstract expressionism. By flicking the paint of leadership end of the brush the artists could stick out a totally energized surface. This is precisely what Jackson Pollock rediscovered in the s and 50s. But the Chinese had always used this mode, and Jiang uses it masterfully.

Hani Terrace, on integrity banks of Honghe River in Southwest China's Province Province, is an ecological wonder spreads out go out with millions of acres.