When "Hedu" meets "Sera" | Peng Xiaohang starts the cross -space -time dialogue between painting and opera

Author:Cultural Tourism China Time:2022.07.31

Figure ｜ Peng Xiaohang in the creation

Chinese opera is an important part of Chinese traditional culture. It cross ancient and modern, with both shapes and spiritual and spiritual; oil painting originated from the West and has a rich color and three -dimensional. What will happen when the "horn" of Chinese opera encounters the "color" of Western oil painting? Today, they are unified in the work of Peng Xiaohang, a member of the Chinese Artists Association and the director of the Fine Arts Department of the Academy of Fine Arts of Guangdong University of Technology. Since 1998, Peng Xiaohang has used Chinese opera as the theme of the creation, showing an Oriental art soul with oil painting, and has opened a cross -space -time dialogue of painting and opera performance.

Use Western colors to express Oriental Opera

Peng Xiaohang graduated from the Academy of Fine Arts of Ceramics University in Jingdezhen in 1989. He was later taught at the sculpture department of the school and was transferred to work in Guangdong in 1993. He liked to watch the drama, and was often attracted by the simple, kind and realistic performance style of Gan opera when he was a child. During college, he painted the theme of opera on the porcelain plate. Later, he went to work in a cultural unit and had more opportunities to watch the show, especially for Beijing's plot. In Peng Xiaohang's artistic life, 1998 was a turning and iconic year. This year, he created the first opera oil painting "Oriental Opera". The work was selected into the ninth National Art Exhibition and was collected by the Guangzhou Art Museum. This surprised Peng Xiaohang and encouraged him to encourage and confidence. So he painted along this context, and it was unacceptable. It is still 24 spring and autumn.

There are many people who paint the theme of opera. How to absorb the essence of traditional culture, and have a different approach in contemporary aesthetics? Peng Xiaohang insisted on showing the charm of Chinese opera with the color and shape of the Western oil painting layer. However, his works are not pure oil painting techniques. He brings the feeling of ink and the mood of the opera into the oil painting, combined with the ink splashing and line techniques of Chinese painting, and drawing on the heavy effects of Dunhuang mural mottled, so that the picture has a strong China China wind. He learned the system of ceramics during the university and was very sensitive to the color glazed kiln. Therefore, he adopted the magical art form of kiln change to capture the finishing touch that could not predict but can move people's hearts.

▲ The second (oil painting) 130 × 110 cm 2009 in Peng Xiaohang

▲ Third (oil painting) of Dao Ma Dan series 120x90 cm 2014 Peng Xiaohang

Peng Xiaohang said that China has a long history and splendid culture. As a member of the literary front, how can we tell the story of Chinese stories? With such thinking, with such responsibilities and feelings, Peng Xiaohang wrote a series of oil painting works such as "Swordsman", "Chinese Drama" and "Hua Cai Red Makeup". In 2019, "‘ horns · color ’Oriental opera freehand time and space 丨 Peng Xiaohang opera character oil painting exhibition exhibition" was held at the Guangzhou Grand Theater Experimental Theater. Yu Kuizhi, a Peking Opera Performing Artist, said that the opera characters created by Peng Xiaohang reflected his love for opera and the deep feelings of art workers in national art.

▲ Nanyue Drama (oil painting) 200x200 cm 2019 Peng Xiaohang

Although it has come to Guangdong for more than 20 years, Peng Xiaohang did not put the "Southern Red Bean" Cantonese opera until 2019. Someone asked him: "You are in Guangdong, why don't you draw Cantonese opera?" This sentence reminded him. In 2019, Peng Xiaohang's "Nanyue Drama" selected five famous characters in the Cantonese drama, and was selected as the 13th National Art Exhibition. Peng Xiaohang found that many children in Guangdong would not speak Cantonese, and worried that no one would watch Cantonese opera and perform Cantonese opera after several years, so he hoped that in the form of painting art, he promoted the inheritance and promotion of Cantonese opera through his works.

From the national Peking Opera to the "Southern State Red Bean" Cantonese opera, Peng Xiaohang used a brushwork, combined with the color blocks in Western oil paintings, and outlined the lines of ceramic glaze texture and oriental ink lines, creating a unique oil painting style of opera characters. Although the oil painting creation of his theme of opera is still being explored, he believes that this road is correct.

Do not draw a stage to draw the charm

When Western colors and Chinese painting techniques were integrated into traditional Chinese culture, Peng Xiaohang gradually established a unique painting language and style, and the picture suddenly opened up. Nevertheless, his understanding of color and picture is not static, reflecting phased characteristics. Peng Xiaohang's studio has a small exhibition hall. On the walls of the east and west sides, his early and late works showed two very different styles. His earlier works mostly used the traditional techniques of oil painting to follow the basic laws of colors. The characters are mainly a single, the color is gray and heavy, and the real factors are relatively obvious. Since 2003, his creative techniques have begun to transform, and the shapes are abstract and exaggerated in shape. Especially after 2008, he consciously converged the factors in the picture, forming a quiet, deep and implicit painting language. Beginning in 2011, Peng Xiaohang gradually simplified the background, reducing the painting of the character shape, and enhancing the depth of time. The "Concubine" series was created at that time. The characters of these works were simple, focusing on the continuity of the character and the eternal sense of eternalness in time and space, emphasizing the inner spirit and soul forever.

Many people ask Peng Xiaohang, which repertoire is your work and which play? Peng Xiaohang felt that this problem was terrible. He believes that if you draw according to the repertoire and plot, the character's shape and color composition will be restricted. He likes to draw according to the shape of his heart, which is comfortable and smooth. As for the painting, it doesn't matter. Peng Xiaohang's work in the later period emphasizes highlights, not to reproduce the light and shadow, structural proportions, and spatial relationships of objective objects, but to re -describe the image of opera characters with exaggerated, deformation, generalization, induction, and line -to -surface combination. Peng Xiaohang goes to the theater to watch the show, and will focus on the expressions of the characters, the patterns and color of the clothing. Sometimes it is only a local color and a pattern that shocked him. "It's so beautiful!" He said that drawing according to the original color of the stage is enough to produce a strong visual impact. If you do some subjective treatment, you will reach another state.

Therefore, he is no longer limited to the routine and three -dimensional space of oil painting, but is loyal to the original color of the character. Some people think that his painting lacks oil painting language. What is oil painting language? Peng Xiaohang is reflection. He feels that the key to painting is his own feelings and cognition. If you draw according to the routine, it is photos or comic drawings.

▲ Two six (oil painting) of Huacai Red Makeup Series 180X140 cm 2021 Peng Xiaohang

▲ 28th (oil painting) of Huacai Red Makeup Series 180X140 cm 2021 Peng Xiaohang

Peng Xiaohang absorbed the techniques of Chinese ink painting and did some texture of the texture; he liked to borrow the ink splashing method of Chinese painting and splash oil on the canvas to produce the feeling of being encountered. Some big lines. According to this idea, in 2021, he created a series of "Hua Cai Red Makeup" series. He pressed the characters in the space of 2/3 of the picture, and the background was static color. It exaggerated and induced according to the needs of colors and shapes, and became his satisfactory work.

Pursue distinctive features in leaning

"Creation must not be in a hurry, and we must devote themselves." Peng Xiaohang said that it must fully express the elements of opera and not to draw Chinese paintings; if it is too simple, the color will lack penetrating power and cannot express connotation. For so many years, Peng Xiaohang has been thinking, exploring hard, and constantly doing addition and subtraction. He always feels that he hasn't painted his heart. "Art creation is a way of loneliness, but there is no loss of joy," he said.

Peng Xiaohang likes to sit in the studio to look at his works, and look at the colors, compositions, shapes, and strokes of these paintings. He had a "problem", and he was dissatisfied, so he scratched it. Sometimes a place is not painted well and often repeats two or three times.

The work "Nanyue Piaoxiang" is the result of continuous improvement on the basis of "Nanyue Drama". After painting "Nanyue Drama", Peng Xiaohang felt that it was not fun, so it took 3 years to change it with a long volume of 3.8 meters and 1.8 meters wide. The character also increased from the original 5 to 11. "Emperor Flowers", "Zhaojun Out of Smooth", "Girls in Yangmen" and other Cantonese opera in Cantonese opera. Compared with the previous works, the biggest breakthrough in "Nanyue Piaoxiang" is on the scene. This painting is equivalent to one of the three paintings. He has not painted such a long scroll before. Nevertheless, he is not the most satisfied with this painting. Peng Xiaohang said: "This painting can't be said to be finished. It may be scraped again one day with a knife.

▲ Danjiao and ugly horn (oil painting) 160x160 cm 2013 Peng Xiaohang

Peng Xiaohang has painted a lot of opera themes and works for 24 years. He has also won many national and provincial awards, but he still feels that he has not made a lot of expertise. However, behind each work is a large number of efforts that others have not seen. In this process, he has contradictions and conflicts, and sometimes it feels painful. He always denies himself and replenish himself. Wang Yong, vice chairman of the Guangdong Artists Association, said: "Whether it is held in the Guangdong Provincial Art Association or on the national platform, Peng Xiaohang's works can recognize it immediately. One is the theme of Peking Opera, and the other is extremely concise and highly saturated in color, using large strokes. These works have been completely marked with Peng Xiaohang. The second time makes people have a desire to appreciate, it is not easy to get a new feeling from it. "

July 31, 2022 "China Culture News"

The second edition published a special report

"When the" Hedu "meets the" color "-on Peng Xiaohang to start the cross -space -time dialogue of painting and opera"

↓ ↓ ↓ ↓ ↓ according to

Editor -in -chief: Chen Xiaoyue