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Chen Jinchuan
Chen Jinchuan
Personal Profile
Chen Jinchuan,Founder of Chuanyi Painting, painter, calligrapher, pioneer of aesthetic feng shui, Chinese National Gift Artist, International Five-Star Artist, Master of Chinese Cultural Heritage...Lifetime Honorary Vice Chairman of China National Modern Art Research Center Senior Academician of China Academy of Painting and Calligraphy Guest Professor of China Education Center Vice Chairman of China Calligraphers and Painters Association Lifetime Art Advisor of China International Artists Association Lifetime Vice Chairman of World Association of Literature and Artists Hong Kong Academy of Painting and Calligraphy Specialized Artist Invited Artist of the Ministry of Culture of China Vice Chairman of China Artists Exchange Association Vice President of China International Academy of Painting and Calligraphy Member of China Federation of Literary and Art Workers Cultural Expert of the All-China Federation of Industry and Commerce, Ministry of Human Resources and Social Security Member of the Cultural Committee of the Central Party School of the CPC Lifetime Vice President of China Leading Cadres Academy of Painting and Calligraphy Lifetime Vice Chairman of China Association of Painting and Calligraphy Artists Vice Chairman of China People's Artists Association, China Education Television Artist...Included in the Annual Record of Artists of the People's Republic of China One of the Hundred Outstanding Chinese Artists Worldwide 2013 China Public Welfare Annual Artist Gold Medal Artist Outstanding Chinese Artist of the Chinese Nation Most Collectible Contemporary Master of Chinese Painting and Calligraphy One of the Hundred Outstanding People's Painters and Calligraphers...
Individual Art Masterpieces Exhibition:
2013 Individual Art Masterpieces Exhibition of Chen Jinchuan, Founder of Chuanyi Painting in Contemporary Chinese Art (Diaoyutai State Guesthouse, Beijing).
2014 Individual Art Masterpieces Exhibition of Chen Jinchuan, Founder of Chuanyi Painting in Contemporary Chinese Art (Wu Dongkui Art Gallery, Beijing).
2015 Individual Art Masterpieces Exhibition of Chen Jinchuan, Founder of Chuanyi Painting in Contemporary Chinese Art (Shenzhen Longgang Cultural Center).
Innovative Painting Style — Chuanyi Painting:Painting and calligraphy perfectly integrated; clear contrast of black and white, refined and vigorous;Embodies the essence of traditional Chinese learning and aesthetic principles; concise brushwork with profound meaning; dynamic and lively rhythm;Ingenious composition, uniquely distinctive; innovating a new painting genre, flourishing worldwide!Chuanyi Painting draws upon the essence of traditional Chinese painting and calligraphy, innovates and integrates both forms equally, forming a unique style. It pursues the artistic ideal and aesthetic of "creating novelty within the bounds of tradition, embedding subtlety beyond bold expression." Such uniquely ingenious compositions, with every stroke and line, convey profound and far-reaching artistic realms. In Huaisu's "Self-Narrative Scroll," it is said: "The aspiration lies in novelty, with no fixed rules." Kang Youwei believed: "Contemporary Chinese painting has declined to an extreme, clinging to outdated conventions and lacking innovation"; this was the first time Xu Beihong heard the call for reforming Chinese painting. From Xu Beihong, Lin Fengmian, and their generation, the quest for innovation has never ceased. Only by daring to break new ground and create can one secure a place in the history of Chinese painting. Lin Fengmian stated: "Art is an impulse for creation, not something to be restricted; art is revolutionary." Qi Gong advised: "No matter how well you inherit tradition, it is merely replication; only by creating your own style can you leave a mark in history." Lu Yanshao: "Learning tradition is for the sake of innovation; they are unified. The greater the innovation, the more firmly you establish your place in art history." Cheng Shifa: Artists must be adept at creation, develop their own artistic style, exaggerate art, elevate it above reality; if one merely seeks to replicate nature, one becomes a scientist, not an artist. Sun Qifeng: Like all art forms, Chinese painting must also transform, because times change, "brushwork and ink must follow the times." Yet each era has different standards for art, and the concept of "master" also changes; if you took Qi Baishi's works to the Song Dynasty, people then would not have accepted them. Painters always have their own "prejudices," and such prejudices are precisely the guiding principles of their unique styles — nothing unusual. To pursue art, one must hold firm convictions, not follow the wind blindly; believe in the path you have chosen. At the same time, do not worship anyone; every established painter has dualities — strengths and weaknesses — each work must be analyzed individually; do not follow blindly, use your eyes to view paintings, not your ears. Li Kuchan: The unity of painting and calligraphy — calligraphy reaches its height in painting; painting reaches its ultimate in calligraphy. My calligraphy is painted calligraphy; my paintings are written. Picasso once said: "The highest realm of art lies in discovery." True works of art must integrate aesthetic value, creativity, and uniqueness. Any repetitive, imitative, aesthetically lacking, or personality-deficient artwork will be eliminated by history. Although some low-quality artworks may enjoy temporary fame due to market hype, they often fade into obscurity afterward.
Chuanyi Painting Style:Harmonious fusion of painting and calligraphy, concise yet profound:Chuanyi Painting did not emerge out of nowhere. As early as the Jin Dynasty, the great Chinese painter Gu Kaizhi proposed the artistic concept of "using form to express spirit." Ke Jiuxi, author of "The Ink Bamboo Painting of Qing Bi Pavilion," advocated incorporating calligraphy into painting and integrating the two. Su Shi held: "To judge painting by resemblance is the view of a child; to compose poetry by adhering strictly to literal meaning indicates ignorance of poetry." Spirit and essence, not mere resemblance, are the fundamental criteria for evaluating painting. Shi Tao believed: "Painting and calligraphy are not minor arts; most painters only achieve superficial resemblance." Ordinary painters can only attain form; pursuing mere resemblance is a minor path. Only by achieving the profound artistic state of "unlikeness within likeness" can one reach the great path of art — worthy of admiration. Dong Qichang, while advocating calligraphy in painting, emphasized the unity of painting and calligraphy, pursued rhythm and spirit, expressed subjective emotion, and sought the balance between likeness and unlikeness. The theory of "unlikeness within likeness" has been highly valued by later painters. Qi Baishi elaborated: "The excellence of painting lies in the balance between likeness and unlikeness; too much likeness becomes vulgar, too little becomes deceitful." This means the subject must be recognizable, yet not overly realistic. If unrecognizable, viewers cannot understand the painting's meaning — it deceives the public; if overly realistic, the painting becomes too mundane and explicit, lacking taste and leaving no room for contemplation or imagination. Chuanyi Painting embodies this concept in practice.
Chuanyi Painting Color:The color philosophy of Chuanyi Painting originates from traditional Chinese culture — the theory of Yin-Yang and Five Elements — derived from the "Taiji Bagua Diagram." Huang Binhong's handwritten manuscript "Brief Remarks on Painting Methods" states: "Illustrating three examples can reveal the opposite principles. Hong叟. The Taiji Diagram is the secret of painting and calligraphy." Lu Xun said: "Woodcut art is fundamentally black and white." German printmaker Käthe Kollwitz stated: "Black and white themselves are colors — how can one say they lack color? Moreover, the simplicity, purity, enduring elegance, and exquisite brilliance of black and white, after artistic treatment, are irreplaceable and unattainable by any other multicolored palette. One might say, this is a higher品位 of beauty." Even on her deathbed, she said: "Black and white are the life of printmaking art." Wang Qi said: "The profound and vivid expression achieved by monochrome black-and-white art has acquired an enduring artistic appeal that color painting cannot replace." The simplicity of black-and-white Chuanyi Painting lies in its use of black and white. This artistic technique possesses a certain originality, antiquity, and rustic charm; when black and white are used without additional or supporting colors, they acquire a unique quality of unadorned simplicity.
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Innovative Painting Style — Chuanyi Painting:Painting and calligraphy perfectly integrated; clear contrast of black and white, refined and vigorous;Embodies the essence of traditional Chinese learning and aesthetic principles; concise brushwork with profound meaning; dynamic and lively rhythm;Ingenious composition, uniquely distinctive; innovating a new painting genre, flourishing worldwide!Chuanyi Painting draws upon the essence of traditional Chinese painting and calligraphy, innovates and integrates both forms equally, forming a unique style. It pursues the artistic ideal and aesthetic of "creating novelty within the bounds of tradition, embedding subtlety beyond bold expression." Such uniquely ingenious compositions, with every stroke and line, convey profound and far-reaching artistic realms. In Huaisu's "Self-Narrative Scroll," it is said: "The aspiration lies in novelty, with no fixed rules." Kang Youwei believed: "Contemporary Chinese painting has declined to an extreme, clinging to outdated conventions and lacking innovation"; this was the first time Xu Beihong heard the call for reforming Chinese painting. From Xu Beihong, Lin Fengmian, and their generation, the quest for innovation has never ceased. Only by daring to break new ground and create can one secure a place in the history of Chinese painting. Lin Fengmian stated: "Art is an impulse for creation, not something to be restricted; art is revolutionary." Qi Gong advised: "No matter how well you inherit tradition, it is merely replication; only by creating your own style can you leave a mark in history." Lu Yanshao: "Learning tradition is for the sake of innovation; they are unified. The greater the innovation, the more firmly you establish your place in art history." Cheng Shifa: Artists must be adept at creation, develop their own artistic style, exaggerate art, elevate it above reality; if one merely seeks to replicate nature, one becomes a scientist, not an artist. Sun Qifeng: Like all art forms, Chinese painting must also transform, because times change, "brushwork and ink must follow the times." Yet each era has different standards for art, and the concept of "master" also changes; if you took Qi Baishi's works to the Song Dynasty, people then would not have accepted them. Painters always have their own "prejudices," and such prejudices are precisely the guiding principles of their unique styles — nothing unusual. To pursue art, one must hold firm convictions, not follow the wind blindly; believe in the path you have chosen. At the same time, do not worship anyone; every established painter has dualities — strengths and weaknesses — each work must be analyzed individually; do not follow blindly, use your eyes to view paintings, not your ears. Li Kuchan: The unity of painting and calligraphy — calligraphy reaches its height in painting; painting reaches its ultimate in calligraphy. My calligraphy is painted calligraphy; my paintings are written. Picasso once said: "The highest realm of art lies in discovery." True works of art must integrate aesthetic value, creativity, and uniqueness. Any repetitive, imitative, aesthetically lacking, or personality-deficient artwork will be eliminated by history. Although some low-quality artworks may enjoy temporary fame due to market hype, they often fade into obscurity afterward.
Chuanyi Painting Style:Harmonious fusion of painting and calligraphy, concise yet profound:Chuanyi Painting did not emerge out of nowhere. As early as the Jin Dynasty, the great Chinese painter Gu Kaizhi proposed the artistic concept of "using form to express spirit." Ke Jiuxi, author of "The Ink Bamboo Painting of Qing Bi Pavilion," advocated incorporating calligraphy into painting and integrating the two. Su Shi held: "To judge painting by resemblance is the view of a child; to compose poetry by adhering strictly to literal meaning indicates ignorance of poetry." Spirit and essence, not mere resemblance, are the fundamental criteria for evaluating painting. Shi Tao believed: "Painting and calligraphy are not minor arts; most painters only achieve superficial resemblance." Ordinary painters can only attain form; pursuing mere resemblance is a minor path. Only by achieving the profound artistic state of "unlikeness within likeness" can one reach the great path of art — worthy of admiration. Dong Qichang, while advocating calligraphy in painting, emphasized the unity of painting and calligraphy, pursued rhythm and spirit, expressed subjective emotion, and sought the balance between likeness and unlikeness. The theory of "unlikeness within likeness" has been highly valued by later painters. Qi Baishi elaborated: "The excellence of painting lies in the balance between likeness and unlikeness; too much likeness becomes vulgar, too little becomes deceitful." This means the subject must be recognizable, yet not overly realistic. If unrecognizable, viewers cannot understand the painting's meaning — it deceives the public; if overly realistic, the painting becomes too mundane and explicit, lacking taste and leaving no room for contemplation or imagination. Chuanyi Painting embodies this concept in practice.
Chuanyi Painting Color:The color philosophy of Chuanyi Painting originates from traditional Chinese culture — the theory of Yin-Yang and Five Elements — derived from the "Taiji Bagua Diagram." Huang Binhong's handwritten manuscript "Brief Remarks on Painting Methods" states: "Illustrating three examples can reveal the opposite principles. Hong叟. The Taiji Diagram is the secret of painting and calligraphy." Lu Xun said: "Woodcut art is fundamentally black and white." German printmaker Käthe Kollwitz stated: "Black and white themselves are colors — how can one say they lack color? Moreover, the simplicity, purity, enduring elegance, and exquisite brilliance of black and white, after artistic treatment, are irreplaceable and unattainable by any other multicolored palette. One might say, this is a higher品位 of beauty." Even on her deathbed, she said: "Black and white are the life of printmaking art." Wang Qi said: "The profound and vivid expression achieved by monochrome black-and-white art has acquired an enduring artistic appeal that color painting cannot replace." The simplicity of black-and-white Chuanyi Painting lies in its use of black and white. This artistic technique possesses a certain originality, antiquity, and rustic charm; when black and white are used without additional or supporting colors, they acquire a unique quality of unadorned simplicity.
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Chen Jinchuan