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Song ShanHong
Song ShanHong
Personal Profile
Song Shanhong, styled "Moyanzhai", male, Han ethnicity. Born in 1974, with college-level education, native of Puyang City, Henan Province.
Renowned contemporary Chinese bird-and-flower painter; National First-Class Artist; Founder of a unique style in Chinese bird-and-flower painting; Registered artist in the National Bird-and-Flower Art Reserve Database; Silver Award winner of the 4th National Chinese Dream Cup.
Currently serving as:
Honorary President of Guangdong Xiande Calligraphy and Painting Academy;
Member of Puyang Municipal Artists Association;
Member of Henan Provincial Calligraphers Association;
Member of China Artists Association;
Art Editor-in-Chief of the Calligraphy and Painting Column of China Baiwei Information;
Honorary President of China Friendship Art Creation Institute;
Vice President of the Calligraphy and Painting Academy of "China Baiwei Information Network";
Member and Art Consultant of the American Academy of Calligraphy and Painting and Beijing Oriental Art World;
Member of Henan Bird-and-Flower Painting Research Association;
Member of Puyang Calligraphers and Painters Association.
His works impart to us a spiritual radiance—an illumination that transcends rational and logical judgments about art, breaking free from the norms of classical masterpieces. This highly intuitive and sensory artistic individuality draws closer to the essence of art: creativity and imagination. For the true nature of art lies in dissolving rigid forms, amplifying emotional tension and free will, and offering spiritual enlightenment.
Chinese painting offers infinite imaginative space; its essence is a form of cultivation. This deeply attracted him to Chinese painting, especially freehand brushwork.
Beyond bringing boundless physical and mental pleasure, the key lies in how the artistic conception of Chinese painting touches our souls... Only after decades of persistent practice, reaching a state of mastery, can a Chinese painter fully integrate his inner spiritual insights with the scenery of nature—this is the unity of spirit and object.
Having endured millennia of vicissitudes, Chinese painting retains its radiant artistic charm to this day, always feeling fresh and novel. The fundamental reason lies in its ineffably “Chinese flavor.” What, then, is this ineffable “Chinese flavor”? Simply put, it is “earthiness.” Chinese painting is an artistic marvel grown from China’s ancient and mystical soil, embodying the Chinese people’s beliefs, wisdom, philosophical thought, life reflections, and aesthetic habits.
Song Shanhong holds a special affection for Chinese ink painting. With just a few faint brushstrokes, he sketches a paradisiacal realm, as if inviting viewers to step inside—transforming into a shepherd boy atop an ox, playing a bamboo flute whose long, resonant notes haunt the soul. Black mountains, white waters—a world interwoven in black and white, so clear, pure, simple, and unadorned.
He infuses the emotions conveyed through painting into the essence of ink and color, successfully creating new visual paradigms that organically merge Eastern and Western rhythms, and establishing new aesthetic principles for classical Chinese painting. Karl Marx once said that every person is an artist, shaping their productive practices according to the laws of beauty. If this applies to human activity as a whole, then painting—as an art form specifically designed to satisfy aesthetic needs—must be created even more rigorously according to the laws of beauty.
With a brush that flows like clouds and water, he creatively and organically integrates elements of Western modern art’s visual language into traditional Chinese painting, revealing to the world the aesthetic realm of traditional Chinese aesthetics. He boldly applies color, endowing his watercolor paintings with the distinctive brush-and-ink flavor of Chinese painting.
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Song ShanHong