(1) The monograph "Zhang Zhengzhong's Poems, Calligraphy and Paintings - Hundred Pictures of Pastoral Landscapes"
Published by Shanghai People's Fine Arts Publishing House in December 2005. Includes Zhang Zhengzhong's "Kuai Ran Lou Yi Tan" papers, 108 essays, 160 poems, 100 pastoral landscape paintings, and 12 calligraphy frames. Gao Guanhua and Lu Yifei wrote the inscription, and Shao Dazhen, Li Song, and Shao Luoyang wrote the preface and postscript.
Mr. Zhang Zhengzhong has dabbled in Chinese and Western painting, literature and history, specializing in the creation of pastoral landscape paintings for nearly 20 years, and has conducted research on historical theory and creative methods. He discovered that the rural scenes in landscape paintings are like scattered pearls, which can be transformed into categories; the contemporary concept of "pastoral beauty" is growing, and the creation of "village scenes" is gradually growing; they have relatively independent artistic value, modern aesthetic value and Social value, social response was good, so it was named "Pastoral Landscape Painting". This book uses a prose style to explain the concept and historical framework of pastoral landscape painting, as well as various artistic viewpoints. Research by experts such as Ma Hongzeng shows that this is China's first monograph on pastoral landscapes. [Note]
[Note] Ma Hongzeng, deputy director of the Theoretical Committee of the Chinese Artists Association and deputy director of the Jiangsu Provincial Art Museum. His article "Pastoral Landscape: Zhang Zhengzhong's New Development" was written in 2006 and first published in the 1654th issue of "Chinese Calligraphy and Painting News" in 2007);
(2) Monograph "Pastoral Landscape Painting Method"< /p>
Published by Shanghai Education Press in July 2009, written by Zhang Zhengzhong. The book consists of four parts: general introduction, pastoral landscape painting creation, pastoral landscape painting methods, and pastoral landscape works appreciation, with 240 pictures, and an inscription by Wang Qi and a preface by Shao Dazhen. In the process of writing the book, historians such as Shao Dazhen, Wang Bomin, Ge Lu, and Ma Hongzeng reviewed and guided the manuscript.
Shao Dazhen said in the preface: ""Pastoral Landscape Painting" is a good book that provides creative guidance for pastoral landscape lovers. He listed four major subject branches for Chinese landscape painting, and "Pastoral Landscape Painting" It is one of the "painting items". Such systematic research will expand the new horizons of Chinese painting, promote the discipline construction of pastoral landscape painting, explore ways for the development and innovation of landscape painting, improve the vitality of landscape painting in society, and contribute to the prosperity and development of Chinese painting. , has positive practical significance.
This book systematically and in-depth explains the creative methods and techniques of pastoral landscape painting, which not only draws on the achievements of predecessors, but also draws on them. The author's experience and methods explored in long-term practice have brought selfless artistic dedication to landscape painting creators. The book is illustrated with rich text and integrates operability and appreciation. It is not only an explanation and study of techniques, but also a review of masterpieces. Appreciation, close to practice, close to readers
Brief table of contents of "Pastoral Landscape Painting":
1. General Introduction
2. Creation of Pastoral Landscape Painting
(1) Life and feelings (2) Conception (3) Plot (4) Composition (5) Framing (6) Four-distance method of perspective (7) Depth of field (8) Pen and ink (9) Color (10) Light perception (11) Matching of scenery (12) Special techniques (13) Plane and color composition (14) The beauty of poetry, calligraphy, painting and seal (15) Style, language and criticism
3. Pastoral Scenery Painting method
(1) Four seasons painting method (2) Bamboo method (3) Bamboo garden method (4) Reed method (5) Reed flower method (6) River reed method (7) Empty branch tree (8) ) Dot-leaf tree (9) Pin-leaf tree (10) Cluster tree method (11) Pastoral tree species painting method (12) Wild rice and calamus (13) Pond lotus (14) Dot-spot method (15) Landform (16) ) River pond, water surface (17) Road, grassland (18) Field (19) Crops (20) House or garden (21) Weather changes (22) Day and night scenes
4. Appreciation of Pastoral Landscape Painting
(3) Monograph "History of Chinese Pastoral Landscape Painting"
Published by Tianjin People's Fine Arts Publishing House, the first volume was first published in September 2012. ***There are ten volumes, the first four volumes are commentaries, and the second volume is catalogues. There are 10,500 pictures and about 400,000 words. It is written by Zhang Zhengzhong and has a preface and title by Xue Yongnian.
This book is the first history of pastoral landscape painting in my country. It starts from the first opportunity of pastoral landscape painting, traces its origins, meticulously reveals the origin, existence conditions, and driving force of development of pastoral landscape painting, and recounts the ups and downs of historical development. And pointed out the current situation and development orientation of contemporary pastoral landscapes.
20 schematic diagrams concisely reveal the development history of painting and the research ideas of painting theory.
Since agriculture became the main mode of production until the era when the Book of Songs was produced, the beauty of pastoral areas gradually entered the aesthetic vision of the Chinese people. However, its development trajectory has not been noticed and recognized by the society. No one has ever regarded it as a branch of landscape painting. No one has been involved in its historical research, so this book has original academic significance. Historian Wan Xinhua wrote: "Previous researchers in the history of painting have never specifically mentioned pastoral landscape painting. It was not until recent years that Mr. Zhang Zhengzhong, the president of the Haimen Painting Academy, formally proposed the title and theory of 'pastoral landscape painting' and continued to write about it. He wrote articles again and again, searched and analyzed the complicated historical materials of documents and images, and gradually sorted out a "History of Chinese Pastoral Landscape Painting" [Note]
The review of the book proves the existence of the "Pastoral Landscape Painting" creative team and group of works with a large amount of data, and explores the specific category, connotation and extension of Pastoral Landscape Painting through extensive comparisons; thus proving that Pastoral Landscape Painting serves as the "painting subject" and the author of "Pastoral Landscape Painting". "History of Chinese Pastoral Landscape Painting"; and proposed a new aesthetic proposition "Pastoral Beauty"; and proposed the theory of "aesthetic interest" in the origin of painting.
This book demonstrates the charm and richness of pastoral landscape painting. It will enable more painting enthusiasts involved in the creation of pastoral landscape paintings to enter a state of consciousness and provide reference; at the same time, it will promote the development of new fields of Chinese painting. effect.
The value of the book "History of Chinese Pastoral Landscape Painting", according to Mr. A new way for landscape painting to advance with the times." The publication of this book, together with the first two monographs, laid an academic foundation for the discipline construction of "pastoral landscape painting". Brief table of contents:
Commentary on the first volume
Volume 1
Inscription by Wang Bomin
Xue Yong's preface "Tracing the Origin, Exploring the Tao, Reviewing the Past and Learning the New"
p>The author's preface "Revelation Outside the Garden" and introduction "Half Answer Sheet"
Chapter 1 The Origin of Pastoral Landscape Painting
Chapter 2 The Village in Ancient Chinese Landscape Painting Scenery: Six Dynasties, Sui and Tang Dynasties, Five Dynasties and Song Dynasty
Volume 2 Yuan, Ming and Qing Dynasties
Volume 3
Chapter 3 Modern Chinese Rural Theme Landscape Painting , Rural landscape themes in modern folk paintings
Volume 4
Chapter 4: The developing contemporary Chinese pastoral landscape painting
Chapter 5 is gradually taking shape The Theory of Chinese Pastoral Landscape Painting
Illustrated Catalog
Volume 5 - Volume 9 Illustrated Catalog of Chinese Pastoral Landscape Painting
Volume 10 Index, Postscript< /p>
[Note] Wan Xinhua, deputy director and associate researcher of the Art Institute of Nanjing Museum, his "Shaoya Vertebral Wheel Connects the Past and the Future - A Brief Discussion of Zhang Zhengzhong's "History of Chinese Pastoral Landscape Painting"" was first published in "China "Calligraphy and Painting" magazine, Issue 7, 2013, page 128.
(4) Essay "From Hometown Complex to Pastoral Landscape Painting"
(The full text was published in "Dongzhou Art" edited in 1996, by Zhang Zhengzhong.)
Excerpt: My hometown is in the Jianghai Plain, deep in the countryside. Winding paths, clear running water; bamboo forest cottages, green trees like clouds. Neighbors laugh and hear the sounds of chickens and dogs. My childhood was spent in such an environment. In my dreams to this day, scenes of old friends in my old house often appear, like an endless movie. My brush can't help but paint the countryside of my hometown. I once wrote a poem: "Where the river flows into the sea, the two sides are hundreds of miles flat. I feel like I have nothing to paint, so I look for secluded places. The green bamboos cover the cottages, and the shallow water reflects the green grass. The moon is bright and misty. When you are in a cage, the feeling of hometown comes back again. "The feeling of hometown will never go away!
......
My nostalgia for my hometown and countryside and my cherishment of nature are exactly in line with a social and cultural significance. This meaning is different from the reclusive taste of ancient pastoral poetry, but it is the aesthetic ideal of modern people. People always like sunny fields, clear flowing water, fresh air, and lush trees and crops. We use our Chinese brushes and inks to paint these landscapes. This is pastoral landscape painting, so let’s call it “pastoral landscape painting.” The pure beauty in the painting can arouse people's nostalgia and yearning for beauty to some extent, making the pastoral complex of hometown permanent in the painting.
(5) Thesis "The Past and Present Life of Pastoral Landscape Painting"
(The full text was published in "Chinese Calligraphy and Painting News", author Zhang Zhengzhong. Similar papers include "On Pastoral Landscape Painting", " "A General Introduction to Pastoral Landscape Painting")
Abstract: Chinese landscape painting has a long history. The development of agricultural production preceded landscape painting by thousands of years, but only after the Sui and Tang Dynasties did painters pay attention to the scenery of the countryside, entering the budding period of pastoral landscape painting. Typical pastoral landscape paintings appeared in the Five Dynasties. At the end of the 20th century, the name and concept of "pastoral landscape painting" came into being. The painter's focus was greatly awakened, the creative theme also developed, and it began to enter a new period of prosperity. In the past 20 years, the number of creations has increased by leaps and bounds, exceeding the total number of surviving works from all previous dynasties.
Throughout thousands of years, pastoral landscape painting has formed its own category, connotation, extension and aesthetic tendency. Although pastoral landscape is influenced by poetry, it is a branch of landscape painting after all, so it is more dominated by the spirit of landscape. Pastoral landscapes should add "the beauty of neutrality" on this basis. The aesthetic characteristics of pastoral landscapes should take "the beauty of harmony" as the core of the soul, and have the following characteristics: first, the scenery of the countryside as the main image; second, the ideal of getting close to nature, promoting the beauty of the ecological environment, and a worldly attitude The third is to use the concept of "things and myself are one" to express the eulogy of the beauty of life and the beauty of ecology with the spiritual vision of literati, creating a poetic environment where situations blend, warm and harmonious; the fourth is to use traditional Chinese brush and ink theory as the basis The foundation is to appropriately absorb the strengths of Western landscape painting and construct a unique artistic language schema.
Keywords Pastoral landscape painting history, cultural origin, aesthetic connotation, era significance, one core and four elements
(6) Thesis "My Views on the Branches of Landscape Painting"
(Full text Published in the 2329th issue of "China Calligraphy and Painting News" in 2013, author Zhang Zhengzhong)
Abstract: The initial stage of any painting discipline is always chaotic and indivisible. When it reaches a certain stage of development and meets the conditions for independent division of disciplines, it will become independent. The classification scheme of subjects was made by painting historians based on extensive research, and it took on a stable state over several years. The division of subjects plays a positive role in promoting the development of painting and improving the artistic characteristics of various categories.
Pastoral landscape painting has made great progress in contemporary times. When determining the disciplinary positioning of this branch, it was discovered that it has two other "brothers": seascape and city. The original “leader” of Gaofeng Mountain Landscape Painting became the big brother. "Fengling landscape painting" is a landscape painting in which peaks and mountains are the main images of the painting, and rocks and waterfalls are the constituent elements. "Pastoral landscape painting" is a landscape painting that mainly focuses on the scenery of the countryside. "Seascape landscape painting" is a landscape painting that mainly focuses on sea waves and coastal scenery. "Urban landscape painting" is landscape painting focusing on cities, towns, and man-made gardens.
Keywords: Branches of landscape painting, peak-mountain landscape painting, pastoral landscape painting, urban landscape painting, seascape landscape painting
(7) Thesis "Between Entering the World and Emerging from the World"
(Full text published In the 6th issue of "Art Observation" in 2010, the author is Zhang Zhengzhong)
Abstract: The category "Pastoral Landscape Painting" is classified according to the subject matter and content. Its elaboration should have several aspects, content and theme being one of them. This article starts from the worldly and worldly nature of painting, traces the origin and functional evolution of painting, and reveals the contemporary characteristics of pastoral landscape painting in terms of content. Because the creation of pastoral landscapes focuses on people's living conditions and often contains natural and tranquil artistic conceptions, it not only maintains the worldly aspect of painting, but also has the otherworldly aspect. Therefore, the essence of the content of pastoral landscapes should be between worldliness and transcendence, which is determined by the characteristics of the subject matter. Both worldliness and transcendence have positive significance for paintings. In contemporary times, home complex and ecological ideal have naturally become two important themes in pastoral landscape paintings.
Keywords: pastoral landscape painting, survival and aesthetics, the worldliness and transcendence of painting, the relationship between worldliness and transcendence, home complex, the ideal of building an ecological paradise