Wang Huaiqing 王懐慶 China, b. 1944

Overview

王懷慶1944年初生於北京。1964年進入中央工藝美術學院,1979畢業於該院研究院。因受業於倡導西方現代主義的吳冠中門下,王懷慶受其影響甚篤。在文革期間的艱苦環境中,仍然嚴謹執著的發展出自己獨特的美學觀與藝術性格,成就其在當今中國藝術家中舉足輕重的地位。

 

Wang Huai Qing

Born in Beijing 1944 

First Grade National Artist in Beijing Art Academy 

Member of the China Artists Association

Director of China Oil Painting Association

 

1964-1969 Central Academy of Arts and Crafts BFA

1979-1981 Central Academy of Arts and Crafts MFA

1987-1988 Visiting Scholar OCU USA 

Works
Biography

 

 展覽

 

1982年 參加法國巴黎春季沙龍展,創作油畫《畫家的母親》等作品
1983年 調至北京畫院任專職畫家,創作油畫《秋玉米》、《黃河水》及肖像作品
1984年 創作油畫《搏》,獲北京市美展甲等獎,由北京市美協收藏,參加第六屆全國美展
1985年 參加在黃山舉行的全國油畫研討會,創作油畫《四月》為中國美術館收藏,創作油畫《女孩與貓》、《夏趣》、《紅地毯》、《蓖麻》
1986年 創作系列作品《故園》、《三味書屋》等,中國美術館「當代油畫展」,中國美術館「國際藝苑首展」
1987年 美國紐約「王懷慶畫展」

1987年 紐約「中國當代油畫展」

1987年 日本東京「現代油畫展」

1987年 中國美術館「中國美術館藏品展」
1989年 重新放大創作86年的舊作《故園》,獲第七屆全國美展銅牌獎,為上海美術館收藏
1990年 創作油畫《雙椅》、《白墻襯托的立木四根》、《有一扇到另一房間的門》、《黑窗格剪碎白窗紙》等,開始創作中國水墨畫作品《妙齡》、《凝神》、《大海的生日》等
1991年 作品《大明風度》獲「91年中國油畫年展」金獎,

1991年 作品《走向世界的人》獲「當代油畫藝術國際展」二等獎,參加「吳冠中師生展」

1992年 北京「中國美術館藏品展」,

1992年 日本「第10屆上野之森美術館大獎展」

1992年 香港「91年中國油畫年展」
1993年 新加坡「王懷慶水墨展」

1993年 北京「中國美術館藏畫精品展」

1993年 德國海因巴赫「國際藝術節畫展」

1993年 中國美術館「中日現代繪畫展」,隨中國藝術家代表團出訪歐洲四國
1994年 中國美術館「第二屆全國油畫展」

1994年 新加坡「黑白之間–王懷慶水墨人體畫展」,出版《王懷慶水墨人體畫集》
1998年 紐約古根漢美術館「中國藝術5000年展」

1998年「傳統與回顧–當代中國藝術展」德國駐北京使館,作品收錄《中國現代美術全集》
1999年 台灣台北大未來畫廊「王懷慶個展」

1999年「中國美術館館藏精品展」

1999年 中國成都美術館「世紀之門展」

1999年「王懷慶個展」澳門市政廳畫廊,作品收錄《中國美術館藏品選》,中國中央電視台「名人名作專訪」
2000年 中國「上海2000雙年展」、中國美術館「20世紀–中國油畫大展」、作品收錄國家文化部重點文化工程「20世紀–中國油畫」大型畫冊,創作巨幅油畫《一生萬》等
2001年 中國美術館「科學與藝術展」獲優秀獎,創作油畫《沒家的家具》等
2002年 應西班牙Poligrafa公司與大未來畫廊之邀,赴巴塞羅那制作銅版畫5幅「巴塞爾藝術博覽會」
2005年 於香港展出作品個展,參加第二屆北京國際美術雙年展
2006年 台北國際藝術博覽會、新加坡藝術博覽會、北京藝術博覽會

Selected Exhibitions 

 

1980 

Same Generation Oil Painting Exhibition  

China National Art Museum   Beijing

 

1987

Contemporary Oil Paintings From the People’s Republic of China

Harkness House  New York

 

1989

7th National Art Exhibition 

    China National Art Museum   Beijing

 

1991

1st Annual Exhibition of Chinese Oil Painting

    China National History Museum  Beijing

 

1993   

Exhibition of Selected Works from the Collection of National Art Museum

China National Art Museum  Beijing

 

1996

1st Chinese Oil Painting Society Group Exhibition

 China National Art Museum  Beijing

 

1998

China 5000 Years  Guggenheim Museum  New York

 The International Asian Art Fair   

The Seventh Regiment Armory  New York

 Tradition and Retrospection – Exhibition of Chinese Contemporary Art

German Embassy  Beijing

 

1999

Solo Show  Ling and Keng Gallery  Taipei

Asian Art Fair  New York

 Exhibition of Beijing Art Academy  National Art Museum  Beijing

 Solo Show  Leal Senado Temporary Exhibitions Gallery  Macao

 Exhibition of the Collection of China National Art Museum  

 National Art Museum  Beijing

Gate of Century-Exhibition of Chinese Contemporary Art

Chengdu Art Museum  Chengdu

 

2000

Exhibition of the Collection of Shanghai Art Museum

Shanghai Art Museum  Shanghai

Exhibition of 21st Century Chinese Oil Painting  National Art Museum  Beijing

 Connection of West and East-Exhibition of Contemporary Chinese Art

National Art Museum  Beijing

 Shanghai Biennale  Shanghai Art Museum  Shanghai

 

2001

Science and art  China National Art Museum  Beijing

 Shanghai Jingwen Art Center show  Shanghai

 From Realism to Abstraction  Ling and Keng gallery  Taipei

 

 2002

Gate of Masters-Exhibition of Chinese Contemporary Art

China National Museum  Beijing

Basel Art Fair,  Switzerland

 

2003

3rd National Exhibition of Oil Paintings

China National Museum  Beijing

Master Show- From design to Art  Shanghai

 An Open Era-Celebration of 40th Anniversary of Founding of China National Museum of Fine Arts        China National Museum

 The 1st Beijing International Art Biennale         China National Museum 

 The 2nd Chinese Art Academies Biennial Guangdong Art Museum

 

2004

Marianne & Heinrich Lenhardt-Stiftung Collections  

Kaiserslautern Pfalzgalerie, Germany

 

2005

The 2nd Beijing International Art Biennale  China National Museum  Beijing.

 Solo exhibition - Traces of Nature     Exchange Center  Hong Kong

 

 

Selected Books

 

1998  China 5000 Years-a Century in Crisis   

           published by Guggenheim Museum

 

1999  Collections of the China National Museum of Fine Arts   

           Published by China National Museum of Fine Arts

 

2000  Shanghai Biennale       

           published by Shanghai Lithograph & Art publishing house

 

2001  20th Century Chinese Oil Painting   

           published by Beijing publishing house

 

2002 An Opening Era     

          published by China National Museum of Fine Arts

 

2003  1st Beijing International Art Biennale   

            published by People’s Art publishing house 

 

 Honors

 

1984 First Award   Beijing Art Exhibition

1989 Bronze Medal   The 7th National Art Exhibition

1991 Gold Medal     The 1st Annual Exhibition of Chinese Oil Painting

2003 Academic Award  The 2nd Chinese Art Academies Biennale

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

Bibliography

王懷慶的藝術

吳冠中

王懷慶從美術學院附中,大學,到研究生,受過嚴格科班鍛練,早年的具象油畫“伯樂相馬”及“搏”等贏得了他在美術界的實力派威望。後去美國兩年,他說他是帶着我的兩句話上飛機的:“只有中國的巨人才能同外國的巨人較量,中國的巨人只能在中國的土地上成長。”我說話總多偏激之詞,但王懷慶倒真的又回到了祖國大地。尋尋覓覓,他也在東尋西找,探索古,今。他長期馳騁于油畫彩色濱紛的疆場,後來卻鍾情于黑白視野了。這個切入口起先很窄,別人擔心他只在桌椅間討生活,前景堪懮. 這個切入口像一個山谷的入口,進入之後也許是絕壁死谷.將大哭而回,或柳暗花明,將發現新大陸.。

   王懷慶起先注視紹興民居木樑木柱的構架,由於白墻的襯托,那構架縱橫穿插,傾斜支撐,充分顯示了力度的強勁,並自成宇宙一統.由此前進,他又愛上了明式傢具,桌,椅,板凳……結構更加精密,每件出色的傢具不止是一件精美的藝術品,更是一家之主,一國之主,他由此看到“大明風度”(他的一幅作品).

  近十年的鑽研,這個王懷慶之谷顯得越來越開闊了,他從明式傢具的啓示進入了鋼筋鉄骨的鑄造,而他的鋼筋鉄骨的藍圖卻始于任性的,童心的揮寫,冰冷的軀體不失丹心碧血。

  西方的克萊因(Kline),蘇拉日(Soulages)等不少畫家均在揣摩。吸取我國書法的黑白結構,而王懷慶的構架不止是單一的形式规範,因民族的魂魄,石濤的心眼,都啓示了王懷慶探索的方向。我對其作品的感受或聯想未必是作者的暗示,作者竭力發揮“黑”之威懾力,強調黑與白的交織,推敲肌理的鋪墊,經營無聲有序的生存空間,以孕育童心。

  我們曾屬同一單位,因之“文化大革命”期間深識王懷慶,今見其新作,信乎風格即人格,其強勁的結構觀念正在步步展拓,其作品中的赤子之心日益鮮明,他默默拚搏,藝無涯。

  

 

 Oil Painting Art of Wang Huaiqing                     

Wu Guanzhong

 

   When kids are playing with toy bricks, they build with them, followed by pushing them down and repeat doing this time and time again, lost in arts creation.

 

   Wang Huaiqng’s eyes were first focused upon the wood beam and pillar structures of Shaoxing residents, fully expressive of intensity of strength due to elaborate structure set off by white wall and reunion with universe. Then, he was attached to Ming-style furniture, like table, chair, bench and so on characterized by finer structure, each prominent one of which is more master of a household and king of a country than a perfect art article and through which he witnessed the ‘Grand Ming Style’(one of his works). However, he was lost to furniture not just for the sake of furniture or fell prey to the spell of cultural relics. Rather, he set hands on the dismantlement of structures elaborated by high-profile masters and was given to the restructuring of dismantled structures in the wake of knowledge of the original structures. He was committed to developing national tradition with a childlike innocence which dares to construct mansion with toy bricks. 

 

    Wang Huaiqing was strictly forged and trained in his discipline from the attached middle school of fine arts institute to university and graduate school and his early concrete oil paintings like ‘Bole Choosing Horse’ and ‘ Challenge’ won him fame and recognition in art circle as a talented artist. Later he was in US for two years and he told me that he was on board plane with two sentences I bestowed him, namely ‘ Only giants in China can be comparable to overseas counterparts and Chinese giants can take roots and grow only in China.’ My words, to be sure, are more often than not paranoia but Wang Huaiqing really returned to motherland again. He sought and sought everywhere and explored arts from ancient to modern. He shifted his favor from colorful oil painting to black-and-white view. This is a narrow cut-entrance, someone worry about that he limits his view among chairs and tables. Two possibilities are awaiting when one headed past a valley gate, namely, one had to retrace, crying mournfully for confronting precipice and dead valley and new horizon loomed with the disappearance of intimidating precipices. Due to a decade of research and study, Wang Huaiqing is increasingly versatile and eclectic in creation, finding expression in the revelation from Ming-style furniture to moldering of masculine works, hardened but affectionate and the inspiration of which originally derived from the willful childlike innocence. Tragic-awareness, however, can be smelt potentially existing in artistic creations. His ‘Evening Banquet’, to be quoted as an example, gives expression to the sentimental and emotional parting at the closing of a banquet against the black backdrop reminiscent of the lapsing and lost luxury. The work is set in black background, featured with contrast of thick and thin lines together with interweavement of horizontal and oblique streaks and incorporating classical poems and modern melodies; His latest works more often than not present radical revolution of disintegration and integration of traditional mindset: the horizontal and vertical parts of a shabby table combine to materialize a quiet and lean old man under a long sword falling from sky. Is it a threat or a protection in the critical moment? (A table in two different periods of time); Chairs are piled up increasingly high in acrobatic performance, accompanied by bewilderment in eye and suspense in heart (Performance of Chairs). ‘ Short Bench’ (representing all universe) is another example to show his perception of the revolution in traditional mindset; In ‘ Search’, dismantled legs and arms of furniture are searching for new homestead to settle; A transected table surface is supported by the cooperating thin unsteady legs with a pitch black pressing down on dark red space. Fortunately, two rising black columns prop up the surface, bring balance to universe of the picture. Vermeil patch is here emblematic of candle, eye, heart and sprinkled blood (Foot); 3-series ‘Sincerity Prevail’ is reflective of strength and force while 3-series ‘ Tranquility’ is set in deserted mountainous field and steep cliff invigorated by speedy stream. Qi Baishi wandered into forests to enjoy croaking of frogs coming along a long creek while Wang Huaiqing appreciates all kinds of sounds in nature through the eyes of a contemporary person.

 

    Many artists in western world like Kline and Soulge, among others are contemplating to absorb nutrients from the black-and-white structure in our calligraphy but Wang Huaiqing’s structure is more than that and is traceable to national spirits and Chinese natural wonders as well. My understanding and imagination of Wang’s works is not necessarily based on his hints. Rather, they spring from the intimidating effect of black color widely employed by the artist who stresses the interweavement of black and white, context of texture as well as silent and orderly space to gestate and nurse childlike innocence.

 

     I once wrote a short article titled < Agile Wang Huaiqing>. We were once on the same unit and well acquainted with him during ‘Cultural Revolution’. His personality finds its way to the style of his new works expressive of his increasingly expanded structural consciousness and a patriotic heart toiling and moiling with boundless creative ability in arts circle.