Fan Yang, born in Hong Kong in January 1955, native of Nantong, Jiangsu. He joined in Nantong Arts and Crafts Research Institute in 1972. In 1982, he graduated from the Art Department of Nanjing Normal College. He served as dean, professor and doctoral tutor in Nanjing Normal University, and he was dean of Nanjing Calligraphy and Painting Institute, curator of Jinling Art Gallery, vice president of Chinese Painting Institute of China National Academy of Painting. Now he is postdoctoral tutor of Post-Doctoral Mobile Station in China National Academy of Painting, doctoral tutor of the Chinese National Academy of Arts and School of Humanities and Arts of Macao University of Science and Technology, special dean of School of Fine Arts and Design, China-ASEAN School of Art, Chengdu University. He is also excellent expert of the Ministry of Culture and enjoys special allowances under the State Council. In 2010, he was employed as an academician of the National Academy of Science and Arts of the Republic of Uzbekistan. In 2013, he was employed as an academician of the National Academy of Science and Arts of Kyrgyzstan. In 2014, he was honored by Jurade de in Saint-Emillion, France. In 2019, he was awarded the Pierre de Coubertin Medal personally issued by Mr. Bach, President of the International Olympic Committee, in Beijing.
Spirit Discriminates Objects
By Fan Di’An
Mr. Fan Yang enjoys a high reputation in contemporary Chinese painting. Since his large thematic work “Supporting the Front” won the Bronze Award in the sixth National Art Exhibition in 1984, he has been passionate in art for decades and constantly explored with open ideas. He never stopped drawing. He has a wide variety of paintings. His ability to draw landscape painting, flower-and-bird painting and figure painting is equal, and he is also well versed in free sketch painting, meticulous painting and calligraphy. He likes to make more attempts in the performance of themes and formal language. Starting from challenging himself, he reached the state of being handy, pursuing the beauty of artistic conception and painting quality in both large-scale creation and exquisite small works. With his numerous works and distinct personality, he has become an important representative of the development and innovation of contemporary Chinese painting.
Taking the development of Chinese painting as the ideal, Fan Yang, insists on deeply studying the tradition and gaining much, reflecting a kind of academic wisdom from integration to transformation. At the same time, he persisted in going deep into life naturally, striving to capture and express the “expression” of objects, keenly feeling the emotions of life of all things, seizing the opportunity of creative interest. He has the ability to take images and create shape outlines from a novel perspective, which is unexpected, creating a generous and clear environment. When he paints, he uses pen, ink and color in a coherent manner, and there is no lack of language and emotional rhythm. His drawing language has its own distinct style, coruscating a vibrant atmosphere of the times.
In the creation of landscape painting, he inherited the tradition of mountains and rivers in the Song and Yuan dynasties and tended to the aesthetic style of “thick pen and heavy ink”. When he went into nature, he opened his mind, directly enlightened by nature, and experienced the beauty and wonder of nature. The landscape he painted is not confined by geographical limits. From the perspective of transcending tradition, he paints not only pure natural landscapes, but also landscapes associated with pastoral areas, villages and towns and even cities, reflecting a “great landscape view” with a contemporary vision. In the past ten years, he has made special efforts in landscape sketching. From Taihang Mountain to Ba Shu, from southern Anhui to Yunnan-Kweichow Plateau, from domestic to overseas, his footprints were left behind wherever he feels at the scene, and his interest and temperament made him paint all the time. He sketched from life for countless times, and he drew a landscape scene that was impressive, habitable and touring. The label “Fan Yang paints from life” not only shows his new way in landscape painting, but also shows his exquisite level and the height of the times in the identity of “sketching” and “creation”.
Fan Yang is equally good and exquisite in drawing characters and flowers and birds. His flower-and-bird painting has a unique style, accurately expresses the expression and posture of flowers and birds, and relaxes freely in pen lines, ink and colors. The image and formal language of flowers and birds show liveliness and vitality. In figure painting, he not only uses strong ink to express the local customs, inherits the vigorous freehand brushwork style of traditional literati painting, but also painted Gaoshi and Luohan in the form of the combination of ink and color. It can be seen that in addition to the literati painting system, he also uses traditional murals, the block-printed Chinese New Year pictures and other folk-art resources, which is quite affectionate. The latest work in the exhibition is his “Painting of World Events” series, in which he combines the sense of travel with the news of current events to paint events and characters in the contemporary world and real life. They depict scenes and images that are witty and hilarious, and also extend the performance theme of Chinese painting experimentally.
In Fan Yang’s works, the diversity of forms and the inner unity of spirit are the distinct art features. In his works, all things flourish, compete with each other freely, and the world is colorful and full of vitality. In his works, spirit discriminates objects, showing the brilliance and spirit of life.