Celebrated Artists · He Jiaying

Author: He Jiaying
Publisher:
Publishing Date: 2003-01-01
Features: He Jiaying is a master of meticulous figure painting, and his achievements and contributions are numerous, making it difficult to assess. This small book has been published, and I have been asked to write a preface. In brief: He is profound in character and quick-witted in talent, so his paintings are infused with spiritual essence while following established methods, progressing from substance to refinement, and are truly worthy of the ancient ideal of "harmonious form and spirit." This term carries great weight, and I am weary of the current trend of chasing the void and delving into the empty, leaving nothing substantial. Let us look at the ancient critiques: "Painters must move the vitality of living things, transform endlessly, and concentrate their spirit to observe firmly, which is indeed difficult." If the artistic spirit is complete but the form is lacking, it may seem alive but is not; if the form is complete but the artistic spirit is lacking, it may seem like a likeness but is dead. These two perspectives are indeed correct, and the theory of "harmonious form and spirit" should be considered the classic essence. But truly putting it into practice, then one believes in Zhu's sigh: "Indeed, it is difficult." It must be admitted that this "difficulty" word, over the course of thousands of years, has only been overcome by a few. He Jiaying is a master of meticulous figure painting, and his achievements and contributions are numerous, making it difficult to assess. This small book has been published, and I have been asked to write a preface. In brief: He is profound in character and quick-witted in talent, so his paintings are infused with spiritual essence while following established methods, progressing from substance to refinement, and are truly worthy of the ancient ideal of "harmonious form and spirit." This term carries great weight, and I am weary of the current trend of chasing the void and delving into the empty, leaving nothing substantial. Let us look at the ancient critiques: "Painters must move the vitality of living things, transform endlessly, and concentrate their spirit to observe firmly, which is indeed difficult." If the artistic spirit is complete but the form is lacking, it may seem alive but is not; if the form is complete but the artistic spirit is lacking, it may seem like a likeness but is dead. These two perspectives are indeed correct, and the theory of "harmonious form and spirit" should be considered the classic essence. But truly putting it into practice, then one believes in Zhu's sigh: "Indeed, it is difficult." It must be admitted that this "difficulty" word, over the course of thousands of years, has only been overcome by a few.