Dai Dунбэн Character Painting Collection

Author: Dai Dunbang
Publisher:
Publishing Date: July 1, 2001
Features: Let labor exceed one's thinking, and this is a negligible painter; let thinking exceed one's labor, and this is a painter who is on the path to artistic perfection. Leonardo da Vinci's words are as if they were spoken to today's painters. Because today, aren't some painters who have abandoned their life philosophy and artistic philosophy to the heights of the sky? Dunbang is a relatively thoughtful painter; his labor is remarkable; but only when serious thinking guides his labor can he achieve results that satisfy most readers. I think Dunbang himself will summarize this point. Cai RuoHong's "Opening a New Realm for Character Portraiture," Shanghai Renmei Art Press, "Illustrations of Red Chamber Characters" (1983). I first encountered Dunbang's works before meeting him as a person. He is a skilled painter of sequential illustrations, especially in using the modeling and brushwork of Chinese painting to depict historical figures. He is a master who stands alone in the modern era. While meticulously portraying the characters of "Dream of the Red Chamber," he dedicates himself entirely to pursuing the heroic models of the heroes of "Water Margin." With the same brush, he paints two completely different worlds, something not every painter can achieve. This makes me think that as a character painter, one must possess the talent of a great actor—acting like the character they portray, excelling in both literary and martial arts. Dunbang can paint Lu Zhishen as well as Lin Daiyu, showing no gender barriers, which makes him even stronger than an actor. Ye Qianyu's preface to Dai Dunbang's "Water Margin Leaves," Jiangsu Art Press, 1983. Dai Dunbang is a renowned Chinese painter both domestically and internationally, as well as a beloved illustration artist among readers. In his early years, he worked as a book cover designer for literary publishing houses, making illustration art his natural forte. Later, he was appointed as a professor of painting, but the publishing industry still pursued him relentlessly. The recently published "Dai Dunbang Classical Literature Masterpieces Painting Collection" by Shanghai Ancient Books Press compiles over 160 representative works from 1970 to 1997. More than half of these works have been previously published, appearing as illustrations in classical masterpieces, large dictionaries, poetry collections, and more. In this regard, this collection is not just an exhibition of Dai's Chinese painting art but also a demonstration and promotion of high-quality illustration art. The works in the collection are all inspired by the treasure trove of Chinese classical literature, ranging from the myth of Pan Gu opening the heavens and earth to Tang and Song poetry, and down to Yuan, Ming, and Qing Dynasty plays and novels. The forms include group paintings, single-panel paintings, long couplets, and screen scrolls. According to Dai's own words, the works in the collection are his "readers' notes on literary masterpieces expressed through painting." "It is often said that 'poetry values subtlety.' If a poem reveals everything at a glance, it is no better than no poem at all. Yet if there is no poem, the carrier of subtlety is lost. Poetry and painting share this principle. While painting is more direct and visual than poetry, it too values depth and endurance. Classical literary masterpieces have a wide readership, and readers from different eras and backgrounds interpret and associate with the works in vastly different ways. My 'readers' notes' aim to express my own understanding while not hindering the audience's own interpretations and imaginations" (as seen in the preface of the collection). These words are a classic statement on book illustration art.