The Analysis Of Freehand Spirit In Jianjun Zhan’s Oil Paintings

In the contemporary oil painting industry, in order to enrich the own paintings’language depth and highlight the cultural characteristics, many painters take theinitiative to learn and absorb the freehand spirit of traditional Chinese painting intheir painting language exploration. They grafted the Chinese freehand spirit oncanvas by different ways and emotion, to let the solemn incomprehensible canvasimbued with the character and charm of the Chinese literati. More and more oilpainters shift their gaze to the inner spirit of traditional paintings, which hasextremely valuable value and great potential. The nationalization pace of Chinesepainting in the language continues to become mature and move forward.As a landmark figure in Chinese contemporary art history, Jianjun Zhan, who hasopened up a new field, has a unique meaning and value in the art scene ofcontemporary Chinese painting. He pursued freehand paintings and developed akind of painting which contained freehand spirit by absorbing and integrating thefreehand concept and freehand spiritual content of Chinese painting. The earlyartistic pursuit of Jianjun Zhan was filled with youthful romantic passion and eraideal of revolutionary fervor. His works made emotion and nature add radiance andbeauty to each other, they also had a strong symbolic, created scenes and grand andwide mood. During this period, Jianjun zhan’s masterpieces had "Started","FiveHeroes of Langyashan" and so on. These paintings had a huge impact, which eveninfluenced several generations of young artists. In the "Cultural Revolution" period,Jianjun Zhan was forced to interrupt the art exploration for many years. In the late1970s, he sketched along the Red Army Road, and drew a lot of masterpieces aboutlandscape and portrait. When the "Cultural Revolution" ended, the art creation ofJianjun Zhan was into the exuberant period. His artworks showed an experienceinsight on life after the storm and a high sense of morality. They also presented avery calm and quiet life tenderness and positive healthy attitude towards life. Hisrepresentative works had "Song of The Plateau","Look Back","Silent Shek WuLin","Snow","Boom", etc. His freehand oil paintings had typical characteristics ofthe Chinese literati paintings and could reflect the unique face of Chinese painting inform and content. The oil paintings of Jianjun Zhan showed us a picture, which hadthe excellent Chinese culture, the Chinese characteristics and the Chinese people’sHigh-spirited mental outlook since the reform and opening-up. Those pictures showed the characteristic that absorbed the excellent artistic tradition nutrition. Infact, it was an extension of the Chinese domestic spirit. Through the absorption ofthe spirit of traditional art, his paintings had the unique style, and made a significantcontribution to promote the progress of the variety of techniques for oil paintings.Jianjun Zhan was also a hard art educator. He insisted on the teaching philosophyof Wenxi Dong in his teaching process, and brought development according to thecharacteristics of the new era. He especially stressed in the professional dedicationand rigorous scholarship in teaching. From1980to1999, Jianjun Zhan served asdirector of the third studio. He was the only faculty who had the longest teachingexperience and crossed before and after the "Cultural Revolution" since the studiowas founded in1956. Jianjun Zhan was strict with himself and was a teacher byworthy example. He was a reliable guarantee for the healthy development of thestudio. Jianjun Zhan was also an art activist and organizer and made a specialcontribution to the development of oil painting in China for decades.