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Shao Jingkun's painting style is bold and smooth. Whether it is portraits, human bodies, landscapes or flowers, she does not deliberately pursue the resemblance of portraits but can grasp the personality and charm of people; her paintings focus on the overall structure and effect, the reflection of light and color, the fusion of emotion and scenery, and a seamless whole.—— Preface

China

painting

by: International Art Panorama

Shao Jingkun

Born in Harbin, Heilongjiang (1932- )

Shao Jingkun(1932- ), born in Harbin, Heilongjiang. Member of the Chinese Artists Association, professor of the Central Academy of Fine Arts, tutor of Xu Beihong's studio, member of the Chinese Association of Old Professors. Graduated from the Central Academy of Fine Arts in 1953, and stayed on to study for a master's degree. In 1962, he served as a tutor for postgraduate students at the Fine Arts Department of the Beijing Academy of Arts. In 1962, the Chinese Artists Association organized painters Dong Xiwen, Wu Guanzhong, and Shao Jingkun to go to Tibet for sketching and creation, which lasted for half a year. After returning to Beijing, his works were exhibited in art galleries and held a national tour.

Dreamy Childhood 122 × 91 (Oil on Canvas) 2006▼

Church in Harbin 32×26 cm (oil painting on paper) 1988▼

She was fascinated by dance, music and painting since childhood, but she eventually chose painting as her lifelong career. She was admitted to the National Peking Academy of Arts (the predecessor of the Central Academy of Fine Arts) in 1949 and was a direct student of Xu Beihong, Jiang Zhaohe, Ye Qianyu and Dong Xiwen.She is also the first generation of well-known female painters with outstanding achievements and accomplishments trained by the Central Academy of Fine Arts since the founding of New China.

White and Red Flowers 46×32 cm (Oil on Canvas) 1995▼

In the early 1950s, the realistic teaching system that Mr. Xu Beihong had fought for all his life was further improved after several generations of efforts and combined with the literary and artistic ideas of the liberated areas. At that time, the Academy of Fine Arts gathered a large number of teachers and painters with creative strength and teaching experience. It was a gathering of stars and brilliant, with sufficient sources of students. More than 100 freshmen were admitted in the same grade, which was unprecedented. The learning environment was steaming and thriving. The realistic art thought and teaching system advocated and founded by Xu Beihong not only attached importance to the basic training of sketching skills, but also paid attention to the cultivation of human and artistic qualities. Professional training is collectively called the Department of Painting, and after the division of subjects, you can also learn something else. Shao Jingkun was nurtured, cultivated, and grew up in this environment. Due to her personal nature, ingenuity, and her own hard work, she loves the fusion of light and color of Impressionism in oil painting.

Georgian Bride 131×97cm (oil on canvas) 1993▼

In 1962, she went to Tibet with Dong Xiwen and Wu Guanzhong to conduct sketching and created many portraits, landscapes and folk paintings reflecting the life of the Tibetan people, revealing her talent in oil painting.With the passage of time and the vicissitudes of life, her artistic practice has become more mature, and her personality and style have become more distinct.Most of her paintings are completed from sketches, but she never depicts scenes and objects in a stereotyped way. She likes to face the moving object forms, light and shadow, and color, which arouses her creative passion, activates her inspiration and wisdom, and enters a wonderful creative realm.

National Beauty and Heavenly Fragrance 64×55 cm (Oil on canvas) 1996▼

Shao Jingkun's painting style is bold and smooth. Whether it is portraits, human bodies, landscapes or flowers, she can grasp the personality and charm of people without deliberately pursuing the resemblance of portraits; her paintings focus on the overall structure and effect, the reflection of light and color, the blending of emotion and scenery, and the integration of them. Her solid sketching basic skills and keen color observation make her color and sketching relationship cleverly combined. Her use of color is to find harmonious colors in the strong contrast of complementary colors, and to find contrasting colors in the slightly different harmonious colors, so that the use of color and light interweaves and shines, creating a hazy, blurred, illusory and illusory feeling. When you appreciate each of her oil paintings, it is like listening to a piece of music, feeling the trembling of life and the overflowing of emotions. That is the realm of perfection and the call for beauty from the inner world of women.

Balinese Girl 70×59 cm (Oil on canvas) 1994▼

When she paints, she is full of love and emotion. Her solid sketching skills and keen color observation enable her to cleverly combine the relationship between color and sketching.Her use of colors is to find harmonious colors in strong complementary color contrasts, and to find contrasting colors in slightly different harmonious colors, so that the use of colors and light interweaves and creates a hazy, blurred, illusory and ethereal feeling. When you appreciate each of her oil paintings, it is like listening to a symphony, feeling the vibration of life and the overflow of emotions. It is a perfect state and a call for beauty from the inner world of women.

Cockscomb 74.5cm×84cm Oil on canvas 1997

Rose 75cm×80cm Oil on canvas 1995

Cockscomb and Persimmon 61cm×50cm Oil on canvas 1991

More works appreciation

Iris 60×50 cm (Oil on canvas) 1991▼

Carpet Weaver 30×30 cm (Oil on Paper) 1978▼

Purple and white lilac 80×75 cm (oil on canvas) 1995▼

The Charm of Purple 80×75 cm (Oil on Canvas) 1996▼

Grandparents and Grandchildren 96×81 (Oil on canvas) 1975▼

White Peony 73×61 cm (Oil on canvas) 1988▼

Uyghur old man wearing sailor shirt 32×20 cm (oil painting on paper) 1978▼

Girl in Uyghur Costume 35×20 cm (Oil on Paper) 1978▼

Mother Earth 171×90 (Oil on canvas) 1978▼

Uyghur woman wearing a flowered headscarf 38×24 cm (oil painting on paper) 1978▼

Harvest 80×100 cm (Oil on canvas) 1995▼

Georgian Mountain Village 30×20 cm (Oil on paper) 1987▼

Flowers Bloom and Fall 81×75 cm (Oil on Canvas) 1992▼

Flowers in the Haze 80×75 cm (Oil on Canvas) 1995▼

Hua Zhuoma 61×48 cm (Oil on wood panel) 1961▼

Painter Shao Fei 120×90 (oil on canvas) 1995▼

Girl in Yellow Skirt 65×45 cm (Oil on Canvas) 1995▼

Holiday Bonfire 100×80 (Oil on Canvas) 1996▼

Small golden flowers 80×80 cm (oil on canvas) 2004▼

Blue and white hydrangea 84×74 (cm oil painting on canvas) 2005▼

Monba Girl 50×48 cm (Oil on wood panel) 1961▼

Dreamy Childhood 122 × 91 (Oil on Canvas) 2006▼

Dream of Jiangnan 45×36 cm (oil on canvas) 1987▼

Grapes and Peaches 50×38 cm (Oil on canvas) 1986▼

Dragonfly Girl 53×46 cm (Oil on canvas) 1981▼

Raw Crab 50×35 cm (Oil on canvas) 1976▼

Cooked Crab 40×27 cm (Oil on Paper) 1976▼

Under the Tree Shade 66×50 cm (Oil on Canvas) 1987▼

Narcissus 84×75 cm (Oil on canvas) 1995▼

Tajik Girl 61×50 cm (Oil on canvas) 1978▼

Pottery jar and wild flowers 30×19 cm (oil on canvas) 1978▼

Red Flowers in a Ceramic Vase 65×53 cm (Oil on Canvas) 1993▼

Copper hot pot 59×48 cm (oil on canvas) 2002▼

Uyghur woman 35×26 cm (oil painting on paper) 1978▼

Uyghur Girl 31×32 cm (Oil on paper) 1978▼

Uyghur Elderly 30×23 cm (Oil on paper) 1978▼

Uyghur hawker 37×26 cm (oil on paper) 1978▼

Warmth 80×65 cm (Oil on canvas) 2001▼

Fragrance 80×75 cm (Oil on canvas) 1994▼

Little Zhuoma 53×45 cm (oil on canvas) 1988▼

Remembering My Teacher - Zuoren 130×115 (Oil on Canvas) 1996▼

Sunrise at the Fishing Port 56×34 cm (Oil on canvas) 1976▼

Jade Bottle Stick 80×65 cm (Oil on canvas) 1996▼

【International Art Panorama】

Issue 3562——Shao ​​Jingkun, the first generation of famous female painter of CAFA, has a bold and smooth painting style!

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