| 1936年 |
1-5 years old;
A stubborn child was born at the foot of the Great Wall in Jiming village, Zunhua county, Hebei province;
Lao Jia had three brothers of which he was the youngest,His name, Haoyi, was chosen according to the family almanac. He also had one older and one younger sister;
Lao Jia was born in the midst of war: during his youth he raised cattle, herded sheep, begged for food, and witnessed the horror of burning, murdering, and pillaging by Japanese soldiers;
His mother had some knowledge of the Chinese classics, and during the family's escape from the city to the countryside, she would often let Lao Jia look at two painting books from her dowery, The Painting Manual of the Mustard Seed Garden and The Drunken Ink Studio. Lao Jia thus developed an interest in painting;
Lao Jia's grandfather once told him the following story:"During ancient times there was a painter. One day, after laying out some white paper on the ground he was suddenly inspired to jump into a vat of ink, proceeding to walk all over the paper, lay down, stretch out his arms and press down. After standing up and covering his body once again with ink, he curved and twisted his body once more to create lines of ink that resembled a pumpkin. After this process of getting standing up, sitting down, and moving around, a large ink pumpkin materialized.";
Lao Jia says that up until this day he cannot forget that vivid tale. Could this be anything but the early formations of Chinese freehand painting;
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| 1942年 |
6 years old;
Started attending school. When Lao Jia was at the Jinshan Temple Elementary School, he would use the dust from the school furnace to draw on the walls. During drawing class, he once received a top mark for his comic of President Truman;
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| 1952年 |
16 years old;
Started studying at Zunhua No. 1 Middle School;
|
| 1954年 |
19 years old;
On the eve of graduation from middle school, Lao Jia had the idea to take the exams for the art academy. After hearing his teacher Zhao Lin said that one had to "study for eight years in order to take the art academy exams," he changed his mind. He walked to Tangshan to apply for school, and after not passing the exams for the train conductor academy, he was finally accepted to the Beijing Industrial Management School;
After entering school he was not happy with his studies, preferring to go to exhibitions on the weekend or read books for free at the bookstore, finding time to copy paintings and sketch. Due to the fact that he did not like this major, Lao Jia decided to apply for a medical leave on the eve of finishing his internship and being assigned to a work unit. Met with disbelief by others, Lao Jia cancelled his Beijing hukou, left school and started studying for the art academy exams;
After returning home, Lao Jia focused on painting. His parents did not say a word about hs decision, but there were considerable criticisms amongst the villagers;
|
| 1958年 |
22 years old;
Taught in the village elementary school. Participated in the construction of commune hydraulics;
Lao Jia rode a bike to Beijing to take the exams, being admitted to the department of fine art at the Beijing Normal Art Academy (renamed the Beijing Art Academy after 1960) on the merit of his pencil sketches. The school invited Central Academy of Fine Arts professors such as Ye Qianyu and Jiang Zhaohe to teach, proving to be extremely enriching to Lao Jia. His sketches were praised by Wu Guanzhong who said that "this is how drawing should be done.";
|
| 1961年 |
25 years old;
Due to the praise received by classmates and teachers in July for his gongbi graduation work Spring, Summer, Autumn, Winter, Lao Jia was asked to stay on as a teacher at the school, serving as an assistant for professor of gongbi painting, Chen Yuandu;
Lao Jia's "realism with political elements" period within his artistic journey started during this time;
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| 1962年 |
26 years old;
Due to downsizing at the academy in autumn, was transferred to the Chaoyang District Cultural Center in Beijing;
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| 1963年 |
27 years old;
Was sent to Jinzhan in the eastern Beijing suburbs on August 1st to participate in village class struggle, painting a village history entitled History of Jinzhan that was published in the Beijing periodical Branch Life;
|
| 1964年 |
28 years old;
In June, Lao Jia's painting A Letter to Art Workers for the Masses was published in Fine Art, a magazine published by the China Artists' Association;
History of Jinzhan was exhibited at the National Art Museum of China;
Illustrated works including the China Children's Publishing House picture book Five Acres of Wheat and the China Youth Publishing House novel, A Tale of Enmity in Jigu Village;
Participated in the "Four Cleanups Movement" in the Tianqiao area;
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| 1966年 |
30 years old;
.Was sent to the Xiumian factory in Beijing as part of a Cultural Revolution work team. Was sent to the Red Guard welcome station to print mimeographed pamphlets;
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| 1967年 |
31 years old;
Was sent to the Jingmi Diversion Site to edit and print work site pamphlets;
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| 1968年 |
32 years old;
Married Nanmofang Commune member Song Daping in September;
Work entitled Wenyu River Series participated in the Beijing City Fine Art Exhibition;
|
| 1971年 |
35 years old;
Lao Jia entered his "Return to Roots and Exploration" period. He started researching traditional painting and exploring the boneless technique, as well as methods in spilled ink and color;
Was invited by the Chinese Revolutionary History Museum to create a painting of Party history, including images of Party activity in Ruijin and the search of Jingang Mountain;
Was invited by the People's Fine Arts Publishing House to lead the creative team for a series of illustrations entitled The Radiant Sun;
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| 1972年 |
39 years old;
In October, Lao Jia's illustration work@The Radiant Sun (Part I) was selected for the National Commemorative Art Exhibition for the 30th Anniversary of Chairman Mao'sYan'an Forum on Literature and Art.";
Work entitled Digging the River Series participated in the Beijing City Fine Art Exhibition;
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| 1974年 |
38 years old;
Illustration work The Radiant Sun (Part II) was selected for the "National Illustration and Chinese Painting Exhibition.";
|
| 1975年 |
39 years old;
In early October Lao Jia went to do fieldwork on village painting in Li county, Shan'xi province, visiting Shi Lu in Xi'an;
Illustration work The Radiant Sun (Part III) was published;
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| 1976年 |
40 years old;
Illustration work The Radiant Sun (Part IV) was published. Subsequently, work on The Radiant Sun (Parts V, VI) was stopped due to changes in the political climate. The four parts that were already published were edited into A New Chinese Art History: 1966-1976 (by Wang Mingxian and Yan Shan, China Youth Publishing House, 2000);
In the interim, the "Chinese painting in western drawing style " gained in popularity while Lao Jia felt that it was a mistake, burning his own "Chinese painting in western drawing style"works after having exhibited them. He turned his interest to the painting of Bada Shanren and Xu Wei. He started studying Chinese painting theory, developing an appreciation for literati freehand painting;
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| 1978年 |
42 years old;
Upon the recommendation of Cui Zifan, Director of the Beijing Fine Art Academy, was transferred to the figure painting studio to work on creative projects;
|
| 1979年 |
43 years old;
Lao Jia went painting in Gannan, changing his artistic direction. He stated:"When I arrived in Gannan to paint, I had the intention of producing great freehand paintings of Tibetan minorities. However, when I saw the yak herds on the mountain slopes, I felt as if they were rolling mounds of ink, and I became extremely interested in the sight, and started to use ink to paint the yaks. I once did a painting of yaks in 1982, and seem to have entered large circles of spilled ink. As I was painting yaks, I became interested in painting horses, wanting to experiment with representing horses. I went to the grasslands of Inner Mongolia several times in succession, realizing that painting horses had more force than painting yaks. The plateaus of the grasslands are massive, with wide and endless spaces. The theme of conquering and being conquered is present in all things. The dramatic scene of horses grappling, whinnying and struggling is a miniature of society.";
In the interim Lao Jia spent his time studying the calligraphy of Huang Tingjian. Lao Jia discovered during the process the calligraphy resolved the tension of uniting writing and imagination quite early on, and attempted to solve the difficult issue of "representation of ink"and "ink representation" in freehand painting. Lao Jia once mentioned: "The form of calligraphy is simply brushstrokes, whereas the structure of human figures and horses are complicated. If you abandon the difficulty of representation, you arrive at the process of deconstruction and modification.";
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| 1981年 |
45 years old;
Lao Jia's artistic creation entered into the "from complicated to simple, from weak to strong"period of metamorphosis, which can also be called the "ink period" where he mostly relied on ink. Starting with the work Bate'er, he created a series of work that established a style of painting. He created Waiting and the related series representing virtuous female life;
In June, his work Flying participated in the 1981 Beijing City Fine Arts Exhibition, winning a prize;
In August, he participated in the Vancouver Chinese Cultural Center's "Work from the Beijing Fine Art Academy" exhibition. His work was purchased after drawing lots, with the news quickly spreading through the art world, greatly reducing pressure during his process of exploration;
In September, Lao Jia went to Nanjing, Huangshan, Shaoxing and Dinghai to paint and visit;
In November he went to Sichuan, Jiuzhaigou and the Three Gorges to paint, staying for half a month;
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| 1982年 |
46 years old;
In June Lao Jia completed the first draft for his work In the Beginning. His work Traces of Blood was shown in the "25th Anniversary of the Founding of the Beijing Fine Art Academy" exhibition, with his work Travel on the Plateau and Plum Concubine being selected for a catalog with same name. Lao Jia subsequently wrote: "Traces of Blood was a failed work, and its most salient faults were that it was scattered, messy, and full of changes but lacking comprehensiveness. The work changed my thought, and I started to engage in ambitious simplification and summarization. This was a rather long period of revolution in my use of representation and ink. The essential spirit of Chinese painting is removal of the complicated in pursuit of the simple, which is also in other words the spirit of freehand painting.@It implies weakening of form and strengthening of the spirit, with spirit emitting from the brush.";
In September, Lao Jia's work Return! participated in the National Art Museum of China's exhibition, "Joint Exhibition of the Beijing Fine Art Academy, China, and the Southern Painting Academy, Japan", with work being published in a catalog of the same name;
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| 1983年 |
47 years old;
In February the Beijing Fine Art Academy mounted the "Beijing Fine Art Academy Chinese Painting Traveling Exhibition" in Fujian and Jiangxi, with Lao Jia accompanying the exhibition group traveling to locations including Fuzhou, Xiamen, and Huian to sightsee and paint from life, spending half a month on the road;
In September, Lao Jia went to Huating and Zhuanglang in Gansu province, followed by a trip Haita'er Temple in Qinghai province, Gangcha in Haibeizhou, and Tianjin in Haixizhou to paint from life for two months;
In November Lao Jia wrote the following statement in his journal:"All things in the world have an order to them, and at the same time they have no order. When order is broken, it implies great revolution or great destruction, while also being a great leap forward;
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| 1984年 |
48 years old;
In June, Cui Zifan reminded Lao Jia of the following: "Do not try and have all people appreciate your painting. Your painting is only for a group of people." This statement had a great influence on Lao Jia, writing the following in his journal:"The more summative, the more reserved, the cleaner the better. Which is to say that the viewer and the artist complete an artwork together. An artist cannot make allowances for the the viewer.";
"The condition for attaining the heights of art is the possession of deep technical skill and complete freedom to express one's spirit.";
In September Lao Jia went to the Ke'erqin grasslands to paint from life while giving art classes to amateur art lovers in Baicheng for ten days;
His works Lotus Flower and Tibetan Woman were selected for Selections of National Middle-age and Youth Flower and Bird Painting and Selections of Middle-age and Youth Figure Painting published by the Tianjin People's Fine Arts Publishing House;
Lao Jia's representative work Streams of Iron was completed. He wrote in his journal:"In the early eighties, I experienced a great and powerful desire to create something new. It can be said that I was thinking everyday, and didn't want to continue within the same old paths, desiring to build new forms. Where should I start? With horses of course. Streams of Iron was thus created under the influence of such a state. The creation of this painting was a sort of demonstration of power to myself. All things were like unstoppably flowing streams of iron. The work emphasized strength of force, but I was met with the question of how to attain such force. I realized I needed to comprehensively reorganize, allowing me to ambitiously hide the shape of the horse. Such a technique was not new in Western painting, but had no precedent in Chinese painting.";
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| 1985年 |
49 years old;
Lao Jia embarked on experimentation with abstraction, writing the following in his journal:"I am trying to transform the structure of painting into that of writing, while nevertheless preserving the large anatomical structures of noses and apparel. The main changes with horses were separating the horse's thigh from the body while simultaneous separating the tail.";
Completed his representative work, Year of the Bull and Loyal Minister;
Went to the Inner Mongolian grasslands to paint from life on September 23rd for 40 days;
His work Li Qingzhao and ten other paintings participated in the "Charms of the Past and Present" exhibition, showing at the National Art Museum of China, in Hong Kong and in Singapore. Several works were selected for Five Peaks and Three Mountains, Charms of the Past and Present: A Selection of Works from a Joint Exhibition by Fifteen Chinese Painters published by Hong Kong Tsikuchai Press. This exhibition received the approval of the Beijing art world, and marked his movement from the periphery to the mainstream;
Lao Jia's work Grassland Voyage was published successively in Chinese Paintingmonthly by Shanghai Cultural Review, and was selected for the trial edition of the People's Education Publishing House required basic education textbook;
|
| 1986年 |
50 years old;
In June, Lao Jia went to Singapore to participate in the "Joint Evening Post News Industry Center 1986 World Chinese Calligraphy Exhibition" activity;
In August,@Lao Jia travelled through Xinjiang, visiting places including A'kesu, Keshi, Kuche, Yingjisha, Shacha, and Baicheng. During this trip he viewed the Kezi Thousand Buddha Grotto, Tulufan, Huoyanshan, the ancient city of Gaochang, the tomb of the Fragrant Concubine and the Dunhuang murals over a period of 50 days;
Completed his representative work Autumn in the Ke'erqin Grasslands (also known asBate'er). Many years later he wrote:"The creation of form, the search of patterns in ink and brush is completed through the practice of thousands of paintings, and is constantly informed through the reception of new feeling, establishing new methods. Bate'er is the conscious conclusion of years of work, embodying my artistic pursuits. The painting is concentrated, deep, expansive, and minimal, possessing a great sense of vitality.";
Lao Jia completed his representative work On the Grasslands, Shadow of the Bull,Happy Muslims;
Many years later in his prose piece Lao Jia Paints Cattle, Lao Jia wrote:"I like to paint their wild galloping, the movement of the dust as the bulls trample upon it, a solitary bull whinnying at the top of an endless plateau, I like to paint their helplessness and anger after being played with, their dialogues with mouses, how the small calves follow the mother cows;
I like to paint the expansion of their energy.";
"I am interested in the wideness of their chests, their upright necks, their knife-like horns, the steps made by their hoofs like the movement of mountains, their calling like stifled thunder. When they have suffered insufferable fury, their eyes will stare at you with reddened veins, feeling as provocative as lightening! When clever men try to provoke them, the bulls will charge at them like a mass of soldiers, charging ahead at an immoral and disrespectful humanity. It is at this time that they are fearless heroes, the warriors of righteousness.";
"I admire such spirit and this type of imagery, as well as their movements, the protrusion and contraction of every piece of muscle. This is a symbol for strength, it is vibrant vitality.";
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| 1987年 |
51 years old;
In June Lao Jia participated in the first "International Yiyuan Ink and Wash Painting Exhibition International" mounted by the International Yiyuan Foundation;
Five of Lao Jia's works were collected by the Australian Art Gallery of New South Wales;
In August, Lao Jia went to the Hulunbei'er grasslands in Inner Mongolia to paint from life;
Lao Jia' work participated in the Foreign Exhibition Company exhibition entitled "Exhibition of Contemporary Chinese Painting,"@shown in America, Africa, and Eastern Europe;
Lao Jia's work Double Bulls was selected by the Research Institute of Traditional Chinese Painting to participate in the UNESCO "Exhibition of Chinese Painting.";
Lao Jia's works Double Bulls and Summer Day participated in the "First Research Institute of Traditional Chinese Painting Exhibition of Chinese Painting.";
Lao Jia was named as a first-class art worker;
Lao Jia's representative series of paintings, In the Beginning and Red-maned Wild Horseswere completed. Lao Jia wrote;
"At the beginning of man, at the beginning of art, at the beginning of painting—there is the elevation of beauty.";
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| 1988年 |
52 years old;
From 1988 to 1998 was Lao Jia's "experimental color period," creating works such Happy Grasslands with color as the principal theme;
In March, Lao Jia's work participated in the "Contemporary Chinese Painting" exhibition mounted by the Research Institute of Traditional Chinese Painting;
On October 8th, Lao Jia's work was shown in the solo exhibition, "The Painting of Jia Haoyi" at the National Art Museum of China with the support of the Beijing International Yiyuan Foundation and the Beijing Fine Art Academy. The exhibition was met with an extremely positive public reaction, and marked a comprehensive conclusion of Lao Jia's work ever since the "ink period." Viewers largely approved of a group of experimental work. The Culture and Art Publishing House printed Paintings by Jia Haoyi with Cui Zifan providing the calligraphy for the cover. Works Masculine Meeting on the Grasslands,Qinghai Lake Shore, and Yansha Women were collected by the National Art Museum of China;
In October, he Beijing Weekly (German version) published a review of Lao Jia's work entitled "Painting is like the Painter: on the Jia Hanyi Exhibition" by the assistant dean of the Berlin University of the Arts and a professor from the Asian Studies Department of Hamburg University, stating:"[Lao Jia's] painting is rich with expressive quality and force, with a singular charm pouring out of the image. Through careful consideration of his work, I am filled with endless fantasy, as well as thoughts regarding the state of individual life and questions regarding the development of mankind.";
Lao Jia created his representative work, The Ambition of Many Building a Cit;
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| 1989年 |
54 years old;
In May, Lao Jia's work Bate'er was shown with the work of fifty-five artists from twenty-eight countries at the "Charity Auction for Saving Venice and the Great Wall of China" at the French auction house, Drouot;
In December Lao Jia made a trip to Guizhou and Yunnan to paint from life for 18 days;
His work participated in the Department of Culture's Foreign Exhibition Company "Modern Chinese Painting Exhibition" in Moscow, and was collected by the Soviet Foundation for Culture and the Arts;
Ten works of Lao Jia's works were shown at Harvard University;
Lao Jia's work, In the Beginning, was shown at Monaco's Prince Pierre Foundation "24th International Modern Art Exhibition.";
Lao Jia's representative work Happy Grasslands was completed. Lao Jia wrote:"When I started, I saw I ray of sunlight when ambitiously pouring ink. Afterwards, my 8-foot work Happy Grasslands was completed, and I felt the possibilities within color.";
"Afterwards while using red, blue, and black asmain colors to create a great series of works, it was the continuation of such a frame of thought. At the same time, I continued my exploration of ink as the solitary color.";
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| 1990年 |
54 years old;
In April, the Tianjin People's Fine Arts Publishing House publication Winter Jasminepublished an essay by Chen Si (Lang Shaojun) entitled "Exiting a Perilous Terrain: My Interpretation of Jia Haoyi's Painting" as well as 16 paintings including Bate'er. Lang Shaojun wrote the following:"Lao Jia first negated the ‘painting from life' state.";
"Lao Jia then negated his ‘illustrative habits'.";
"Lao Jia then made an extremely daring experiment in regards to the special qualities of Chinese painting: he rejects the simple exploration of thick and light ink or the weakening of thick and light ink, attempting rather to use burnt ink to represent his subject.";
"Building upon his technical mastery of the use of gradations of ink, Lao Jia has moved towards the extreme, engaging in what could be called an extremely elevated and tasteful exploration. He is not reckless, but rather in the pursuit of his aesthetic needs of force and strength.";
In September Lao Jia went to Gansu and Ningxia to paint from life. During this period he gave art classes to amateur artists in Guyuan County, Gansu;
Lao Jia's representative works August on the Grasslands and Ke'erqin Grasslands were completed;
During the same year, Lao Jia's work in five images, American Army Bombs Iraq was completed. In his notation on the painting, he wrote:"Today the Gulf War has already become part of history. However, it is not peaceful there. The flames of war have risen in Iraq, and the people are sacrificial offerings for the desire of those who play with fire.";
|
| 1991年 |
55 years old;
In August, the Cathay Bookstore published Paintings by Lao Jia;
In late October, Lao Jia went to the Inner Mongolian grasslands and northern Shan'xi province to paint from life for 20 days;
In November he participated in the Beijing International Yiyuan Foundation's "4th Ink Painting Exhibition.";
In December the Swiss scholar Michel Baumgartner wrote the following about Lao Jia's work as shown in "The Sudden Exhibition:""This is an ode to force, the pursuit of peace and tranquility.";
|
| 1992年 |
56 years old;
In March, the China Daily devoted half a page of content to Lao Jia's art with an article entitled "Jia Haoyi: The Transmission of Power and Emotion through Painting", publishing images of representative works;
In August, the Beijing Fine Art Academy hosted the "Painting of Jia Haoyi"exhibition in the Jiangsu Province Art Museum, with 65 works on display, and two works collected by the museum;
In October, China Youth Daily published the Liu Xilin review "Freehand and Masculine Beauty: the Art of Jia Haoyi";
During the same month, the Beijing Fine Art Academy hosted the "Lao Jia Exhibition" at the Beijing Fine Art Academy and the Beijing Ritan Park, featuring work from the 1980s to the 1990s, showing over 100 pieces. The editorial department of Chinese Painting held a seminar discussing Lao Jia's work;
Works by Lao Jia were selected for publication by the Taiwan Art Foundation and Art Trends (Hong Kong) Publishing House catalog edited by Miao Wen entitled 100 Mainland Chinese Youth and Middle Age Painters: Chinese Painting;
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| 1993年 |
57 years old;
In February Jiangsu Illustrated published an essay by Chen Chuanxi entitled "One Brushstroke Is A Painting, One Brushstroke Is Not a Painting: On the Painting of Lao Jia (Jia Haoyi)", also publishing several other critical essays. The author praised:"Some people say he paints a type of spirit, a philosophy, creating a new kind of aesthetic concept to explain the sublimely deep essence of Chinese painting;
I would agree with them.";
"He has created painting that has not been seen since the beginning of time.";
In April, the Beijing Fine Art Academy publication Chinese Painting (issue no. 58) published a commemorative feature on the Lao Jia painting symposium entitled "Beating the Great Drum Once Again", as well as essays by Lao Jia entitled "Thoughts I, II, and III" and images of 19 paintings;
In September the Shenzhen publication Shekou Information News published a critical essay by Wang Luxiang entitled "Lao Jia's Feeling." The author wrote in the text:"His painting is feeling. It is the feeling of a ‘abandoning form to rejoice in the shadows'.";
"Within Lao Jia's painting, perception is complete, solid and calm, with the objective discarded, retaining only the most intense impressions, which is to say the most profound moments within the experience of the artist.";
In November, Lao Jia went to the United States to participate in opening ceremony for the"100 Years of Chinese Painting Exhibition" sponsored by Rong Bao Zhai, followed by exchange with American artists as well as visits to the Metropolitan Museum of Art and other museums;
A catalog of works by Lao Jia entitled Lao Jia: Inside and Outside of the Art World" was published by the Huashan Literature and Art Publishing House;
Lao Jia completed his representative work, Hulunbeier Man, inscribing the following:"Painting is the artist himself, painting and painter both have a wealth of emotions. Paintings should mirror the artist's emotional changes, reflecting joy and pain;
thus the formal language of painting is bound to be extremely rich. This is one of the reasons that Chinese freehand painting has eternal value: it mirrors the movements of the art;
it is painting of the heart.";
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| 1994年 |
58 years old;
In July, Lao Jia went to the South Korean capital, Seoul, to attend the opening for the "Jia Haoyi Welcome Exhibition" sponsored by East Asia Daily News and the Yilian Group. Representatives from the South Korean government preformed ribbon-cutting ceremony for the exhibition, and during Lao Jia's stay of half a month, his whereabouts and works repeatedly appeared in the media. Pastor Hong Zhengji wrote the preface for the large catalog published by the Yilian Group, stating:"Jia Haoyi's painting transcends East and West. He uses violent strokes, breaking the boundaries between Eastern and Western painting, using Oriental painting materials to fully reflect the expressiveness of Western art.";
In order to avoid the annoyances of society, Lao Jia rented a studio in the Bejing suburban village Dashan for three years until the completion of the Lao Jia Art Museum. During this period, the Sky and Earth Are One Series of landscape paintings, and a great number of representative works such as Mountain Shadow, Iron Wall, Towering, and Red Dawnwere created during this period;
In the same year, Lao Jia's work Grassland Son was selected for the "8th National Art Exhibition," winning an award for outstanding work;
Lao Jia's representative works Grassland Symphony, Group Ride (Men), and July were created;
|
| 1995年 |
59 years old;
In cooperation with the a farm in the northern Beijing suburbs, Lao Jia founded the Lao Jia Art Museum. Everything from design sketches to landscaping was completed under Lao Jia's instruction;
In December, Lao Jia went to Singapore to attend the Tiandu Gallery's exhibition at the Riverside Arts Center Gallery entitled "Jia Haoyi: Singapore", publishing a catalog of the same name;
Lao Jia completed his representative works Grassland Wind and Zhuangzi's Boat;
|
| 1996年 |
60 years old;
In June, Lao Jia's work was edited into an art book edited by the Palace Museum Institute researcher Yu Hui and the Lingnan Fine Arts Publishing House entitled Figure Paintings with Horses: A Visual Dictionary of Chinese Painting.Lao Jia's work was edited into The Complete Works of Chinese Art: Chinese Painting.His representative work Red, Yellow, and Blue was completed;
|
| 1997年 |
61 years old;
In March the Lao Jia Art Museum and Studio were completed;
In June, Lao Jia visited eight European countries, including France, Italy, Germany, Belgium, and Switzerland;
On October 16th, the Lao Jia Art Museum opened to the public with the "New Works by Lao Jia" exhibition, displaying the Sky and Earth Are One Series of landscape paintings, marking departure from previous simplicity and the use of traditional Chinese brushes, using a flat brush to create compositions of expansion, receiving the support of the art world. He wrote in the preface to the exhibition:"I view the universe as a ball of qi, using that as the starting point for my painting. I try in my landscape painting to express such a feeling;
it does not simply mean the movement of energy.";
Lao Jia's representative works Heavy Steps and Bate'er were completed;
|
| 1998年 |
62 years old;
In October, Lao Jia's work was shown at the He Xiangning Art Museum in Shenzhen with an exhibition entitled: "Lao Jia: Feelings of the Grasslands.";
In the same year Lao Jia donated 54 works to support the relocation of his alma mater in Zunhua;
In November, Fine Art magazine published an article by Li Zaixing, director of the South Korea Asian Art Museum entitled "Understanding Lao Jia.";
Lao Jia completed his representative works Long Wall, Cool Autumn, Seven Powers;
|
| 1999年 |
63 years old;
In January, Lao Jia participated in the "21st Century Chinese Painting Masters Exhibition"sponsored by the China Artists Association at the National Art Museum of China, with his work being published in an exhibition catalog of the same name;
September 18, Wu Guanzhong visited the Lao Jia Art Museum with his wife, affirming the quality of Lao Jia's work;
In October, Lao Jia's work was selected for the "9th National Art Exhibition.";
Lao Jia's representative works Traces of Ink, and The Flat Brush-like Steed were completed;
Lao Jia wrote the following regarding flat brushes:"Personally, I do not know how to revolt endlessly against myself. I would have no idea how revolt! I am still unable to figure out which buttons do what on electronic devices, and I lack courage to ever put anything in the "trash bin" on my desktop. When I use the flat brush on xuan paper, even though I must muster up all my strength to paint, I'm still in favor of continued "revolution.";
"My guiding principles are fresh, good-looking, and inspiring.";
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| 2000年 |
2000@64 years old;
In January Lao Jia's alma mater, Zunhua No. 1 Middle School held a grand donation ceremony, accepting the proceeds from an auction of 54 works donated by Lao Jia with the total sum amounting to 2 million RMB;
In September, Lao Jia participated in an artistic delegation organized by the South Korean Yilian Group to study works of 20th century painting in Russia;
In October, the People's Publishing House magazine Xinhua Digest published an article by Chen Chuanxi entitled "Different Horses: A Comparison of Horse Painting by Xu Beihong, Huang Zhou, and Lao Jia.";
In December, over 30 students including international students, graduate students, fourth-year undergraduate students, and continuing education students from the Central Academy of Fine Arts Department of Chinese Painting visited the Lao Jia Art Museum, enjoying a lecture by Lao Jia@on art;
Lao Jia's work, Men, was collected by the National Museum of China;
Lao Jia entered the fourth stage of his work: the "expansionand self-improvement" period;
His representative works Load, The New Century, and 2000 were completed;
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| 2001年 |
65 years old;
In September, Lao Jia's work, Hulunbei'er Man was selected by an exhibition sponsored by the Ministry of Culture, the Chinese Artists Association and other work units entitled"Chinese Century, Chinese Painting Exhibition." The exhibition carefully selected 551 works by 542 famous Chinese painters dating from 1901 to 2000. Lao Jia's works were selected for a catalog of the same name and collected by the National Art Museum of China;
Lao Jia's representative works Walking through the Winter and Celebration were completed;
|
| 2002年 |
66 years old;
In January, the "2002 Lao Jia Chinese Painting Traveling Exhibition" and related research seminars were held in the Shijiazhuang City Museum;
In July the Tianjin People's Fine Arts Publishing House published Freehand Paintings by Lao Jia edited by Che Yongren followed by a book release ceremony in the Chaoyang District Cultural Center;
In August, Lao Jia's works Bate'er and Hulunbei'er Man were published by the Hebei Education Press in a book entitled Encyclopedia of Chinese Modern Figure Painting: Figure Painting Edition;
Lao Jia's paintings of horses, bulls, eagles, figures and other subjects were in a series of texts published Tianjin People's Fine Arts Publishing House and edited by Che Yongren entitled Encyclopedia of Chinese Painting Masters;
China National Academy of Arts Fine Art Research Center director Long Rui led a party of delegates for a visit and discussion at the Lao Jia Art Museum. The transcript of their discussion was published in Art Watch;
In October, the "2nd Exhibition of Works Commemorating the 5 Year Anniversary of the Lao Jia Art Museum and Studio" took place, with a commemorative painting catalog being published;
In the same month, Lao Jia attended his alma mater, Zunhua No. 1 Middle School's, centennial founding anniversary, relocation, and unveiling of a commemorative stele by Lao Jia celebration;
In the same month, Lao Jia's representative work, Modern Times, participated in the Guangzhou "National Academy Painting Biennial," with Lao Jia writing:"The creation of Modern Times and other works was influenced by the openness of the present society, as well as by the introduction of a large amount of Western eighteenth century artworks with ever-changing fashions and openness of the television, media and other sources all affecting the artist's creative work. In this regard, I done an anthropomorphic treatment in my work.";
In December, Lao Jia's works were shown in the China International Exhibition Center "A Century of Strength: 50 Contemporary Chinese Artists" exhibition;
During the same year, Lao Jia wrote the following in his diary:"In the eyes of others, the true meaning of great freehand is to create a new type of beauty;
however for the artist, it means to transmit one's understanding of the present times, the environment and people, to express one's emotions;
Lao Jia completed his representative works Bull, Footprint, and Cow;
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| 2003年 |
67 years old;
In April, Nevada State University professor Robert Solso published an article entitled "The Development of Artistic Psychology and Mental Consciousness." The text analyzed Lao Jia's painting, Rider alongside with the work of world-class artists such as Leonardo da Vinci, Michelangelo, Velasquez, Delacroix, Picasso with Rider being published on the cover;
In May, LaoJia's works werefeaturedinthe "Peking University 100th Anniversary CelebrationChinese Painting Exhibition" and entered school collection;
In December, Lao Jia's works were shown in France as part one of the "Year of Chinese Culture" series of activities: "Chinese Style: Contemporary Chinese Painting Exhibition.";
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| 2004年 |
68 years old;
In May, all affiliated with the Lao Jia Art Museum and Art Studio were invited by the South Korean Yilian Group to visit Seoul and put on an exhibition entitled the "Lao Jia Art Museum and Art Studio Exhibition" at the Wheat Grain Museum of Art (MLIAEL), subsequently publishing a catalog of the same name;
In August, during the "Huang Binhong International Research Symposium Series Exhibition" put on by the China National Academy of Arts at the National Art Museum of China, Lao Jia won theChina National Academy of Arts "Huang Binhong Award.";
In October, Lao Jia's works were shown in the "New Freehand Ink Painting Invitational Exhibition," with works such as Cheers and Prime Years participating in the exhibition;
Work entitled Deep Footprints was selected for the "10th National Art Exhibition.";
In December, Lao Jia's representative work Streaming Iron won the by the French SaumurInternational Horse Art Festival Special Jury Prize;
In the same year, Lao Jia's representative works Common People, Cow Head, and Youth Dance-steps were completed. In regards to the motivation behind Common People, Lao Jia wrote the following:"I departed from the depiction of individual characters, as well as the eight traditional methods ofChinese painting, abandoning the "one plus one equals two" equation.@As society surges forth, a trend of diversification emerges, creating an overwhelming feeling. There is a direct relationship between my use dots of to show the surging crowd and the rapid social development at the time.";
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| 2005年 |
69 years old;
In March, Lao Jia's works were selected for the CPPCC National Committee "OutstandingWorks of Contemporary Painting Exhibition: Beijing Exhibition" held in the auditorium of said organization;
In August, Lao Jia went to Singapore to attend the Yishuo Art Gallery exhibition "Ink Soul: New Works by Hao Jiayi.";
In October, Lao Jia's work, Rider, was collected by the Palace Museum. He participated in the"Famous Artists in Contemporary Chinese Painting and Calligraphy: the 80th Anniversary of the Establishment of the National Palace Museum Exhibition," with works being complied within a large catalog;
In November, Chen Chuanxi's text Point Record: On Modern Masters and Everybody waspublished by the Joint Publishing House, including an essay entitled "A True Great freehandPainter: Lao Jia.";
Lao Jia's representative works Youth, Beauty Walking, Cheers, Double Masculine, Grassland Ink, and Anger were completed;
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| 2006年 |
70 years old;
In October, Lao Jia's works were entered into a hardcover art book entitled The World of Beijing Painting edited by Central Academy of Fine Arts professor and China Artists Associationcommittee director Shao Dazhen, and published by the World Knowledge Publishing House;
Lao Jia's alma mater, Zunhua No. 1 Middle School established a permanent showroom entitled"Lao Jia's Road to Art.";
Lao Jia's representative works Winning Horse, Tibetan Woman, and Three Brothers were completed;
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| 2007年 |
71 years old;
In January Lao Jia's work participated "Masculine Style in Ink Painting Exhibition" at the Yan Huang Art Museum;
In April Lao Jia went to Shaoxing in Zhejiang Province to participate in the "Modern History of Painting · Representative Painters of the Age: the Chen Chuanxi 2007 Academic Nomination Exhibition."@In the preface to the exhibition, Chen Chuanxi wrote:"Lao Jia's painting is out of the ordinary while using great brushstrokes sweeping with power and potential, cathartically expressing strength and gesture just like a 10-grade tsunami, inspiring the viewer. The ancients had both meticulous painting and freehand painting—gongbi andfreehand—followed by great freehand paintings. Then with Lao Jia, there was true great freehand, just like the true painting of "Yau Yat Chuen.";
In October, Lao Jia held the "Lao Jia Art Museum 10th Anniversary Founding Exhibition;
In November Lao Jia was invited to the "Chongqing Stance: Chinese Contemporary Art Exhibition" as artistic advisor and participating artist;
In December Lao Jia's works were shown in the "Eastern Vision: South Korean and ChineseModern Art Exhibition" sponsored by the Chinese Ministry of Culture at the China Millennium Monument;
Lao Jia's representative works Strong Youth and Spanish Matador were completed;
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| 2008年 |
72 years old;
In January Lao Jia's work was featured the 2008 Beijing Olympic Art Assembly;
In February Lao Jia attended the "2008 Ministry of Culture Market Development Center Art Assessment Commission Annual Banquet," winning the Commission's 2007 Jury Award for Outstanding Artist;
In March, Lao Jia's work Spanish Matador participated in the "One World: Chinese Painters Color United Nations Great Family Art Exhibition," showing at the National Art Museum of China and traveling to major cities in Europe and America. In June, Lao Jia went to Tokyo, Japan to attend the opening ceremony of the Japanese stop of the "One World" traveling exhibition;
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| 2009年 |
73 years old;
In January Lao Jia's works were edited into the Shandong Fine Arts Publishing House bookClassics of the Century in Chinese Painting: 1908-2008;
In December Lao Jia's works participated in the Anhui Museum's "Ink and Brush: Contemporary Chinese Painters Invitational Exhibition.";
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| 2010年 |
74 years old;
In July, the People's Fine Arts Publishing House published Masters of Chinese Modern Painting: Jia Haoyi, featuring 128 representative works;
In August, Lao Jia participated in the "China and India Commemorative Painting Exhibition for the 60th Anniversary of the Establishment of Diplomatic Relations," being awarded the "Friendship Between India and the Artist" certificate awarded by the Indian ambassador S. Jaishankar. The exhibition was organized by the Indian Embassy to China;
In October, Lao Jia accompanied the Central Research Institute of Cultural History, Painting and Calligraphy Department delegation to visit Taiwan for cultural exchange;
In the same month, Hebei Daily Culture Week and Art Record editions published an essay by Lao Jia entitled "On Wu Guanzhong I, II, III.";
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| 2011年 |
75 years old;
In February, Fatty Pig Arch, Sky and Earth Are One, and two other works participated in the"Metamorphosis: Hedge Exhibition," inviting 24 top artists over 60 years old;
from China andBelgium showing in Tianjin and and the St. Nicholas Museum in Belgium. The curator was the honorary president of the Belgian Royal Academy of Fine Arts;
In June, Lao Jia's work Grasslands participated in the Chinese Artists Association sponsored "90th Anniversary of the Establishment of the Communist Party of China National Art Exhibition.";
In October, Lao Jia's work Horse participated in "Dawning East: 30th Anniversary of the Founding of the China National Academy of Painting Chinese Painting Exhibition", held at the National Museum of China;
In November, Lao Jia's works participated in the "Ink China: Chinese Contemporary Painting Exhibition" held at the Oriental Museum in Lisbon, Portugal;
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| 2012年 |
76 years old;
In January, Lao Jia's works participated in the Wuhan art Museum's " ‘Ink and wash articles'—Freehand Spirit Exhibition Series of Wuhan Art Museum",Youth Dance-steps &Grassland Ink were collected by Wuhan art museum;
In April, Appreciation of Models of Contemporary Chinese Painting Model · Bird and Flower Section––Great Master Lectures: Jia Haoyi edited by Xu Xiaosheng was published by the Anhui Fine Arts Publishing House;
In July, Contemporary Chinese Painting Context Research: Jia Haoyi by Fan Shengli, edited by Yin Shuangxi was published by the Jiangxi Fine Arts Publishing House;
In September, construction of the Zunhua City Lao Jia Art Museum was completed with the investment of private entrepreneur Ma Hongming, with an opening ceremony held in the same month;
In the same month, Lao Jia's works were shown in the "Today Beijing · China National Academy of Painting Exhibition.";
In October, the "Lao Jia Art Museum 15th Anniversary Founding Celebration and Exhibition: Ink Tension––A Teacher-Student Exhibition" opened accompanied by the publication of a text entitled Lao Jia Art Museum: 1997-2012;
In November, Lao Jia's work Double Ride participated in the "Chinese Art World Voyage: Selections of Chinese Contemporary Art Exhibition" held at the Chinese Culture Center in Berlin;
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| 2013年 |
77 years old;
In January, Lao Jia participated in the filming of the China National Academy of Painting and Central New Film Group co-produced documentary Ages of Ink. The film selected 60 artists over 70 years old;
that have had outstanding achievements and contributions in the realm of art and who have made a significant impact on artistic development of the People's Republic;
In March, On the Grasslands and 14 other works were shown in the "Chinese-European Art Dialogue: Art from China and Slovakia" exhibition sponsored by the Ministry of Culture and Foreign Cultural Exchange Center at the Military Museum of the Chinese Revolution;
In August Paintings from the Lao Jia Art Museum Collection edited by Dong Ming and Ma Hongming from the Lao Jia Art Museum was published by the Hebei Fine Arts Publishing House;
In October three works by Lao Jia were shown in the Shanghai World Expo China Pavilion in the exhibition entitled "Freehand Painting: 2013 Chinese Art Exhibition.";
In the same mnth, Lao Jia went to Shandong to attend the opening ceremony of the "10th China Art Festival · National Excellent Art Exhibition" at the Shandong Museum of Art with workContest participating in the exhibition and winning a prize for excellent work;
In the same year, Lao Jia was appointed as a specially invited artistic advisor to the China National Academy of Arts Creation Center;
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| 2014年 |
78 years old;
In April, Fine Art magazine published China National Academy of Arts researcher Liu Xiaochun article entitled "Thinking From One's Heart, the Fountain of Ink Flowing from the Brush: the Significance of Jia Haoyi," as well as representative works by the artist;
In May, Lao Jia's work Vast Grassland and Horse Lassoer were shown in the "World Ferghana Horse Association Special Conference and China Horse Culture Festival;
" the exhibition was held at the Imperial Ancestral Temple;
In September, Lao Jia's work Fast Wind was selected for the "12th National Art Exhibition.";
In September, Lao Jia's work was shown in Nepal Art Festival exhibition "Saint Park Gathering Painting Exhibition." Lao Jia and several other artists were awarded the "Ambassador of Nepal Award.";
In December, the Wild Master series and four other works was shown in the "Chinese FreehandPainting: the 2014 China National Academy of Painting Exhibition.";
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| 2015年 |
79 years old;
In July, after two years of planning and selected over one hundred works from an archive of thousands of paintings, Lao Jia held the large scale retrospective exhibition entitled "Lao Jia at 80"in exhibition halls 1, 8 and 9 at the National Art Museum of China, sponsored by the China National Academy of Arts, the China National Academy of Painting, the Beijing Fine Art Academyand other work units. The Tianjin People's Fine Arts Publishing House published Lao Jia'sFreehand Painting, an eight volume edition with selected texts;
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