There are not many masters in the history of Chinese painting. Wu Changshuo, Qi Baishi, and Zhang Daqian are the masters of Chinese painting. Why? In addition to good brush and ink skills, the masters mainly transmit positive energy in artistic thoughts, build unique universal values, and have a theoretical system independent of others, although the works of the masters may have been unappreciated by the public for a while Accepted and recognized, but the attributes of art originating from life and higher than life can stand the test of time.
Huang Qiuyuan is a bank clerk. He has painted a large number of landscape paintings. The style is based on the style of Song Dynasty people. The bones are solid, the ink method is subtle, and the unique chapping method shows the charm of Chinese painting with both modern flavor and ancient brushwork. The brushwork is better than that of Yuan people. , the hills and ravines are majestic and intricate, the vegetation is lush and changeable, and there is a kind of energy overflowing in the painting, from which it can be seen that his understanding of traditional landscape has reached a very high level, and his unique style has greatly enriched the expressive language space of Chinese landscape painting , but was not accepted by more people at that time. After his death, his painting method became popular in the painting world, or became a model for students in art colleges, and became a typical representative of a stage of Chinese landscape painting.
"Impressions of Western Liaoning" was written in the autumn of 1999.
At the end of April, the author traveled from Beijing to Yiwulu Mountain via Jinzhou and Yixian Dafo Temple. The bus drove slowly on the rugged hills and mountains. The fields were green and the pear blossoms were white on the hillside. Together, the small farmyards slowly flashing by the roadside, like a slide show, passing by without a single scene; there are sheep on the mountain, and cows by the river; a peasant girl wrapped in a pink turban is in the gray-green mountain field It is very eye-catching. The children playing and running after school at noon have added a lot of vitality to this seemingly peaceful countryside. With the sound of the shutter of the film camera, I am brewing the picture of autumn: the low bushes will turn yellow, the green of the field The crops will be harvested, the stone walls of the farmyard will still be particularly eye-catching, the aquatic plants by the river will still be moist and lush, and the willows in the fields will still be whirling...
It is really exhausting for the expression techniques, stone walls, old willows, corn stubble, autumn grass... It is difficult to express this kind of interesting and life-like scene with traditional Chinese brushwork, but the space of association is too small. There is a taste of deceit, and it cannot reflect the "taste" of real life.
After several months of practice, I finally found a suitable brush and ink language to reflect this scene: using large ink strokes to shape the shape, to draw the mountain topography, to spot the scene with colorful colors, to shape the hills under the autumn grass with brush strokes, and to shape the shape with lines Characters, farmhouses, stone walls and harvested fields are both traditional and innovative. In particular, the pond in the lower right corner can better reflect the feeling of vegetation in the water under the backlight. It is quite innovative and can reflect geographical features. A powerful supplement to the lyrical language of Chinese painting is a beneficial attempt to innovate Chinese painting.
* This article is published with the authorization of the author.