On Qiu Hanqiao/Qian Xianxian's Creation when Traditional Culture meets Modern Thought
The relationship between macro and micro/Shao Dazhen A, the mountain in the chest, the water of enlightenment
In fact, many things can't be too complicated. "I use my method, I am there" emphasizes the need for innovation, the awareness of keeping pace with the times to create the beauty of pen and ink, and the unique personal style. Tradition is the source of our artistic milk, and innovation is our inheritance and growth of tradition.
The landscape of north and south is the essence of Mr. Qiu Hanqiao's two paintings of north and south. He organically combined traditional painting thoughts with his own painting theories and techniques, creating a new pattern with his own style and characteristics, which is a unique banner of China's landscape painting.
The hammer-head ink-swelling method he created fully embodies the viewpoint of "I use my own method, and I have my existence". For example, a series of theme landscape paintings such as Heng and The Peak are all painted with his hammer, which is a firm, iron-solid, highly conscious and enlightening creative concept, shocking people's inner thoughts and souls. From composition to theme, pen and ink, it broke through the tradition, developed China's painting art, and realized the ideological strategy of "going in and highlighting". Many exhibitions have received strong response and praise. Therefore, it is the responsibility of every artist to inherit and develop, and an artist who can shoulder this responsibility is a real master.
B, return to the original heart.
In "Preface to Painting Landscape", Zong Bing put forward the aesthetic proposition of "sincerity as an image", which runs through the viewpoints of Confucianism, Taoism and Buddhism, and raised the creation of China's landscape painting to an unprecedented height.
In essence, it is the development of Laozi and Zhuangzi's thought. To understand objective things, people should not only rely on their own eyes and ears to get direct information, but also understand their internal connotation. Just as we observe a person, directly observe his appearance and say that he likes it, it is an irresponsible attitude. Everything has its origin, including our aesthetic way of natural landscape, which contains profound philosophical truth. Confucius said: "The benevolent enjoys Leshan, and the wise enjoys water, which links our understanding of nature with human nature and promotes it to a" Tao "height, but we must know that people in different realms appreciate landscapes in different ways. For the enlightened person, Tao has been included in his life, but the enlightened person imitates his spirit itself, so the beauty of mountains and rivers and the way of mountains and rivers are actually the reflection of the inner Tao on the material appearance.
Mr. Qiu Hanqiao's series of works, such as Ode to an Empty Mountain, Avenue Together, and Doing Nothing in the World, are presented to the audience with a pure, ethereal and open-minded spirit and charm, which makes people sing and meditate, immerse you in the harmonious beauty of natural mountains and rivers, and make you feel the profoundness of mountains and rivers. His works are very simple. In the ethereal realm, there is a kind of natural beauty. The combination of Buddhist sound, Sanskrit sound, Zen sound and heavenly sound shows the path of everyone who is full of joy and change. It can be said that Lao Tzu said, "Tao can be Tao, but it is not constant;" A name can be a name, but it is not a constant name. "Appreciating his works, we get peace in the overflow of peace; In the sailing sea of life, get a stop in a quiet harbor; In the philosophy of bitter search, I can "enlighten", which is my profound experience.
C. Lin Quanxin talks about childhood
Guo, a landscape master in the Northern Song Dynasty, talked about Lin Zhi's ambition and heart. In fact, the quality of a work depends on the mind of both the painter and the appreciator. In Guo's view, a person's love for mountains and rivers is mainly because people hate secular noise and yearn for the purity and leisure of mountains and rivers. Of course, this view lacks the positive side of people's pursuit of beauty In today's society, people have left the secular influence and everyone has to live in real social life. Therefore, Lin Quan's dream can only be realized through artistic creation and appreciation. Lin Quan's heart refers to an aesthetic state of mind, an indifferent, sincere and ethereal state of mind, just like Lin Quanxin's heart of enjoying natural landscapes and landscape paintings, and can truly appreciate the essential beauty and the significance of beauty of landscapes. A painter should not only be good at observing and observing nature, but also have feelings with nature, breathe with nature and communicate with nature. This is emotional enlightenment. With emotional understanding, we should appreciate, embody, praise and integrate people's psychology, which is called emotionalization. The beauty of the so-called "pen that keeps pace with the times" is also called Lin Quan's heart.
I am for me, and I am for nature. Mr. Hanqiao's works not only embody the aesthetic characteristics of the times, but also contain the beauty of China literati's poetry and painting, calligraphy and painting, and piano sound. For example, works such as Singing in the Fields and Feelings of the Past are filled with the primitive beauty and simple beauty of the fields and Shan Ye, and farmers, calves and puppies are all integrated into the landscape of poetry and painting. A kind of "Danqiu is also a human being, so why ask about bullfighting?" The poetic theory and painting of "the dog rejoices in the wild road and the magpie nests" are presented in detail and deeply in front of the appreciator, which makes people's hearts full of worship and admiration for natural landscapes. "Poetry and painting are consistent, striving for perfection, fresh and natural". Han Qiao's works are full of agility and freshness, such as Hunchun, A Corner of Jinhu Bay and Folk Songs, which all express a natural and fresh beauty. His thread is as light and round as a rope. His point of use is vivid and vivid, the water color of the picture is quiet, and the boat floats, which reminds people of the poem "When there is no wind, the glass slides on the water, the boat moves, ripples slightly, and the sand bird flies ashore" by the poet Ouyang Xiu. This kind of painting has the beauty of both poetry and notes, which fully embodies the superb artistic realm of the painter's blending of mind and matter, thus truly realizing the sense of innocence in Lin Quan's heart.