Zhang's landscape paintings are mostly ink and wash. The shade of ink changed from disorder to order, and in the misty rain, it turned into towering. In the whole picture, because of the "thirsty pen", the intentional or unintentional lumps collided by ink and wash are organized, adding a bit of unexpected interest. Gu Min's macro-magnum opus often sets off a broad background through layer-by-layer rendering, and the middle part of the picture is bright and full of vitality, reflecting the tragic situation of the universe in the almost tragic and desolate silence. His pen is thick and thick, which seems to be smeared by a letter pen, but in fact it falls on the key of seven inches. In other words, it is to control the picture artistically, confidently and meticulously. He Jialin, Banbai, Gu Min.
Gu Min doesn't have a beard, but he still looks like a scholar. He has been leading the work for several years. The studio is located at the autumn moon in Pinghu, West Lake. You can know the changes of the four seasons by opening the window. Recently, I went to Hangzhou, on the same lake. It was the autumn curtain. The rain stopped as soon as it started. Dark clouds were pressing down, cold wind was blowing on the surface, and water waves started. Looking at the mountains in the distance, the colors are dyed like light ink, and the small seagulls and herons are in harmony with the ships everywhere. Travel to Mishima, have tea and chat. Gu Min holds a view of small-scale painting in 23 1, in which misty rain still gathers and moistens the landscape. The pen is full of ink, heavy and muddleheaded, and it is really in tune with the surroundings. Look at the mountains on the lake and have a threesome.
People like He Jialin, Zhang, who were born in Zhejiang and graduated from the Chinese Academy of Fine Arts in the late 1980s, on the one hand, as Zhejiang people, may subconsciously yearn for a magnificent aesthetic temperament. After all, being in Zhejiang, it is impossible for you not to inherit his past and his history, and it is easy to find traces in their works in previous years. Zhang's western landscape series is mysterious, while He Jialin's Guanzhong landscape is rich. Chea Chang's romantic feelings about the mountains and rivers in southern Zhejiang are the product of this temperament, but the pursuit of greatness and broadness will inevitably emphasize quality over literature, and their interest in ancient paintings at school cannot be brought into play, which can be seen from their works. Judging from their works in recent years, they all show an aesthetic tendency of emphasizing pen and ink and interest. They put more painting themes into the beautiful mountains and rivers in the south of the Yangtze River. Such as He Jialin's Map of summer village, Zhang's Autumn Ji, and Rice Fields as Bright as Mirrors. They are all good at elegance and elegance, but they are also integrated with rich and profound artistic conception, which is elegant and heavy, both rigorous in Song Dynasty and chic in Yuan Dynasty. Elegant and heavy, rigorous and smart, but not. Obviously, their works are not only different from the traditional Zhejiang school in aesthetic quality, but also inseparable from Lu and his learning. In fact, their works have opened up a new realm of Zhejiang landscape painting aesthetics. Secondly, it should be emphasized that their works reflect the academic choice of "emphasizing tradition, foundation, cultivation and creation" in the field of Zhejiang traditional Chinese painting.