Poor Hearts and All Things Uninhibited Brushwork - "Successful Calligraphers and Painters in the West" publishes the appreciation of the works of Mr. Tian Hua, a landscape painter
Guo Liang memory
A group of calligraphy and painting artists in the collection launched by the Gansu Chenggong Calligraphy and Painting Art Research Institute and the Lanzhou Chenggong Art Museum will be published in "Western Successful Calligraphers and Painters". At the same time, the Successful Calligraphers and Painters Network will also introduce the exquisite calligraphy and painting masterpieces of the artists to the majority of calligraphy and painting lovers and Tibetan friends online. Today, the author introduces to you a number of sketch paintings such as "Memories of Guo Liang" and "The Beginning of morning fog" by Mr. Tian Hua, a professional painter of the Hubei Provincial Academy of Chinese Painting and vice president of the Hubei Academy of Chinese Painting, who respects nature, teaches nature and is free of pen and ink, and is willful.
Hamsa village in the afternoon
Qing Dynasty painter Gong Xian said: "The source of all things in the heart, the power of the mountains and rivers", the experience of natural life is the first step for the painter to start painting creation, and it is the source of the image foundation and material extraction of painting creation. Reading Mr. Tian Hua's "Memories of Guo Liang" and "Afternoon in a Small Village", we see that these works obviously belong to the "sketching" type of paintings, without the shackles of the traditional Chinese landscape and water program, it is completely a kind of sit-down landscape and personal travel style landscape picture presentation. At the same time, in the dynamic and tense picture schema, it reflects the painter's artistic operation and aesthetic refinement of objective objects, and the emotional rhyme of the painter's subjective thinking and the natural mountains and rivers.
The piano breaks
Looking across the river, weeping willows on the banks of the river, smoke clouds around the distant mountains; in the middle of it, the shepherd duck knows that the summer is dry, and the village community is mixed with shades of "Small Village Afternoon". The painter uses lines to write lingwan brushstrokes, thick and light ink colors, rubbing and blending, harmonizing and diluting, and implanting the pen rhyme rich in subjective emotional rhythm into the landscape language, and the hot afternoon mountain village in the summer afternoon comes into view, creating a quiet and peaceful scene of rural life. In the meantime, the branches of the tree branches are divided into eight sides, obliquely overflowing and interspersed with shapes, or dots or clips, dense and dense leaves, and the floating distant mountains formed by the random dyeing of light ink, which shows the painter's solid skills and flexible use of the basic brush and ink language of Chinese painting. At the same time, in the overall picture landscape, there are macroscopic control of objective natural objects, giving the mountain village a vivid and real viewing atmosphere, and bringing a distinct visual presentation of modern sketching landscapes. Therefore, when admiring this painting, although no character appears in the picture, the feeling of heat and sweating in the "Wonderful Way" seems to be in front of you, which makes the author feel spiritual synaesthesia in the immersive situation.
Then there is the work "Qin Break", the painter takes the remains of the Zhong Zi period, Yu Boya's "Qin Break" and "Zhiyin" allusions as the picture objects, and during the period, there are profound feelings and feelings. The hill at the broken place is majestic like a tiger, the ink line or vertical and horizontal, the ink or accumulation or dyeing, no formal method, free and smooth composition of the majestic posture. The ink color is dry and wet, thick and light, and the large brush dye brings the feeling of "wall standing thousands of people" in the shape of the natural landscape cliff; the ink lines are overlapped and stacked, layer by layer, and the ink color is full of color, shaping the shape of the back peak and gentle slope of the real landscape. As far as the subtleties of pen and ink are concerned, the pen and ink spirit of Chinese painting landscapes is everywhere, but as far as the form of the brush line is concerned, there is no traditional rubbing formula, which can be described as standing in the real landscape, and it is not limited to the legal style of the grid and can show its artistic image of "the source of the heart, the long flow of living water", and the spiritual pursuit of the spirit of the ancient sages in the mountains and flowing waters.
The morning dew first blooms
The ancients Wang Wei said: "Looking at the autumn clouds, the gods flying, the spring breeze, thinking of haodang", admiring Mr. Tian Hua's "Mountain Village Scene" and "Morning Mist First Opening" is also the same, everywhere reflects the spirit of Chinese brush and ink freehand, conveying affection, everywhere there is the real nature to give life enlightenment, as well as the painter's subjective understanding of the mountains and rivers. Therefore, Mr. Tian Hua's paintings and natural captures of these "sketches" not only have their "eyes should meet the heart" and "the creation of the heart teacher", the "mountains and rivers" seen by Namu are manifested in the "hills and ravines in the chest" obtained from his bosom, and there are also the "mountaineering" and "sea view" painted with affection, and his "feelings" are poured out of his feelings and moods through the "landscape", and his "feelings" are pervaded by the wanton ocean and spiritual sustenance of the landscape.
(Wen\Feng Yiyu, Calligraphy and Painting Art Critic, Chenggong Art Museum)
The mountain village is in the middle of nowhere
Painter Profile: Tian Hua, Character Mengxuan, Number Lao Xuan. Contemporary ink painter and poet. He is currently a professional painter of Hubei Provincial Academy of Chinese Painting, vice president of Hubei Academy of Chinese Painting, researcher of modern ink research institute of Capital Normal University, and member of the presidium of Wuhan Artists Association. The ink painting "Yi" was selected for the 12th National Art Exhibition, the ink painting work "Shen Yangya Sketch series" was selected for the 2017 French Autumn Salon Exhibition, and the ink painting "Changchun Guan" was selected for the 8th Beijing International Art Biennale. He has been invited to participate in major academic exhibitions at home and abroad for many times, and has held exhibitions in the United States, France and the United Arab Emirates. He has published many personal monographs such as "Tian Huaguo Painting Collection", "Tian Hua Chinese Painting Collection", "Meng Xuan's Recent Works", "Eyes Wide And Low Sky Low Tian Hua Ink Works", "Tian Hua Sketches", "Mud Jade Tian Hua Painting Lotus" and so on.