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Qingwei Building | a daily reward Du Ziling's "Snowy Plateau Driving Busy"

Qingwei Building | a daily reward Du Ziling's "Snowy Plateau Driving Busy"

Du Ziling's "Snowy Plateau Driving Busy"

Qingwei Building | a daily reward Du Ziling's "Snowy Plateau Driving Busy"
Qingwei Building | a daily reward Du Ziling's "Snowy Plateau Driving Busy"

Author: Du Ziling

Name: "Snowy Plateau Driving Busy"

Size: 376×143cm

Collection of Qingweilou Fine Arts Museum

Qingwei Building | a daily reward Du Ziling's "Snowy Plateau Driving Busy"

Du Ziling, born in 1941, is a native of Tianjin. Studied by Ye Qianyu and Mr. Li Zhenjian. Good at characters, as well as landscapes, flowers and birds, the pen and ink are elegant, rich in traditional techniques, accurate and vivid in shape, no recognition of ancient characters or modern themes, can be self-innovative.

Du Ziling's brush and ink is based on the northern Sect to store its momentum, the southern Sect to add its rhyme, the pen is clear and free, the pursuit of ink rhyme agility and luster, and boldly borrow huang Binhong's landscape painting "rain on the wall head and the moon to move the wall" dry and moist, moist and bone painting method and "ink, dense, thick, heavy" thick Huazi painting style. In terms of color, he prefers black and white, is good at cloth white, deliberately weakens the color blocks that flutter and jump in his works, strengthens the contrast and rhythm of black and white, ink does not hinder color, color does not hinder ink, ink color blends into fun and is clear, and the spirituality and essence of ink painting are fully exerted.

This painting "Camel Luck busy on the Snowy Plateau" integrates the advantages of the northern and southern figure paintings, which not only has the solemnity and thickness of the north, the atmosphere is quite broad, and at the same time, it also has the agility of the Zhejiang school of character painting style. The characters in the painting are prominently depicted on the face, and the portrayal of the eyes is exquisitely carved and very vivid. In the control of ink color, special attention is paid to the distribution of large blocks of ink and white ash on the screen, which is suitable for complexity and simplicity, virtual reality, smooth brushwork, dashing and natural; the artistic language is deep and simple, and the elegant and customary are appreciated.

Editor: Kong Xiaoyan

Review: Yang Xiangxiong

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