Yun Nantian wrote in the "Nantian Painting Trek": "The pen and ink book is ruthless, and the pen and ink carrier must not be ruthless, and the painting is intimidating, and the examinee must not be unsentimental." Here, Yun Nantian uses four "love" words, indicating that the different manifestations of love are all direct reflections of the mind's impression. Looking at the flower and bird paintings of Chinese dynasties, from Zhao Yao's "Furong Jinji Tu" in the Song Dynasty, Xu Wei's "Miscellaneous Flowers Picture Scroll" in the Ming Dynasty, Yun Nantian's "Five-Colored Chrysanthemum Picture", Zheng Banqiao's "CongZhu Tu" in the Qing Dynasty, etc., we can all subtly appreciate this kind of literati's highest artistic conception of "chasing the light and wading the shadow, writing through the heavens and the people's hearts", highlighting the vitality, swaying posture, and moist and fragrant chinese flower and bird paintings, so that every detail in the painting is full of rhythm. Mr. Pan Tianshou believes that "the achievements of China's flower and bird painting are at the forefront of the world. ”
▲ "Indisputable" 500 X250CM 2014
In 1962, Guo Zhiguang was admitted to the flower and bird department of Zhejiang Academy of Fine Arts (now China Academy of Art), one of the earliest higher art schools in China, which was the first sub-subject enrollment of Zhejiang United States, and only three flower and bird painting students were recruited in the country, which was indeed proud, and since then, Guo Zhiguang has devoted himself to the artistic career of flower and bird painting for more than fifty years. Guo Zhiguang was born in 1942 in a family of scholars in Weifang, Shandong Province, a place of profound Qilu culture, where his grandfather was a primary school principal who liked to collect calligraphy and paintings, and later became a master of Chinese painting, Guo Weiqu and Yu Xining were both students of this school. In middle school, he was taught by the famous painters Xu Peiji and Mr. Hou Zhuoru, and Guo Zhiguang's love of calligraphy and painting from childhood was heard in such a Hanmo atmosphere and the aroma of books, and he was nourished and nourished by traditional arts, and at the same time, coupled with his own hard work, he finally got the opportunity to enter a higher college for further study.
▲ "Purple Gas Coming East" 500 X250CM 2012
At that time, Mr. Pan Tianshou personally wrote the question, did not take the sketch, only the flower and bird examination, which showed his emphasis on the painting skills of flowers and birds. During his time at the school, Guo Zhiguang was deeply influenced by the artistic styles of his predecessors such as the magnificence of Pan Tianshou, the jianba of Wu Maozhi, and the thickness of Zhu Lesan, and also learned from their personality and morality. Listening to the lessons of Lu Weifei and Mr. Lu Weizhao, one "live" and one "strict" made Guo Zhiguang unforgettable for a lifetime. In addition to the course, Guo Zhiguang also copied and studied a lot of the brush and ink of Li Kuchan and Wu Changshuo, and also learned the taste from the Bada Shanren, and strived to cultivate his own unique painting style: where the pen falls into the ink, it is rigid and soft, moist and not dry, knowing the white and keeping the black, the atmosphere is long, and the ink soul painting is full of style.
▲ "Peach Garden Dance" 200x250cm, 2012
Over the years, Guo Zhiguang has deeply realized that the traditional Chinese painting "Qi Yun Vivid" is the first of the "Six Laws", and remembered that Mr. Pan Tianshou taught that "Chinese painting takes artistic conception, qi rhyme and style as the highest state". "Artistic conception" has always been the ideal realm pursued by traditional flower and bird painters. Especially with the rise of ming dynasty ink painting of flowers and birds, Chinese flower and bird painting no longer adheres to the shape of objects in terms of shape, but pursues "between "not similar" and "between similarity and dissimilarity", emphasizing lyrical speech, and striving to reflect the painter's own artistic personality.
▲ "Jinjie" 90x239cm, 2015
After years of studying the black and white and compositional treatment in the works of bada shanren, combined with his experience of Wu Changshuo's paintings, Guo Zhiguang seriously treated the relationship between exuberance and law, subtlety and boldness when painting, and in the virtual reality, rigidity and soft complementarity, he adhered to the brush and ink, combined the structure of painting with the pen and ink densely just right, emphasized the unity of the object and subjective feelings, and constructed a series of ink paintings of flowers and birds, such as "Ten Colors of Lake Light", "Wind and Rain Together", "Colorful Autumn Rhymes Sleeping East Wind", "Happy Autumn Eyes" and other works.
▲ "Vulture Flying" 200x260cm, 2014
Mr. Wu Used Six Words to Evaluate Mr. Pan Tianshou's Paintings, "Heavy Air Machine, Style", which Guo Zhiguang has been using as the criterion for his artistic creation for decades, and has studied Pan Tianshou's works quite thoroughly. In terms of inheritance, as a student of the Flower and Bird Department of Zhejiang Academy of Fine Arts, Guo Zhiguang is not only satisfied with being able to imitate a bird and a stone written by the teacher, he observes and sketches, experiences the teacher's experience, creates on the basis of his own feelings, and gives the work its own personality characteristics. Relative to the charm and artistic conception, the style of painting is more difficult to grasp, which can be said to be a kind of ink soul painting, reflecting the author's spiritual realm. For a long time, Guo Zhiguang has paid attention to personality and painting cultivation, and naturally exudes a kind of Chia Tai atmosphere in the picture, which is seen in his works such as "Qi Bone Zhengrong", "Foresight to the Clouds", "Indisputable Majesty", "Clouds and Miles".
▲ "Wind and Rain Flying Fragrance" 200x260cm, 2014
Guo Zhiguang said, "I want to expand the subject matter of flower and bird paintings to the environment around people. It is not that painting a flower and adding a bird is a flower and bird painting, and the flower and bird painting should express the feelings of people and the surrounding natural ecology. That is to say, the intention of flower and bird painting is often related to personnel affairs, and it is not purely to depict flowers and birds. At this point, Guo Zhiguang admires the human touch, life flavor and traditional taste in Qi Baishi's paintings, that kind of simple and straightforward brushstrokes, good at conveying the spirit, and at the same time humorous and naïve, full of strong humanistic feelings and life interest, even if it is to paint a few cherries and paint a shrimp, let people feel very close to life, is a part of human life. Guo Zhiguang's "Fish Series", "Lotus Series" and "Crane Series" strongly show the atmosphere of natural ecology and people.
▲ "Jumping Against the Water, Striving Upstream", 200x250cm, 2012
From the perspective of pen and ink, he also began from the emphasis on ink painting to pay attention to the exploration of color ink, Guo Zhiguang's color ink works seem to be dense and not gorgeous, fresh, vivid, rich and thick, reflecting the painter's own mental space and spiritual picture, can make people immersed in the birds and flowers with vertical and horizontal charm he created. Whether Guo Zhiguang paints eagles, pandas, bobcats, vultures, swimming fish, white cranes, insect frogs, or flowers, trees, strange stones, mountains, wetlands, melons and fruits, they all convey the full vitality of objects. His achievements in this regard come from his inheritance of his predecessors and his conscious further exploration. He believes that the artistic experience left by Mr. Pan Tianshou and others has not been fully expanded and carried forward. So he wanted to do further research in this area and make a difference.
▲ "Dreams Leaning Together", 68x68cm, 2000
He deals with the subjects of vultures, eagles, and birds, and thinks carefully from the aspects of format size, pen and ink form, layout, and realm, and carefully conceives, seeking grand potential and exquisite details. He used the words of Mr. Lu Xiaofei to warn young painters that a good artist is always "low in the eye", and an indisputable painter is likely to be "low in the eye and high in the hand". The meaning of this sentence is: the painter's vision is high, the artistic style is high, and the painting skills should follow the vision. Guo Zhiguang is an artist with high eyes, high hands and high style, who plays a role in the field of flower and bird painting, always maintaining the freshness and new spirit of his art, both traditional inheritance and modern pioneering atmosphere. (Shao Dazhen, a native of Zhenjiang, Jiangsu Province.) Secretary of the Secretariat of the China Artists Association, editor-in-chief of the monthly magazine "Fine Arts", professor of the Department of Art History of the Central Academy of Fine Arts, doctoral supervisor, editor-in-chief of "Art Research" and "World Art" magazines. ）
Painter Profile
Guo Zhiguang, zi Xuanming (also signed Hangming), room name three sides of the Foshan Wangwailou, Zhi Shou Zhai, trumpet drum mountain people. Born in 1941 in Weifang, Shandong Province, he was taught by the famous painters Xu Peiji and Hou Zhuoru during his middle school years. In 1962, he was admitted to the Department of Chinese Painting of Zhejiang Academy of Fine Arts (now China Academy of Art) majoring in flowers and birds, and studied under Pan Tianshou, Wu Maozhi, Zhu Lesan, Lu Weifei, Lu Weizhao, Sha Menghai, and Liu Wei, all famous artists of modern and contemporary Chinese painting. After graduation, he stayed in school to work, and in 1974, he was transferred to shandong Academy of Arts and Crafts, and tirelessly engaged in the teaching and creation of Chinese painting for nearly 50 years.
Guo Zhiguang is currently the dean and senior professor of the Institute of Chinese Painting of Shandong Academy of Arts and Crafts. He is a member of the China Artists Association, a member of the Chinese Calligraphers Association, the honorary chairman of the Shandong Artists Association, the president of the Shandong Calligraphy and Painting Society, the librarian of the Shandong Provincial Museum of Literature and History, the president of the Shandong Contemporary Chinese Painting Research Institute, the art consultant of the Shandong Painting Academy, the vice president of the Shandong Provincial CPPCC Friendship Calligraphy and Painting Institute, and the top professional and technical talents in Shandong Province. In 2011, he won the "Taishan Literature and Art Award" Outstanding Contribution Award of Shandong Provincial Party Committee and Provincial Government. Enjoy the special government allowance of the State Council.