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The meaning of "tiger" in traditional Chinese culture is a symbol of bravery and might, driving away evil spirits, suppressing ghosts and disasters, and auspicious wishes, and the totem worship and cultural legends about tigers have become the most distinctive, long-lasting and most influential cultural phenomenon of the Chinese nation to communicate with people and gods, connect with nature, pray for blessings and ward off evil spirits, and live endlessly. In the field of traditional Chinese painting, countless famous artists of painting "tigers" have emerged, including Bao Ding and Li Gonglin in ancient times, and Zhang Shanxiao, Liu Jijie and so on. "Heaven opens the child, the earth dispels ugliness, life is yin, everything is there", five thousand years of cultural accumulation, the image of the tiger has become a very important theme in the treasure house of Culture and Art in China.
Chinese painting is a concentrated embodiment of Chinese culture, aesthetic thought and humanistic spirit, and different eras, different cultural backgrounds, and different personal cultivation will produce different aesthetic orientations. In the aesthetic process of Chinese painting, when people examine the tradition, they pay more attention to the aesthetic experience in the universal sense of commonalization, and the innovative expression of the pen and ink pattern is more worthy of reference and research for the background of each creative subject, the observation method, method, and personalized aesthetic understanding of nature and life. In view of this, in order to pay attention to the process of Chinese painting creation and personalized brush and ink exploration in the contemporary context, the fine brush and ink cases of contemporary Chinese painting masters are recorded, and sorted out and studied in the form of exhibition and collection and publication. Specially held "Yin Hu Ying Chun", an exhibition of pen and ink tasting of contemporary Chinese painting masters, in order to provide valuable academic copywriting for the expression of Chinese brush and ink in multiple contexts.
2022 is the Year of the Tiger in the Lunar Calendar, and today, when the world is ravaged by the new crown epidemic, it is not only necessary to unite to fight the epidemic, but also to overcome all difficulties. Through the brush in his hand, the artist sings the praises of the times, arouses the fighting passion of the descendants of Yanhuang and the tiger, and jointly builds the Chinese dream of the great rejuvenation of the Chinese nation. The plan of the year lies in the spring, and I wish our country to defeat the epidemic! I also wish our artists a lifelong body in the new year, a tiger's work, and a career like a tiger!
Liu Xilin, a famous art historian and deputy director of the Theory Committee of the China Artists Association
Sun Ke, a famous art historian and former executive vice president and secretary general of the Chinese Painting Society
Yang Guoping: Member of the China Artists Association Hunan Provincial Artists Association Vice Chairman Hunan Provincial Academy of Painting Specially Appointed Painter Hunan Xiaoxiang Academy of Calligraphy and Painting President of Hunan Jiuge Calligraphy and Painting Institute Vice President Qi Baishi Memorial Hall Specially Appointed Painter Yangzhou Badao Calligraphy and Painting Institute Honorary President Shanghai Dabi Painting Academy Art Consultant served as dean, professor and master tutor of Hunan University of Science and Technology.
Ao Xue Tu 70×280cm
Where the mind drifts
——Read Yang Guoping's ink paintings
Text/Xu Encun
Yang Guoping is a middle-aged painter with great talent and artistic sensitivity.
This is because Yang Guoping, who was born in the Dong cottage in western Hunan Province, has always maintained his own natural nature on the road of art, allowing his soul to drift between the Xiangshan Mountains and Chushui, and chanting endless nostalgia and nostalgia in his heart; In his ethereal, illusory and thick ink paintings, we see a kind of spirituality, a kind of remoteness, a kind of meaning, and a refreshing fresh breath.
Impressions of Baishan 68×136cm
Once mountain wild cattle and sheep 68x136cm
Hometown River 48×240cm
In this regard, Yang Guoping's ink paintings bring new painting resources, bringing a mysterious and deciphered simultaneous existence, a vivid mountain and water restoration, and an unpredictable ink realm. Yang Guoping's ink landscape paintings, rich in a sense of flow, this movement of the posture has become the most basic spiritual direction and internal structure of the work, in the ease, calm and unhurried swing, the interaction of water, ink, color, pen, resulting in the picture of the vitality of the flow, the flow of the rhythm change, and the spontaneous imagery performance and ink technique skillful often have unexpected effects. All this, of course, shows the painter's unusual ability to feel, cognitively, grasp and expressive ink art.
Suddenly like a spring breeze overnight 48×240cm
The pine at the bottom of the stream is not stained with dust 70×280cm
Yang Guoping's landscape symbols are nothing more than the Xiangshan Chushui that carries the cultural connotations, which are both strange and unfathomable; the painter takes the spirit of "freehand" as the fundamental concept, and in practice, he expresses the smoke and rain confused landscape in as much way and as possible in a virtual way and technique. It is safe to say that the Yang Guoping landscape symbol embodies the treacherous, unpredictable, deep and mysterious realm and atmosphere of the Xiangchu culture; it is a world full of original ecological beauty, flowing charm, full of vitality, and pure plain countryside. In contrast, some works of the same generation appear false, superficial, and lack of vitality. Yang Guoping's landscape paintings are close to nature and reality, and his creative inspiration and passion are due to his experience and feelings of life, rather than the result of the patchwork of old landscape symbols.
Stream bottom pine non-stained dust 2 70x280cm
This is the important feature and artistic quality of Yang Guoping's landscape paintings. The painter does not shy away from the connection between works and real life, real life factors enrich the form, content and creation and play of pen and ink techniques of his works, and his works take "great beauty" as the ideal, as the pursuit, and as the aesthetic orientation. "Hometown River", "Hometown Landscape is the Most Charming", "Dream back to the hometown tour", "often drunk for the hometown landscape", "Autumn Cong House like my home" and other works, all try to avoid emptiness, avoid routines, and avoid pretense, so what is shown in front of us is a return to the original, back to nature, back to the true color, and back to the "ink body" of the art world.
Cold Dew 68×136cm
Dream Xiangxi 68×136cm
In the schema and pen and ink structure of the movement, Yang Guoping creates an overflowing sense of pen and ink beauty and image beauty, which is used to reflect his emotional mode and aesthetic orientation, embody the irrepressible spiritual ideals and artistic pursuits, and more importantly, he expresses the cultural feelings of modern people with a sense of "movement", making it different from the classical "quiet" realm of cold silence. In this way, in Yang Guoping's works, the subversion of the silent landscape mode is quietly carried out, and the freedom and unique function of ink painting technology are also used, and with its own unique dissolution, it weakens the rubbing, ink accumulation and other techniques in the traditional technical performance, and strengthens the ink rendering method to create a hazy and moist landscape atmosphere while using the pen to erect the bone and express the image with the line, and also to see the strength and bone strength of the pen line, creating an imaginative artistic space between the virtual and the thick. As mentioned earlier, Yang Guoping's landscape imagery, and the resulting integration of works, have both realistic basis and imaginary imaginary factors, recreating the fresh style of modern landscape painting, giving people aesthetic pleasure, and implying efforts and choices to go out of tradition, face nature, and recreate the landscape realm.
Makigui figure 68×136cm
The interpretation of the works shows that as a painter, Yang Guoping has a unique lyrical temperament, he filters the landscape vision with a poetic eye, reflects the spiritual character of landscape imagery, and even strives to reflect the abstract pure form of pen and ink language. Therefore, most of Yang Guoping's works tend to be fresh, smooth, moist and full of vitality, and are extremely simple, simple and pure; an obvious fact is that the painter pursues infinity in limited places, pursues spaciousness in small places, pursues the whole in parts, and explores clumsiness in light and shallow, which makes Yang Guoping's works no longer follow the rules, but strives to innovate, deducing the wind and rain of ink in a limited space, smoke and mist, making the spontaneity and dripping of large-scale landscapes appear exquisite and exquisite And vivid, fruitful, full, both bright and atmospheric, it is in this point that the painter's ability, taste, use of experience and rich imagination are shown.
Twilight 68x136cm
Autumn Rhymes 48× 240cm
One of the Mountain Residences Series 68× 136cm
When all this is completely filled in the work, the "spirit of spirit" is revealed, the vitality is infused, and the whole is magnificent, making the works become the refraction, symbol and metaphor of nature.
Yang Guoping, who entered the contemporary painting world with a fresh, full and flexible freehand style, proves with his own works that he is connected with life, himself and art, art and life, which is a sober and persistent artistic consciousness - to break through the transcendent ability of the narrow "self", grasp the ability to embrace the magnificent human spiritual culture, create the form and language of art in a broader space, and make the spiritual texture of art richer and more fulfilling.
It is worth noting that Yang Guoping's works are always full of vitality and vitality, which avoids the old and rigid retro wind; as a complex and multi-layered artistic composition, Yang Guoping's landscape paintings reflect the strong regional characteristics, and also reflect the gift of nature - the spirituality of life, so he paints the poetry and rhyme between heaven and earth, and the harmony of their integration. Because of this, Yang Guoping's landscape art is far from sentimentality, closer to nature, and heaven and earth, and the painter and his works are therefore full of simple and simple poetry, which is naturally a display of the picture of the soul.
Sit and watch Yunqi 80×100cm