Liu Changchao is good at painting people, landscapes, flowers and birds, and is known for his flowers and birds, and his painting bamboo is known as "Changchao Bamboo". His flower and bird works were more delicate in the early stage, and in the later stages, they became free and used their pens to be old and spicy. Liu Changchao's achievements in the art of Chinese painting are extraordinary, he has conquered audiences at home and abroad with new images, new meanings and new expression techniques, and is an outstanding flower and bird painter in Lingnan.
Liu Changchao: (1907-1997), don't bother with the master of the Zhai, Jieyang, Guangdong. In 1927, he entered the Shanghai Academy of Fine Arts, graduated in 1930, and successively engaged in art education and research and creation of Chinese painting in China and Thailand. He is a member of the China Artists Association, a director of the Guangdong Branch of the Artists Association, a member of the Guangdong Provincial Federation of Literature and Literature, an advisor of the China Shitao Research Association, an advisor of the Guangdong Provincial Primary and Secondary School Art Education Research Association, an honorary chairman of the Shantou Municipal Federation of Literary and Art Circles, an honorary president of the Wutou Painting Academy, an honorary president of the Shantou Artists Association, a vice chairman of the Shantou Municipal Committee of the Chinese People's Political Consultative Conference, and a vice president of the Shantou Association for Friendship with Foreign Countries.
Liu Changchao's flowers, especially his late works, are eclectic and self-contained. He inherited the tradition of Wu Changshuo's school of freehand writing, and painted with golden stone calligraphy, which was powerful and thick in pen and ink; At the same time, he also absorbed the small freehand tradition represented by Hua Silla and Ren Bonian, and pursued the agility and clarity of ink expression.
He painted ink plum, ink lotus, shou peach, pine tree, vine rose, loquat, etc., more than capitalized; Paintings of hagi flowers, reed leaves, fine grasses, willow branches, orchids, etc., are more close to lowercase. He painted pine trees, especially pine needles, which were sharp on all sides, thick and sharp, which could be seen in the influence of Pan Tianshou's brushwork.
Only its "simplicity" can be "big", and it can fully display the strangeness of the composition, the peculiarity of the image, and the strength and momentum of the brushwork; However, stick figure capitalization also hides hidden dangers, if you lack talent and pen and ink kung fu, it is easy to flow in the big and empty, thick and rugged. There is Wu Changshuo's weather and gestures, but the vines and vines are more dense and delicate, thus forming their own appearance and character.
Liu Changchao has a solid foundation in calligraphy, in his early years he worked the Zheng Wen Gong Monument, and then studied Weng Tonghe's calligraphy, and his long-term calligraphy cultivation made him penetrate the back of the paper when he dropped his pen, and he proposed that the paintings should be like a seal, a festival like a li, and a leaf like a true is not only a repetition of ancient precepts, but also an experience obtained from years of artistic practice. From the inscription painting, it can be seen that Liu Changchao's grass is close to the square and has a posture, the pen strength is condensed, and the mood is coherent. He sketches the grass and flowers all out of this pen, with twists and turns, tight and smooth. This is particularly prominent in his works of orchids, chrysanthemums, lotuses, pomegranates, vines and plum blossoms.
Liu Changchao is famous for painting bamboo, and Rao Zongyi said: "Mr. Changchao wrote bamboo, the furnace hammer is deep, it has been decades, the gap is empty, and it is inexhaustible and extremely beautiful." Yuan Jinglun said that Liu's painting of bamboo is "majestic and beautiful, and the elegance contains the wind of high antiquity." Although Liu's ink bamboo is high in dust, fresh and lovely, other themes of the work is not inferior, all reflect his in-depth understanding and grasp of pen and ink.
Jao Zongyi commented: "Taking bamboo into the painting, I have always pushed Xiao Xielu bamboo diagram as the earliest, Li Xizhai once said. However, the dunhuang murals are written with bamboo and colored branches, which is still faintly visible, which proves the credibility of the Sui Dynasty officials with mixed bamboo. Since the beginning of the text, its perversion; In the Yuan Dynasty, Zhao, Wu, Gu, and Ni were all born in succession, and Xiao Scattered and Cleared the Standard, so he was extremely freehand. The disciple of the eight monsters of Yangzhou in the Qing Dynasty, Zheng (爕) Li (Fang Bing), a thousand acres of Weichuan, in the chest of the cage, and even more wielding its wise blade, Wei is a new look, interesting, and beneficial to the beauty of the cage.
Mr. Changchao's work writes bamboo, the furnace hammer is deep, it has been decades, the gap is empty, and there is no end to the state and the extreme yan, and the incomparable words of the Hai Nei Ran Sect. It is a solo exhibition held by Ji Guzhai for the sake of the ink king, while the landscape and water are both animal and planted, overseas friends, to peek into the complete works of Mr. Li, stain the painting world, and make endless. Peng Jun's genus affixed a number of words, in order to be quoted, not to speculate on the ugliness, so the title of its duan Yun'er. ”
After watching Liu Changchao's ink bamboo works, Guo Moruo, a generation of literary heroes, commented: "Fresh and elegant, both, writing bamboo in this way is really a contemporary Zheng Banqiao."