Lan Huasheng: She, born in 1969.9 in Shangguanzhuang, Shanghang, Fujian. In 1992.6, he graduated from the Fine Arts Department of Fujian Normal University with a bachelor's degree. He is currently a professor at the School of Art and Design of Longyan University, a member of the China Artists Association, a director of the Fujian Flower and Bird Painting Society, and an executive vice chairman of the Longyan Young Calligraphers and Painters Association. In 2011, he was rated as "the first outstanding talent of Longyan City" by Longyan Municipal Party Committee and Municipal Government, and in 2013, he was awarded the title of "Four Batches" talent of Longyan City's propaganda and cultural system, and was rated as "Outstanding Talent of Chinese Painting" by the Ministry of Personnel. Mainly engaged in the creation and theoretical research of Chinese painting, more than 40 chinese painting works have been selected for national and provincial fine art exhibitions, and have won gold, silver and bronze awards for many times.
Pen love Mo qi write nostalgia
——Enter the aesthetic world of Lan Watson's flower and bird paintings
Text/Qiu Dechang
Nostalgia is a silent song, nostalgia is a painting with sound. Every time I return to my hometown, the orange reeds, gray plantains, and black residues that my eyes touch, the nostalgia will gently sigh out of my mouth, and the bone-chilling acacia will be released in these desolate scenes. Sometimes, when I see these images of nostalgia, I can't help but think of the nostalgia that flows in Lan Watson's picture, indeed, living in the city, if you want to find this kind of nostalgia, you can easily obtain it as long as you arrive in his studio.
As a form of painting, Gongbi painting is revered to an unprecedented height today, and most people come for the purpose of being easier to enter the exhibition. Therefore, the current gongbi painting, with the purpose of painstaking and lonely composition, pursues the effect of a tall and noble exhibition hall, pays attention to the workmanship and production of layers of blending, the theme is patchwork, lacks emotion, and has a thousand faces. The lines lack bone strength, the colors are lost in elegance, the pictures only seek to resemble shapes, and the works lack charm. How to get out of the frivolous, oily and contrived?
Lan Huasheng believes: "To solve the problem of large and empty brush strokes, too photorealistic and realistic, we must write the heart with the heart." In his view, he believes that painting should be based on my heart, the heart of writing things, to achieve the fusion of things and me, the unity of meaning and form, and the random color. Only with the heart can it be possible to produce creative impulses, and only impulsive works can have emotional bursts. Under this painting concept, in the practice of gongbi painting for many years, he is diligent and thoughtful, dares to innovate, and on the basis of extensive reference to the style of Song painting and Yuan painting, he writes with love and color with emotion, especially in the innovation of color, and walks out of a new path.
Shi Tao once said: "The painter of the husband is from the heart." Yun Shouping also said: "The pen and ink book is ruthless, and the person who transports the pen and ink must not be ruthless, and the painting is in the process of taking pictures, and the painter must not be unsentimental." What guides Lan Watson's creative passion for the "heart" of "love" is the "nostalgia" that constantly surges in his heart. When he studied Song painting and The painting style of the Yuan Dynasty, he was not limited to the program of Song painting, and gave the sense of the times by the fusion of its subtle and vivid expression and modern language.
What is the Language of the Age? In today's era of urban civilization squeezing into rural civilization, people revisit the classics in the lost civilization, and nostalgia arises. This kind of nostalgia is different from the helplessness and helplessness of the ancients who left their hometowns, different from the distant prospects and hesitations of the mountains and mountains, but the helplessness and resistance to the trampling of traditional civilization by modern civilization.
Summing up his creative themes, he said: "I left home at a young age, studied outside, and then lived in the city of reinforced concrete buildings all year round, the city is noisy, noisy, tired of the fast-paced urban life, touched myself to pursue the free, fresh and leisurely rural life of my childhood hometown. Therefore, in the subject matter of his paintings, he chose objects that could pin his emotions on him. Through repeated selection and filtering.
His flowers chose the most common plantains, lotuses, reeds, banyan trees, stones, bougainvillea, etc. in his hometown scenery; birds such as ducks, frogs, toads, etc., and the others were no longer involved. In order to give the hometown scenery to the poetry of "nostalgia", he used many methods, such as in technique, he pursued the texture effect, pursued the composition of Western painting, and pursued the integration of freehand and brushwork, but in the end, he succeeded in the breakthrough of color.
The innovation of the traditional style of Chinese painting, some people break through from composition, some people create from the subject matter, some people innovate in multiple materials, but Lan Watson boldly changes from color. In fact, there are many painters in the Chinese painting world who have broken through in color, and he has broken the traditional mindset and turned black into white. The ancients said that ink is divided into five colors, nothing more than thick and dry and wet, but in his eyes, the ink is counted as white, which greatly enriches the expressiveness of traditional ink.
Therefore, the creation of the "white series" works, in his eyes, color is the situation of the mind, in his pen, "intention" is the first, all things are born of the form of intention, all things are born of color because of "intention". In order to express the unforgettable nostalgia, in his eyes, the plantain is white, the lotus leaf is white, the stone is white, the cliff is white, this large area of dead leaves that are frozen white by the cold frost and wind, he naturally and implicitly adds a small amount of green life or bright red color, here, he finds the life of the object, finds the rhythm of life in the decay of all things, discovers the rhythm of beauty, the ordinary objects give poetic symbols, and the countryside scene becomes a poetic poetry. His anti-black to white has achieved unexpected aesthetic effects. His white series of works has been frequently selected and exhibited in important national painting exhibitions, which has attracted the attention of the art world.
While creating the "White Series" of brush strokes, Lan Huasheng combined the aesthetic vividness of Song painting with the spontaneity of Yuan painting, and created a number of ink works in the form of part-time work, subtly expressing the demeanor and texture of birds and birds, at the same time, expressing flowers with calligraphy's freehand brushstrokes, using light colors, using ink to move, calligraphy to take the law Ni Zhan, Jane Yuanxiao, dry and light style, calligraphy and painting are integrated, creating a cold, thin, light and elegant poetic environment. "Watson's works are mainly based on work, combined with work and writing, shaped by wording, and pure and pure beauty." Song Zhansheng, chairman of the Fujian Flower and Bird Painting Society, once painted a long scroll of flowers and birds written on a part-time work belt of Watson, which highly affirmed the aesthetic orientation of his flower and bird paintings.