Peng Olshi is a famous artist in the modern and contemporary painting world, good at painting landscapes. From the stylistic point of view, Wang Yi in the early Qing Dynasty had a great influence on him, and he attached great importance to the techniques of his predecessors and pursued the beauty of elegance and beauty. At the same time, he likes to write poetry and use poetry to enhance the mood of his works. To this end, he went to Sichuan to watch the fantasy landscape, leaving behind a number of excellent works with sketching characteristics. This "River Beach Sketch" is a sketch of landscape paintings created by him after he entered Shu.
He used the word "荦確" to describe the landscape on both sides of the river, with strange rocks and rugged rocks, looking tough and straight, so he used an axe to split the painting. He used "water like a green mountain" to describe the color of the landscape, but only used ink to change the performance. This shows that in Peng's writing concept, between the shape and the god, he pays more attention to the god. He is trying to depict the spirit of the landscape, not just to restore the appearance of the landscape.
Peng Olshi River Beach Sketch
Sketching has several meanings, and from this landscape painting, we can see Peng's point of view. He believes that the purpose of sketching is to paint landscapes with interest and make people feel the vitality in the paintings. His claims are very similar to the ancient painters' understanding of shape and god.
The relationship between the god-like and the form-like is very complex, both opposites and unity. The landscape that has its shape may not have a charm; the landscape that has its god will certainly emphasize the shape in a certain place. From the shape to the god, it is a process from the surface to the inside, and the painter cannot grasp the essence of things at once. Therefore, it is necessary to observe more in daily life, try more, and start from the shape.
Peng Olshi River Beach Sketch Local
Specific to the "River Beach Sketch", the axe-splitting mountain stone represents Peng's depiction of the shape, and the change of ink color replaces the natural color to represent his reproduction of the charm of the landscape. There is also a detail that the costumes of the characters in the painting are all ancient costumes, and it is obvious that he deliberately left a time clue in the painting, in order to emphasize the traditional landscape painting's view of time and space.
Time has not changed, emphasizing eternity, and the landscape is there, and it is also emphasizing eternity. It suddenly reminds people of the literati painter's thinking about life and the cognition of the universe. The universe can be time and space, or it can be the edge of the house and the beams. Big to infinity, small to be right in front of you.
Peng Yueshi stands at a very high angle to interpret the relationship between people and landscapes, so that people understand that sketching is not only a 100% restoration of natural landscapes, but also an effective means to enhance the artistic conception of works. Beauty comes from life, and the beauty of the painter's pen reflects different lives and also reflects different outlooks on life. Such works have vitality, so they also have a strong attraction.
The blank space in "River Beach Sketching" is beautiful, leaving endless imagination space for the viewer. Looking at the beautiful scenery in the painting, and reciting a few poems from the predecessors, it seems that you can walk into the painting. Time is frozen in this moment, even if the sky is barren and the earth is old, even if it is a sea of mulberry fields, it has nothing to do with me.
The painter discovers beauty, and the viewer appreciates beauty. A painting of "Sketching on the River Beach", starting from the analysis of Peng's style, feels his artistic concept. He seemed to want to tell everyone that after walking through thousands of mountains and rivers, he found that the most beautiful scenery was always in his heart.