Text/Painting Wu Guanzhong
Outside the car window, the rain-washed tea field was a dark green, like a strong watercolor painting. Look closely, the densely dotted tender green sprouts are shining; the old trunk of the ancient tree is as black as iron; the willow silk is extraordinarily soft and flutters with the rain; peach blossoms, I immediately remember the inscription poem of Teacher Pan Tianshou "Silently Look at the Drizzle Wet Peach Blossoms", this wet word reveals the painter's keen aesthetic touch.
Wet, rendering the mountains, forests, villages, changing the tone of nature. The laterite and green bamboo in the mountains were not very harmonious, after the rain, the laterite became brownish red, and the grass-green bamboo forest was also dark green, and they all penetrated into the dark dark component, unified in the gray-containing midtones, or they all contained ink colors. The clothes are wet, the color is darker, and the wet clothes are uncomfortable to wear on the body, but the wet nature scenery is particularly charming. Chinese painters love to paint the wind and rain back to the boat, and love to paint the poetry of "the oblique wind and drizzle do not have to return". Because of the rain, some of the scenes are hazy, some of the images are prominent, and it seems that the great painter of the universe is writing different pictures and expressing different artistic conceptions.
After I taught myself watercolor and ink painting, I especially like to paint cloudy and rainy landscapes, and I don't like watercolor painting in the old Style of England. My previous watercolor paintings can be said to be a variant of ink painting, from the perspective of artistic conception and taste, there are few imitations of Western techniques, and more components of Chinese painting are benefited.
Western paintings also have themes that express wind and rain, but in Western paintings, wind and rain are described as an accident or a perversion of nature, and rain is rarely expressed as an aesthetic taste of appreciating objects. The independence of Western landscape painting began with Impressionism, which originated from sunlight. Painters turn to the sun, saying that light is the master of the picture, so they analyze the physical relationship between color and sunlight, and even say that "black" and "white" are not colors, and most Chinese and Western painters are intoxicated by the strong sense of color stimulated by sunlight, and pursue bright, bright, beautiful, gorgeous, fresh... Most of them are derived from "Qing".
Some people who painted oil paintings once said: It is not appropriate to paint oil paintings in Jiangnan. Probably because jiangnan is rainy, or his oil painting technique is only suitable for dealing with Western-style objects. For decades, I have felt that every time I represent a different object in my life, I always need to find a suitable technique, and the ready-made Western and mainland traditional techniques are not very suitable. Thick and stagnant oil paintings sometimes have to absorb moisture, and delicate colors often have to penetrate into the ink rhyme...
People like sunny days, and sometimes cloudy days, and if both aesthetic tastes are reflected in cloudy and sunny, fish and bear paws can be combined. Painting oil painting and painting ink, these two kinds of paintings of mine are not pure, but I use two different tools. My hair was gray, and I couldn't decide whether to settle on the canvas or settle in the land of ink painting!