Lin Rongsheng, born in 1958, is a native of Fuzhou, Fujian Province. He graduated from the Fine Arts Department of Fujian Normal University in 1982. He was the president of the Fujian Provincial Academy of Painting and the vice chairman of the Fujian Provincial Artists Association. He is currently a Chinese painting artist and postdoctoral workstation tutor of the National Academy of Painting of China, a distinguished professor and doctoral supervisor of Fujian Normal University, a member of the China Artists Association, a member of the Chinese Painting Art Committee of the China Artists Association, a member of the Chinese Calligraphers Association, the director of the Landscape and Flower And Bird Painting Art Committee of the Chinese Gongbi Painting Society, and the vice president of the Chinese Painting Society. National first-class artist. Lin Rongsheng takes traditional Chinese painting as the foundation, on the basis of traditional green landscapes and literati freehand, integrates the composition and decoration of Western modernism, and creates a painting language with unique personality and epochality. Lin Rongsheng's early works were mostly heavy color landscape paintings. It is mainly filled with hook lines and supplemented by ink, and absorbs the language of modern art. The modeling is simplified and pure on the basis of classical realism, and at the same time has the characteristics of abstraction, imagery and decoration. His colors are decorative, beautiful and bright, with a bit of misty melancholy. He emphasizes the overall situation and the whole, and dominates the picture with a main color. At the same time, it also pays attention to the role of small rhythms, and produces contrast and color break penetration between different large blocks of surface paving and dyeing, so as to alleviate and reconcile the contradictions and conflicts between colors, resulting in many random changes. In the creation and research of Gongbi Landscape, Lin Rongsheng also specialized in freehand green landscapes. Lin Rongsheng's freehand green landscape paintings are in the same vein as traditional Chinese literati paintings, inheriting the literati's pursuit of poetry, style and taste, depicting natural mountains and rivers with calligraphic brush and ink and freehand spirit, expressing the principles of nature, the way of nature, and the interest of nature; at the same time, he draws on the techniques of decomposing, reorganizing and simplifying natural objects in Western modern painting, and extracts a pen and ink image with more symbolic and stylized characteristics than traditional literati painting, showing obvious modern characteristics. Lin Rongsheng's freehand green landscapes, natural objects such as mountain stones, cottages, old trees, sparse baskets, fertile fields, and water canals are written calmly with a calligraphic pen, which is easy and bright, and there are many natural interests. Its pen seems to be careless, but it is accurate and natural, can withstand scrutiny and play, and contains a subtle sense of rhythm and rhythm, showing the life meaning of natural things. The application of color makes this rhythm more abundant. Lin Rongsheng's use of color is cautious and firm, which is based on the traditional gold and green, and attaches importance to the random change effect that occurs in the process of using the pen to use color. He strengthens the size, form, strength and weakness of the color block, and enriches the visual effect. His works are clearly distinguished from ink and ink, virtual and real, the picture jumps without messiness, the composition is compact and rich in decorative interest, elegant and ancient, far-reaching and simple coexist, clear and warm, safe and comfortable, peaceful and harmonious, but also permeated with a sense of intimacy of man and nature, showing a unique modern oriental poetry. Lin Rongsheng's unique landscape paintings are not unrelated to his personal literary and cultural accomplishment. His paintings are often inscribed with small poems he composed, and the poems and paintings are harmonious and complement each other. For example, his painting "Rain" is titled: "Drizzle, empty mountains." Dyeing plain paper green is the wind of spring. Upstairs, looking at the bamboo by the water. Imagine, the apricot blossoms of the Tang Dynasty. "Just a few words, outlining a picture of a warm and warm spring that sprouts everything." If you summarize the characteristics of Lin Rongsheng's landscape paintings in one sentence, you may know: the green mountains close the bottom of the pen, the green water gushes at the end; the poetry brews elegant rhymes, and the text spits out Fanghua.
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