Li Guangming, a native of Urumqi, Xinjiang, the master of the desert, the leader of the Gobi landscape painting style in the western desert, a member of the China Artists Association, a member of the China Gongbi Painting Association, a member of the Xinjiang Artists Association, a master of Chinese landscape painting at the Xi'an Academy of Fine Arts, a national senior title, a first-class artist, a full-time painter of the Xinjiang Urumqi Literary And Art Institute, the secretary general, a young master from the Tianjin Academy of Fine Arts He Jiaying, Bai Gengyan, Huo Chunyang and others, Shuo Tu studied from the Xi'an Academy of Fine Arts doctoral tutor, Professor Li Yunji, Li Guangming lives in Beijing,
"On the Regional Characteristics of Landscape Painting of the Western Style Painting School"
Text/Li Guangming Urumqi Painting Academy
Chinese landscape painting is the main painting discipline of Chinese painting, and in the history of the development of landscape painting, many famous painting schools have emerged. In the 20th century, famous schools such as the Maritime School, the Lingnan School, the Jinling School, and the Chang'an School appeared in the Chinese painting world. In the western border of the motherland, a famous school of western style painting was formed. The Western Style Painting School takes landscape painting as the main feature, is the famous landscape painter Mr. Xu Shuzhi inherited the purpose of the Chang'an School of painting "one hand reaching out to tradition and the other hand reaching out to life", adhering to the aesthetic viewpoint of his teacher, Mr. Zhao Wangyun, founder of the Chang'an School of Painting: "Only beauty is true, only truth is cute", and a regional painting school that expresses Xinjiang's customs and customs with distinctive regional painting forms and painting languages explored by sketching as the main technique, thus influencing the painting style of Xinjiang Chinese painting since the second half of the last century. It is characterized by the combination of vivid and delicate pen and ink, strong lyricism, vast natural scenery and terroir character activities. The use of realistic expression techniques to express the western style, the combination of figures and landscape painting to form an aesthetic realm of the unity of heaven and man. Xu Shuzhi is: "the founder of the Western Style Painting School and the mainstay of this school of painting" Its representative painters are: Xu Shuzhi, Xie Jiadao, Mu Ge, Shu Chunguang and others. Their works reflect the regional artistic characteristics of Western style landscape painting from the aspects of subject matter language.
I. The relationship between landscape painting of the Western Style Painting School and the natural geography of Xinjiang:
The Western art historian critic Danner said: "Painting is born, survives, and develops intact in this disposition; The surrounding natural environment and the national personality that created the painting gave the school its own subject matter style and color" This is Danner's claim that art is determined by social, climatic and geographical environment. In his book Painting Basket, the Qing Dynasty's Zheng Chongguang closely associated pen and ink with nature. For example: "Dong Jufeng peaks, mostly in the Jinling area; Ni HuangShushi, obtained from Wu Yue Zhufang; Mi Jia Mo Fa, out of the south of the city of Runzhou; Guo's figure on the right side of Taihang Mountain; The River of Maji, the Taoyuan of Jingguan. Huayuan snow, Camp Qiu Hanlin. Jiangsi Tu yu Xigu, Que Hua looks like Wu Xing. The curiosity of pen and ink must be the portrayal of mountains and rivers." Here, Shigemitsu lists the most famous landscape painting masters of the past, pointing out the relationship between their art and its regional environment. Shi Tao advocated: "Search for Qifeng to make a draft", "pen is not life is not god" is also the meaning.
The natural geography and landform of the north and south of China are the objective basis for the emergence and development of the regional style of Chinese painting in the north and south, and the Song people have conducted in-depth observation and study of the landscapes of the north and south, and Guo Xi said in "The Mountains of the Southeast are many strange and beautiful, and the heavens and the earth are not private in the southeast." In the southeast of the land, where the water is sloppy, it is exposed to the water, so its ground is thin, its water is shallow, and its mountains and cliffs are out of the Xiaohan. The waterfall is thousands of feet, flying on the table of the clouds, such as the Mountain of Hua, not a thousand zhang also. For example, if the Huashan is fresh, even if there is a thick one, there are more people on the ground, rather than out of the ground. The mountains of the northwest are thick, and the heavens and the earth are not in the northwest. The northwest is extremely high, and the source of the water is buried in the place of ganglong bloatedness, so its thickness, its water depth, and its mountains are piled up and continuously stretched thousands of miles away. The jieqiu has a top, and the ridge is outstanding in the wilderness of the four kui, such as the Song Mountain, the small room, not not steep. For example, if there are few song people, even if there are steep people, there are more in the middle of the earth than on the ground. SongShan has many good streams, Huashan has many good peaks, Hengshan has many good beixiu, Changshan is more good, and Taishan is particularly good main peak. Tiantai, Wuyi, Lu, Huo, Yandang, Min'e, Wuxia, Temple of Heaven, Wangwu, LinXuan, Wudang, are all famous mountains and giant towns in the world, the treasures of heaven and earth are out, the immortal cave house is hidden, the strange gods are inexhaustible, and their wonders are wonderful to seize their creation", which shows that the geographical differences between the north and the south formed by the typical geographical landforms contained in the different natural environments in the north and the south have finally formed a majestic and magnificent artistic outlook of the northern school and the beautiful artistic outlook of the southern school.
Goethe said of the plastic arts: "What is more important than the subject matter? What other art science is there without the subject matter? If the subject matter is not suitable, all talents will be wasted." Master Shi Lu said: "Painting has no life, if it is processed, there is no raw material." Life is exhausted, and painting will wither." The Xinjiang region is full of mysterious, vast, majestic, and vast feelings, and in the tang Dynasty's Border Plug poet's pen, "there are long clouds and dark snowy mountains, snow in August, suddenly the desert is lonely, the long river is sunset, suddenly yellow sand rolls on the ground, and the sun is dim." Here is not only full of magic and magnificence, but also contains a very rich, with a unique aesthetic value of the huge landscape painting creation resources, here there are both snow-capped alpine ice and snow belts all year round, there are yellow sand like waves, even the continuous desert, both thousands of square kilometers of vast lakes, there are no grass, vast gravel Gobi, both the vast forest sea that shades the sky and the sun, there is also an endless, vast and abundant grassland, in such a region with huge height differences and very complex ecological and environmental conditions. Diverse ecosystems have been formed. From mountains to deserts, from forests to grasslands, from lakes to basins. Here is a unique plateau hardy geographical environment, there is not afraid of drought and heat desert natural environment, with the development of geological history, the formation of their own unique morphological characteristics, ecological habits, here the environment is harsh, life is full of mulberry and eternal feeling, giving people a strong shock. Art must have its own field of expression, painting their most beloved, most touching, the most able to express their emotions of the subject, in the art to find their own performance space, is the expectation of Xinjiang landscape painters, Gobi Desert, plateau lake waves, snow ridge ice peaks, these paintings in the history of unprecedented scope of expression, can broaden the content and theme of Xinjiang landscape, enrich the traditional field of expression. In this desolate and deserty and lonely natural environment in the great northwest, the development of the regional theme of landscape painting in the northwest will break the beautiful and elegant classical traditional aesthetic taste of landscape painting, thus forming a majestic, simple, desolate and thick aesthetic character, so it is said that the performance of the regional theme of the Western Style Painting School is the practice of inheriting the fine tradition of the Chang'an School of landscape painting into Xinjiang life, and it is also the embodiment of the national spirit in landscape painting. The extremely rich and spiritual landscape painting themes in the vast area of Xinjiang are deeply worthy of praise and praise, and the artistic creation with them as the object is not only the expansion of the content of landscape paintings, but more importantly, the expansion and diversification of the aesthetic spirit, the expression of returning to nature to the wild feelings, wild feelings, wild interests and wild tastes of Xinjiang, which is the foundation for the formation of the distinctive regional characteristics of western style landscape paintings, and will surely add new cultural connotations to the long-standing Chinese landscape paintings.
II. Regional characteristics of landscape painting of the Western Style Painting School:
Landscape painter of the Western Style Painting School; Inheriting the tradition of the Chang'an School of Painting, under the guidance of the thought of the Chang'an School of Painting, the regional landscape painting language with more northwest charm and northwest spirit has been created in the language of northwest landscape painting, and its common characteristics are as follows, the first emphasizes the characteristics of the pen, forming a sense of strength and strength with strong pen strength and majestic atmosphere. This is not only the influence of the traditional bone method with the pen, but also the inspiration of life. Mr. Xu Shuzhi's series of works all have this characteristic, embodying the characteristics of majesty, depth and thickness. The second is that language has many forms, including pure ink painting, ink and green painting, shallow painting and non-literati brush and ink painting. This is the exploration of pen black by the Western Style Painting School under the guidance of the tenet of "taking truth as beauty". The third is to maintain the characteristics of sketching and emphasize the vivid feeling of life. In the above common language exploration, each person presents a different characteristic.
Xu Shuzhi's landscape painting inherits Zhao Wangyun's vocabulary, creating a smooth old spicy without wild, coarse in the fine, rigid and soft at the same time, far-reaching and powerful, up close-up interesting, shallow and elegant, light and flavorful, fresh realm, magnificent style, breaking through the popular format of the painting industry for many years. Xie Jiadao landscape painting combines traditional techniques with the techniques of the Chang'an School to form a deep, rough, strong and simple artistic style. The color and pen and ink are thick and moist, fresh and elegant. The pastoral landscape painting takes Nancang Beirun as the viewpoint, forming a magnificent, fresh, elegant and long-lasting landscape painting style with a strong breath of life. Shu Chunguang expressed the unique scenery of the Gobi Desert, and formed a majestic and magnificent landscape painting style with both traditional and modern expression languages.
Synthesizing the above, it can be seen that the landscape painters of the Western Style Painting School are full of true love for the nature of Xinjiang, through long-term in-depth observation of the Landscape of Xinjiang, and realize that at the same time, under the premise of in-depth study of traditional painting and world painting, they have developed and created a unique artistic language of The Western Style Painting School of Landscape Painting, and at the same time, the specific regional language plays an important role in expressing specific Western themes. It can be said that the theme and language of the landscape painting of the Western Style Painting School are directly derived from life, and more from the pursuit of the national spirit, so it has the performance of returning to nature to the landscape of Xinjiang, forming a distinct regional and contemporary character, which is unique in Contemporary Chinese landscape painting and brings infinite enlightenment to the latecomers.