The young man of the college, Guo Weixin, known as "Lao Guo", is mostly signed by the inscription and painting Lingzhai, the life is scattered and self-satisfied, the temperament is idyllic and easy-going, and there is quite a Style of Wei and Jin. Old Guo calligraphy and painting and learning, calligraphy like Minang Palace and Zhao Songxue, painting is better than Li Yingqiu and Guo Heyang, all get some fun, although for the post-90s "new generation", but extremely nostalgic, no wonder classmates and peers call him "Lao Guo".
Similarly, in terms of painting, he is also more devoted to the Song and Yuan Dynasties, and the appearance of calligraphy and painting has gradually revealed the legacy of the Song and Yuan Dynasties, the trees and stones he paints, the dangerous and dangerous things in Pingyuan, the twists and turns, the cliffs of the cliffs, the dangerous stacks of the flying streams, like a dream, with the exquisite black-white-gray relationship, to build a quiet and distant realm, as if it can penetrate time and space.
Guo Weixin (1995-), born in Yuzhou, Graduated from the Landscape Studio of the Department of Chinese Painting of Nanjing University of the Arts, listened to Mr. Zhu in the cucumber garden, was simple and easy-going, and was serene and self-satisfied. I don't know the wind of the times and have never participated in the exhibition. Shu Mu Nangong Songxue, still peeping at the doorway; painting the imitation of the camp Hill Heyang, the appearance is not caught. Paper runsu, beggar rice to make friends. Good hilly mountain, good ancient yan, good Song kiln, good firewood, ten sword cases, more than a hundred ancient bricks, but the love of this is for self-description, there is nothing to be added.
Text/Huang Wei
At the turn of spring and summer of this year, in the early afternoon of a bright morning, I entered the small balcony on the left hand of the door, Chen Pen Yan, wall Zhang Qin book, outside the wall a cluster of ivy quietly penetrated through a small slit, densely intertwined with the sunlight of the ceiling. Crossing a gilded screen, you can see the owner jingling in the kitchen.
After sitting on the sofa, the little tanuki slave was already not afraid to come over, so he suddenly felt that the lonely painting style of Brother Qingyuan added three points of warm and sunny life. A while ago, Brother Lingzhai asked him to write a small article to remember his paintings, and I always thought of his very good cat and the delicious fried prawns, ashamed and ashamed.
Brother Lingzhai painted the most landscapes. How high and far the mountains are, straight and lonely towering between heaven and earth; the close-up view is often a rough and thin mountain head qisong, a chetch crab claw, a distant distant mountain, with a specially rendered background halo, a li guo smell. There are very few people in the painting, and the clouds and smoke common in Song paintings are sometimes fluttering between the close-up and the long-range, and it is impossible to distinguish when and where, transcending the time and space of the world.
The beauty of the painting environment, of course, can not be my turn to learn to write, but looking at its paintings, although there is a slight hatred of the angle, it is realistic, "cold" and not "thrifty", not off the scale of small Europe. Yin also comes out of the brother's own luck, as if slightly referring to the meaning of the Han Jade Seal and the Yuan Zhu Seal. The comprehensive cultivation of such calligraphy and painting is enough to make me feel ashamed.
Last night, Brother Lingzhai sent a recent work, and the blank peat screen that I looked over when I looked at the oil burst prawns had already painted a few strong pines, the branches were lush, the pine needles were fine, and they stood up personically.