Liang Guorong, lord of Rongshan Hall, Zhuang ethnicity, born in 1975 in Napo County, Guangxi, is currently a member of the China Artists Association, a member of the China Gongbi Painting Society, and a member of the Guangdong Provincial Artists Association.
Text/Qi Enjin
In the blink of an eye, he has known Guo Rongdi for more than 6 years. I remember 6 years ago I took students to Shandong Tai'an sketching, according to the teaching arrangement, during the day to the outdoor sketching, at night in the hotel focused on reading the manuscript, comments, when I saw the Guorong painting, assistant teacher Liu Longyao introduced to me: "This is Liang Guorong from Guangdong, he brought some of the usual works, want to ask the teacher to see." ”
When I saw his ink freehand works, I was bright in front of my eyes, and I felt that the young man in front of me had a natural sensitivity to ink freehand, and there was a lively atmosphere between pen and ink, and the pen was thick and spontaneous, so I was deeply impressed, and I was affirmed and encouraged by his feeling of painting.
In the following years, he often saw news of his participation in exhibitions, awards, published works and pictures, and successfully joined the Chinese Beauty Association. For a young painter, behind the little bits and pieces of progress is the result of hard work and sweat, it is really not easy.
Last summer in his studio in Shunde, he showed me a number of his recent works, the general impression is that his paintings are more relaxed, free and free, both brush strokes, freehand paintings are relaxed and comfortable, and the brushwork is very good, quite distinctive, the variety of the picture is very exquisite, permeated with an artistic talent and aura.
He prefers to write about pomegranates, and often paints in a half-work and half-writing method, highlighting the novel effect of ink and color. This reminds me of Zhao Zhiqian, a Qing dynasty. Zhao Zhiqian's poems, books, paintings, and prints have all made great achievements, especially in the freehand flowers, which have opened up a new face and created a new style. He has a kind of half-work and half-written flower works, which are colored and ink-breaking, rich and elegant, and have a great influence on future generations.
Some of Guorong's works are similar to this type, but they are somewhat different, he boldly uses color, makes the picture appear decorative and interesting, and has a certain modern consciousness and modern sense of pursuit. I'm afraid I prefer his freehand paintings to his brushwork. As I said earlier, his freehand pays attention to the vast and flexible movement of the pen, especially some sketch albums, sprinkling with the pen, and the ink can also be thick and heavy, trance, muddy and image.
It is very rare among the young generation of painters to be able to understand this interest. My usual requirements for students are, first of all, to open them with a pen, and secondly, to be able to receive them. "Letting go" depends on courage, and "being able to hold back" depends on confidence. These two points can only be achieved through "Shi Guren" and "Shi Zhaohua". The "clever" painting methods in society that try to bypass tradition and bypass the doorways of the ancient masters are futile and shallow.
Therefore, if you want to have "courage" in your pen and "confidence" in your heart, you must learn from tradition and the ancients in a down-to-earth manner; then learn from nature and life, and realize the three ambiguities of pen and ink from the "cultivation" of "three thousand waste paintings". Therefore, when I saw from Guorong's recent works that he had made progress in pen and ink, I was very happy.
Painters probably understand a truth, the first thing to pay attention to when looking at paintings is the "breath" and "rhyme" of the work, from the whole painting to the small point and stroke, all of which reflect a painter's aesthetic pursuit of "vivid rhyme". It is no wonder that when the Southern Dynasty Sheikh proposed the "Six Laws", he listed "vivid qi rhyme" as the first law. The reason why I affirm Guorong's freehand brush and ink is also based on the "breath" presented between his pen and ink, which is a pen and ink atmosphere with a tendency of "vivid rhyme", because this breath and trend is the foundation for laying the foundation for his future artistic development.