Recently, due to the severe epidemic situation and restrictions on citizens' travel, Guan Shanyue Art Museum launched an online cloud classroom series. The theme of this series is the appreciation of famous paintings in spring, and Guan Shanyue Art Museum leads everyone to enjoy the cloud paintings online and savor the spring atmosphere in the famous paintings.
Xiaonan selected several of the spring paintings. In this new season of spring, even if you can't go out to go out, you can feel the vitality of spring in your paintings through this new form.
"Returning to See Your Own Mountain- Lin Feng customs and Lingnan landscape painting language exploration special exhibition" in Mr. Lin Feng customs 'Kapok':
Lin Feng custom "Kapok" Color on paper 190.5cm × 265cm, 1981 Collection of Guan Shanyue Art Museum
This ancient kapok tree next to the Piyun Building gave Lin Feng a strong visual image, causing him to use the form of portrait painting to create a portrait for it. From the picture, we can see that in order to highlight the characteristics of the kapok portrait, the author adopts the method of double hook filling, and carefully shows the kapok, especially the several measuring scales (sword flowers) on the tree, but also truly retains the archetypal characteristics of the depicted object, and does the corresponding exaggeration, better highlighting the strong vitality of the kapok tree. Because he believes that "the image of the real and credible tree can produce a corresponding artistic appeal." Indeed, the pursuit of concrete and credible images and simple and natural artistic conceptions makes the picture have a strong sense of perspective, and the pure and concise background treatment of ink blending sets off the quiet and regrettable momentum of kapok, making the giant Ke stand tall, and the red flowers of the trees have become the focus of our gaze, which may be a unique understanding of the artist's natural grass and trees.
"Returning to See His Own Mountain- Lin Feng customs and Lingnan landscape painting language exploration special exhibition" in Mr. Lin Fengfeng's "Commune Holiday":
Lin Fengfeng ,Commune Holiday Manuscript, Color on Paper, 35cm× 30cm, 1972
The plants in the south are greener than others, and the red is also redder than others, and I am a southerner and have a unique feeling for the lush world of the south. Flowers grow from phoenix trees in early summer. Red. The green leaves are also unusually bright. This is a tree I have known since I was a child, I studied in middle school, and I can see phoenix flowers in the villages and villages I pass along the way. The contrast between the red and green colors of the phoenix flower, which is particularly dazzling, is rarely expressed in traditional Chinese painting. I was young then. I also didn't realize that the brush and ink of Chinese literati painting were so important, and the light ink was so elegant, but I just wanted to paint something that no one else had ever painted. And in fact, I have long wanted to express it, just because the exhibition took the opportunity to perform. To emphasize the strong contrast between red and green. I also used the red color of advertising paint. And paint the trunk with burnt ink. This is the traditional method of folding branches to reconcile the contrast between the two colors.
——Excerpt from "Intention and Poetry: One of The Interviews with Professor Lin Fengfu"
Interviewers: Lin Ying, Zhuang Chengheng
"Returning to See Your Own Mountain- Lin Feng customs and Lingnan landscape painting language exploration special exhibition" in Mr. Lin Fengfeng's "Earth Rejuvenation":
Seal: Lin (Zhu Wen) Shenzhen Guan Shanyue Art Museum Collection" imgtitleid="1654414655519" style="white-space: normal; max-width: 100%; contenteditable="false" alt="Earth Rejuvenation", 148cm×96cm, color on paper, 1979 Style: Earth Rejuvenation. In the winter of 1978, under the star rock. Rich and vulgar.
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"Earth Rejuvenation", 148cm×96cm, color on paper, 1979 Style: Earth Rejuvenation. In the winter of 1978, under the star rock. Rich and vulgar.
Seal: Lin (Zhu Wen) Collection of Guan Shanyue Art Museum, Shenzhen
Style: Earth Rejuvenation. In the winter of 1978, under the star rock. Rich and vulgar.
Seal: Lin (Zhu Wen)
Collection of Guan Shanyue Art Museum, Shenzhen
"Earth Rejuvenation" is dedicated to the tendency of nature to change seasons. Facts show that Lin Fengfeng has a continuous interest in spring, especially in the 1970s and early 1980s, spring has almost become the most noteworthy subject in Lin Fengfeng's creations. The formal scrutiny of "Earth Rejuvenation" cost Lin Feng more thought. His meticulous arrangement is reflected in the potential melody of the composition of the work, the lush cauliflower as the main body of the picture, in the space divided by ponds and rivers, with a twisting and orderly rhythm to reflect a subtle, never-ending sense of movement.
——"Nature and Pastorality: An Analysis of Lin Feng's Traditional Painting Art"
Li Weiming
Mr. Liang Shixiong's "Plateau Spring Colors" in "The Magnificent Wind of Time: Liang Shixiong's Chinese Painting Art Exhibition":
Liang Shixiong Plateau Spring Color, 180cm×98cm, 2003, Collection of Guan Shanyue Art Museum, Shenzhen
Painting a new chapter for the mountains and rivers of the motherland has been the creative driving force for Chinese painters to express landscapes since the founding of New China. Fu Baoshi once led a delegation to complete the sketching feat of expressing the "new appearance of mountains and rivers", and Guan Shanyue and Li Xiongcai both had the magnificent creative plans of "Mountains and Rivers of the Motherland" group painting and "Two Rivers and One River" respectively. Liang Shixiong's depiction of the scenic landscape of Jiangshan is not only an ode to the mountains and rivers of the motherland from the heart, but also a self-exploration of the footprints of predecessors, so as to achieve artistic transcendence. Liang Shixiong's landscapes include the Gorge Guifan of the Yangtze River, the turquoise clouds of the Huangshan Mountains, the heat wave coconut wind of the South China Sea, the vast poplars of Xinjiang, the snowy plateau of Tibet, the hometown of Rongyin in Lingnan, the wonders of Tailu in Taiwan, etc. It is not difficult to imagine that this is a grandly conceived depiction of the victories of jiangshan and a transformative practice of traditional pen and ink language in the context of new Chinese art. The piece "Spring Colors of the Plateau" was created in 2003, before and after, Liang Shixiong accompanied the librarians of the Guangdong Provincial Museum of Culture and History to Shaanxi and Shanxi to investigate, accompanied the Guangdong Provincial Artists Association to xinjiang to collect wind, and went deep into Naomao Lake on the border between Xinjiang and Mongolia to collect creative materials.
Mr. Liang Shixiong's "Spring in the Canyon" in "The Majestic Wind of time: Liang Shixiong's Chinese Painting Art Exhibition":
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Liang Shixiong Canyon Spring Morning 68cm×68cm Color on Paper, 1992
Collection of Guan Shanyue Art Museum, Shenzhen
In modern times, with the change of the Chinese people's world view and the permission of objective traffic conditions, it has become possible for painters to travel abroad and sketch on the ground, at the same time, how to express foreign subjects in the brush and ink language of Chinese painting has become another challenge faced by modern Chinese painters. In the early days of the founding of New China, some painters went to Eastern Europe and Northern Europe to sketch, and their works provided a good example for future generations of painters. Reform and opening up, the opening of the country's doors, the liberation of ideas and the expansion of diplomacy have enabled painters to frequently travel overseas to carry out sketching activities. Liang Shixiong's overseas sketches were basically created after the reform and opening up, and his footprints include Japan, France, Belgium, the Netherlands, the United States and other places. The exotic landscape and the expressive language of his mature landscape painting can be said to be a high degree of integration and freedom. The exotic landscape brings him a new visual experience, and always stimulates the painter's creative play of Chinese brush and ink language. From May to June 1992, Liang Shixiong was invited to visit Japan with his wife and Mr. and Mrs. Lai, and successively conducted sightseeing and sketching activities in Tokyo, Nagoya, Kyoto, Nara, Atami, Izu, Ise-Shima, Fuji, and Hakone.
【Finishing】Guo Yue
【Author】 Guo Yue
【Source】 Southern Press Media Group South + client