Mr. Guo Ziyuan's landscape paintings give people a strong sense of momentum and a sense of rhythm in color. Paintings, whether they are large-scale masterpieces or skits or fans, can present a magnificent atmosphere and a grand artistic conception. Its picture always runs through a "qi", giving people a high and majestic impression. When processing the picture, boldly delete the complicated and simple, and make a bold move in the treatment of virtual and dense, thick and light dry and wet, so that the picture is simple and not empty, giving people a distant and calm, idle and calm mood.
Guo Shousheng, pen name: Guo Ziyuan. Han ethnicity, born in 1971, a native of Xining, Qinghai, is a member of the China Artists Association and a director of the Qinghai Artists Association.
Majestic and dignified, dripping with water
——Appreciation of Guo Ziyuan's landscape paintings
Text/Chen Zhentan
For decades, Guo Ziyuan has been passionate about the creation of landscape painting, and on the basis of inheriting the traditional landscape painting, he has continuously explored and studied with innovative ideas and concepts, and has worked tirelessly. Anyone who has contact with Ziyuan will feel that he has a gentle personality and delicate emotions, but in his bones there is a strong and tenacious character of the Great Northwest Hanzi. In artistic creation, he dares to break through himself, and constantly changes and innovates in style and language, in order to achieve the realm of ease and ease.
In recent years, Ziyuan has made many attempts in formal language, worked hard in his own artistic field, and gradually formed an artistic style with unique personal characteristics after experiencing his own calm thinking and selective cultural judgment. Most of his landscape paintings are based on the Qinghai-Tibet Plateau, which he is most familiar with and most loved, showing the majestic and strong, solemn and deep style of the Qinghai-Tibet Plateau, and integrating a variety of dyeing techniques into the expression techniques of the brushwork, and using them to the fire. In recent years, Ziyuan's style of works has gradually matured, and his Chinese paintings have won many awards in major exhibitions across the country, and have emerged in the art world, which is a manifestation of his artistic maturity.
In the landscape paintings of the Five Dynasties period, the northern school is represented by Jing Hao and Guan Tong, and most of the landscapes in his pen are lofty mountains, mountains and mountains, and magnificent; the southern school is represented by Dong Yuan and Juran, whose paintings are full of clouds and mist, rivers and lakes, and quiet forests. Guo Ziyuan's landscape painting works, on the basis of absorbing the thick and majestic and magnificent landscape of the Northern School, add the fresh and gentle charm of the Southern School landscape, elegant and gentle rhyme, and embrace the mystery of the exotic culture into the painting, so that his works are full of an aesthetic interest of "melting and ethereal".
In his 2014 creation of the work "Dream back to the hometown of the holy land" is based on the mountains and rivers of the Qinghai-Tibet Plateau as the theme, the peak is standing, the structure is magnificent; the color is calm, the environment is novel, the color is mainly green, and the nearby minerals such as stone blue, stone green, cinnabar, ochre and other minerals are solid and thick, and the snow mountains in the distance are mainly white, painting the tranquility and holiness of the plateau.
The management of the work in form can be described as generous, the scenery is clear, the circle is square, and the square is round, which is refreshing. The whole picture slowly transitions from near to far, rendering layer by layer, and the picture shows solemn majesty, dripping with emotion, giving people a mysterious meaning. Another 2014 work, "Praying for blessings on the Sacred Plateau", is an ingenious and lofty work.
The works use mountain stones, grasses, temples, and clouds and water in the Qinghai-Tibet area as elements, giving the scenery a strong sense of religion, and expressing the yearning and longing of the people in Tibetan areas for the holy places. In terms of color, the whole work is based on warm colors, the ochre ink in the vicinity appears calm and thick, and the yellow in the distance is full of mysterious colors like Buddha's light, which looks rich and elegant and otherworldly.
Qing Fang Kaoru said in the "Treatise on the Painting of Mountain Tranquility": "The color is not difficult to be shallow. It is difficult to color harmony. And then the spirit is vivid, otherwise the shape is like a sign, and the painting is lifeless. "You can see that the colors of his works are harmonious and beautiful, showing a vigorous vitality and vitality." In terms of spatial treatment, the distance, virtual reality, and dense handling are appropriate, and the works give people a deep and quiet aesthetic feeling.
In the creation of landscape painting, Guo Ziyuan on the one hand inherits the tradition of the great landscape since the Song and Yuan dynasties, and forges ahead towards the aesthetic realm of "majestic and dignified, dripping with water"; on the other hand, he walks into nature, swims in it, and perceives the wonders of creation. In the past few decades, he has worked sketching, painting almost every corner of the Qinghai-Tibet Plateau, the sense of proximity, the desire to be excited, the temperament, the pen can not be received, the number of sketches is huge, and the landscape painting of the Qinghai-Tibet Plateau is unique and unique. Admiring his landscape works makes people feel a considerable, livable and swimtable landscape situation, and also expresses a kind of deep and majestic aesthetic orientation.