The Eastern Jin Dynasty painter Gu Kaizhi said: "Where painting, people are the most difficult, sub-landscape, sub-dog and horse, Tai Xie must be a certain instrument ear, difficult to achieve and easy to be good, do not wait to think of wonderful also." "That is to say, figure painting is the most difficult to paint, because it is necessary to convey the objective object through the artist's emotional activity and aesthetic imagination." "God" has always been an important issue in the creation of figure paintings, and countless painters have constantly discussed the relationship between form and god. Qi Baishi even said that "the beauty of painting lies between similarity and dissimilarity", because this can better convey the charm.
Wang Jiaxun's figure paintings are having the beauty of "between the like and the unlike", he does not deliberately pursue the precise proportions of the human body, nor does he overemphasize the physical characteristics of the characters, but according to the ancient grasp of the characteristics of the characters, such as the beautiful shoulders and waist, the scribe's leisure and self-adaptation, etc., so that the shape in the painting is accurate and vivid.
In his works, ladies lie or lie down, or lean or sit, always holding books or fiddling with musical instruments, which seems to be a show of everyone who has a unique achievement in piano, chess, calligraphy and painting.
Wang Jiaxun's pen and color are mainly pure, not too much ink on the depiction of the face, but the rendering of all the objects around the lady that can highlight the elegant temperament of the characters. Inadvertently complete the exaggeration and deformation of characters, props, and scenes. Naturally paint an elegant, detached mood. On the surface, it seems to be depicted haphazardly, but on the inside, it has a rigorous formal meaning.
The reason why Wang Jiaxun's works can move people is to capture the subtleties of the character characteristics. The painting is an ancient character, but it is not conventional, and it is strange and strange in peace.
Seemingly random depictions of characters and props, but contrary to the dull, outdated traditional frame. In terms of appearance, clothing and background environment, it exudes a comfortable, idyllic and leisurely mood, giving people a sense of freshness, kindness and ease. Bring the appreciation of modern people into the artistic conception of the ancient in the painting, obtain spiritual sustenance, and let people's hearts inhabit. It achieves the purpose of lyrical and emotional expression.
Wang Jiaxun's paintings are not ostentatious or flaunt their skills, and they act spontaneously. Between his brushwork and freehand, his pen and ink are light and deliberate, heavy and refined, light and complicated, heavy and light, and radiate a rich oriental cultural atmosphere.
It can be said that his works emphasize the physical beauty of the subject, but also emphasize the spiritual beauty of the subject, when he uses the pen, he consciously abandons the gorgeous colors of the traditional beauty portrait, so that the literary charm of the lady remains in the painting, so that the work has words outside the painting and intentions outside the pen.
Only when people's temperament is high, can painting not be superficial.
Wang Jiaxun's works are full of elegant and elegant, high-level and clear atmosphere, which not only comes from the elegance of pen and ink, but also from the painter's own state of mind. His understanding of beauty does not stop at superficial refinement, but goes deep into the value of life, so that the audience can nourish the body and mind through the works, and feel the cultural wisdom brought by Wang Jiaxun's Chinese paintings.