The new era needs literary and artistic masters, and it is also completely capable of creating literary and artistic masters! The new era needs a literary and artistic peak, and it can also cast a literary and artistic peak! In the long history of China for 5,000 years, there is a brilliant brilliance of artistic changes and amazing creativity everywhere, and it is their brilliant brilliance that enables Chinese civilization to live endlessly in the long river of history.
The academic perspective of famous artists is Guo Yinfeng
It is said that when Mr. Wu Guanzhong was painting and sketching in the countryside, he always liked to show the paintings to the villagers and listen to the villagers' views on his calligraphy and painting works. As a result, two opinions arose: one was that the painting was too similar, and the other was that the painting was too beautiful. It is based on this evaluation that Mr. Wu Guanzhong clarified the aesthetic orientation and painting style of his life's painting. The integration of East and West, the integration of ancient and modern is the distinctive characteristic of his works, his works have both the beauty of the water towns in Jiangnan and the thickness of the Loess Plateau, he has applied the combination and collocation of points, lines, and surfaces to the extreme, becoming his own artistic conception, and winning the memory of history and the love of the people.
In our opinion, Mr. Guo Yinfeng's works, in the creation of his calligraphy and painting works, are actually trying to abandon the traditional literati paintings. Because traditional culture is indeed a manifestation of the literati's affection for them after life and work, in fact, it has a certain distance from real life, and it is different from our current works of in-depth life. So Mr. Guo Yinfeng, he admired Mr. Wu Guanzhong's thinking very much. Therefore, in the creation of his calligraphy and painting works, he also strives to pursue this kind of popularization of art. He believes that a good work of art must first meet the aesthetic needs of this public, have a distinct vitality, and also have this Chinese style and Chinese style that the people like to hear! This is a local, popular, folklore aesthetic orientation. This may also be closely related to Mr. Yinfeng's many years of military life. His life experience, especially his military career, has left a deep imprint on his art. That is to say, art should paint for the masses and let the public understand, which shows the character of the older generation of artists who are both virtuous and artistic. What is even more valuable is that Mr. Guo Yinfeng is now painting mostly Chinese paintings. But he also has a very solid foundation in oil painting. He painted many characters in life, including society, ordinary people in life, workers, peasants, merchants, and soldiers, and leaders. Each of his works can show the social style and zeitgeist of the characters.
His realist technique is deep, and he paints a lot. However, he is not a mechanical image, the spirit of its things, the subjectivity of the characters, and the imprint of the times. Therefore, when he transformed from oil painting to Chinese painting, he shifted this realistic and control of oil painting to the fusion of freehand in traditional Chinese ink art, and combined the two very well.
He liked to paint plum blossoms, which were the traditional subject of Chinese literati painting. However, this traditional painting subject he has a certain fixed paradigm. In the past, didn't many people say that Chinese painting was at the end of its rope, and one of its main points was that the formalization of Chinese painting hindered the innovation of Chinese painting. In fact, when we look at traditional themes such as Meilan Zhuju, which have strong characteristics of urbanization, it is actually a way to spread this kind of painting of Chinese tradition and let people quickly enter the traditional Chinese pen and ink field.
Mr. Guo Yinfeng, he does not reject this paradigm, he likes this paradigm. However, in making good use of this paradigm, he skillfully, unconsciously, and subtly integrated some of his cognition of the language of oil painting and the mastery of some techniques into the reproduction of his Chinese brush and ink. Therefore, his plum blossom works are in our opinion, both delicately painted and traditional ancient brushes. Therefore, there is both the concept of Western modeling and the spirit of Chinese freehand writing. There is also a sense of heaviness that is unique to Chinese painting after this kind of transformation created by the superposition method of painting oil painting for many years. We see that his plum blossom works are very heavy, it is different from the traditional pen and ink, that kind of flowing and flexible, he is heavy. In fact, he has painted oil paintings, and the thickness, solidity, shape and volume of oil paintings are integrated into the creation of his plum blossom works. Therefore, his plum blossom works look very brush and ink characteristics are also very vigorous and rounded. At the same time, it also has the aesthetic characteristics and morphological beauty of the exquisite portrait. Therefore, the branches and poles of painting are very fully reflected in his paintings, and their works have been recognized by more public. Introducing himself into the world of art, he wanders through his understanding of tradition and the humanistic spirit of the moment.
It also shows a charm unique to art!
President of Tianjin People's Fine Arts Publishing House: Li Yifeng, January 22, 2022