Sister Xiufeng has painted many works about maternal love, one after another is so smooth, full of deep love in the world, reading makes people feel excited, difficult to let go, always touching the softest nerve in my heart, evoking the infinite tenderness in people's hearts.
After reading the works of the eldest sister in the past ten years, whether in the vast snow and wind of the western desert or in the "sunny days", they either rush together, or cultivate and graze, or tell family affection and family customs, there are always a few loving and beautiful angelic mothers who gaze at their own or their relatives and friends' children affectionately, and infinite happiness overflows from the bottom of their hearts to their cheeks and eyes. That gentle gaze is as pure as crystal, as if it can travel through a thousand years and fall into the bottom of the lake in the child's heart. Under these virgin-like eyes, the child in her arms is bathed in brilliant and loving sunshine every day and all the time, no matter what the external conditions are, it does not matter whether it is rain or shine, the child is safe and happy in the great and warm arms of the mother.
Just like this 6-foot-large "Sunny Day", the eyes of two tibetan beauties of the year are focused on the child in the arms of an annual mother, and the tender watery gaze is as brilliant as the sunlight shining down from the upper right of the picture. The holiness of the snowy plateau was on their beautiful faces, and they were teasing the child of the holy child, whispering private words that only they could understand. Maybe they are sketching the hope of tomorrow for their children, maybe they are triggering the sweet feelings between their girlfriends from this child, and each is planning their own happiness. However, they didn't say anything, or they said anything and we didn't understand, then we can only taste and cherish it slowly and carefully, to feel this happiness and peace!
In the picture processing of this work, the eldest sister adopts a strong contrast technique, first of all, the contrast between cold and warm in color, the faint blue of the mother who holds the child and the warm red in the background are blended into a harmonious and warm color system by the plain white of the front girl; secondly, the brilliant sunlight lying down above the right side of the picture and the calm and calm black and white contrast of the background of the characters; and then the contrast between the fresh and tender faces of women and children and the extensive thickness of the Tibetan robes on the women's bodies. The eldest sister appropriately blended the dryness and wetness of the pen and ink with the pleasure and composure, and played a symphony of pen, ink, water and color. And all this is led by a "love" word, so that the picture is full of mother-son love, sisterly love, western love, and hometown feelings.
Only when the picture has feelings and love, can it be deeply rooted in people's hearts and pluck the heartstrings, so that the author and the viewer have a strong resonance. It is hard to imagine a painter who has no love in his heart and lacks warmth to create such excellent and moving works! Therefore, any literary and artistic work that lacks a sense of truth, painting, calligraphy, poetry, novels, all literary and artistic forms, without this "love" word, no matter how good the painting is, it can only be "showmanship", just a bunch of meaningless words and pen and ink combinations, and lack of vitality that can move people, infect people, and even encourage people, educate people! It can't be called real art!
In life, the eldest sister is also a competent daughter and a great mother. As the pillar of the Li family's children, in the early years, in addition to doing everything her best and responsibility to serve her filial piety and loving parents, and full of responsibility to maintain the affection between parents, children, brothers and sisters, she also shouldered the responsibility of feeding and educating a pair of children, and together with his sisters and brothers to become a pair of outstanding children in the green military camp, she fulfilled her beautiful wish as a mother to protect the country and love her family. This innate responsibility from the heart and bones, while shaping her own perfect personality, has also achieved another style and face of her art, which can be described as strong and soft, complementing each other, so in the works of the eldest sister, we can not only feel her rigidity and tenacity as a former soldier of that era, but also be cultivated and dissolved by her maternal love and true feelings.
This is the real feeling brought to me by reading the paintings of the eldest sister, this is my sister Xiufeng, a dear and respectable painter, friend and relative who makes friends in the world always worthy of respect, trust and appreciation!
Author: Mingquan
Editor-in-Chief of Oriental Artist and Oriental Art, CCTV Calligraphy and Painting Institute,
He is a member of the Chinese Writers Association, the American Artists Association, and the Book Association
artist
Li Xiufeng
A native of Botou City, Hebei Province, he was born in 1948 in his native country. He has served as the secretary general and full-time vice chairman of the Gansu Provincial Artists Association for more than 20 years, and has served as a judge of the Gansu Provincial Senior Title Evaluation Committee for art professionals for many years, and a member of the Gansu Provincial Federation of Literature and Literature. He is currently the president of the Gansu Academy of Chinese Painting, a researcher of the Gansu Provincial Research Museum of Literature and History, a member of the China Artists Association, and a national first-class artist. In 2005, he settled in Beijing and concurrently served as the president of the China Enterprise Media Calligraphy and Painting Institute, the vice president of the Beijing Western China Painting Academy, the vice president of the Chinese Cultural Heritage Chinese Painting Academy of the Ministry of Culture, the visiting professor of the School of Art of nuclear customs university, and the artistic director of the Far East Exchange of Chinese Calligraphy and Painting.
His personal art creation began in the late 1960s, specializing in Chinese painting of characters, working and writing at the same time, and also dabbling in printmaking and landscape painting. Since the mid-1970s, many works have been selected for the All-Army Art Exhibition, and more than 40 (pieces) of works have been selected for various national art exhibitions, of which 23 have been selected for the national art exhibition sponsored by the China Artists Association or the Ministry of Culture, and have won the second prize once and the excellent award three times; won the first, second, third and special prizes in Gansu and other provincial-level art exhibitions; participated in the fifth national art congress; and won the "Organizational Work Award" issued by the China Artists Association. He has won the "Dunhuang Literature and Art Award", the highest provincial literary and artistic award established and awarded by the Gansu Provincial Party Committee and Provincial Government for two consecutive years; in 2002, he was rated as "Outstanding Talents in Contemporary Chinese Painting" by the Talent Research Association of the Ministry of Personnel; and in 2005, he was awarded the title of "Excellent People's Artist" by the National Science and Technology Work Award Office.
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