In the long-term development process of landscape painting, painters of all generations have formed a unique way of expressing the artistic conception of landscape painting. In the creative process, it is not required to depict the landscape to be similar, but to win with artistic conception. For Chinese landscape painting, artistic conception is its soul. It is neither a simple depiction of nature, nor a simple pursuit of painting techniques. It is said that "governing a big country is like cooking a small fresh", in fact, the same is true of painting. The painter first needs to be affectionate, after all, it is difficult for a good woman to cook without rice, but she can't moan without illness.
Prepare the true feelings, and then the scene blends, just like putting the seasoning into the pot, so as to effectively realize the design and display of the artistic conception of the Chinese painting landscape. By giving vitality to the images of mountains, rivers and streams in the works, the thoughts and feelings in life, the accumulation and precipitation of well-read books are integrated into the creation of landscape painting, which is an important reason why we can feel the unique charm and vitality of Chinese painting landscapes. The more high-quality landscape paintings, the more they can make the viewer feel as if they have crossed the boundaries of time and space, entered the infinite universe, and gained intelligent and philosophical perceptions.
This is not "haze", this is "fog", how long has it been since you felt this view of the countryside?
If you can be in this ethereal, hazy and psychedelic village, you must be able to get drunk...
Zhang Shenxi, born in 1947, a native of Kaohsiung County, Taiwan, is good at painting landscapes in China, and also makes flowers, birds, and figures.
He has been engaged in the textile industry for many years, and he devotes himself to ink painting whenever he has leisure time, and the memories of growing up in the fields and countryside have made him have an in-depth observation and experience of Taiwan's rural areas in the 1950s.
He said: "Reflecting life and creating life is an indispensable element of art, and there are endless materials to be discovered around life, such as the breeze, the torrential rain, the clouds, the mountains, the green domain, the clear stream, the ancient trees, the village houses, and the intimacy of getting along day and night, which is very easy to resonate, and it is also the object that I try to capture to enrich my subject matter."
Enlightened by his father since childhood, he has a strong interest in painting, and is good at painting landscapes, as well as flowers, birds, and figures. In his early years, he was influenced by Fu Lifu's landscape painting techniques and concepts, and after studying oil painting Xi the United States, he was also influenced by Western painting, and his later painting style tended to be free and refreshing.
In order to get close to nature, he often sketches around with the mountaineering team, with his warm vision and eyes, he has been immersed in the mountains and rivers for many years, and the natural scenery around him has been captured as the subject matter, turning the results of the dialogue between man and nature into creation.
Different from the relationship between people in human society expressed in figure painting, flower and bird painting depicts various life in nature. Landscape painting expresses the relationship between man and nature, integrating man and nature, and embodying the concept and ideological theme of the harmonious development of man and nature.
To appreciate landscape painting, we must first understand the artist's mind imagery. Because Chinese painting landscape is a kind of lyrical expression for creators. The painter first stored the characteristics of the famous mountains and rivers in his heart, and then shaped them in his hand, so that he could "be confident", so he did not take "Xiao shape" as the best, but "general meaning". A tree, a stone, a pavilion and a pavilion can all represent the artist's imagination. It doesn't have to be like Western paintings, and there are issues such as perspective proportions.
Source: Chinese Painters Art Research Institute