Zhang Lu Cheng is famous for painting the scenery of the Silk Road, such as Taklimakan Wild Camel and Dry Pen Jiao Mo, as well as painting camels rushing out of the death penalty area and stepping on the smoke of the Millennium to the light. Like a snow dragon leaping in the boundless starry sky and like the waves of the sea, "Wild and unconstrained" is imaginative, intended for painting, showing the liberation of spirit and the leap of thought. "Populus euphratica Money Ball", full of color, vigorous and powerful, Populus euphratica, deep roots and strong trees, golden leaves and blue sky, full of color, passionate and unrestrained. In the golden autumn of harvest, I drew a golden hope.
His works are not centered on people, do not draw ancient business trips and cultural exchanges, do not draw the scenery of the vast Gobi, and are different from the lifestyle of ethnic minorities in Xinjiang like Huangzhou, but focus on animals and plants: camels in the desert are surging like mountains; Silk Road Tianma, Pentium starry sky; Cattle on the grassland are brave and vivid; The ancient Populus euphratica is tall and straight. He is good at digging up the "elephants" of plants and animals with rich cultural accumulation, creating a "big picture" that will never grind his heart, and using brushwork to show the great beauty of heaven and earth in the calm and happy "big grass".
There are two main styles of his silk road freehand brushwork. One is a grazing map, which consists of shepherds and herds. Small characters, mainly animals, realistic and refined modeling, vertical or horizontal composition, perspective with space as the focus, pen and ink absorb the splash of freehand brushwork flowers and birds, and have a strong flavor of life. The other is only a group of horses, cows and camels, which highlights the group and has a strong sense of integrity. It is like a mountain standing on the wall, like a battle, like a storm, with a more refined shape, sometimes exaggerated and illusory, and the pen and ink are more bold and heroic. The image of the herd seems to be looming in a lot of ink.
First, his horse, ox and camel works bring out heroic images with flying pen and ink. Pen and ink are cursive, but they are not linear cursive, and they are pure and wide, weathered and thick. Or thick ink block interaction, calm and happy, in one go. He not only used Shi Tao's theory of "one painting" to arrange magical pen and ink, but also shaped looming desert creatures in the process of pen and ink operation. The painter not only makes pen and ink serve modeling, but also realizes the interaction between pen and ink and images, which is the mutual benefit of cursive pen and ink and the impression of animals.
The second is to create habitats for animal groups with landscape images. Depicting animal groups has existed since ancient times, or placed in the environment of Shan Ye, or replaced space with blanks, but most of them focus on various forms, manage their density and dispersion, and describe their morphological spirit. Zhang Lu's achievements omitted the environment, or briefly explained the desert and grassland, and devoted himself to painting animal figures. Almost all animal groups are painted as mountains, arranged in a row, magnificent, undulating and full of tension. The animal that rushed from the front has become the foot of the mountain, and the brushwork of describing the animal's body and bones has also become the protrusion of the mountain, which means that the hoof of an animal that can't write has become a stone at the foot of the mountain. It seems that he is painting not only cows, horses and camels, but also towering mountains and magnificent rivers and mountains in the northwest of the motherland.
The third is to give play to the "most determined person" and highlight the group consciousness. The cows, horses, camels and Populus euphratica in the painting are anthropomorphic and appear in the form of cooperation between Qi and Xin. The abstraction of cursive script in painting gives full play to the idea of migration and skillfully realizes the transformation of animal groups into mountains and rivers, thus expanding the painting scene, deepening the artistic conception and highlighting the uniqueness and greatness of significance. Traditional freehand brushwork mostly shows that individuals get rid of material desires, that is, the so-called "free spirit", and some people try to promote the harmonious development of groups with the help of poetry, that is, the so-called "carrying Tao", but it is still personal things and feelings. Zhang Lucheng, on the other hand, integrated individual consciousness into the symptoms of the times, making the spirit of freedom surpass the ego. The way it contains is the voice of the times, the group consciousness of advancing with the times beyond time and space, and the unity of group will and respectable nature.
Since the 20th century, there have been three forms of Chinese painting, one is ink realism, which basically depicts objects with ink, the pen is based on tradition, and the concept of realism comes from the west. Secondly, use colored ink to express emotions, and use colored lines as lyric means. Emotional appeal and charm come from China, and artistic ideas and expressions come from the West. Both of them are new forms. One is a traditional form, which is called freehand brushwork in ink and wash, and expresses emotional personality in a large proportion. Ink and wash borrow calligraphy, and the schema blends ancient and modern times. Few people can extract new freehand brushwork patterns in real life. For a long time, ink realism has become the mainstream, and diversified development has begun in the new period. Zhang Lu made an effective exploration to become a new change of freehand brushwork.
Zhang Lucheng, a Silk Road painter, was born in Jiuquan, Gansu. He loved painting and calligraphy since he was a child. Under the guidance of famous teachers in local middle schools, he has mastered sketching and copying calligraphy and painting, and then he was recruited to do grass-roots art work at Zhaosujun Racecourse in Xinjiang with good artistic ability. Because he is diligent, sensitive and self-taught, the teacher immediately asked him to be a teaching assistant when he was admitted to the Chinese painting department of Yueyang Normal University. Later, he was appreciated by Liu Boshu, who kept coming to Beijing to study and hold exhibitions. He was well-informed and his position rose rapidly. First, he was transferred to the Political Department of Xinjiang Military Region as a painter, and later he was hired as a researcher of Peking University Institute of Historical Resources and deputy director of the Painting and Calligraphy Research Office. Become an active painter in Xinjiang and the capital.
Zhang Lucheng began the reform of Chinese painting at the age of 40, and gradually formed a great freehand brushwork style of painting accomplishment, painting knowledge and painting heart. Chinese painting, freehand brushwork is difficult, freehand brushwork is more difficult. Without solid modeling ability, it is bound to rely on the ancient schema, which is just a formal hole. I am not good at refining the meaning of painting with pen and ink, and it is difficult to distance myself from ink realism. Without an understanding of cursive brushwork and calligraphy abstraction, it is even more impossible to appreciate the passion in brushwork and ink dance. Zhang Lucheng has tens of thousands of sketches of cows, horses and camels, and his modeling ability is good. His hometown is the hometown of Zhang Zhi, the sage of grass. Influenced by calligraphy since childhood, he worked hard in Zhang Zhi, Mi Fei and Wang Duo. The combination of reading and traveling, and his understanding of life and tradition have made him a great freehand brushwork. He is in contact with the vast grassland day and night, feeling the laughter of herdsmen, accompanied by horses in Tianma's hometown, oxen pulling carts and plowing fields, and camels known as desert boats. At the same time, we should carefully read the classics of calligraphy and painting, make great efforts in philosophy and aesthetics, and extensively study traditions, especially frontier poems of the Tang Dynasty, grassland stone carvings in Temujin era, Altay rock paintings, Dunhuang murals, etc., so as to understand the artistic traditions in life and the torrent in life in practice. And in the process of writing the Book of National Animals, I wandered for two years to sketch, walked along Wan Li Road, visited the Yangtze River, the Three Gorges, Jingchu, Yunnan-Guizhou, Bashu, Luoyang, Kaifeng, Longmen, Taishan, Xin 'an and the Yellow River, inspected the local customs, imitated the stone carvings and murals, and got a deep understanding of various factions in the past through the comparison between art and life.
His silk road is freehand brushwork, which is the product of thick accumulation and thin hair. He tried to combine the thickness of national spirit with the depth of humanistic care. Taking the brilliant spirit of the Han and Tang Dynasties as the body, taking Xu Wei's pen and ink of the eight masters of Ming and Qing Dynasties as a reference, he realized the fusion of images and emotions, the infiltration of pen and ink and images, the combination of intuition and foresight, the illusion of landscapes and fauna, and the large-scale sublimation of anthropomorphic meaning. It shows the vastness of the Silk Road in time and space, the ancient lofty sentiments in desolation, the broad culture in communication, the rise of group spirit in the new period, and the combination with personal cultivation, which have been integrated into the beauty of heaven and earth and into their own freehand soul. No matter in the expression of pen and ink language, or in the realm of painting and traditional painting aesthetics, there are refreshes and breakthroughs. In addition to the paintings mentioned in the last article, other masterpieces such as War Horse, Spring Tide, Impression of Sweat and Sweat, Snow Mountain Shen Jun, Clouds and Creep in Strong Wind are all freehand brushwork of the Silk Road, which embodies the atmosphere and great realm.
Zhang Lucheng's freehand brushwork on Silk Road is relatively concentrated in the selection of materials, which is conducive to profoundly grasping the laws and living conditions of the object, and then exerting imagination to inject subjective feelings. With the help of cursive pen and ink, in the combination of concreteness and abstraction, we can construct unique images, refresh the pen and ink schema and express the spirit of the times. Just after the year of know life, he keeps pace with the times with his understanding of traditional freehand brushwork and different customs, and his achievements are remarkable and commendable. But in the further development, there is bound to be a challenge, that is, the overall relationship between elephants and animals seems to be true. How to grasp the proportion between the virtual and the real, the real and the unreal, the concrete and the abstract, and how to preserve the necessary concrete factors and their vivid details in capital letters will be the key to his further progress.