The rich folklore and stories about the old tiger attracted little Chen Mo. He claimed that "the tiger is me, and I am the tiger", and he enjoyed walking around on the road of ignorance. During this period, he not only wrote six hours a day, but also read a lot of Chinese and foreign historical and cultural monographs and master paintings, extensively learned the words of enlightenment, and learned the essence of the master's way from Li Qianshan in the Tang Dynasty, Bao Ding in the Song Dynasty, Zhou in the Yuan Dynasty, Zhang, Zhang, Zhang, Zhang and his mentor in the Qing Dynasty. After more than 50 years' efforts, in 2003, The Collection of Wang Tiger Paintings, jointly published by famous calligraphers and Tianjin People's Fine Arts Publishing House, finally appeared! 92 works are on the paper, ready to come out. This is a rare collection of painting, calligraphy, teaching and beautiful writing. The tiger is undoubtedly one of the most beautiful and mysterious animals on earth. Its name alone is enough to arouse the sense of danger, strength and courage, as well as the sense of avoiding evil spirits and the sacredness of town houses advocated by orientals. For centuries, this beautiful big cat has fascinated people in various cultures and civilizations. Wang Hua Hu Ji is the representative work of Mr. Wang, a famous painter and calligrapher in China Electric Power School. This book covers all the essence of the little freehand tiger, including yellow tiger, white tiger, Hei Hu, Mohu and their corresponding poems praising the tiger, as well as the painting method of the little freehand tiger. It can be said that it is the most comprehensive, extensive and authoritative collection of small freehand tiger works in China today. Paintings such as Flying with Anger, Roaring in the Deep Mountains, Looking for the King for the Millennium, Caring for Crossing the River, Enriching the People and Strengthening the Country, and the complementary scenery of Mr. and Mr. left a deep impression on the protagonist in Mr. Wang's works. Calligraphy shows dragon and phoenix dancing with grass, and the founder of regular script is rigorous. Its content is based on poetry, and its love for King Tiger is obvious. In teaching, I show my "experience" in tiger painting techniques without reservation. American essays are the comments and prefaces of Mr. Dong Shouping and Mr. Wei Jiangfan, who point out that it is "the most comprehensive, extensive and authoritative collection of small freehand brushwork tigers in China today", which can be described as highly appraised.
Just as calligraphy and painting come down in one continuous line, so are words and painting. Mr. Wang is honest, kind and humble. He is absorbed in painting tigers and seldom attends social gatherings. After the age of sixty, he was more strict with himself. The less he painted, the more dissatisfied he was. He won a good reputation for being a man and painting morality, and the popularity of tiger painting increased year by year.
Wang specializes in drawing nearly ten thousand tigers. In order to draw a good background of tiger affairs, he goes to various places twice a year to sketch and absorb the essence of mountains and rivers, and has published more than 3,000 pictures so far. From accumulation to release, he formed a unique artistic pursuit and style. Every time before writing, he has a set of rules of his own creation. Start with a set of Tiger Boxing in Xingyiquan, and capture the inspiration of tiger posture from jumping, moving, flashing, hiding and lying down to help him concentrate on form. As the saying goes, it is difficult to draw a tiger skin but a bone. In order to highlight the scrawny and tiger-patterned features of a small freehand tiger's works, he often uses a central pen, with rough and clear lines, rough and prominent essence, stable highlighting the tiger's potential and strength, exaggeration and change, achieving the harmony between personality and artistic conception, form and spirit, and making viewers look forward to life and love in a unique artistic conception. His solitary leap, solitary walk and solitary thinking are powerful, which is a portrayal of heroism, courage, justice and cruelty; His pictures of 27 tigers fully express the basic spirit of "initiative, endeavor, self-improvement and friendship" advocated by China culture. In his works, he pays more attention to the spirit of the role and the skill of detail. Tiger's head, tiger's eye, tiger's tail and Tiger Claw are all refined, so that the tiger shape and the tiger god are integrated in the whole picture and presented. In the tiger picture, every time a large section of ancient poetry and new words are drawn out, they are all lyrical and illustrated, which shows the author's mind. There is a poem that Mr. Wang likes very much. It is called "Looking for Gold for a Thousand Years". Hu Jun's various forms of aesthetic feeling, the ambiguity and richness endowed by his domineering, king and domineering connotation are the final conclusions formed over thousands of years. Whoever can dig deep from it and "enter the tiger's den" will be able to grasp the essence of the pulse endowed by the times and innovate again. Although he said that "I still don't understand tigers after painting for many years", he felt that he was born after painting, but the author believed that he was simple and humble, and he had already made up his mind that he would search for this rare animal for thousands of years with his love and persistence for tigers, and keep it in paintings and picture books forever and in the sight of future generations. At that time, in order to watch Mr. Hu draw a tiger, he was embarrassed to bother Mr. He stood in front of his husband's window for several hours in winter, and his whole body was numb with cold, which moved Mr. Hu to the extreme. In the decades of teaching and learning, this pair of mentoring has become friends who never look back and never forget the past. 65438-0988 Mr. Wang, who gave lectures and held exhibitions in the United States, was worried when he heard that his teacher was critically ill. He made an international long-distance call almost every day. After learning that Mr. Hu missed him very much in his last days, he resolutely gave up the opportunity to do a series of exhibitions in Japan and returned to Beijing. I had a long talk with Mr. Hu a few days before his death. Talk about life, talk about art, talk about painting tigers, and talk about Mr. Hu, Mr. Zhang Daqian and Mr. Zhang Shanzai. Teacher Hu masturbated because as their student, he not only inherited and developed the teacher's tiger, but also gradually formed his own style. Unfortunately, when the teacher Mr. Zhang Daqian died, he couldn't say goodbye to him for historical reasons. He asked Chen Mo, as the successor of Dafeng Hall (Mr. Zhang Daqian's hall is called Dafeng Hall), to improve the painting art and further inherit and develop tiger painting. Only in this way can he comfort his teacher and his artistic life. Mr. Mohsen vowed to live up to the teacher's expectations and repay the teacher's love and trust with his own character and works. Finally, Mr. Hu held his lover's hand and died in comfort. Their friendship between master and apprentice and father and son has long been a beautiful talk in Beijing painting circles.
Wang lived up to the teacher's teachings and expectations, carved a seal of "descendants of the Great Wind Hall" for himself, and constantly encouraged himself to go to the peak of art. He was willing to be lonely. He has not lived in the city for more than ten years, far away from the hustle and bustle of the metropolis, regardless of the heat and cold, and insisted on sketching in life. In order to draw a tiger well, he not only paid attention to its shape, but also studied a lot of relevant materials about its shape and habits, including the description of the tiger in literary works, so as to grasp its spiritual temperament. During my stay in the United States, I went to the safari park to chase and observe the rare white tiger in the world, and devoted myself to studying the anatomical and sketching techniques used to express tigers in western painting. Looking at Wang's artistic life, it seems that there is a process from birth to WTO, and from WTO to birth. Comment on Wang's "Tiger Map" said: "One stroke and one painting, ink and color blend, put pen to paper, stroke by stroke, put pen to paper boldly. Fast is calm, and male is implicit. " Wang Mochen's paintings have both the shape of a tiger and the god of a tiger. They are meaningful and beautiful in both sexes. The tiger's head, tiger's eyes and tiger stripes are extremely refined, which shows his pen and ink skills. His little freehand tiger, the lines in the brush, the skill in the ink and the markings that show the characteristics of the tiger are all written by the center, which is really free and easy. No wonder Mr. Dong Shouping said, "His pen is vigorous, vivid and powerful. It has a high level in China and can be called a model for everyone."