In China culture, the sea is definitely not an important concept.
China culture stresses heaven, earth and people, so there are few descriptions of the sea in China's traditional literature, poems and paintings. However, the ocean occupies an extremely important position in western culture, and a large number of western literary and artistic works are full of praise and reverence for the ocean. The rise of modern western civilization and the success of modern industrialization are closely related to the ocean. On the other hand, the maritime ban in Ming and Qing Dynasties was one of the reasons for China's backwardness in modern times.
The influence of these traditional philosophical concepts on painting is self-evident. However, landscape painting can best calm the anxiety of China people, which is the eternal theme of China painters in past dynasties. After entering the contemporary society, there are also artists who describe boundless beaches, fishing villages on rocks and sails in the waves. But this is mostly the patent of oil painters. How many China painters will paint this kind of sea scenery on rice paper with the ink of traditional Chinese painting? Who will go deep below sea level to describe the mysterious and unknown world?
Born in the mountainous area of northern Guangxi, Liang Qin actually has only an innate attachment to mountains and rivers. So, when he chose to come to Beijing to study with the famous landscape teacher Zhou Shaohua. His favorite landscape life naturally extends to the fullest. However, God's care made him go to his wife by the sea. Long-term seaside life has made Shanren Liang Qin slowly change his spleen and stomach, from his love for mountains to his love for the sea. Therefore, from the mountain to the sea, it became a natural choice for Liang Qin on the artistic road.
After years of artistic accomplishment, Liang Qin has dedicated a series of underwater worlds to us. Because of this, we have seen an unprecedented new style and schema of Chinese painting. After repeated rendering, the dark sea, clouds and atmosphere in the mountains produce mysterious light, which is transparent and unpredictable. The shape and calligraphy of coral trees remind us of the tree method and wrinkle method in landscape painting. As if I saw the cold forest of Fan Kuan and Guo. Small fish swim gently among the looming corals, and the sunlight reflects the temperature of human nature through the seawater. This is the most touching place in the picture. Light and fish make this lifeless underwater world instantly gain the joy of life and endless charm. The small fish that seems to swim inadvertently on the screen really becomes the most wonderful stroke in the picture. This is a groundbreaking stroke. I think it was the most ingenious stroke that Liang Qin stole from Bada and Baishi. This is a stroke of life and a stroke of Chinese painting.
Liang Qin's Chinese painting Underwater World is not only original and pioneering in subject matter, but also has made a lot of efforts in the diversity and experimentation of techniques. Liang Qin has been immersed in ink painting for many years, and calligraphers are famous teachers. In particular, the understanding of Chinese painting brush and ink has been favored and praised by the instructors and students of the seminar of the National Academy of Painting. Therefore, it is not surprising that some works have been selected for the National Chinese Painting Exhibition in recent years. Liang Qin studied western painting and design in his early years. Therefore, in exploring the techniques of underwater world works, we embarked on a road of combining Chinese and western. After countless failures and arduous explorations, we finally figured out the choice of paper, the thickness of color, dry and wet painting, the back dyeing of positive painting, light and shadow, plane and depth, colorful painting and calligraphy tones and so on. I found my own artistic language and expression. Faced with such repeatedly tempered works and magical realism, many colleagues will marvel at how this is drawn.
The sea is full of waves and weather. Of course, human beings advocate colorful life and yearn for a life full of illusions and challenges. But we can't forget the other side of the coin, that is, the human soul is more eager for peace and comfort in life. The seabed is relatively peaceful and quiet, with light and fish full of vitality. Isn't this scene like an easy chair for the human soul? In the face of such works, of course, it can be the comfort of modern people's hearts. The way of one yin and one yang was left to us by the sages. Today, Liang Qin embraces the blue civilization once abandoned by us with his works. When facing the challenge of the sea, he does not forget the joy and comfort brought to our hearts by the underwater world. This kind of cultural thinking is worth pondering. At the same time, such works also add a beautiful flower to the book world. I think it is the realistic fit and academic orientation of Liang Qinshui's world works of Chinese painting. Of course, there is no end to art and exploration. There is still a lot of room for research and development of sea series works. We have reason to expect Liang Qin, who is in artistic adolescence, to bring us more expectations and surprises in the works of Ocean World.