Looking at Mr. Wu Shanshi's paintings, I was first attracted by the pure and elegant style of the works, and savored it carefully, such as drinking sweet spring to cool people; After drinking good wine, you will be ecstatic. Because of its neat brushwork and pure beauty, Mr. Wu Shanshi's landscape can lead readers to paintings, giving people a feeling of drinking clear water alone in the mountains and giving people a spiritual comfort. There are mountains but no floods on the picture, and some streams and clear springs on the picture pass by inadvertently. The painter intends to express a kind of beauty in silence, and the realm of harmony and unity between silence and beauty between heaven and earth and the universe. This kind of aesthetic feeling can only be understood, but it is difficult to express, and it must be savored in careful watching. China's ancient painting theory classified the styles of his works into four categories: Yi, Shen, Miao and Neng, while mediocre works were classified into four diseases: sweetness, familiarity, vulgarity and boredom. Four diseases are incurable diseases for many painters all their lives. It sounds mysterious and mysterious, and it makes sense to think about it carefully. There is indeed a distinction between elegance and vulgarity in the style of the works "Static beauty" is listed as a Gog, and Pan Tianshou thinks that "static beauty is higher than dynamic beauty", and static beauty is more suitable for expressing a high-level aesthetic realm. He said that "the realm of quiet beauty can only be understood by people with considerable cultural accomplishment", and to observe it, it is necessary to "wait and see" and "realize".
It is self-evident that Mr. Wu Shanshi's paintings express a quiet and beautiful realm. Therefore, his works are pure and elegant in style, giving people a high-level artistic enjoyment.
One of the characteristics of China Landscape Painting by Mr. Wu Shanshi is that the beauty of pen and ink is an innovation on the basis of predecessors. The perfect combination of the two forms the style of "Wu Shan Water Painting". To express an artistic conception, we must have a set of corresponding expression techniques-pen and ink skills. Mr. Wu Shanshi's works are clever with pens, seemingly sloppy and careless, but in fact they are methodical and sober everywhere, which comes from the artist's unique ingenuity.
Pen and ink is the unique modeling language and the foundation of Chinese painting. The interest of pen and ink is the artistic conception and charm of pen and ink, which is the expression of Chinese painting. The roots of pen and ink have been hidden in China for thousands of years. It is the profound China culture that nourishes it and makes it constantly enriched and developed. Shi Tao said: "Too ancient, too simple, too simple and scattered, and Fa Li, Fa Li in a painting." Shi Tao's theory of "one painting" shows that the pen and ink of Chinese painting is based on the philosophical concept of "harmony between man and nature" of Laozi and Zhuangzi. The creation of pen and ink method is the reason why sages of all ages and contemporary masters learn from others, constantly neutralize and assimilate the essence of all natural things, eliminate the "simplicity" in their chests, get rid of their chaos and ignorance, and seek the intersection of pen and ink and all natural things for brewing and brewing. Based on this, Mr. Wu Shanshi searched all the strange peaks, devoted himself to exploring the mystery and exquisiteness of pen and ink, pursued the spiritual realm of pen and ink, and gradually realized the way of pen and ink.
Another feature of Mr. Wu Shanshi's landscape painting is the pursuit of artistic conception. The "artistic beauty" of China's landscape paintings is an old topic, and it is also a complex that China people can't give up. It is based on the aesthetic taste in the thinking frame of oriental philosophy. Artistic conception has a long history in China's ancient poems, but its formation as one of the aesthetic standards of artistic beauty (it is generally believed that the artistic conception expressed in the poems of the Six Dynasties is unconscious) is marked by Wang Wei's and Meng Haoran's poems depicting natural charm. From "poetic realm" to "picturesque realm", the two exchanged and infiltrated each other, which had a great influence on the formation of China people's aesthetic concept and artistic style after the Tang Dynasty. Wang Wei, a great poet and painter, devoted himself to the practice of landscape painting creation, introduced Zen thought into Chinese painting creation, that is, the thinking mode of "Zen realm", and made a major breakthrough in landscape painting creation.
Looking at Mr. Wu Shanshi's landscape paintings, we can sum them up in a sentence by Gu Kaizhi: "The beauty of a thousand rocks, the struggle of ten thousand valleys, the obscurity of vegetation, the glory of Xia Wei." Mr Zong Baihua, an aesthete, thinks that Gu Yan is a wonderful portrayal of Hao Jing, Guan Tong, Dong Yuan, Ju Ran and other landscape paintings in the Northern Song Dynasty in the Five Dynasties. It is believed that the description of artistic conception of landscape painting has begun to consciously and truly discover the "natural beauty" of Jin people. The author thinks that the inner artistic spirit of Wu Shanshi's landscape painting is to enhance the "ordinary" life around him through art, and how to create aesthetic feeling in the picture and give people a clear and beautiful enjoyment.
In Mr. Wu Shanshi's view, Mo Miao is the spirit of China's outstanding painters, and the reappearance of his emotions inspired by his familiarity with natural images. He can work or write at will. This is unreasonable to many "trendy" painters today. Facing the dispute between pen and ink, Wu Shanshi was not disturbed by the anxious painting world. He believes that meticulous brushwork is the harmonious unity of form and content in the long-term development and evolution of Chinese painting, and it is one of the special manifestations of aesthetic perfection. Pen and ink gradually changed from primitive simplicity to external form and internal meaning, which is an important part of aesthetic subject. In the development of Chinese painting art, it gradually developed into a transformation with pure aesthetic significance, from concreteness to imagery.
The artistic beauty of Wu Shanshi's landscape paintings is also reflected in the spirit of Mo Miao. Wu Shanshi's landscape painting shows the mutual integration of emotion and scenery. His "emotion" is the deepest emotion after realizing life. This kind of emotion is excavated through the deepest scenery and highlighted through specific scenery, which adds rich connotation to people's aesthetic taste. Through the creation of "artistic beauty", Mr. Wu Shanshi fully demonstrated the spiritual outlook of contemporary people in landscape art. Shi Tao said: "The importance of mountains and rivers lies in their formation. ..... mountains and rivers meet god and trace ". Artists speak on behalf of mountains and rivers with their own life feelings. Wu Shanshi "speaks" for the times through the blending of emotion and scenery, and shows people the era of artistic beauty, which is reflected by the structure of the picture-the beauty of artistic conception. In artistic practice, Wu Shanshi has truly achieved "a place of wandering the heart". This is the "spiritual realm" hidden in his unique mountain, water, grass and trees. Reading his paintings will always be excited by the "things" described by his profound pen and ink, and will produce beautiful artistic conception in aesthetic experience. No wonder some people say, "The realm of art can purify the mind and the universe." The realm of art lies in depth, and the painter's character lies in height.
Mr. Wu Shanshi studied in Tianjin Academy of Fine Arts, China Academy of Fine Arts and China National Painting Academy. He has been guided by many famous teachers and his painting skills are becoming more and more mature. He won awards in various exhibitions and his works were gradually recognized by the society and the market. In the face of honor and temptation, he always keeps a clear head and is not moved by fame and fortune. Mr. Wu Shanshi, as the name suggests, is as thick as a mountain and as stable as a stone. He is always modest about people and things, strict with himself and lenient with others. He is introverted, never sharp-edged, and devoted himself to art all day long. He has always maintained a self-balanced and peaceful mind. Therefore, in his artistic style, he shows a pure, simple, naive and unhurried nature. From his works, it is not difficult to see his profound cultivation and unique views on art. And all these are based on his noble personality. His works are not only academic, skillful and bookish, but also modern. Skillful pen and ink skills make his works natural and unrestrained. It seems to be the most extraordinary, but in fact it is easy and difficult. It is not easy to combine elegance and simplicity, whether in life or work.
When I was looking at the painting, I was deeply moved by the pure and elegant style of my work. At the same time, I feel that some works are not strong enough. While pursuing a quiet and beautiful realm, it also makes people feel a strong shock. As a point that is still owed, it is also reluctant.
Mr. Wu Shanshi is in his prime, and I believe he will bring us more wonderful things in the future. (Text/Mozi)
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Powerful Gu Zhuo, send a message to Liao.
-Appreciation of Wu Shanshi's landscape painting Xinmin
In the practice of inheritance and innovation, Wu Shanshi's landscape paintings show unusual artistic potential and good artistic sensibility. He created a new landscape schema for us with his unique pen and ink language and just right overall grasp.
Appreciating Wu Shanshi's works can convey a bold, simple, moist and simple atmosphere, which is not only the stretching ethereal landscape of the southern school, but also the vigorous and bold landscape of the northern school. There is not only the moisture of ink and wash blending, but also the strength of dry pen flying white; There is both the heaviness of splashing ink and the agility of fine lines. He expressed the beauty of pen and ink with his own unique feelings, and in his creative practice, he integrated and interacted with different painting styles from the north and the south, learned from each other's strong points, and interpreted a new look of modern landscape with diverse techniques and distinctive styles.
Wu Shanshi received a formal traditional education in his early years and has a rich accumulation of Chinese and western cultures. At the same time, he also respects the traditional spirit of China's landscape painting. He has systematically studied the representative works of a large number of ancient landscape painters such as Fan Kuan, Gong Xian, Eighth National Congress and Four Kings. He likes Shi Tao's ink-splashing, draws lessons from Shen Zhou's concise brushwork, praises Xu Wei's freehand brushwork, and appreciates the delicate brushwork of the Four Kings, so as to create a link between the preceding and the following and bring forth the new. When you brush your hands, you can write in capital letters, showing the charm and elegance of ink painting. In addition, Wu Shanshi has a solid theoretical foundation and extensive knowledge, and it is this comprehensive study and cultivation that has created his rich pen and ink language. His works show the traditional appearance, but they have changed from the traditional style to the intentional form, that is, with the help of pen and ink between concrete and abstract, emotions are blended into the flavor of freehand brushwork, so as to seek innovation in inheritance and integration in conflict, so that the emotional tension of pen and ink can reach harmony and unity.
As a traditional visual expression, Chinese painting has its unique artistic aesthetic value, which is irreplaceable by other paintings. The painter sends his love to the mountains and rivers, and outlines the ideal mountains and rivers with free and easy brushwork. This is also the key to Wu Shanshi's achievements in the field of landscape painting.
Chinese painting has always emphasized four functions: poetry, calligraphy, painting and printing. Among contemporary painters, the omnipotence of poetry, calligraphy and painting is becoming more and more scarce. Wu Shanshi's outstanding achievements in the field of landscape painting are inseparable from his comprehensive education. He likes reading poetry books and often studies inscriptions such as Ode to Shimen and Xu Lanting. He knows that calligraphy and painting are in the same strain, so calligraphy works hard. Although he is not a calligrapher, he knows that painting can make up for mistakes. Outstanding twists and turns, rigorous and agile, simple and vigorous, vigorous and vigorous, towering and straight; Round and strong. Therefore, his paintings are pen and ink, and the grandeur of the picture is formed through the rhythm of lines. The brushwork is changeable, forming its unique charm of landscape painting pen and ink language symbols.
Chinese painting emphasizes setting the image incisively and vividly. Wu Shanshi is very good at dealing with the relationship between "emotion" and "scenery" in the picture. It is precisely because of the different relationship between "meaning" and "image" that the types of images are different. For example, some artists pursue the style of "innocence" and "nature" in their creation, and strive to hide the subject's feelings in the true colors of nature as much as possible, hiding "meaning" and showing "image", giving priority to the object and obeying the subject. If you are in the middle of nowhere. Some artists highlight the feelings of the subject in their creations, regard foreign objects as the sustenance of the soul, project deep feelings, take me as the main body, follow things, use things as the main body, and construct a kind of "realm with me". In China's poetic theory, the former belongs to the category of "imagery" and the latter belongs to the category of "figuration", and poetry and painting are interlinked. Wu Shanshi's works can also be divided into two categories, namely "Xiangxing" and "Yu Xiang". Wu Shanshi injected massiness and clarity into his creation and projected it into the image. His paintings emphasize momentum, charm and interest. He integrates qi, reason, emotion, meaning and interest. He sincerely wrote the natural charm in his own way and method, which produced the wonderful effect of "being as broad and subtle as possible" and better demonstrated his superb painting skills.
Chinese painting pen and ink is a highly concise and concentrated artistic means, which integrates modeling, vividness and beauty, and is a multifunctional composite carrier. The predecessors said that "whoever is tangible does not get its momentum, momentum does not get its rhyme, and rhyme does not get its nature". Pen and ink is a metaphysical tool and means to express people's thoughts and feelings, and its interest in pen and ink is metaphysical. It not only has a unique formal aesthetic feeling, but also has the highest aesthetic realm that people pursue emotionally. The pen and ink of a traditional Chinese painting must reach an amazing height in form, potential, rhyme and nature, so as to give full play to the function of pen and ink, which can be called a fine Mo Miao.
Judging from Wu Shanshi's recent works, his unique painting style, which is simple and bold, rough and bold, full of emotion and visual tension, has gradually taken shape. All his works show the exuberant vitality flowing from the painter's heart, cheerful, vivid and ready to go, giving people a feeling of reaching the soul.
In Wu Shanshi's works, such as Boundless Sea of Clouds, Hidden Map of Western Hills, etc., the painter integrates subjective feelings and natural spirit into the objective scenery, which seems dull, shows strange risks, overlapping mountains, orderly opening and closing, rigorous structure, stability and changeability, gloomy and calm colors, and creates a kind of artistic conception with unrestrained vertical and horizontal charm. He guessed the meaning of the ancients with the heart of the present, and it is rare to reach this state.
Looking at Wu Shanshi's recent series of works, we can see that his landscape painting creation was inspired by the pen and ink of Song and Yuan Dynasties, and he had a deep understanding of Dong Qichang's pen and ink, which was further developed by Shi Tao and benefited from Huang's brushwork. It is precisely because of its profound traditional skills that it can be completely renewed. What is particularly commendable is that his paintings are complex but not chaotic, dense and uneven, dense and well-organized, and the rhythm of pen and ink lines constitutes the magnificent momentum of the picture, thus forming a language symbol of landscape painting with distinctive personality, diverse strokes and unique charm.
In the use of pen and ink language, he inherited the tradition, endowed his works with the spirit of the times with his own feelings and understanding, successfully integrated into modern composition and rich colors, and injected vitality and vitality into his works. He is good at using ink, just as he has a poetic understanding of black and white. He capitalized with fine ink and directly took the soul of mountains and rivers. It is precisely because he can skillfully use these two qualities that his works have both the charm of mountains and rivers and the wealth of jade pearls; Show a heavy "majesty" momentum; He is good at writing scenery and expressing emotion, vividly showing the infinite charm of oriental ink and painting, and forming a literary language feature of pen and ink. Wu Shanshi's works are traditional, but they have turned from traditional style to intentional form, that is, with the help of pen and ink, emotion, his rich traditional knowledge and modern aesthetic taste.
Wu Shanshi's works have a simple and quaint aesthetic taste, and his paintings inherit the unique ethereal, detached, implicit and elegant painting art in China, which embodies the artistic spirit of the oriental harmony between man and nature and the cultural charm of Confucianism, Buddhism, Taoism and Zen. While refining pen and ink, Wu Shanshi can concentrate on improving his academic qualifications, broadening his horizons and integrating Chinese and Western cultures without being influenced by the times. Therefore, he is a painter with great potential.