Looking at Xiong Honggang s works from the "six methods" of painting put forward by Sheikh in the Southern Dynasties;
1, vivid charm
"Charm" is intangible and better than tangible. When the spirit is high, it is like water, and it moistens things silently.
Xiong Honggang's works are based on the Taoist thoughts of Laozi and Zhuangzi, such as "Taoism is natural", "harmony between man and nature" and "simplicity". Inherit the traditional painting techniques, bring forth the old and bring forth the new, and create an open and closed and rigorous ink brushwork, so that the figurative spatial elements can be transformed into the spatial structure of images through dialectical thinking of pen and ink. Dry and wet colors are transparent, achieving the harmonious unity of the contrast between reality and reality. The combination of midpoint, line and surface in the picture is flexible, the pen and ink are vigorous and colorful, the artistic conception is lofty and far-reaching, the picture is magnificent, and the charm is smooth and accessible, which means the charm is vivid.
2, using the brush bone method
Xiong Honggang's works are used to painting with calligraphy. The lines are vivid, the brush strokes are moist, and they penetrate the back of the paper. They are simple and gorgeous, simple and changeable, and mysterious, which is also the interesting and intriguing interest of Xiong Honggang's works. It is the soul fulcrum of the image structure of the whole picture.
3. It should be pictographic
The picture elements in Xiong Honggang's works are rich and varied, which are closely related to the painter's childhood life in Guizhou. "Naturally, it is made by foreign teachers, and the source of the heart comes from this." Only by integrating, loving and understanding the natural mountains and rivers can the painter integrate the figurative space modeling into his own ideological liberation, completely deconstruct it and reassemble it, and then create an ever-changing image space that is fascinating. As Mr. Tian Liming (President of the Chinese Painting Society and former President of the Chinese Painting Academy of the Central Academy of Fine Arts) said: "Hong Gang's pen and ink symbols contain the concept of' whether there is mutual existence'. From the form of pen and ink to the image of mountains and rivers, each stroke comes from the inner source, and sticks to the indifferent and pure image, which makes the pen and ink of Honggang full of the nature and warmth of the soul, and also embodies China's aesthetic of "joy from the inside out", forming a natural and implicit landscape of Honggang.
4, with class color
The color of Xiong Honggang's works is changeable, and the painter will adjust the use of pen and ink and color according to the treatment of the structural relationship of the picture, whether it is thick or light, whether it is sparse or dense, or whether it is virtual or real. Shade, black or white, white when ink falls, five colors when ink turns white, black when blank, and color when ink turns white. Density, the magic weapon to construct the structure of pen and ink, runs freely in the concrete operation process of pen and ink with its strict and complete dialectical relationship, is an important means of aesthetic ideal practice and exploration, and integrates management methods, and is a concrete method to implement brushwork, ink method, layout, management, regulation, arrangement, overlapping and overlapping. Virtual reality is the mother and motive force of pen and ink structure, and it is a life combination with infinite energy, which breeds all the life elements of pen and ink structure. At the same time, as a powerful executor of "reason", it directly runs through every corner of the construction of pen and ink structure, maintaining the balance and development of the whole pen and ink structure ecology. This is also the key point that Xiong Honggang's works are often used as teaching models in the industry.
5. Business premises
The so-called position management is to emphasize the harmony and unity of the picture. The harmony and unity of the picture can not be separated from the pen and ink structure. Pen and ink structure is based on ink dots, ink lines and ink blocks. Through the application of brushwork and ink method, the visual images of pen and ink with different forms and complicated changes are generated. They are "on the same plane as the Tao", starting from the point, extending from the line and unfolding with the ink, realizing the "image" in the "true colors of foreign teachers". Xiong Honggang's works have such charm, starting from a little bit, budding, from a little bit, fascinating.
6. Migration and modeling
Xiong Honggang is a painter who pays great attention to the training of traditional skills. Xiong Honggang's landscape inherited the context of Song and Yuan Dynasties, with profound ancient meaning, inherited the ancient innovation, and merged the tangible and the image into the intangible landscape space. A detached pen and ink obviously exists with the flow.