Traditional landscape painters teach nature, learn from the ancients, and the trinity learning method of "copying, sketching and creating" has also become the teaching system of major universities, which is a learning method and attitude. From the tradition, we got the ancients' understanding and grasp of pen and ink, artistic conception and observation method. Only by facing nature can we find the vitality of creation in nature. Only in this way can we appreciate and discover the vastness, magnificence, profundity, mystery and wordless beauty of nature. Because each artist's cultural foundation, knowledge and experience are different, they naturally have different care and performance. Mr. Han Shaoxian went to Beijing Painting Academy, China Academy of Fine Arts and China National Painting Academy for further study, and made a deep study of tradition. On the other hand, he went deep into the dialogue between life and nature and traveled around famous mountains and rivers, which made his works not only show profound traditional cultural skills but also have the characteristics of the times.
Chinese painting is an art bred and grown up in this land of the Chinese nation. It has independent artistic characteristics and aesthetic value orientation, and takes a road of combining culture, mind and life. From the Tang and Song Dynasties to the Yuan Dynasty, we turned to the expression and pursuit of cultural interests. We can see that this is a change from object image to mental image, and the culture, mind and personality in his paintings have been fully publicized. The strengthening of the characteristics of pen and ink and the emphasis on painting with books have made Chinese painting enter a new aesthetic level. Therefore, pen and ink are not only related to the point, line and surface of Chinese painting, but also related to the expression of humanistic temperament and national spirit. For this reason, Mr. Han Shaoxian has conducted long-term research and study on calligraphy. He has a solid artistic foundation, a comprehensive calligraphy style and is good at various forms. His pen is clean and neat, with smooth and beautiful form, rigorous structure, thick lines and stone spirit. His bones, strength, posture and rhyme are harmonious and unified, which makes people have rich associations. Calmly, leisurely and elegant, he conveys his understanding of life freely, and paints with books, which makes his landscape painting enter the source and embark on the road of access to Chinese painting.
It can be seen from Han Shaoxian's landscape paintings that he pays more attention to the composition consciousness and personality of pen and ink on the basis of pursuing and attaching importance to the traditional classic painting style and the interest of pen and ink. At the same time, we attach importance to elegant cultural taste and style, and extensively absorb and draw lessons from related arts. In his early years, he studied oil painting and sketch systematically, and he was also a master of Tai Chi. After decades of morning exercises, his works made a new breakthrough in grasping the language of pen and ink and the whole picture. Reading his paintings, we feel a very distinctive personalized style, which indicates that his unique painting language has entered a high cultural level. His landscape paintings are full of humanistic spirit and characteristics of the times, because his paintings have books, take them properly, blend ink and wash, and are chaotic.
The linear characteristics of Chinese painting are fully displayed here, such as the unity of subject and object in the picture, the unity of virtual and real movement, and the unity of relaxation and density. Make it a seamless whole. The whole opening and closing is moderate and ups and downs. Together, it is full of breath, like a glass of wine. Let's enjoy its delicacy and feel its relaxation and happiness.
Han Shaoxian's paintings are rough, true and tough, with thick brushwork and distinct levels. There are trees in the mountains and mountains among the trees. Everything has to get in the way.
Han Shaoxian's landscape paintings are based on sketches. Therefore, his works are concrete in style, clear in image and easy to communicate with viewers.
Han Shaoxian attached great importance to the method of landscape painting. In recent years, many of his sketches are done with materials and tools of traditional Chinese painting, which can touch his inner landscape, and are directly expressed on rice paper with traditional pen and ink. To do this: first, it is no longer a simple sketch, but a careful observation with the concept of re-creation; Secondly, the factors that can constitute the characteristics of China's paintings are extracted from the unpredictable scenery; Third, we should study ourselves in detail in sketching, forge brushwork and ink method directly, and explore personalized pen and ink symbols or schemes; Fourthly, it is an important and practical artistic creation for China painters to transform three-dimensional objective images into plane artistic images. Fifth, in the real environment, I deeply understand the enlightenment of the natural world realm of "treat things like me and treat me with things" through pen and ink, and accumulate wisdom for creating artistic conception of works.
The ways and means for artists to collect creative materials have been diversified, and modern video equipment has been widely used. However, judging from the characteristics of painting itself, no matter how sophisticated the technical equipment is, it may not be able to replace the artist's keen eyes and the instantaneous artistic thinking inspired by sketching. A landscape painter once said: "The painter is rooted in the aura of heaven and earth, rooted in people's wonderful thoughts, standing between heaven and earth, blending with everything around him, and his heart is full of interest." This kind of situation can only occur when the painter is in nature, and his inspiration for creation comes from the scenery in the real space. The painter will turn this inspiration into the result of sketching, and keep it in mind in his later creation, and sublimate it into the spiritual strength of art. This kind of spiritual pursuit in sketch can't be achieved by machinery. This may be the reason why Han Shaoxian prefers to use some "primitive" traditional sketch methods.
Only when facing the realistic self "responding to things" will there be comfortable "pictographs" on the screen, and the vividness of Han Shaoxian's landscape paintings will be produced. (Text/Yang Yuepu)