Zheng's personality can be seen from his works. Looking at his works, from one stroke to another, one mountain and one water can be pure and detached, and all can be realized from his paintings. As Mr. Huang said: "Landscape is about nature and human nature in our hearts." Laozi said, "Be empty, be quiet. Everything works together, and I will see it again. Everything must be traced back to the source. In the final analysis, it is quiet ... "Xiangshan Weng said:" You know, there are thousands of trees, and none of them are trees. Qian Shan Wanshan is a mountain, with ten thousand strokes and none. There is no place, so it is easy. "
Zheng said: how can you sit back and watch it change and be complacent, and create touching works? You must measure everything in the world. Without quantity, there is no broad mind, and there is no spirit of comprehending everything.
In order to reflect the vastness of the painting, people should be large in quantity and quality, so as to gather and accommodate everything. If everything is contained in people's body and mind, the body and mind will be empty and clean, and the true state of "Heaven and earth coexist with me, and everything is one for me" proposed by Zhuangzi can be achieved, and new ideas can be created in statutes, and wonderful truth can be put in addition to being bold and unrestrained, so that the mind can be clean and the picture of "without me and without me" can be achieved in creation. The core of China's traditional painting theory is to express the heart of the object and the heart of the painter. When creating, a painter must have no distractions, constantly call out the spiritual source of "truth" in nature, put aside all secular delusions and concentrate on purity, so as to achieve the gas field of self-satisfaction in meditation.
Zheng Sheng proposed that "quietness", "purity" and "environment" are linked and combined in painting. The word "static" is usually understood as a static, static heart, which is a temporary appearance; "Net" is a thorough psychological image; "Quiet" is the connotation and artistic conception in the works. First of all, it is required to achieve physical and mental purity. If it is not clean, nothing will be displayed. The net is a symbol of harmony between heaven and earth. From physical purity to mental purity, and then from mental purity to physical purity. Clear-headed, clear-headed, is conducive to physical and mental peace, stimulate self-inspiration, and achieve the artistic conception of "taking truth from images." With a clean, clear and quiet mind, you can adjust your hair inside and outside your body. When you paint, you are highly quiet, and you must be single-minded. You feel that there is a heat energy in your body. If you walk around your body, you will be calm and refreshed.
Zheng believes that painting is the creation of the mind. The level of creation depends entirely on the level of understanding. We are usually distracted and fidgety, so we can't draw a good picture. When creating, we should concentrate, forget all the troubles, get rid of them, observe the nature of the mind, and gradually enter the creative works, so as to embody supreme wisdom and integrate the tangible body into the infinite universe. With the idea of heaven and earth in your heart, the light of the sun and the moon will be spotless and clean as a mirror, so that people's temperament can be connected with the temperament of mountains and rivers, and people's spirit will fit in with the spirituality of mountains and rivers. When you start thinking, everything has a yearning for life. When you start your original potential, you will be born with natural mindfulness, self-purification and inner peace. Your feelings and thoughts will be integrated with everything in the world, wonderful scenery will be born one after another, and wisdom will be at your fingertips. Creative ideas will be able to achieve "seemingly real". When you write its shape, you must convey its god, its spirit and its heart.
A picture and a world happen in a picture.
In order to inherit and carry forward the cultural tradition of the Chinese nation, prosper and develop cultural undertakings and industries, promote cultural exchanges between China and foreign countries, and vigorously carry forward outstanding cultural works, this newspaper specially publishes the edition of Art Sea, which aims to popularize art education, improve quality education and carry forward history and culture with professional perspective, objective, fair and authoritative art appreciation knowledge. The content covers calligraphy, painting and other art categories, and introduces and promotes outstanding artists and their works of art in local, regional, national and even world scope. Artists are welcome to participate.
The first time I met Zheng, I forgot all his titles and only saw a friendly painter.
Teacher Wang's smile makes people feel clear and broad, which makes people feel quite comfortable. Mr. Wang's maturity and kindness, free and easy, are reflected in his every move, every smile and every casual word. Because of curiosity, during my tea with my husband, I couldn't help leaving the stool several times to see his precious collection. My husband didn't care about my unintentional rudeness at all, and kindly told me that I could watch it more and more! When taking a photo of an antique Suzhou embroidery, my husband kindly asked me if I needed to take it to give me a better angle. Mr. Wang's generosity makes me respect him even more.
Mr. Wang has been engaged in painting for more than 30 years, and his brushwork is a must. The artistic conception of his paintings deeply touched me.
I am young and inexperienced, but I have seen and understood some paintings in general, but few of them make me want to cry. Mr. Wang's paintings are realistic and freehand. What goes in is not the eyes, but the heart.
Mr. Wang said that I paint landscapes and occasionally flowers and birds. Mr. Wang's paintings will be moved by the sense of picture at first sight. In Mr. Wang's paintings, a large area of ink spots are smudged on paper, and then carefully sketched with a fine pen. In the picture rendered by the wonderful pen, or in the rolling hills, the smoke fills the air, or the mountains are deep, or the streams are surrounded by mountains, but suddenly they disappear without a trace, like a dream, like a fairyland.
In that misty painting, there is a simple room with lush trees and a deep stream missing. I want to lean against a tree at the top of the mountain in Mr. Wang's painting, blowing the wind, listening to the birds and watching the clouds.
The layout of a painting, although I don't know how big the original scene is, always makes people believe that it is the best interception of the scenery. It seems that the contrast between light and dark in the painting and the contrast between light and dark are not formed by ink. They are not static, but countless living elves jumping on the paper. When the line of sight stayed in this area, Yu Guangli saw the beating around, so the whole painting seemed to have countless invisible tentacles, unconsciously mixed with the nerves in the brain.
I like the tick marks on the painting very much. In the faint ink, Mr. Wang's tick marks are always just right. So mountains and water have the most touching charm. Painting has aura. Just like you can see the swaying leaves, the blood of the mountain. You can feel the sound and breath in the painting, and you can clearly and deeply feel the life in the painting. Many of Mr. Wang's paintings, if you look carefully, you will find that the mountains in the paintings are no longer just mountains, and the trees are no longer trees The first time I saw a picture of a mountain looming in the clouds, it turned out to be like a tall horse. I immediately thought of Jiuma Painting Mountain in Xingping and looked at different places together. It turned out to be nine horses of different shapes. There is also a picture where the top of the mountain meets the clouds. Look carefully, just like a white warrior wearing a hat, standing on the top of the mountain overlooking this great mountain river. It was originally a misty mountain range, but it was like Wan Ma Benteng in the wind ... So a beautiful and elegant picture makes people feel the wind of martial arts. Mr. Wang's paintings, at first glance, were originally elegant and ethereal, but when you look closely, there are still paintings inside. The original feeling of each painting is scattered, and then all kinds of painting styles are reorganized in your mind. This is really amazing!
Among Mr. Wang's many works, there is one that I particularly like: on the right side of the painting is a deep dark mountain, a waterfall plunges down, stirring up thick rising water vapor at the foot of the mountain, the continuous mountains on the left are looming in the fog, and several fishing boats are about to sail on the white foggy river below. When I saw this painting, I was immediately attracted by this very realistic painting. I always feel that the more I look at it, the more interesting it is, but I feel that I have seen something, but I still have no reaction. But then I didn't mean to glance at it, only to know that what puzzled me was that this painting was called "The Fishing Song Waterfall Bandu Map". Coincidentally, the picture of Qingshan Waterfall on the right side looked like an outstanding woman walking sideways, with misty sideburns, a long-sleeved gown and a book in her left hand. She walked into the water, read a book and walked leisurely into the rocks. Look again, it seems to be coming out of the mountain wall, and the misty river in front of me seems to be coming out. Is this a fairy in the mountains? There seems to be a hole in the misty mountain wall! There are immortals in the depths of Yunshan.
So I asked my husband that many of your paintings are like this. There is a picture in the picture. Did you do this on purpose when you wrote your composition? Mr. Wang said that the painting was discovered only after it was completed. However, many people say that there are many buddhas in this painting. I carefully read Mr. Wang's paintings again, and sure enough, I saw Maitreya in several landscape paintings of different shapes. I thought, what is fate? This is destiny. The Buddha said, what is in your heart, you can see it. What Mr. Wang has in mind, he draws subconsciously.
Everyone has his own mountains and rivers in his heart. Everyone looks at the same object, and their hearts will not look exactly the same, so drawing on paper is different.
Mr. Wang's paintings are like a dream, and each one gives people a feeling of quietness and innocence, but it still makes people cry when they look at it. Clouds and running water are quietly passing time, and mountains are eternal existence! After living for 30, 40 and 80 years, they will eventually become loess in the mountains. Eternity is not at rest, but in countless moments of endless flow. Teacher Wang sent his feelings to the scene, and combined with his exquisite painting skills, he could see vivid emotions in the painting, which made people deeply moved.
But I prefer Mr. Wang's paintings in which clouds are wrapped around mountains and only peaks are exposed. Life has been in a hurry for decades. What is real? What is empty? What is suffering? What is sweet? When you all disappear, everything is an illusion. But at this moment, we really feel the existence of every kind of life. I really feel life, sometimes life is not satisfactory, so I want to go to a place with flowing water, white clouds and flowers and birds, empty my heart and put aside all my troubles. Nature is beautiful, but it is also changeable. Mr. Wang prints every beautiful scenery he draws in his paintings. The fog in the painting will never dissipate, the river in the painting will never dry up and the tree in the painting will never wither. A flower and a world, a tree and a floating life. This is another kind of eternity in flow.
Looking at Mr. Wang's paintings, the more I look at them, the more dense the clouds seem to be. But if you jump out again, the whole painting will be beautiful and empty, and your heart will light up again. Shu Yue: Bodhi has no trees, and the mirror is not a stage. When I am still alive, I am willing to be troubled by the hodgepodge of ears and eyes in the noisy downtown, and I am willing to suffer; But I also want to live in my husband's quiet paintings, listening to the wind, the rain and the thunder, and feel at ease. When I think of something I read somewhere, I hope that one day I will get Bodhi, and my body will be like glass, and Ming Che inside and outside will be flawless.
Legality: Taoist geomantic culture and Guilin landscape painting
"China's landscape paintings have profound cultural connotations. Zheng's Guilin landscape paintings do not directly have political and social utilitarian purposes, but have humanistic feelings. His paintings are thick and literary. Quiet, elegant and fresh are his characteristics, which have obvious characteristics of traditional literati painting. The painter's attachment to mountains is out of hope for reality, so in Chinese painting, landscape painting has the highest achievement. In the long-term practice, landscape painters are infatuated with the landscape of the motherland, discovering and exploring its beauty and sincerely praising it, which naturally endows it with a certain realistic character. Zheng pinned his life ideals and ambitions in a unique way, and expressed his pursuit of truth, goodness and beauty in artistic language. There is still considerable room for him to explore on the basis of maintaining the characteristics of his painting language. "
On August 2 1, Professor Shao Dazhen, director of the Academic Committee of China Artists Association and president of the Central Academy of Fine Arts, commented on the works of Guilin landscape painter Zheng.
Fa Zheng mainly uses traditional techniques to express the natural features of Guilin landscape, and his misty rain Lijiang River is a contemporary classic. The reporter was lucky enough to hear his views on Taoist geomantic culture and Guilin landscape painting in Fazheng Studio on Qixing Road. Zheng said that painting landscapes is actually painting your own heart. If a person can be honest and quiet, he can gain new virtues and wisdom. Painting, like being a man and governing the country, is inseparable from the traditional cultural heritage, paying attention to goodness and being respected. By the Song Dynasty, the great painter Mi Fei had created the misty Lijiang River. When painting the scenery of Guilin, combining the traditional culture of China to deal with the picture can make people feel mysterious and connotative.
Lijiang River is actually an eight diagrams diagram. Whether you go to Dawei, swim to Xingping, and go all the way down, every bay is like a turning point in life, and every bay is like a leap in career. Lijiang River is beautiful all year round. The most striking thing is that when there is misty rain-clouds and veils, the peaks turn back to the water, the mountains are empty, and the scenery is vague, such as implicit and deep lyric poems, which are confusing and lasting. Clouds pass through the waist of the green hills on both sides of the strait, and the mountains and rivers are all floating clouds, with graceful reflections, just like a beautiful girl covered with gauze.
Zheng showed us a Guilin landscape painting more than four meters long and two meters wide, and explained to us the two meanings of this painting: one is career and the other is family. There are endless peaks, endless rivers and deep pools hidden in the mountains on the screen. The bamboo and wood villages on both sides of the Lijiang River are expressed in the form of reality and reality, and large pieces of ink and wash are freehand and meticulous, giving viewers the feeling of being there.
Zheng said that in painting, painters should express their thoughts according to the orientation and direction of painting. The wide river in this painting represents a career-endless, indicating a broad prospect; The vein of the mountain is continuous, indicating a wide network of people; There are clouds between mountains-friends get together. This unbreakable cloud (sometimes hidden behind the mountain) represents qi-vitality dripping. We say that grounding gas, vitality and cloud gas are one yuan. The pool is connected with water, which represents wealth. Water flows from far away, with no head in sight, and when it reaches the pond, it doesn't know where it is going. In fact, China's landscape paintings had an indissoluble bond with China's geomantic culture in ancient times. "Welcome people, as close as brothers; Anger catches people's eyes, but it is the remnants of war. "The rock structure of Guilin karst landform is very hard, but it should bring people a comfortable feeling in artistic expression. "
"Bamboo on both sides of the Lijiang River in Guilin, when it rains, the wet leaves are greener. The elegance of bamboo, coupled with the beautiful spirituality of Guilin, makes people feel small and poetic. Misty rain endows the Lijiang River with a mountain, a stone, a grass and a tree, which is more spiritual and emotional. Bamboo represents peace, success and success. Trees can be painted with miscellaneous trees, such as water willows and tallow on both sides of the Lijiang River. Small miscellaneous leaves, hard wood, long growth time, not easy to age and strong vitality. Sapium sebiferum in autumn in Lijiang River is red, representing prosperity and happiness. The mountains and rivers on both sides of the Lijiang River are as lovely as a small town at home. When a painter paints, the Lijiang River is like a big road. After numerous twists and turns, it leads all the way to the vast sea. The source has its own end point and will eventually achieve its goal. " Zheng told reporters.
To paint the Lijiang River well, people must feel "livable, tourable, considerable and tasteful". Products-look at the content, look at the author's ideas; Scenery-pleasing to the eye; Living-as if living in a painting; Swimming is like walking in a painting. Landscape painting should reflect these artistic conceptions.
When the reporter asked about the specific process of painting, Zheng said that in the process of painting, we should put aside the rough time and pile it up with large pieces of pen and ink; When cleaning, it should be carefully arranged like embroidery to make the picture intriguing and gain connotation. Painting is about rhythm. There is content in Yamato and charm in Yamato. Ink is alive, and the shade of the shop changes. Bamboo should be carefully outlined in details, giving people room for daydreaming. There is light in the black, and there is change in the light, seeking connotation in the change. There are days in the sky, there are places in the earth, people have relationships, and things have physical properties. Painting must follow this law, and heaven and man are one.
20 13 Before the Spring Festival in your company, China Post Guilin Company asked an artist to paint Guilin landscape and make a set of New Year cards. The person in charge of the company found Fazheng and found that his paintings were the perfect combination of traditional techniques and Guilin landscape. This set of postal postcards are all printed in volumes with Guilin landscape paintings created by Zheng and distributed nationwide.