Written by Ge Zhenshan
It is refreshing to appreciate Mo Gong’s paintings. Huang Xiufu of the Northern Song Dynasty said in "Yizhou Famous Paintings": "I am clumsy in the rules of the square and circle, and I am disdainful in painting. The simple shape of the brush is natural. There is no role model, it comes from intention. Therefore, it is called Yigel. . "It is used to resemble the painting, which can be said to be a perfect fit. It can be said that the Chinese painting world now has a hundred schools of thought contending, with numerous schools and famous artists emerging in large numbers. There is the elegance and elegance of the Lingnan School in the south, and the gloomy and vast Chang'an School in the north. Each school has its own characteristics. However, when reading Mo Gong's paintings, there is no obvious origin of the school. It can be said that he is unique.
· Mo Gong | "Yalin Poetry Heart" ? Work size: ?34.5x34.5cm Paper painting heart
His paintings have unique compositions, using pen or simple, Some are green and elegant, some are vigorous, and they are eclectic. The rich realm of brushwork and ink make people feel enlightened and have a sense of being out of the world. This allows the viewer to truly feel the reality of the mountains, rivers, forests, springs, and lush vegetation in the painting. This wonderful state is achieved thanks to his method of controlling form with intention. His paintings are simple, light and colorful, and do not seek to be stained or stained. It's complicated, but it has the beauty of exhaustive brushstrokes and infinite meaning. ?
· Mo Gong | "Listening to Zen in the Heart of the Lake" Work size: ?34.5x20.5cm Heart painting on paper?
?In terms of brushwork, he uses his heart to control his thoughts, and his pen and ink are spread vertically and horizontally He not only emphasizes the ancient meaning of seal cutting, the ethereal blunt force, but also has the graceful and freehand charm of cursive writing. As far as the eye can see, the "ethereal" and "elegant" wind blows in the face, giving people a remote, quiet, elegant and lonely beauty. Mo Gong's landscape paintings look quiet, simple and elegant, bookish and full of literati style, but they are different from traditional literati paintings. In the past thirty years, the use of new materials and the attempts of various new techniques have not only enriched the external appearance of Chinese painting, but also have a strong impact on the cultural quality of Chinese painting. ?
· Mo Gong | "Wandering in the Clouds and Mountains" Work size: ?53x28cm Painting heart on paper?
? With the marketization of works and the diversification of standards, some traditional Cultural qualities are slowly being lost and fading from the public eye. Mo Gong did not follow the trend, he stubbornly held on to his love for Chinese landscape painting. It takes courage to not follow the trend of the times. To be tranquil and far-reaching, and to be indifferent and clear-minded, it is more necessary to persist silently, to accumulate thick and thin.
? · Mo Gong | "Yunshui Zen Heart·Part 1" Work size: 68x34.5cm ? Painting heart on paper
? In his many years of painting career, Mo Gong has always He has never given up the pursuit of exploring his unique artistic style and language of pen and ink. He focuses on wandering between the emotions of pen and ink, honing his skills in the use of traditional pen and ink, and integrating calligraphy, seal cutting, and contemporary design concepts, lines, and ink marks. , handwriting is highly simplified into a symbol, which has both ancient meanings and a distinct flavor of the times. In his paintings, he abstracted and concise the formal concepts of Chinese painting such as pen and ink, rubbing, smudging, etc. to the extreme, leaving only The form of calligraphy, painting and seal is removed, but the poetry exists in it.
?I write from my heart, using my thoughts as my pen, and embody my interest in the painting. It is simple and concise but has endless meaning. His paintings are more focused on expressing the inner world than the careless paintings of his predecessors, developing concrete images and forms into an image that can only be understood but not expressed. The techniques of traditional landscape painting have been refined by him and have been highly condensed into a unique contemporary pen and ink language. With his skillful brushwork, he painted the images of mountains and rivers in his mind.
· Mo Gong | "Yunshui Zen Heart·Part 2" ? Work size: 68x34.5cm ? Painting heart on paper
The reason why his paintings are profound in artistic conception and full of agility is that Because the landscape images in his paintings are the meaning of nature, the meaning of the painting, and the meaning of the artist's heart.
When talking about his artistic pursuits, he once said: "A painter writes a scene to describe his heart, and the landscape in his mind is a portrayal of the painter's inner landscape. The flow of brush and ink is like the rhythm of his heart, which may be rich, simple, full of smoke, or full of smoke and clouds. A few hasty strokes can reflect the inner truth of the painter; the cleanness of the painting comes from the purity of his heart. As long as you paint with sincerity and true feelings in any form of painting, you will not only touch yourself, but also deeply touch others! ”
· Mo Gong | "Yunshui Zen Heart·Part 3" ?Work size: 68x34.5cm ?The painting on paper is because he knows that poetry, calligraphy, painting and printing have the same origin since ancient times. In connection with this, he has deeply studied tradition through many years of writing and ink writing, but he is not limited to tradition. He talked about his creative process with great feeling: "The pen and ink of the Song and Yuan Dynasties are nourishing, and the free brushwork of the Ming and Qing Dynasties is perfect. In modern times, Huang Binhong is the master of it." It always makes people feel like they are standing tall, but the hearts of the ancients are different from ours. The pen and ink should change with the times, and the inner truth is our only one." As he said, he inherits the past and inherits the present on the road of art. Only by absorbing the spiritual core of ancient paintings and adding modern aesthetic concepts can we stand out from the crowd and become a style of our own.
? · Mo Gong | "Yunshui Zen Heart·Part 4" ? Work size: 68x34.5cm ? Paper painting heart
?His exploration is completely based on ancient ideas He is a highly modern ink art path that breaks through the ancient method. His paintings exude a profound and clear historical atmosphere, but they are completely the peach blossom garden in his heart. It is right to call him an "excellent product". Opening the scroll and reading it, it is like the people of Wuling seeing the peach land, which is peaceful and quiet, coming from the natural heart of forgetting the world and being silent and inactive. It seems to be daubed casually, but you don't know that it contains the wonderful charm of the true taste of the landscape. Although "Yipin" is wonderful, it has always been controversial. Huang Xiufu in the Northern Song Dynasty ranked it first among the four grades; Zhu Jingxuan in the Tang Dynasty listed "Yipin" at the bottom of the four grades. The reason was that "it is not the original method of painting, so it is not the original method of painting". It is a unique product, a method that has never been seen before or in ancient times."
· Mo Gong | "Yunshui Zen Heart·Part 5" Work size: 68x34.5cm ?Paper painting heart
?Laozi said: "Everything in the world is born from existence, and there is "Life and nothingness", "to the extreme of emptiness, to keep quiet, and to have all things come together." "The outlet of Tao is tasteless." Therefore, the work is both tangible and intangible, substantial and ethereal, making the picture full of smoke on the paper, and the brush and ink are agile and otherworldly. There is a kind of pure and simple inner beauty that penetrates the soul of others and makes people have endless aftertaste. It may seem plain, but it is actually plain and interesting. The painting method of his works is different from that of the ancients, and it is also different from the modern popular painting style. of sound, and find a pure artistic path of its own.
?· Mo Gong | "Yunshui Zen Heart·Part 6" ?Work size: 68x34.5cm? Painting heart on paper
Some people express dissatisfaction with Mo Gong's painting style Agree or even criticize. He never took it seriously when faced with people who did not understand or had negative opinions. He once said firmly: "I will never change or cater to anyone in art. Since I have chosen the path of painting landscapes, I have to walk alone. Go on." From Mo Gong, I saw the image of an artistic ascetic. He was persistent in his heart, and he "went his own way" on the road of art. He did not follow popular ideas or bow to kitsch.
· Mo Gong | "Yunshui Zen Heart·Part 7" ?Work size: 68x34.5cm? Painting heart on paper
?In today's impetuous painting world, his passion for art This kind of persistence is truly admirable. It can be said: "When landscapes come to a dream, one has a poetic heart, and one's life-long determination is devoted to painting!" His reading, painting, and seal cutting are entirely derived from an inner need, just as the artistic concepts he upholds are condensed from many years of experience in art and life. , the landscape is the landscape of the mind, and the artistic conception is the sacred state of Zen. From this perspective, it can be said that the painting is like the person.
· Mo Gong | "Yunshui Zen Heart·Part 8" Work size: 68x34.5cm? Painted heart on paper
? The sound is loud and the elephant is invisible. The paintings are mental images, and the beauty of the brush and ink drawings all originate from the artist's pure heart. What is really meant to express the artist's inner world and unswerving spiritual home when using form to describe the spirit.
As Mo Gong said: "The flow of pen and ink is like the rhythm of the heart, whether it is rich, simple, full of smoke, or a few hasty strokes, it can all reflect the inner truth of the painter." Mo Gong pursues this in his paintings. Realm: Cut out the complex and keep it simple, quiet and tranquil. The tranquility after the brilliance is not emptiness, but a kind of broadness with rich content and magnificent atmosphere. The bright moon hides the hills and valleys in your mind, and the mountains and rivers in your pen describe the spirit. In Mo Gong's heartfelt writing: lush vegetation, bright clouds and mist, and brocade of mountains and rivers. When the rhythm of nature and life complement each other, the painting of pen and ink is sublimated from the world of experience into a spiritual realm.
· Mo Gong | "Yun Shui Zen Heart·Nine" Work size: ? 68x34.5cm ? Paper painting heart
? In life, Mo Gong is not easy to talk , but among friends, they often make witty remarks and are humorous, making everyone laugh loudly. In the hearty laughter, everyone can feel that Mo Gong has a heroic spirit that can face everything. Bodhi has no tree, and the mirror is not a stand. Only when there are no worries can we understand our mind and see our nature, and follow the Tao in our own way. I believe that as time goes by, his artistic creation will achieve greater achievements, and his artistic style will be appreciated by more people!
? At the end of Yiwei, Ge Zhenshan lived in Daxian
? Mo Gong (real name Liu Weidong) was a Shandong native, a professional painter, the owner of a retired mansion, and now lives in Beijing
?He is currently a director of the Chinese Painting and Calligraphy Association, a director of the Contemporary Ink Painting Alliance, and a member of the Art Committee of the China Public Relations Association.
The work "Eastern Earth" was selected into the 8th National Art Exhibition (Cooperation)
"White Clouds For Me" was included in the Invitational Exhibition of Chinese Masters in the Land of Calligraphy and Ink
? Won the Art Merit Award
"Landscape Sentiment" was exhibited in the Joint Exhibition of Chinese Contemporary Painters at the Louvre Museum in France
?Won the Special Award at the Exhibition of Fine Works Returned to China (Beijing Exhibition Area).
2013 Nanjing Schisandra Art Exhibition.
2014 China International Art Exhibition. (Linyi, China)
2015 Beidaihe International Art Exhibition.
2015 "The breeze comes out of the sleeves - the art of seven idlers turning into fans" boutique exhibition.