In recent years, Di Ying Shao has created many inspiring figure paintings that show the customs of the western plateau. The rugged Kangba man in the painting, the pure feelings of Tibetan girls and the piety of Tibetan Buddhists are all vivid. They are all artistically reproduced in a picture the size of a real person. These works contain Di Ying Shao's understanding and passion for life, and show a young painter's persistent pursuit and enterprising spirit on the artistic road. These works are thick and thick, and the overall picture is dynamic and vivid. The most gratifying thing is that there is a strong sense of national justice in the speechless figures. An artist often has his own unique personality expression, otherwise his art will be eclipsed. It is hard to imagine that if Van Gogh lost his religious feelings and his focus on nature, his works would still express the power of life. In Di's body, the hardships of childhood life and his natural love for art mixed into a unique nourishment, which became his deepest nourishment and invisible background in Wei and Jin Dynasties, and made his creation in China figure painting.
As an artist, you will naturally have your own pursuit of artistic style. When asked what artists are looking for, Di Ying Shao thinks that the individuality of artistic expression should be the display of one's life realm. Whether the work is broad or elegant, heavy or beautiful, gorgeous or plain, it all comes from the touch of life and is a record of the artist's perception of life.
Di Ying Shao is first and foremost a painter, a painter who focuses on figure painting. Looking at Di Ying Shao's paintings, you can feel a fresh wind blowing head-on. For example, from his paintings on the theme of the western regions, it always makes you feel clean and dirty; But Di Ying Shao is a calligrapher. In his view, "the integration of painting and calligraphy" not only refers to painting with the brush strokes of calligraphy, but also is the requirement of Chinese painting "using the bone method and using the pen". In the monograph Broken Characters on the Edge of an inkstone, Di Ying Shao said that China art has been based on line modeling since ancient times. From ancient rock paintings to temple murals, including painted pottery patterns and China's calligraphy, the charm of the carrier "line" is fully reflected; In artistic works, the thickness, length and strength of lines determine the characteristics of artistic works. In order to draw Chinese paintings well, we must first study the main carrier of lines thoroughly. To this end, he devoted himself to calligraphy and wrote such famous posts as Zhang Qianbei and Ode to Shimen. These stone tablets are full of stone flavor, forging solid lines in Di's paintings. Now, every picture frame has his calligraphy skill as "painting bones" for many years, and his profound understanding of the traditional proposition of "painting and calligraphy are one". Di Ying Shao, who is familiar with China's classical art, must feel the same way about Wei and Jin Dynasties. Mr. Lu Xun once used "comeliness" and "free and easy" to summarize the demeanor of Wei and Jin Dynasties. In Di Ying Shao's paintings, there are two meanings, namely "simplicity" and "freedom". Based on this, Di's ancient figure paintings can be roughly divided into two categories, which can show two meanings, namely "simplicity" and "freedom".
He divided these two categories into ancient figures and modern figures. Ancient figure painting can be divided into religious figure painting and historical figure painting. The former mainly focuses on Shinto figure paintings such as "Eight Immortals" and "Zhong Kui", and his concern for religious figures reflects his pursuit of self-transcendence and praise of justice. From Zhong Kui's related paintings, we can see the best annotation of "precipitous". The brushstrokes and facial expressions close to mountains and rivers in Chinese painting are completely inhuman, but they are Zhong Kui's best works. The latter is mainly represented by famous figures in the history of China, such as Li Bai, Su Dongpo, Sima Qian and Seven Sages of Bamboo Forest. In the selection and arrangement of painting scenes, Di Ying Shao is more like a playwright, who knows how to choose the "freeze moment" that can best express his temperament, so that each character can reinterpret his generous history in his works. This kind of scene choice has also become a window for Di Ying Shao to show his self-spirit. Li Bai presents a Ren Xia temperament in his works, which is in sharp contrast with other people who only pay attention to his elegance. For example, when painting the Eight Immortals, there will be "Eight Immortals' Elegant Collection" and "Eight Immortals Drunk", which is a cheerful scene of the immortal's detachment; When painting Li Bai, wine is poetic and unrestrained; Su Dongpo's painting is bold and unrestrained, while Lu Yupin Tea drifts with the tide, and Sima Qian's Writing is lonely and resentful ... When depicting these characters, you can see the author's own situation and appreciate the freehand brushwork of Chinese painting.
Among the ancient figures, Di emphasized the China people's backbone, heroism, heroism and righteousness; In the eyes of modern people, pen and ink conform to the times and convey people's praise for the new life. Among them, there is also the transcendence of daily life and the pursuit of spiritual value. To this end, Di Ying Shao went to western Sichuan, Gannan, Qinghai and other places for many times. There, the vast grassland under the white clouds, the thousands of miles of Minshan Mountain in Yin Xue, the magnificent Lama Temple and the fluttering prayer flags will always touch his heartstrings, but what excites him most is the people there. Facing them, Di Ying Shao's inspiration is generating and his soul is purifying. The burning passion drives the brush in the hand, and expresses the spiritual world of this group with skillful brushwork and personalized thinking.
Artists are introspective, and it seems that only artists themselves can have a comprehensive and profound understanding of themselves. Looking at Di Ying Shao's creation, as he wrote in one of his poems, it is refreshing to swim in the green fields in spring. Everywhere I went, there was a stream of willow smoke. Birds are singing in the depths of trees, and fish are playing by the pool. Walking through the secluded path, the song is Yao and Shun.