Keywords: Zhou Shaohua Western Landscape Painting Schema Characteristic Emotion
Since 1980s, Zhou Shaohua has made many voyages to the West, went deep into the western region of the motherland, carried out arduous artistic practice and collected folk songs, and made remarkable artistic achievements. By observing his western landscape paintings, we can find that his western landscape paintings are unique in style, and the schema characteristics of his western landscape paintings are mainly thick ink and large board structure and full composition, which are similar to those of western paintings. We know that China's paintings pay attention to pen and ink, and are good at transforming the objective image to be expressed into pen and ink structure and stylizing the expression form. Western painting is good at regrouping the block structure to strengthen the tension structure of the work schema, so it can be clearly seen that western painting formalizes the representation. However, by observing Zhou Shaohua's landscape paintings in the west, we can easily see that he put both of them into the expression of "momentum" and "strength", thus refining his landscape paintings in the west. By observing his western landscape paintings, he always gives people a self-evident sense of potential energy. His vision is the soul of western landscape painting. Every time he looks at traditional landscape painting, he always gives people a kind of "looking at autumn and flying clouds; Facing the spring breeze, thinking about the vastness is the same comfort; However, whenever you see the landscape paintings in the west of Zhou Shaohua, you will feel the call of mountains, rivers, lakes and seas, the call of history and the call of the times. At the same time, it is also the affectionate call of an oriental boy. So what are the specific schema personalities and emotional expressions of landscape paintings in western Zhou Shaohua, which will be discussed in detail below.
Mode characteristics of 1 full angle synthesis
Most of Zhou Shaohua's works are in the form of full composition when he expresses the western scenery. When observing such works, it always gives people a strong sense of tension and fullness. As Mr. Lin, an art critic, said to him, "It seems that a large sum of money is not enough to strengthen bones, and the heavy dyeing of primary colors is not enough to show feelings and break the edges of the paper." Such as Overflow Symphony, Spirit of Snowland and Fire Island Map. The work "Outrageous Symphony" adopts full composition and depicts the irresistible pattern of Hukou Waterfall in the Yellow River with realistic expression. The author uses the texture technique in western paintings to express the waterfalls aroused in his works, which is full of vivid expressive force, while the distant mountains are rendered in light ink, creating a sense of space and hierarchy in his works. The whole work is close to reality and far from reality, and it always makes people feel immersive after reading it. From this work, we can understand that the author uses the surging of the Yellow River Waterfall to express the thoughts and feelings of human vitality and self-improvement. Although the composition of the work is full and the size is only a few feet, the information conveyed to the viewer is very rich. Another example is the work "Fire Island Map", which also uses the full composition expression technique, depicting a group of camel teams struggling to walk in the hot fire island corridor. The whole work is magnificent. The picture is mainly red. At first glance, there seems to be a fire burning, a narrow white line flowing out of the mountains, and the camel team is properly placed in it. It can be found that the camel team is very tired, but it doesn't stop. As an artist with revolutionary background, it is equally important for Zhou Shaohua to devote himself to revolution and artistic career. In this work, the author's positive revolutionary enthusiasm and life spirit are also reflected from the side. At the same time, the author also showed us the magnificence of the scenery in the western regions through such a schema and tone.
From the above discussion, we can see that the author shows us the face of the western landscape with a personalized schema structure, and it is also based on the refinement of the internal structure of objective natural objects. Because the western regions are vast and vast, the author shows them in the form of full composition, so that viewers will immediately appreciate the greatness of the western regions landscape after reading them. Judging from the deep ideological implication of these works, the authors all adopt this all-round composition to convey positive energy and positive and optimistic attitude towards life for us.
Schema characteristics of 2 thick ink plates
In Zhou Shaohua's western landscape paintings, the thick ink board is another schema feature, and he spent nearly 30 years exploring and perfecting it. From his western landscape paintings, we can see that the thick ink board structure is the basis of his picture composition, and it is also the decisive factor among all the elements. Its composition style and quality determine the personality and quality of his works. By observing this kind of works in Zhou Shaohua's western landscape paintings, we can clearly see that his thick ink board structure is somewhat similar to seal cutting, and we can vaguely see the richness, enrichment and grandeur of the objective images expressed in the concise, integrated and simple schema structure. For example, the work "Conquering the Desert Series-Drought Resistance Limit" is a typical combination of line and surface. Looking closely at this work, we can see that the author draws a rigorous plate with a large row of brushes and thick ink to support the schematic structure of the picture, and then draws curves with different textures, such as thickness, dryness and wetness, and the background of the picture is expressed in blank, blue and yellow, creating a popular schematic structure for the viewer. Zhou Shaohua's rich and colorful slate structure is consistent with his revolutionary idealism and revolutionary heroism in the innovation of ink painting, as well as his pursuit of "image, structural symbol and subject" and his "overall style". It can also be seen from the work "Conquering the Desert Series-Drought Resistance Limit" that human beings are not completely helpless in harsh environment, and drought can be overcome through the industrial revolution. From this work, we can also see the extraordinary wisdom of human beings in overcoming the arid desert.
From the above analysis and discussion, we can see that his thick-ink slab structure diagram combines the elements of western expressionism, and at the same time inherits the tradition of "relaxing" in Chinese painting, which also confirms his artistic theory of "atavism and horizontal transplantation".
To sum up, Zhou Shaohua's western landscape painting schema personality has a strong subjective consciousness, and has formed a stable artistic style in many of his works. The formation of his personal schema style is closely related to his own thoughts and life experiences, which directly promotes the expression of his psychological feelings, which are deeply engraved in the schema of landscape paintings in western Zhou Shaohua, and at the same time strongly expresses his unique artistic atmosphere.
refer to
Chen Chuanxi, History of Landscape Painting in China [M], Jiangsu Fine Arts Publishing House, 1988.
Zhou Shaohua, the Road to Everyone-Zhou Shaohua [M], Shandong Fine Arts Publishing House, 20 16.
Brief introduction of the author
Cedar, landscape painting major, calligraphy lover.