(2) Flower-and-bird paintings, including feathers and flowers, are especially good at plum blossoms. They are elegant in color but rich in splendor, with Gu Zhuo charm, elegant pen and ink, unique composition, unique brushwork and strong sense of the times.
(3) Its landscapes, springs and rocks are arranged, and the clouds are dotted and dyed, so that it can thoroughly understand the wonders of nature. The so-called dry autumn wind, and the pen contains smoke, within a painting, multi-level and * * *. The lines are ancient, the mountains are thick and imposing. The body and surface of rocks and their strange overlapping combinations have their own magnificent textures. It is both real and illusory, but it is filtered and purified beauty, either poetry or fu, or dream or sigh. Touching people's hearts, or soaking the heart and spleen with incense, or dyeing clothes with mountain colors, or hearing voices in autumn ... The clever use of multiple points and ink lines highlights the spirit of free expression behind realism. This is a brilliant sense of space, and Su Mo's clever use implies a sense of time, and his rich pictures do have many expressions.
(d) Zou Wenzheng chose the expression method of real writing. He seems to realize that truly expressing the unique form and feelings of Bashan and Shushui is the inner need and the expression of his free and easy spirit. When he mastered the basic skills of painting skillfully, he was gradually attracted by the spirit of traditional painting and its style and interest. What he hopes to pursue is how to embody the spirit and aesthetic style and interest of traditional painting in his works. Because of this, he has traveled all over the world for many years, sketching endlessly, tirelessly exploring the organic combination of traditional pen and ink language and realistic modeling, and gradually formed his own unique artistic taste.
(5) In Zou Wenzheng's works, the composition is full and the bones are solid, which has both the magnificence of "Northern School" and the beauty of "Southern School". The brushwork lines are vigorous, the ink color is relaxed, the lines are skillfully matched, and the colors are elegant to embellish the picture, which makes the pen and ink shine. Zou Wenzheng's landscape pays attention to reason and law, and pays attention to the overall momentum. On the thick picture, he showed the body and face of the rock and their strange overlap and combination with tireless energy and keen interest. There are flowing rocks, floating white clouds, standing trees and people living in them. This is a vibrant mountain scene, the habitat of our endless nation, and our emotional mountains and rivers. Only artists who are deeply in love and infatuated with these scenes can draw such sincere and simple paintings.
(6) Ink accumulation is the specialty of landscape painters, and Zou Wenzheng is a master of flexible ink accumulation. Based on this, various methods meet and form their own artistic paths with inner beauty as their ideal and highest realm. The handwriting is rich and delicate, the dark part is full of light ink, the ancient style is strange and heavy, and the spirit is dreamy and moist, so that the genre is vigorous, the southern school is thorough and free, bright and dark, real and refined-all kinds of artistic categories are dialectically treated by its unique pen, which makes it more deeply integrated and express the spirit of mountains and rivers. Beauty is a symbol of the spirit of freedom and a sincere and generous act.
(7) Read Zou Wenzheng's landscape paintings carefully, including "Northern School" and "Southern School". Its pattern is close to that of the Song Dynasty, with mountains and rivers, solid bones and exquisite brushwork, without deliberately emphasizing depth. The recurring symbolic faces in the picture strengthen the modernity of these works. The change of pen and ink is far better than that of Yuan people. The mountains and rivers are magnificent and intricate, and the vegetation is rich and changeable, as if there is a spirit shining in the clouds. Looking at these moving works, it is as if you are in the mountains and valleys covered with vegetation, facing the blue mountains and valleys between the park people's brow, climbing the steep peaks of the towering city walls, walking through the seemingly looming mountains and rivers, bathing in the refreshing fresh air and listening to a piece of nature. In these works, it is often unclear what is pen and ink, what is image, whether it is ancient law or "my law", whether it describes the whole or part of nature, whether it is the clear voice of mountains and rivers or the voice of artists that attracts viewers. For the ordinary audience, they can appreciate the beauty of the mountains and rivers of the motherland and the magic of nature, and feel the painter's open mind and energetic heart. For professional painters, it is not difficult to see the backbone of Song people, the charm of Yuan people, the grandeur of Fan Kuan and the density of Wang Meng, the roundness of Shi Ling's brushwork and the freshness of Shi Tao's artistic conception. However, all this is nothing, and beauty lies in similarities and differences. They have long been included in Zou Wenzheng's innovation and thoroughly remoulded. I deeply feel that the inspiration of Zou Wenzheng's landscape to professional painters is definitely not just pen and ink, but profound traditional skills, but a profound understanding of the tradition of landscape painting. His works not only enrich people's spiritual life, but also change the shallow scholars' understanding of tradition. It shows that our understanding of tradition in the past is at least incomplete and incomplete. It is an effective way to create on the basis of the tradition advocated by some people of insight, although it is not necessarily the only way to create new ideas for contemporary Chinese painting.