Cao Mingran: "Any successful artist can bear hardships, endure great silence, keep his ambition empty and look around. He can't eat roast chicken in his mouth, look at Maotai in his eyes and think about making a fortune. "
Cao Mingran: "As for artistic language, I advocate being bright, beautiful and elegant, and I can't pause, stutter or be vague. If you want people to understand, you must first understand yourself better. Don't let anyone know what you are talking about. Let people experience something from it, and don't make people feel embarrassed. "
Cao Mingran: "There is no fixed formula, no fixed method, and of course there is no fixed frame. Once the formula is determined, that is the state of Jiang Lang's talent. Cast from the same mold, just like the same steamed bread, looks the same, but tastes the same. The way to put an end to it is to constantly absorb, constantly think, constantly start, and constantly deny. "
Cao Mingran: "Many people say that Chinese painting should be" innovative ",but innovation is not creation, but accumulation, absorption, supplement, cultivation, thinking and manual thinking. It takes time to have personality." Personality does not mean novelty. " In a primary school class, the teacher starts with A, O and E, and starts horizontally and vertically. Three years later, the font is different. Can you call this innovation? It is composed of different understandings, different lives and different mentalities. Can you say that they are all new? "
Cao Mingran: "If we can shock the readers, this painting will be magnetic, and this painting will certainly attract readers. And a plain piece of paper contains the breath of life, the level of culture and the surging spirit, which seems to make this paper "three-dimensional", with life and soul. "
Cao Mingran: "In today's painting world, there are some fashionable and clever painters who often dress up in neither fish nor fowl. Of course, his paintings are also patchwork, pretentious, confusing in brushwork and vague in structure, which makes people feel hard. The turbidity of language can't even understand what he is expressing, and how can he explain that his self-lyricism, self-expression and self-expression can only be self-absurd? "
Cao Mingran: "The foundation of China culture? Meiju has a history of two thousand years, but they all reflect the era in which every painter lives. However, every generation of cultural painters have described the same theme and shown different faces. However, different times and backgrounds have different painters. Unique and different are not necessarily good. Absurdity and grotesque are unique, but they are not real art. "
Cao Mingran on peony: "My peony works show the dignity and richness of the corolla, but they don't make flowers occupy all the romance, and they also exaggerate and highlight the old branches and cadres who decide the spirit." Wood-fixed calyx vibrates "("Wen Xin Diao Long "), flowers are rich and charming by old branches, leaves are lively and free and easy by old stems, and flowers are not lonely and beautiful. Therefore, no matter whether the flowers rise or fall with emotion, the direction is determined by the clanking branches. Thin flowers and heavy leaves are rubbed, rubbed, lit and dyed in black.
Cao Mingran on Peony: A Thousand Red Flowers for Adults focuses on red peony. I moved the most typical peony flowers in my life to a new picture, forming an artistic image of a ∽-shaped peony group. I drew the shape of peony flowers with light ink lines, outlined the movement of leaves with heavy ink lines, and dyed flowers and leaves with ink or black.
Cao Mingran on Peony: "The long scroll Ode to Peony is one of my representative works. The eight colors, twenty-four grades and one hundred and eight peony flowers of peony run through the ten-meter scroll with the scattered perspective of Chinese painting, and the general trend is determined by the width of the pen, and the shape, meaning and environment are shaped by light colors, dots, bones and heavy colors, giving the branches of peony a dancing momentum. The uneven branches hold up the huge corolla and shake the faint rain all over the body, making the flowers brighter and the leaves greener. They lean to the left, lean forward, swing back and be free and easy. If they are immersed in the mysterious illusion of national beauty and fragrance, they are immersed in the painting realm of' peony for me, I am peony'. "
Cao Mingran on Narcissus: "Narcissus is the embodiment of" line ". I sketch a roll of daffodils every year to record the changes of my "line" Before the Spring Festival, daffodils entered their heyday beautifully, and delicate flowers and green leaves blended together. This mysterious and simple realm affects the "line" of my pen and ink. With the rhythm of "she", flowers and leaves seem to be "melted" together. There is no need to deliberately think about the rational comparison of lines, local details and traditional "rules and regulations". It is a passionate "line" and a relaxed and chic "line", creating a "duet" of love, reason, meaning and environment. It is elegant and slow, with climax after climax, and the daffodils on paper are touching and echoing from afar. "
Cao Mingran on Chrysanthemum: "Chrysanthemum is the best in the group spectrum. I pay attention to two points in chrysanthemum sketch and creation: first, those who are "attentive" exaggerate their closeness to the heart, which is unique in density and ventilation. Second, those who relax their arms, with relaxed and elegant "lines", crisscross, Yu Ning's trend, do not owe it gas. Show her self-confidence after blooming. "
Cao Mingran on line drawing: "Line" runs through the whole process of my painting. The flowing combination, frustration, calmness and boldness of lines all integrate and embody the elements of calligraphy, and are also the "transfer" of my creative thoughts and feelings. The emotional "lines" revealed are pure and unrepeatable, so every painting shows the power of "lines". No matter what color you give, the picture will not be "distracted" or "outrageous". When painting, there is no "back road". If you are wrong, you will be saved. If you are in danger, you will do it in one go. The picture elements are incisive and coherent. "
On freehand brushwork, Cao Mingran said: "I like freehand brushwork, being clear and happy, being simple and complicated, and expressing my feelings. I prefer to integrate water, ink, dots, lines and colors into one method. A painting is an artistic whole, which expresses the artistic conception and image by various means, accommodating each other and complementing each other. It is not necessary to deliberately divide meticulous painting, freehand brushwork, heavy color and light color. What I pursue is its strength and beauty, with a bit of lightness and humor in rigor. In solemnity, there are artistic intuition of chic humor, fresh and bright, and elegant sunshine, which is suitable for bringing people into the painting. " "The line in his works is no longer a simple definition of outline, but controls the weight, urgency, truth and frustration of ink and wash with rich emotions, as well as the shade, dryness and accumulation of ink and wash. The agility of this line makes the layers of petals orderly inside and outside, looking forward to family. "Line" is like a cloud, full of brushwork. It is also a hook, a twist, a point, and a stack. The change and rhythm of pen and ink convey the colorful and dazzling feeling of objects, just like music and dance on paper. This innovative use of line drawing is undoubtedly a new breakthrough and development. " —— Expert of Dan Guoqiang China Shi Jia Appraisal Committee and researcher of Beijing Palace Museum.
"His pen and ink broke the definition of meticulous brushwork, freehand brushwork, light color, heavy color, boneless and other forms, but integrated various elements into one method. The picture is full of rich colors, thick and transparent as watercolor. It has created a fresh, bright, colorful, elegant and warm artistic conception and poetic realm. " —— Dan Guoqiang: researcher of Beijing Palace Museum, expert of appraisal committee of Shi Jia, China.
"The ancients said," I have a plan. He thought, "I have nothing in my heart." "Pen and ink can be superb, and the picture is high. Therefore, in his works, "peony" is like a girl, "chrysanthemum" moves like flying, pine, bamboo, plum and orchid are elegant, and magnolia peacock is rich and dignified. Even his large, capitalized rattan baskets, plantains, mountains and rivers, lakes and rocks are unique, clean, more spiritual and wild, which also reflects his bold and broad-minded character. It provides a new paradigm for China Flower and Bird Painting Gallery. " —— Dan Guoqiang, researcher of Beijing Palace Museum, expert of China aristocratic family appraisal committee.
"In his paintings, you can't see the coldness of the residual lotus and the willow, and you can't see the coldness of the dead branches and leaves. But let people always feel a beautiful life and the beauty of life, all of which reveal the artist's understanding of the times and love for life. He is also a responsible artist, because he always pursues how to transform the basic life attitude and spiritual perception contained in a culture into painting language, and he doesn't want to stay in the exploration of the superficial form of painting. " -Uligi
"Cao Mingran's sketches and creations never make drafts. Usually after he has a clear idea, he writes a lot of money and has long hair one by one. It seems that he has a well-thought-out plan and is easy to lift. In my creation, I attach great importance to the use of strokes such as lightness, urgency, frustration and turning, and combine the methods of using ink, such as shade, dryness, wetness and accumulation, to adjust the priority, size and simplicity of flowers at will, and combine these traditional dialectical methods with personal feelings, which naturally germinate in the composition track of layer-by-layer integration. " -Uligi
"To draw Chinese paintings well, we must have profound traditional skills, unique life experience and Chinese studies skills, as well as ethereal and elegant spiritual pursuit. This realm and state is the embodiment of the artist's accomplishment and taste. Cao Mingran grasped the keys of "pen and ink" and "life", so that his paintings did not fall into the "vulgar" routine while attaching importance to statutes, and he could appreciate the cultural spirit embodied in pen and ink itself, and also made him not drift with the tide when dealing with reality, but make a deeper understanding and exploration of his own life. " -Uligi
"The mountain does not refuse the stone, and the sea does not donate, so it can become high. Ming Taoran is growing day by day, and art keeps pace with the times. Besides diligence, we should learn from others! Ran Gong's impermanent teacher started as a scholar, and also taught rural artists and people with skills. In terms of painting theory and techniques, we should not only make the past serve the present, but also explore foreign things to serve China. " -Liu Changyun, director of the Shandong Provincial Bureau of Radio, Film and Television, is the author of "Heaven is Constant: Lao Zi's Talk", "Fu to Greater China" and "Entering the Xuantang: A Study of the Book of Changes". The title of "Leave the wine in the Peony Pavilion" is: "Leave the wine in the Peony Pavilion and laugh at Ziyun after the rain; The national color is gorgeous, and the fragrance is unique. Unfortunately, I can't keep my wealth, so I can't go back and pick up my lost English. Returning to the painting hall is a dream, and Dan Qing captures the soul and locks the spring breeze. "
Orchid punctuality map "There is no fragrance after this bloom" cloud: "Last night, the capital was drunk, and the peninsula watched the early morning waves; A leisurely walk reveals the coastal wind, where the trees are fragrant. Don't laugh at the romantic guests who are half-infatuated, and suddenly enter the flowers and praise themselves; It is not that Sri Lankans cherish the grass, and there is no fragrance when it is opened. "
Orchid: "master yuan is my home, and I have no intention of fighting for wenda." It is faint and sparse, but it has become a gentleman's flower. "