Learn from the master- "Everyone's Road • Sun Maoxiang Volume" Repeated Reading Xiaoji

The author wrote the short essay of "Everyone's Road • Sun Maoxiang Volume": Li Keran commented on Sun Maoxiang's "picture composition atmosphere. This is hard to know. You know, how much you can draw a big painting, mainly based on the connotation. . After 20 years, you will become a very successful painter. "Sun Maoxiang was very admired by Li Keran, a master of art from his hometown when he was a teenager, that is, he firmly learned to paint. In his youth, he was introduced by Ouyang Nanzhang as a teacher. He has been on the road to learning from the master for more than 40 years. Sun Maoxiang learned from the master, his mind rather than his own scholarship, and learned his gods instead of his shape, and realized his way instead of being technical. Western landscape paintings are mainly realistic, while Chinese landscapes have been given more ideas. Chinese culture pays attention to innovation on the basis of inheritance. The so -called Zongmai, a certain family, the most direct is learning pattern, the advanced one is learning pen and ink, and the higher level is the artistic conception of learning aesthetics. The far -reaching painters can not only create their own unique graphics and pen and ink language, but also more importantly to create a unique aesthetic mood. On this issue, Sun Maoxiang performed extremely sober and rational, which is actually a very valuable quality.

For the above words, Sun Maoxiang's feelings are "straight in the heart". By the way, I talked to me about his early life experience. He had worked for more than a year. For more than years, I have made props and painted sets. Later, I went to Xinhua Bookstore. After 16 years before and after, I sold 16 years of books. I also read 16 years of books. In addition to work, I have traveled to more than 20 provinces with a painting. Looking back at these experiences and experiences, Sun Maoxiang was so emotional.

The last "painting" of the word "painting" is a noun, without explanation; the previous "painting" word is a verb, which is quite famous. Focusing on how to "paint" paintings, there have always been divergent opinions, each of which holds one end. Although the public says that there are public reasoning, and the mother -in -law says that it is reasonable, there must be individuality, connotation, and shape in a painting, but the shape is the consensus of everyone. Sun Maoxiang's commendable thing is that he has always been on the way to learn from the master. Painting, painting at the end is painting culture. The pyramids of the history of Chinese art were built by the fine strength of the master of painting in the past. It is not only the spiritual totem of the nation, but also the wonderful presentation of the cultural origin, historical style, natural landscape and even aesthetic ideal of each era. The Tang Dynasty emphasized the law, the Song people were emphasized in physics, and the people were interesting and interesting. This not only reflected the aesthetic cognition and aesthetic style of different times, but also left a rich and brilliant cultural heritage for future generations, allowing future generations to learn from , Understand and learn from. Chinese culture is profound. From the symbolic to imagery, Chinese painting has independent and primitive cognition.

Some scholars say that the pen and ink are exhausted, and the pen and ink are endless. The text is to reach the heart, the painting is to be adaptable, and the adaptation is true. The painting must be "soul" and must be "fun". These four words, when they are widow, can do fewer people. There are two elements in painting, one is spiritual, and the other is learning. No spirit can not control the pen and ink, and there is learning to express their thoughts. There are two realms in painting, one is painting, the other is writing, painting is drawing, writing is expression, and the qi is written in the chest. Learning painting, opening the first chapter of Mingyi is the image. The image is accurate, and then artistic and abstract. The highest state is not only within the pen and ink, but also outside the pen and ink. The Chinese painting world in the twentieth century, the development of the development of Chinese painting is quite fierce. The focus of disputes is nothing more than "tradition and innovation" and "mutual integration of Chinese and Western painting". In short, it is actually the question of how traditional Chinese painting is innovative.

Always walking on the way to learning from the master, the eyes and recognition of the philosopher. Liu Ye said: "Ballad literature and science, push the world." Literature, and painting. Shi Tao said that "the pen and ink should be with the times", and the mystery of Chinese painting calendar has a long history. Chinese literature has the development of changes in Han Fu, Tang Poems, Song Ci, Yuan Qu, etc. paintings also have the evolution of different aesthetic styles such as "Jingguan", "Dong Ju", "Yuan Sijia" and "Ming Si" and "Qing Four Monks". Essence Since Chinese painting is an open system, its development is endless. In its development process, it is often the change of artistic characteristics or aesthetic thoughts. Every new change will appear new milestones, but there is no difficulty to continue to develop. Therefore, we cannot say that the landscape paintings of the Yuan Dynasty lowered the Song Dynasty. "Huan Feiyan Slim" is beautiful and beautiful, and no one replaces anyone. However, in the Ming and Qing dynasties, although the landscape painting industry also had some influential painters, the overall achievements made people feel worse than Song Yuan. What is it? In a word, it is a way to develop. This partial road is "extreme Chonggu" and lost its own face. "The green mountains cannot be covered, after all, after the eastward flowing." After the "hundred schools of contention" in the early twentieth century, Chinese paintings have re -entered the road that is suitable for its own development. Xu Beihong and others put forward the "improvement" of integrating Chinese and Western, Pan Tianshou and others put forward the "Chinese and Western painting distance". In short, the purpose of the former is to transform the old appearance of Chinese painting by absorbing the Western realistic styling system; the latter adheres to the traditional basis of innovation with national cultural characteristics. These two views have their own views. Do not treat it with this or that or that.

Professor Chen Chuanxi's article pointed out that the theme of New China's landscape paintings is that the most prominent achievement is to show the new appearance of the motherland. This expression has brought new changes in the era of landscape painting aesthetics -from "Jingmei" to the mainstream to the mainstream of "moving beauty"; from Xiao Shu light, it becomes majestic and strong. The times have changed, the aesthetic standards have changed, and the characteristics of the times are even more vivid. The new aesthetic realm and spiritual weather have promoted the modern transformation of landscape painting, which has achieved the peak of the era of landscape painting in New China. In the early days of the founding of New China, the "Johor Bahru painting" campaign that showed the new appearance of the motherland through sketch showing the new appearance of the motherland through sketching, actively promoted the change of Chinese painting. In the vigorous sketch campaign, the Jiangsu Provincial Academy of Painting, led by Fu Baoshi, further expands the influence of the Xinjin Ling School; Painted school, they all lead the trend of landscape painting in New China. Through sketching, Chinese landscape paintings have achieved aesthetic steering, and the "quiet beauty" of traditional landscape painting is "moving beauty", full of vitality, which is in line with the prosperous era of the New China. In the team's team, there are big names of everyone Sun Maoxiang, which appear, and the launch of "Everyone's Road • Sun Maoxiang Vol." Celebrate things. (Wenbo Yue) Sun Maoxiang, a national first -level artist (Professor of Zhengzhong Gao). Born in Xuzhou City, Jiangsu Province in March 1957, he joined the Xuzhou Drama Troupe in 1977 to work in stage art design and painting. He graduated from Jiangsu Normal University Academy of Fine Arts. In 1986, Mr. Li Keran entered the "Shi Niotang" to learn landscape painting creation. In the same year, he was hired by the Jiangsu Provincial Academy of Chinese Painting as the first batch of special artists and special participants. He has successively served as vice chairman of the Xuzhou Cultural Federation, executive vice president of Xuzhou Painting and Calligraphy Institute, director of Jiangsu Provincial Art Association, the 13th and 14th Standing Committee of the Xuzhou CPPCC, an expert in senior professional titles of art in Jiangsu Province, and vice chairman of the Municipal Artists Association. In 1997, he was awarded the honorary title of the "97 Chinese Painting Terms of Painting" by the Chinese Federation of Literary and Art Federations. In the same year, he joined the Chinese Artists Association to enjoy special government allowances.

He is currently the president of Xuzhou Cultural Federation Calligraphy and Calligraphy Research Institute, director of the Central Academy of Fine Arts of the Democratic League, Deputy Dean of the National League Jiangsu Province National Feng Painting and Calligraphy Institute, Honorary President of the Xuzhou CPPCC Painting and Calligraphy Association, a specially appointed professor of Jiangsu University, and the Honorary Institute of Mihong Painting and Calligraphy Academy long. He has held art exhibitions at the Xuzhou Exhibition Hall, Heilongjiang Provincial Art Museum, and China Art Museum. The Chinese Artists Association edited and published "Baijie Painter One Sun Maoxiang", "The Road to everyone, Chinese Painting and Calligraphy One Sun Maoxiang" volume of hardcover paintings and more than ten special collections.

As one of more than 10 landscape painters in the provinces selected, they have participated in the "Wanli Sketch" creation of "Wanli Sketch" created by the Provincial Government, the Provincial Party Committee Propaganda Department, the Provincial Department of Culture, and the Provincial Federation of Literary and Art Federations. He was invited to draw works for the Central Organization Department, the Central Committee of the People's Republic of China, and the Jiangsu Provincial Party Committee of the People's Republic of China. At the invitation of the Propaganda Department of the Jiangsu Provincial Party Committee, huge works were drawn for the Hall of the State Hotel in the eastern suburbs of Jiangsu Province. The VIP room of the East Station and the East China Sea Fleet Xuzhou Ship created huge works, and was invited to create works for the Xuzhou Municipal Party Committee, the Municipal People's Congress, and the CPPCC.

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