Brief introduction of Gao Mingyuan's art

"An excellent painter is a scholar first, and art is widely studied. Without profound experience and rich life, he can't be a successful artist in any case. A painter's work outside may be more important than his painting itself. " As I said, Gao Mingyuan's vision is very broad. He used to work in the Cultural Exchange Department of the Chinese People's Association for Friendship with Foreign Countries. He has visited many countries in Europe and Asia as a cultural exchange envoy, and held solo exhibitions in Japan, South Korea and Singapore. Long-term engagement in cultural and artistic exchanges between China and foreign countries has given Gao Mingyuan more opportunities to stand at the forefront of the development of world painting art and widely contact with various artistic styles and schools at home and abroad, thus eclectically integrating his artistic creation and gradually forming his thick, broad and magnificent painting style. Gao Mingyuan believes that "artists have their own artistic opinions and cannot argue about right and wrong, but the art of Chinese painting is profound. If you want to be a good painter of Chinese painting, you must strive to improve your cultural accomplishment, learn the jurisprudence of epigraphy and calligraphy, and naturally seek change in artistic practice, so as to achieve the real realm of self-management and inaction. "

"I have been engaged in literary and artistic creation, and I love China's traditional culture, drama, folk art and literature. They will all be like flashing dreams, which will bring me many good memories. However, only in the world of painting did I really find my home. I saw the faint morning light. Sometimes I am very excited, sometimes I think about it, sometimes I have a whim ... In the world of painting, I poured all my shock and blood, won the aura of heaven and earth, and built my sacred art palace with the help of pen, ink and color. "

Gao Mingyuan's landscape painting is a dialogue with nature, permeated with his love and fascination with nature, life and art. Watching his landscape painting works, people can deeply appreciate the weight of nature in his heart. Nature is his artistic mentor, the carrier of his expression of feelings, and the source of inspiration for his intoxication, ecstasy and excitement.

"On the road of painting, I have also studied western painting, including sketches and oil paintings, and also studied and pondered the works of many masters such as Western Impressionism and Separatism. However, I finally returned to my own' high mountains and flowing water, loose moonlight; Hot land, facing nature, looking for the roots of Chinese culture, going to famous mountains and rivers, sketching, experiencing, looking for and colliding ... "

Gao Mingyuan's landscape paintings show his broad and heavy painting style. He boldly used the unique modelling technique of China ink painting, which made his works rich, layered and magnificent. The rocks in his works are thick, many-hued. The flowing water in his works is ethereal and full of anger. His paintings, whether mountains in the wilderness, waterfalls and springs, clouds in the snow and bamboos in the forest, are original and full of charm, and are full of profound connotations of the oriental aesthetic taste of the Chinese nation.

Gao Mingyuan's artistic career is extremely wild and broad. He studied the theory carefully; He is more like Ye Fu for all kinds of artistic practice activities that are not so standardized. "Wild is widely absorbed, learning from others' strengths, and even a kind of plunder. Wild is an irregular beauty, which is not limited to the school's absorption, thus creating a unique Ye Fu style, "Gao Mingyuan said.

Gao Mingyuan's calligraphy works are thick and magnificent, revealing simplicity, especially his cursive script and cursive script. His pen is vigorous and powerful, and his lines are vigorous and powerful, just like an old withered vine tree. In the composition, the aesthetic techniques such as density, deviation, size, thickness and reality between words are fully used, which are gloomy and vivid. "On the basis of mastering traditional techniques, the art of calligraphy must first change, and art itself is change. We should integrate new aesthetics and creation on the basis of inheriting and developing traditions. Without creation, it can't be called calligraphy art without personality. No matter how neat the words are, you are a high-level writer at best. "

Gao Mingyuan's calligraphy, painting and seal cutting complement each other. The reason why his prints are freely laid out, dense and well-organized, and freely wielded is because he has a profound knowledge of calligraphy and painting. What Gao Mingyuan and seal cutting pursue is a vigorous and simple style and artistic conception. Open the layout of rules and regulations, and seek adventure in peace; Knife is changeable, the method is not arbitrary, and it varies from stone to stone. Every side of Gao Mingyuan's printing is quaint and has endless wild interest. For example, Mr. Yang Xuanting, a famous calligrapher, wrote an inscription for his prints: "Bitter and spicy, muddy and muddy. Cang Piao Jin Xiong, the teacher is homeless. "

Looking at Gao Mingyuan's works is like enjoying a Momo symphony with ups and downs. 1994, in Gao Mingyuan's studio "Bitter Xuan Mo", the Central News Recording Film Studio recorded a feature film "Bitter Xuan Mo Splash Ink", which showed a "Ye Fu" painting and calligraphy life to hundreds of millions of audiences. At the same time, the works of this * * * and his colleagues will remain in the image records of * * * and the National Archives forever.