Miao's painting style

Miao is good at creating artistic atmosphere, whether it is the obscurity of "Moisturizing by the Green Water" or "I want to go with the moon". Whether it is the ethereal spirit in Waiting for Peace or the tranquility in Jiangnan Fishing Village, the painter unconsciously brings us into a dreamlike realm with his unique artistic language. It exists in reality and is refined by painters. It is the world we live in, the spiritual yearning and spiritual home.

Style is the symbol of a painter's maturity, which gradually formed his artistic language, "unified diversity" and strengthened the artistic effect of expressing mountains, water, water lanes and houses. In the unification, this artistic effect is both concrete and abstract, full of rich life breath and soul image.

His skills are simple and changeable. It has profound traditional connotation and modern elements; Have elegant and accurate printmaking and realistic sketch skills. In the distance between time and space, the dense packages give people a feeling of seeing everything and thinking about everything. In the dialectical treatment of density, distance and reality, it is ingenious, implicit but not obscure, ethereal but not vague, and strives to express the meaning beyond rhyme.

Miao has been engaged in printmaking for more than 20 years and art creation for more than 60 years. Therefore, Miao's landscape paintings are not far from the ingenious combination of his old lines, which combines the advantages of strong contrast between black and white, emphasis on plane layout, strong sense of integrity and strength, strengthens the sense of volume and visual impact of the picture, and achieves the effect that traditional landscape paintings can't achieve in the imposing manner and visual appeal of the picture. He applied the form and technical characteristics of printmaking in pursuit of block, volume and strength to Chinese painting creation, and his brushwork was steady, heavy, moist and powerful, thus making his works present rich beauty of "qi" and "strength", achieving a high degree of coordination between rationality and sensibility, and the picture image was grand, boundless and vigorous. Miao has always been committed to the study of art, blending the essence of Chinese and Western painting for his own use, with both the inheritance of traditional culture and modern innovative ideas, both elegant and accurate prints and realistic sketching skills, reaching the realm of "doing whatever you want".

It should be said that as a printmaker, he lives up to his reputation. However, it is his landscape paintings that make Miao Magic Weapon famous all over the world. At that time, when he chose China's landscape painting as his ultimate pursuit, he stood at a higher starting point, completed self-remolding, crossed the wall of conceptual painting and entered the road of landscape painting. The first impression of his landscape paintings is "vigorous" and "broad", as well as the personalization of mountains and waters. Miao believes that landscape painting shows the life of nature itself, which is the origin of all "Tao" in the world! Under this concept, for so many years, he rejected vulgarity and vulgarity, was lonely, longed for both hands to pursue, tasted the unbearable hardships and helplessness of ordinary people, stayed up late and got up early, and finally developed a spiritual home of his own like an artistic ascetic.

"Poetry expresses ambition, painting conveys feelings." The price of landscape painting is that the painter can write the painter's heart from the external natural scenery. Its philosophy is just like what Wang Wei said in Xu Hua: "Look up at the autumn clouds, soar in the sky, face the spring breeze and think hard". That is to say, landscape painters must have feelings for nature and be moved in their hearts in order to create a sublime good work of "bamboo in the eyes and bamboo in the heart". In other words, it is necessary to use things to write the heart, so that the artistic conception, pen and ink and lines in the picture are highly unified and full of feelings.

Careful reading of Miao's landscape paintings, together with his famous mountains and rivers, is pleasing to the eye. It can be seen that his understanding of the language of Chinese painting shows a rhythmic aesthetic feeling in all his works, which makes people feel that this mountain is really a mountain, this water is really water, and the landscape is not a landscape! Miao Fabao said: "What I draw is the mountains and water in my heart, and the works with this connotation are another world." It suddenly dawned on me. I didn't fully understand it at first, because I used to look at it with habitual eyes, but I didn't care. Read Mr Miao's landscape attentively.

As the saying goes, "the master leads the door and practices in the individual." For Miao, he studied under many teachers in an orderly way all his life, and has been pursuing his distinctive style of painting and the ultimate goal of artistic life.

Miao magic weapon's landscape, in terms of style, has both the magnificent momentum of the famous landscape painters of the North School and the exquisite beauty of the landscape painters of the Shanghai School of Jinling. The painting styles of the North-South School, such as the organic integration of dissolved substances in solvents, have been vividly integrated in his landscape paintings. His landscape paintings always give people an immersive feeling. The landscape paintings in his album have different themes and give people a different sense of realm. There is no trace of artificial axe chisel in these landscape paintings. His landscape paintings: great soul, great weather, great mountains and rivers; At the same time, we can also see that in the process of his landscape painting creation, he should be unrestrained and gentle. His landscape paintings are beautiful without mountains and water, and because of his profound calligraphy and painting skills, they always bring you another scene-a pure land of artistic realm!

It should be said that Miao Fabao's landscape paintings are very artistic, and artistic conception is the soul of painting; In Miao's landscape paintings, clouds, mountains and water are moving, just like an actor performing in a movie, he expresses his inner feelings on rice paper.

Huang: "Mountains and rivers write rhyme, flowers and birds write interest", and the word "rhyme interest" is the least common in paintings. Rhyme is the externalization of meaning, hidden as "meaning" and obvious as "rhyme", so if you want to get it, you must first get the meaning. Miao magic weapon always seeks the image first, then the shape. From Mo Yun's natural growth and flow, a simple and implicit prototype is faintly visible ... It is the pursuit of this image that makes his paintings often full of aura, and every grass and tree are unique and will never be owned by the world. It is the artist's heart and imagination.

Entering Miao magic weapon's landscape painting situation, strong visual tension and overwhelming masculinity are eye-catching, and the deep ancient style contains endless implications, which is enough to make people sad. In front of his landscape paintings, we can feel the confidence of "knowing the scenery at once" and "following things tactfully", from which we can taste a kind of life, a state of life, a state of freedom and the strength of personality, which sublimates our mood. This is the intuitive affinity that Miao Magic Weapon's landscape spirit gives us. It is also the academic appeal of the old painter in the process of landscape painting exploration after 60 years of artistic life.

Appreciating Miao's paintings, we will think of his artistic life journey for most of his life at the age of nearly 80. While recalling his life experience, I am afraid we should pay more attention to his enterprising spirit, sense of responsibility and in-depth torture of his own life in the face of difficulties and obstacles in life.

It is an indisputable truth that life is the source of creation. But "the beauty of painting lies between similarity and dissimilarity", and "similarity" means that artistic creation originates from objective reality; "Inconsistency" means that painting should distance itself from objective reality. In fact, "between likeness and dissimilarity" is an image modeling concept of China's painting art. Through the pursuit of images, the artistic conception is achieved. Both of them are dominated by "meaning" and subjective. Meaning and artistic conception are objective images refined and summarized by subjective consciousness, which embody the creator's will and inspire people. In the eyes of China people, the universe cannot be grasped by the senses. People can only appreciate the origin of the universe through inner meditation and grasp the world through inner feelings.

In Miao's artistic career, he has always insisted on sketching. In his view, since ancient times, our ancestors and today's generation have been pursuing the harmonious coexistence between man and nature. At the same time, in the process of sketching from north to south for decades, it is the natural height of Zhuangzi to inherit the aura of heaven and earth, experience the changing law of six qi wholeheartedly, enhance self-restraint and resist the feelings of "three thousand miles" and "endless travel". Miao Fabao, a landscape painter, wandered in the world of ink painting, turning himself into water and ink, blending with realistic ink painting in front of him, blending his soul with the soul of what he wants to express, blending his breath and blood with the breath and blood of ink painting, carving his spiritual things and expressing his unique feelings.

In the picture structure, Miao Fabao pays attention to the bone-based brushwork and line modeling, creates an environment with care on the basis of sketching, and starts with the planarization of Chinese painting, so that the points, lines and surfaces of landscape painting can function in a certain order, obey the overall structure, strengthen the momentum of the picture, and enhance the sense of movement and strength. When this kind of pen and ink is combined with structure, the spirit comes at once, and the direct picture effect it brings is more powerful than the planarization of traditional landscape painting.

As an authentic descendant of Jinling Painting School, his pen and ink still originated from tradition, which contains more traditional brushwork, more brushwork and the independence of ink interest, but its value lies in the bold transformation of traditional pen and ink, and more importantly, the effective connection between traditional rules and contemporary experience is found in the true understanding of natural life. In his landscape paintings, the pen and ink under modern consciousness are vertical and horizontal, which has opened the distance from literati painting. Vigorous brushwork and dripping ink are vivid, and the combination of dots, lines and blocks is just right, which achieves the aesthetic quality of pen and ink itself while expressing the object. Miao has matured his unique style perfectly in the process of his landscape painting creation, and he can know who is the artistic symbol from a distance. He has all the qualities of a landscape painter in knowledge, skill and mentality.

The growth of an artist is inseparable from the soil that nourishes him. Jiangsu has beautiful scenery and outstanding people. Since ancient times, it has been a place where scholars gather and talented people come forth in large numbers. The landscape of his hometown nourished Miao's artistic life and became an inexhaustible source of his early creation.

What is particularly worth mentioning is Miao's series of paintings of water towns. For Miao's magic weapon, Jiangnan water town is familiar to him. In Jiangnan, many towns represented by Zhouzhuang are "small bridges with flowing water". In particular, the "water rhyme" of the water town makes people appreciate the exquisite simplicity of the water town in the south of the Yangtze River, and even more like the harmonious beauty of the poetic and picturesque cultural customs in the south of the Yangtze River. On this basis, Miao's "Jiangnan Water Town Painting Collection", with his own pen and ink language, leads people to travel through time and space, interpret the intangible cultural code of the ancient town of Jiangnan for thousands of years, walk into the water town with you, and taste the watery life like poetry and painting in Jiangnan. In these paintings, we can see that he was born in Zhenjiang, Jiangsu Province, with the hometown complex of this water town in the south of the Yangtze River, and was born and raised in Sri Lanka. The elements in the picture tell the world that he is a very emotional temperament middleman.

Miao has been engaged in the creation of landscape paintings almost all his life, expressing his love for the great rivers and mountains of the motherland. He devoted Wan Li mountains and rivers to his paintings, which not only reflected his deep concern for nature, but also embodied the broad mind of this great era and the voice of Hong Zhong. He takes photos of mountains and rivers, casts souls for mountains and rivers and writes strong voices for the times. His paintings are full of the spirit of the times, and his paintings are full of feelings and voices. He entrusted the old painter with his worries about the present era and his concern for the universe, and his deepening and expansion in the field of landscape painting in China has unique tension and significance of the times. Perhaps it can be considered that he opened a new paradigm of China's landscape painting creation to a certain extent.

Suffering is the teacher of life.

Miao has been engaged in painting for 60 years, and it is in the struggle against the fate of suffering that he became a famous painter. For more than 60 years, he has been ups and downs for decades, and he has never slacked off for a minute. With his love and persistence in art, he tried his best to go through hardships, took its essence and breadth with national consciousness and the spirit of the times, learned from others' strengths, found another way, climbed up and down step by step, and reached the peak of art ... He made remarkable achievements in poetry, calligraphy and painting, especially in landscape painting. Heaven rewards diligence. Today, his paintings have reached a novel realm of self-painting and have a unique charm. After decades of unremitting research and exploration, he has created countless well-known works. Among them, Chinese paintings have been collected by the National Museum, Tiananmen Square, the Great Hall of the People, Zhongnanhai and other major units for many times, and their works have won many important awards at home and abroad, such as the United Nations and the flat exhibition gold award, the Olympic roving painting and calligraphy exhibition special award. From 65438 to 0995 in the last century, he was selected into the World's Outstanding 500 Who's Who of Cambridge Biography Center, England, and won the Outstanding Achievement Award, which was publicly distributed to the world in the Washington Library. In recognition of his artistic achievements and great contribution to cultural undertakings, in 2006, UNESCO awarded Miao "Outstanding Contribution Award for All Humanity" and "Gold Award for Literature and Art". Collectors and the vast number of painting and calligraphy lovers even praised him for "moving mountains to make ink paintings come alive".