Du Ziling's Artistic Style

In the field of contemporary Chinese painting, Du Ziling is a painter with unique style and remarkable achievements. His freehand figure painting has won the essence of China's traditional aesthetics, which is "vivid with form". His works not only have the skills of North and South, but also can be cast into a sum. On the basis of combining sketches, they formed a colorful, carefree and free and easy style. Over the years, he has been fascinated by the natural and cultural landscapes of the western regions, and has painted the people, customs and natural features of this magical land with affectionate pen and ink, and his tireless spirit has been praised by the painting world. This time, Du Ziling was selected as the "Excellent Exhibition of Contemporary Paintings in China-Tianjin Works Exhibition", and his works "Hidden Women in the Snow" and "Gao Yuanfeng" were unanimously affirmed by art critics in Beijing and Tianjin. Some critics believe that his pen is more vigorous and free and easy than before, and the rough is fine. This is the result of the painter's continuous exploration of artistic expressions and long-term life accumulation. Du Ziling is regarded as one of the representatives of contemporary frontier painters. The reason why he "bit" this theme for a long time stems from his deep love for the snowy world. He told reporters that this vast land, simple people and profound cultural heritage gave him the impulse to create. Since the 1980s, he has traveled to the western border many times to experience life. The harsh natural conditions on the plateau are unbearable; The bizarre experience of "fighting" with Tibetan dogs is still thrilling to think of, but these difficulties brought Mo Miao's works.

As an outstanding contemporary figure painter, Du Ziling made great efforts in figure painting when he was young, and made rapid progress with diligence and talent. He was appreciated by the president of Tianjin People's Fine Arts Publishing House at that time, and strongly recommended Mr. Ye to learn from his teacher, which became a much-told story in the art world. This has a profound influence on the formation of his later artistic style. It is very important for painters to master highly skilled sketching skills. It is one of the foundations of basic modeling skills. It makes the painter's eyes sharp, his hands quick and accurate, and complement each other. More importantly, it trains the painter's image memory and achieves vivid artistic creation. Among the older generation of artists, Mr. Ye and Mr. Huang Zhou are the best models. Many contemporary masters have benefited from this, among which Du Ziling is undoubtedly the best.

Du Ziling Studio adheres to the educational method of "writing the spirit with form, dabbling in Chinese and foreign, being close to life and producing more excellent works", aiming at cultivating the abilities of sketching, dictation and modeling, as well as the skills and methods of freehand figure painting, and cultivating students to respect the artistic laws and life feelings, and to create themes with the characteristics of the times and freehand figure painting with a strong flavor of life. Life is the source of creation, and life is the teacher of the painter. "Those who touch people's hearts, their feelings come first."

Emotional input is the key to successful creation, and "emotion" promotes imagination and understanding, thus forming a new artistic conception. So, in the first semester, I led all my classmates to the countryside, mines and steel mills in the mountainous areas of Lvliang. In the second semester, I went to Gannan Tibetan area and Daliangshan Yi nationality in Sichuan to sketch. In sketching, students truly take root in life, reflect reality, and take it as their responsibility to express contemporary life and the spirit of the times. In sketching, they hone their modeling structure, their ability to capture characters and their basic skills of pen and ink. Through a large number of sketches, I really understood the simple folk customs and profound cultural heritage of the grassroots people and brought back a lot of creative materials.

In real life, Du Ziling realized that China's figure painting should not only practice the techniques contained in China's figure painting, but also learn the nutrition of Chinese painting from flower-and-bird painting and landscape painting techniques. Drawing the outline of flower-and-bird painting, stippling and splashing ink, the techniques of hooking, rubbing, stippling and dyeing in landscape painting, the strokes of the center, side, hidden front and exposed front of ink painting, the methods of accumulating ink, breaking ink and splashing ink are all absorbed into figure painting. In addition, we should emphasize the practice of calligraphy. To enrich the diversity of figure painting techniques, we must seek change in pen and ink, richness in simplicity, overall fluency in the depth and rigor of pen and ink, subtlety and subtlety in plain, elegance and beauty in softness. Based on life, sublimate life into art, make life rich and beautiful because of art, and art is broad and heavy because of life.

In his early years, he studied under Ye and others, and his early works were mainly illustrations and cartoons. In the early 1980s, he systematically studied China's freehand figure painting techniques in the graduate class of Chinese Painting Department of Zhejiang Academy of Fine Arts. In his later creative practice, he gradually formed his own artistic style on the basis of solid modeling efforts, and at the same time inherited the traditional national artistic spirit and integrated the techniques of western methods into pen and ink.

Although Du Ziling took a realistic road, he did not stick to the original characters and natural features in his pen and ink, but pursued a kind of heavy beauty. In this "Excellent Exhibition of Contemporary Paintings in China-Tianjin Works Exhibition", his "Gao Yuanfeng" uses ink-storing painting method to draw characters' costumes, and the layers of ink and vigorous lines are quite in place to express the texture of clothes. He said: "Traditional freehand figure painting emphasizes brushwork, and it is sometimes not ideal to deal with works with modern themes in this way. I use the accumulated ink of landscape painting in figure painting, which can strengthen the thickness of pen and ink. The thickness of pen and ink is one of the criteria for measuring the depth of art. "

Apart from his favorite snow theme, Du Ziling has never put down the "business" of drawing illustrations in recent years. In his view, drawing illustrations is a must. To express characters with ink and wash, we must accurately grasp the era in which the characters live and be familiar with the original works.