Where is Mo Shuzi from?

Mo Shuzi was born in 194 1, Changzhou, Jiangsu. From 65438 to 0965, he graduated from the Fine Arts Department of Nanjing Normal University, and studied under famous painters such as Lu and Huang Xianzhi. 1965 to 1974 engaged in art education, and after 1974 engaged in art creation in the creative office of Changzhou Cultural Bureau, Jiangsu Province. 1980 participated in the preparatory work of Changzhou Painting and Calligraphy Institute, and then engaged in full-time artistic creation as a full-time painter. Mo Shuzi is a member of China Artists Association, a national first-class artist, a director of Jiangsu Flower-and-Bird Painting Research Association, a distinguished researcher of Changzhou Liu Haisu Art Museum, and a full-time painter of Changzhou Painting and Calligraphy Institute. His works pay attention to life, tradition and innovation, and published Mo Shuzi's Painting Collection.

Chinese name: Mo Shuzi.

Nationality: China.

Ethnic group: Han nationality

Place of birth: Changzhou, Jiangsu

Date of birth: 194 1 June.

Occupation: painter, artist

Graduate school: Fine Arts Department of Nanjing Normal University.

Main achievements: national first-class artist

Masterpieces: Ideal, Flowers and Birds Everywhere, Road-Qu Qiubai Statue, Three Jietu.

outline

Mo Shuzi was born in 194 1, Changzhou, Jiangsu. 1965 graduated from the Fine Arts Department of Nanjing Normal University. Learn from the famous painters Lu,,. Engaged in art education 1965 to 1974. 1974 transferred to the Creation Department of Changzhou Cultural Bureau to engage in artistic creation. His works have been published in provincial publishing houses such as Beijing, Shanghai, Jiangsu, etc. The number of copies of Ideal is 165438+ 10,000, which has become a realistic work loved by the masses. From 65438 to 0980, he participated in the preparatory work of Changzhou Painting and Calligraphy Institute and became a full-time painter of Chinese painting, paying attention to tradition, life and innovation. His works were selected for the 4th National Art Exhibition, 6th National Art Exhibition, 7th National Art Exhibition, National Popular Science Art Exhibition and Shenzhen China Art Exhibition. He has held many joint exhibitions and won many provincial art exhibition awards, and has also been collected by many art galleries and museums. Art, Guangming Daily, Economic Daily and other publications; Many works have been exhibited in the United States, Japan, Canada, Singapore and other countries. His works were selected into Selected Works of Middle-aged Chinese Paintings in Jiangsu Province, Collection of Flowers and Birds Paintings in Jiangsu Province, and Essence of Contemporary Ink and Wash in China. The paper was compiled into Anthology of Flowers and Birds Paintings, and published the Collection of Mo Duizi Paintings. Now he is a member of China Artists Association, a national first-class artist and a full-time painter of Changzhou Painting and Calligraphy Institute.

Artistic feature

Mo Shuzi's landscape paintings fully reflect his profound understanding of tradition and his unique thinking on the inheritance of Chinese painting. He learned from the ancients in methods, but he did not stick to the ancients. The water towns in the south of the Yangtze River described by him are fantastic, dull and ethereal, giving people a long aftertaste. The lines in Mo Shuzi's landscape paintings are all born with time and rich connotations. In particular, he freely combined the traditional techniques of expression, such as chopping axe, folding belt and rolling horse, which highlighted the distinctive characteristics of bone-based pen, caution and carelessness, and had the effect of "green color, strong branches and salty business", which opened up a "neoclassical" landscape painting style for the painting world.

Character review

Cheng Dali (editor in chief of People's Fine Arts Publishing House)

Strive for thick accumulation and thin hair

Mo Shuzi is a painter who thinks he can calm down. I haven't seen him for a few years, and he has completed a number of masterpieces, a number of masterpieces with a great sense of realm and a good foundation.

Mo Shuzi is a very comprehensive painter. He is interested in figures, landscapes, flowers and birds, and has created many good works, such as Sculpting for Qu Qiubai, which won the provincial exhibition creation award. Many of his flower-and-bird paintings have been published and are very popular with readers, which makes him realize that paintings can be appreciated in elegance and vulgarity. Ren Bonian in the late Qing Dynasty is typical, and Wu Changshuo and Qi Baishi are also examples of * * * appealing to both refined and popular tastes.

Mo Shuzi is a knowledgeable expert. In recent years, a number of southern rivers and mountains created by him have won the charm of various schools in Ming and Qing Dynasties, which shows his efforts in tradition. Changzhou is a richly endowed fertile land. Everyone lives hundreds of miles away from here, except Yunnan Tian, the "Four Heavenly Kings" and Wu Li, who are born and raised in Sri Lanka. These six paintings are called "Six Clearances" in the history of painting, pushing the pen and ink of China literati painting to a perfect realm. Mo Shuzi has been influenced by the humanistic customs and landscapes here since he was a child, and he has his own profound understanding of nature. Studying in the Fine Arts Department of Nanjing Normal University has laid a solid modeling foundation, and what is more needed is to learn to observe and be enlightened by famous teachers in epistemology, then the problem of methodology will be solved. He studied tradition as well as the achievements of previous epistemology. From how to look at it and how to draw it, tradition has left a scientific and rigorous system. Landscape, Huang Zhi gas, learning, shen and even the "four kings". Its layout is rigorous, the pen is meticulous, and the atmosphere is quiet. Whether it is five days or ten days, there is not a trace of impetuousness. Traditionally, there are very few people who are willing to work so hard. Mo Shuzi's love for tradition and the aesthetic standards he gained from it will benefit the painter all his life.

Mo Shuzi realized Mr. Shi Lu's creative principle of "extending one hand to tradition and the other hand to life". He loves life and created many New Year pictures, posters and comic books as early as 1970s. Those works full of life interest and passion make ordinary people like them very much. It is this artistic practice that makes Mo Shuzi understand the aesthetic psychology of ordinary people and naturally solves the problem of why people create ordinary people.

Love life, love life is the common ground of all artists. Mo Shuzi is a painter with strong rationality and no loss of interest. His mind is relatively stable, his will is firm, he is not anxious or dry, and he slowly writes down "One stone in five days, one water in ten days", which is a continuation of the mental state of China scholar-bureaucrat painters. In the history of painting, there are indeed a group of passionate and emotional painters, such as Van Gogh and Xu Wenchang. They did leave a batch of inspiring works, but these painters often ended their lives prematurely. The artist's life mineral can be burned out as quickly as fire, or it can be burned slowly until the fire is completely burned out. In the history of China fine arts, Huang and Shen. Wu Changshuo, Qi Baishi and Huang Dou are such masters. They have been practicing all their lives until the harmony between man and nature.

I haven't seen you for years. Mo Shuzi's steady brushwork, without a hint of flashy vocabulary, slowly wrote his delicate experience of mountains and rivers, one tree, one stone, one flower and one bird in his hometown, like music composed by a flute and flute tube. Although it doesn't give people passion, it gives people a long aftertaste. It can be concluded that in another ten or twenty years, Mo Shuzi's music will enter a more unforgettable state of charm. As a fellow, he is looking forward to his own new realm.

Ye Pengfei, academic member of China Calligraphers Association, curator of Changzhou Liu Haili Art Museum.

Grasp the context, learn lessons and bring forth the new.

Yunnan Tianlun Painting, the founder of Changzhou Painting School in the early Qing Dynasty, said: "Pen and ink are ruthless, and pen and ink writers should not be ruthless; Painting is to have feelings, and you must not make the painter feel uncomfortable. " Seeing a large number of new landscape paintings that Mr. Mo Shuzi is about to publish, I feel as if I am in the immediate vicinity-his landscape paintings not only make me admire and read repeatedly, but also make me feel that he is one of the few contemporary painters who can deeply understand the tradition of China landscape painting and put it into practice.

Mr. Mo Shuzi's profound understanding of tradition in landscape painting lies in his grasp of the evolution of Chinese painting inheritance and his unique thinking on inheritance.

There are many puzzling and regrettable phenomena in today's painting world. It is not difficult to find that it is a separation of the continuity of history and culture, and even a more extreme abandonment of history and culture. Therefore, to eliminate this doubt or regret, we must undertake the responsibility of continuing to carry forward traditional culture. Mr. Mo Shuzi is such a responsible person.

From Hao Jing in the late Tang Dynasty, landscape painting became the first of Chinese paintings. In order to grasp the development of landscape painting in an all-round way, Mr. Wang took Guan Tong and Dong Yuan as the starting points to deeply understand the origin of the North-South painting school, so as to understand the inheritance and differences of painters Li Cheng, Fan Kuan and Guo in the Song Dynasty, the particularity, the regional characteristics of painters in Ming and Qing Dynasties, especially Wu Pai, and clarify the evolution of landscape painting. In particular, Dong Yuan's "The posture of mountains and rivers, gloomy clouds, clever and interesting cloth, beautiful scenery, blue color, strong branches, salty business, fish ponds on bridges, eye shadows on continents and the south of the Yangtze River" (Mi Fei's Painting History) had a deep influence on him, prompting him to take "Southern Sect" as his body and "Northern Sect" as his body.

Mr. Mo Shuzi's grasp of traditional context is reflected in his cognition of "nature is outside, mind is inside".

From Mo Shuzi's works, we can see that he is an old teacher in learning methods, but his works appear in a brand-new way. In fact, learning the traditional system is only a process of understanding and accumulation, and it is only one aspect. In order to pursue high-level expression, we should learn from both nature and ancient times. Only by learning from the past and nature can we reach a new destination. Therefore, over the years, Mr. Mo Shuzi has often sketched, traveled all over the famous mountains and rivers, cast a heart image with pottery, and learned the famous mountains and rivers with famous paintings, with sincerity and understanding. Ancient landscapes and natural landscapes are constantly melting in his heart. Therefore, in Mr. Mo Shuzi's pen, although the performance is Jiangnan landscape. It seems that it is not just the mountains and rivers in the south of the Yangtze River. This is the dual result of his learning from ancient times and learning from nature, and it is also a mental state of undressing and a spirit of bathing snow after his "learning from the heart". The natural things in his landscape paintings are not what he saw in his eyes, but what he got in his heart.

Mr. Mo Shuzi's profound understanding of tradition is reflected in his grasp of pen and ink skills. After reading Mr. Mo Shuzi's landscape paintings, Mr. Cheng Dali commented that "the layout is rigorous, the pen is meticulous and the atmosphere is quiet", and "people who are willing to make such efforts in tradition are rare now", which just shows the uniqueness of Mo Shuzi. Now many painters have abandoned pen and ink skills, but Mo Shuzi has mastered the profound traditional brushwork after a long period of tempering, and established his own personality at the peak of tradition. Therefore, the lines in Mo Shuzi's landscape paintings are all born with time and rich connotations. In particular, he combined the traditional chopping axe, folding the belt and twisting the horse, highlighting the brushwork of bone method, which became the characteristic of Mo Shuzi's painting lines and had the effect of "green color, strong branches and salty business".

Mr. Mo Shuzi's profound understanding of tradition and his grasp of context are more reflected in his humanistic spirit. Tan, a painting in the Qing Dynasty, said: "Words that express the body are also words that draw the heart. To learn painting, we must first cultivate self-cultivation, practice peace and be able to cope with everything. Those who can draw and write without peace of mind. " Mr. Mo Shuzi is a peaceful explorer. In the process of studying with great concentration, he can face up to the painting world that has undergone great changes due to the collision between eastern and western cultures, and face the painting world lured by the dispute of interests and status, not eager for quick success and instant benefit, and not moved by various fashion painting styles and novel forms. "He has eternal thoughts in his chest and Wan Li's tendency under his wrist, standing in painting and deliberately painting" (a clear sentence in the Tang Dynasty), and he roams freely in the painting world he pursues.

It is precisely because Mr. Mo Shuzi's landscape painting creation can grasp the context of the evolution of Chinese painting tradition and think deeply about China's cultural ontology that he can open up a "neoclassicism" landscape painting style for painting circles when traditional painting is challenged and neglected. This is the significance of Mo Shuzi landscape, and it is also the reason why people feel good after seeing it.

Character article

Comparison of characteristics between New Year pictures and Chinese paintings

Author: Mo Shuzi

New Year pictures are deeply loved by people in China, especially to meet the growing needs of cultural life in rural areas. Therefore, New Year pictures are rooted in the masses of the people and are our local artistic treasures.

The emergence and development of New Year pictures themselves have gone through a long historical stage, and their styles are constantly changing with the times. In the development of local art, they have formed a unique silence feature, and have always maintained their own distinctive features.

As we all know, Chinese painting is the most distinctive and representative art in oriental painting. New Year pictures are the "native products" of Chinese paintings, both of which are inseparable parts of national culture. New Year pictures have been loved by many people so far, with great influence and a wide range of themes. They are the most deeply rooted plastic arts. No painting can be published in hundreds of thousands or millions, so New Year pictures are not a flash in the pan ... Historically, a hundred spring pictures in Song Dynasty, a picture of Ruihe in Song Huizong, a picture of winning a bid for a dragon boat in Zhang Zerui and a picture of a traveling salesman in Su Hanchen can all be regarded as New Year pictures, which are immortal. Zhou Changgu's Two Lambs, Gu Yuan's Talk to the Farmers, Jiang Yan's Examination of Mom, Chairman's Travel All over the Country, Jiang's Reading the Newspaper to Grandpa, and Liu Wenxi's Happy Hour are all masterpieces, which have left a profound influence on people. Painters from Shilu, Yaming, Cheng Shifa, Chen Zhifo and other countries have also created many weighty and influential New Year pictures.

In the long corridor of China's painting history, figure painting is the earliest, as evidenced by the silk painting "Dragon and Phoenix Map" unearthed in Changsha. During the Northern and Southern Dynasties, landscape painting began to become an independent painting discipline, and its expression technique changed from meticulous painting with strong decorative colors to ink painting, and its painting style also changed from realism to freehand brushwork. The characteristics of folk New Year pictures are determined by the aesthetic standards of the clients (that is, the appreciators) and the authors. Today, the personality and characteristics of New Year pictures are more obvious.

First of all, the theme of New Year pictures is celebration.

195 1 The General Administration of Publishing of the Ministry of Culture pointed out in the Instruction on Strengthening the Work of New Year Pictures that the stories and pictures of folk operas can be properly preserved for the people's hopes and pursuits for a happy life and their appreciation and hobbies for the beautiful scenery and excellent historical stories that people are familiar with. Therefore, after the founding of New China, everyone is trying to change the situation that the old New Year pictures with long-term feudal superstition flooded the rural market. Weifang New Year Pictures in Shandong, Yangliuqing New Year Pictures in Tianjin, Taohuawu New Year Pictures in Suzhou, Mianzhu New Year Pictures in Sichuan and Wuqiang New Year Pictures in Hebei are all inherited and developed. New Year pictures attach great importance to symbolism, implication and homophonic techniques, such as the common ones such as "Celebrating the Year with a Crane", "beaming with joy", "Spend more than a year" and "Spend a full moon", while "Farewell My Concubine", "Daiyu Buries Flowers" and "Fishermen Kill their relatives" are often unpopular. This is because the contents of New Year pictures are often associated with their own future, production and life, and they have the psychology of looking forward to happiness and avoiding disasters.

Popular New Year pictures can be Chinese paintings, and good Chinese paintings are not necessarily New Year pictures. A farmer friend once saw the printed picture of Su Shi's Ancient Wood and Bamboo Stone. From the point of view of painting, this work is very interesting, with little pen and ink. Some people say that ancient wood is clumsy and energetic, while bamboo is old and energetic, and it is scrawled with a pen, not looking for shape. But this farmer friend has no interest in these things. Curved ancient trees can only be used for cooking in rural areas. The stone is round and square, and the wall is not easy to use. From his aesthetic point of view, it simply doesn't make sense. Landscape painting in traditional Chinese painting emphasizes artistic conception, and can also have multiple style meanings, such as landscape painting "Ancient Wood and Bamboo Stone Map", "Song Robbery", figures "National Mourning" and "Shan Gui". In flower-and-bird painting, some so-called unlucky things such as big white flowers or crows are used to express a sense of "God" and "providence".

Second, the composition of New Year pictures should be full.

Composition is closely related to the choice of content and theme, and the content is festive. Only when the composition is full and balanced can there be a sense of formal excitement. For example, "Hong Fu Man Tang", which won the first prize of the fourth annual national art exhibition, has four generations of people living under one roof, with a total of eleven people. This painting is full of flowers and fruits from four seasons. The background is bright red blessing and fake plum blossoms. The whole picture is a lively scene of great happiness, which is somewhat different from traditional Chinese painting. In Chinese painting, it is very important to win more with less, to be black with one hundred, and to replace reality with emptiness. Generally speaking, New Year pictures should not be too blank, and the content should be simple and easy to understand. The blank in Chinese painting is not nothing, but an "image" space, which is a method of "hiding the territory". The ancients said: "The more the territory is hidden, the greater the territory and the deeper the meaning." In Song Dynasty, Ma Yuan's Cold Talk about Solitary Fishing shows the mighty river water through the dynamics of semi-exposed boats and fishermen, which is a Tibetan method of replacing reality with emptiness. Qi Baishi's shrimp has a blank background, but through the translucent head, body and feet movements, tentacles movements and so on, it gives people the same feeling as in water. The background of Li Qi's "Chairman travels all over the country" is also blank. The picture gives people a wide range of associations through the fluttering hair of the chairman and the straw hat in his hand, and expresses infinity with finite.

Third, New Year pictures are bright and warm.

On the issue of the color of New Year pictures, oil painting and Chinese painting authors often feel headache, which is also the reason why people call New Year pictures "vulgar". In fact, we have to talk about the habits and conditions of the people who appreciate New Year pictures. The vast world of New Year pictures is in the countryside. For a long time after the founding of New China, the problem of food and clothing in rural areas was not completely solved. In many places, houses were still low thatched houses with poor lighting conditions. This requires that the New Year pictures should be bright and bright, so as to have a festive atmosphere. If you use a "gray tone" or a faint hazy feeling to express it, or use a thick and colorful picture to express it, you can imagine how the effect will be in a low-rise room with weak light. In addition, New Year pictures are hung for a year, and after a long time, elegant paintings are even more unsuitable. On the other hand, rural and urban appreciation habits are also different. It's best not to put too much emphasis on reflection and strong light and shade when taking pictures in the countryside. The front is flat and easy to be accepted, otherwise older people will think that they are taking a "yin and yang face" like Bao Gong. The contrast between flowers in the painting is very strong, and because there are ink lines as the basis, the depth of the picture is harmonious in the contrast, resulting in aesthetic feeling. In the six methods, "color by class" is about the inherent color of the object, but it is not a purely objective naturalistic description, but a color change for the artistic effect of the picture and theme. For example, the colors of Hongyan in Hongyan Village and Mo Peony in Qi Baishi have not been completely restored. The color difference between New Year pictures and Chinese paintings is determined by national habits, historical conditions, the cultural level of the appreciator, psychological requirements and age.

Fourth, the image should be healthy.

New Year pictures reflect people's distinct love and hate through artistic images. Not only the scenery should be beautiful, but also the paintings painted by people should be beautiful, so as to achieve a picture effect with both form and spirit. "Women's Volleyball Champion" is the first prize of the third annual national art exhibition. The picture consists of the national flag, women's volleyball girls, trophies and flowers. In the picture, there is a young, beautiful, steady and generous image of a female volleyball girl, with cheerful and bright eyes, fluffy curly hair, solemn national flag and eye-catching jerseys. The smiling expression reveals the pride of winning glory for our country. Such works quickly bridged the feelings of the audience and aroused the audience's * * *. Mr. Li Mubai, an old painter, has made a long-term exploration on the characterization of New Year pictures, and this work has left a deep impression on people. The theme of children's paintings in New Year pictures is also indispensable. The image must be innocent and lovely, lively and lovely. Nanjing dialect means "pleasing". Farmers often like to post movie photos of fat dolls in their new houses. It is said that lesbians often watch and get along with these images every day, hoping that the children born in the future will be beautiful, too. This shows people's yearning for beauty. In addition to the healthy image of the task, negative elements such as dead wood, thin stone, sick plum, residual lotus, defeated bamboo and strange birds in landscape flower-and-bird paintings are best not to appear, because farmers don't like them. The moon in the New Year pictures doesn't like anything. As the saying goes, "it takes a full moon", so the moon should draw a circle. The characters in Chinese painting emphasize verve more, and the expression of various emotions is broader. For example, Yan's "Emperor Map of Tang Dynasty" was drawn according to the talents, qualities and personalities of thirteen emperors. In the Qing Dynasty, Ren Bonian was concerned about the country and the people, and sympathized with the people's sufferings, such as sending charcoal to beg for food on the city's head, and Huang Shen's images of lower-class workers such as trackers, beggars and fishermen; Yuan Gong Kay painted many strange images, such as the devil, Zhong Kui and a bony horse, to express his dissatisfaction with society.

The above is a comparison of New Year pictures from four aspects, because both of them are components of national culture and have many similarities in many aspects. New Year pictures have developed to this day. Broadly speaking, they are not only woodcut New Year pictures and brush New Year pictures, but also oil paintings, Chinese painting photography, paper cutting and so on. With the development of the times, farewell is the continuous improvement of life after the reform and opening up, and people's requirements for cultural life are constantly changing. These two wonderful flowers, New Year pictures and Chinese paintings, will surely become more and more dazzling in the art garden.

1998 exchange draft for members of Jiangsu New Year Painting Research Association (Chuzhou, Anhui)

works appreciation