Comment on the sitcom Pioneer

20 1 1-06-06 Luo Yonggang art newspaper

I seldom watch TV. Last winter, I came across a passage from General Chen Geng. At that time, underground party organizations headed by Zhou Enlai, Chen Geng and Bai Xin conducted underground activities in Shanghai. Because Mrs. Bai Xin was unwilling to be poor and took on a dangerous daily life, she made Bai Xin rebel under her careful planning. At a secret meeting, Peng Pai, Xing Shizhen and other underground comrades attended the meeting on time. Zhou Enlai and Chen Geng rode bicycles to the conference room downstairs and suddenly found the military vehicles of the Kuomintang and the Puppet Army. Smart Chen Geng immediately reminded them that something was wrong, so he turned around and left. As a result, Peng Pai and other comrades were arrested. Zhou Enlai immediately tried to rescue and prepare to rob the prison car. However, because of the new guns, the soldiers delayed the time of saving people in order to wipe the butter on the muzzle, which led to the camera team dressed up by Chen Geng and others watching Peng Pai and others being taken to the execution ground and shot. In the TV picture, when Peng Pai and other comrades walked out of the prison, they were brave and unyielding, shouting "Long live China and overthrow the Kuomintang reactionaries". This plot deeply touched me, and my heart could not be calm for a long time. In the face of white terror, our party is so firm in a belief! In the face of the relic bloody clothes, Zhou Enlai was extremely sad and shouted: "We will never let the blood of the soldiers flow in vain."

As a party member, I have long wanted to draw a theme about the history of the Party. I admire Chen Yifei's The Fall of the Chiang Family Dynasty and The Wedding on the Execution Ground. I appreciate Li Zijian's Nanjing Massacre, Quan Shanshi's Brave and Unyielding,/kloc-Goya, a Spanish painter in The Romantic Period in the 9th century, Killing the Insurgents on the Night of May 3rd, Delacroix's Guide to People's Freedom, and Wang Shikuo's Bloodstained Clothes in China and Feng Fasi's Dying Liu Hulan. At that time, these painters were full of enthusiasm and nationalism, and they were brave people with a strong sense of social responsibility. So when the 90th birthday of the Party is coming, I specially made a 200×200cm canvas, and started my creative thinking around the "cry" of the central figure who shouted "Long live China * * *". For this reason, I got the first draft information on the computer and drew it into a sketch. At this time, I happened to read in the newspaper that Wu Yongyang was fond of red collection, and there were portraits of his Fang Zhimin and two other martyrs. To this end, I specifically contacted Zhou, director of the Revolutionary Martyrs Memorial Hall. He enthusiastically found the list of party member, a martyr on Hengshan Mountain, as well as historical materials and pictures such as figures, publications and documents of the * * * activities in those years. Next, I began to prepare the characters' clothes, clothes and instruments of torture. To this end, I specially bought a rusty chain and an early white cloth, drew drawings and asked the tailor to make a white jacket. At this point, the preparatory work is basically completed. The third stage: I began to collect information for the characterization. Fortunately, with Mr. Zheng Gengsheng's help, he has a good knowledge of characters' manners. He helped me find many comic books, such as The Red Lantern. This gives me a general experience of party member's state before execution, knowing that people with different identities have different psychological states before execution. Then I drew a sketch and asked several colleagues to wear special bloody clothes as models to take pictures. At this point, the preliminary preparations are basically ready and enter the drawing stage. In this way, I am immersed in this painting every day. Except for a few classes in a good school, I am thinking about how to make this painting more perfect.

As for the technique of expression, I use a painting method that combines classical painting with modern expressionism. In my specific brushwork, I combine the frank and flexible brushwork of concrete expressionism, trying to indirectly show the wit and intelligence of historical figures and underground party comrades in their struggle with the enemy. In the use of color, I strive to make color serve the image, that is, I don't deliberately pursue the change of color, but pay attention to conveying the unique inner activities of the characters. After repeated excitement and pain, I began to become exhausted, and my later life seemed dull. Sometimes I want to see my basically finished works, and sometimes I want to completely destroy them and repaint them. By chance, a master from an auto repair shop came to my studio to play. On that special night, the man looked like Cang Sang, exhausted. Maybe it's because he is too tired to work during the day. Although he always smiles when he speaks, I can clearly see the hardships passed from his brow. Coupled with his yellow skin, red skin, purple hands and thin hands, all this makes me excited again. Isn't this the central figure in the picture I am looking for? So, I picked up the brush again and went back to the canvas to start a new round of modification.

Now, the painting has been completed, basically reaching the previous vision and effect. What I really want to say here is to express my deep gratitude to Professor Chen Hongqing, Jin Quan, Jiang, Zhou and other predecessors who helped me create this painting!

I hope this helps.