Zheng Guixi's latest work "Flower and Bird Painting with Great Scenery" will be exhibited at Guangzhou Art Fair (Part III).

"Guangzhou International Art Fair" is one of the three major international art fairs in China approved by the Ministry of Culture, sponsored by China Artists Association and Guangzhou Municipal People's Government, undertaken by Guangzhou Municipal Bureau of Culture, Radio, Film and Television Press and Publication, and implemented by Guangzhou Art Times Exhibition Planning Co., Ltd.

20 17 in the 22nd autumn Guangzhou Art Fair, Mr. Zheng Guixi participated in the Art Fair for the first time and was warmly welcomed by southern collectors.

20 18 Zheng Guixi, the 23rd Autumn Guangzhou Art Fair, will make another appearance with his new works.

Zheng Guixi was born in Zhijiang, Hubei Province, and now lives in Beijing. He studied under teachers such as Ji Shilin, Gao Guanhua, Zhang Shijian and Peng Peiquan. 1992 studied at Beijing Painting Academy, and 1994 10 held a solo exhibition at China Art Museum in Beijing. He is currently a member of China Artists Association, a flower-and-bird painting instructor in the advanced class of Tsinghua University Art College, a flower-and-bird painting studio instructor in the Art College of China Renmin University, a professional painter in China Art Creation Institute, vice chairman of China Professional Painters Association, deputy director of the Art Committee of Hubei Traditional Chinese Painting Academy, and a professional painter in Three Gorges Painting Academy. His works have participated in the 11th National Art Exhibition and the 12th National Art Exhibition, and won the "Outstanding Talent Award of Contemporary Chinese Painting of the Ministry of Personnel" and 60 outstanding artists in the contemporary painting field in China from 1950s to 1970s.

His "Flowers and Birds in a Big Scene" is broad-minded and magnificent, filling the picture with a strong macro-consciousness, pursuing the great beauty of nature and interest, and giving people a visual impact of meaning, strength, rhyme, spirit and potential. Judging from the development of flower-and-bird painting, Zheng Guixi, the "big-scene flower-and-bird painting", has opened a distance from the ancients, and has different tastes. He has also found a new way outside modern flower-and-bird painting masters such as Wu Changshuo, Qi Baishi and Pan Tianshou.

This kind of praise for the profound and rich nature and endless cosmic spirit has changed from writing small feelings and interests to creating a broad environment, with the spirit of modern flower-and-bird painting, freer techniques and better expression of modern people's thoughts and feelings.

This kind of "big-scene flowers and birds" created by Zheng Guixi in flower-and-bird paintings may occasionally appear in previous works, but it should be a great leap for Zheng Guixi to consciously and comprehensively form the style of his works with "big-scene flowers and birds". The spirit of "big flower and bird" embodied in this "big flower and bird" is neither self-pity of literati painting flowers and leaves, nor symbolization of cultural connotation and personality symbol, but based on the objective existence of natural beauty, it allows those flowers and trees that were originally covered by cultural choices to enter his field of vision, which also contains the unique natural characteristics of a specific region.

As he himself said: "Every time I walk into the virgin forest of Shennongjia, the charm of nature infects me all the time. There are flowers and trees all over the mountains. In the huge forest, vines are interlaced, flowers and trees are lush, and streams are gurgling. Everything is so quiet and solemn. I appreciate the mysterious and magnificent state of the vast jungle, and I hope to express my true feelings about the virgin forest through painting. " Just like his colorful flowers and birds, it is this feeling of reality that not only enables him to obtain novel, vivid and vivid creative materials, but more importantly, he finds a new way for his freehand flower-and-bird art, that is, to jump out of the flower-and-bird image itself with the consciousness of "big flowers and birds" and move towards a territory with pure visual aesthetic value.

Zheng Guixi's painting style belongs to the style of flowers and birds. Judging from his knowledge, he combined his work and writing with the harmonious brushwork and the lofty ink spirit of Chen Chun, Xu Wei and eight great painters, which made his unique work and writing style. Its rich brushwork and brushwork, or the combination of landscape and flower-and-bird images, or the seamless interaction of ink and wash, or the combination of double hook coloring and boneless, or the combination of boneless points and splashing ink and water, or points or lines, or lines or surfaces, or virtual or real, or complex or simple, or thick or light, or thick or light, or hidden or exposed.

Although brushwork is full of vigor and passion, there is something in brushwork that is pure and well-founded, and more consideration is given to the compatibility of physical form and state with pen and ink, which is the natural source with strong vitality based on the characteristics of objects. What he conveys is not the literati's sense of hardship and self-promotion, but entirely out of praise for the simple beauty of natural landscape. It is the beauty of the natural world that endows him with smart pen and ink and broad artistic conception, and it is the life in the natural flower and bird world that endows his works with vitality and bright realm.

In the long-term observation and sketching, Zheng Guixi has developed the ability to capture the instantaneous modality of object characteristics. The research on the physiological characteristics and aesthetic taste of the original flowers and birds is the key to his work-study style. In brushwork, he confidently sought the turning point of the relationship between texture, quantity and dignity of objects, thus forming a modeling language with line structure and plane treatment as the main, supplemented by the expression of pen and ink depth, pen and ink as the main and solid color as the auxiliary.

He is especially good at mastering the big-screen masterpieces of flowers and birds. He never sketches on paper, and he doesn't make any marks. Instead, he meditated while spreading paper and arranged his thoughts before curly hair. He likes to express his feelings and understanding with long pre-wool flower-shaped birds, breaking the boundaries between meticulous painting and freehand brushwork, landscape painting and flower-and-bird painting, and giving full play to the performance of Chinese painting tools and materials. He used ink painting as the main method and calligraphy line drawing as the basic means. He not only used the traditional flower-and-bird painting method of picking, splashing ink, breaking ink and splashing color, but also used the traditional landscape painting method of rubbing, painting, accumulating ink and rendering. It not only vividly depicts the face of birds with meticulous brushwork, but also is a smooth and vivid Mo Miao.

He combined the layout of great momentum, great weather and great realm with the touching feelings of colorful flowers and trees and polymorphic flowers and birds, and integrated the old and spicy atmospheric brushwork with the magnificent artistic conception, realizing the highly generalized synthesis of flower-and-bird painting and the sublimation of Yuan Ye. This pursuit from technology to Taoism is exactly what makes him better than ordinary painters.

2018165438+1October 12 in Beijing Wang Fu garden (the author is a famous publisher, art critic and painter)?