Lin's artistic style

Mr. Lin insists on his own artistic style. His paintings are full of profundity and variability, with bright, elegant and colorful colors and simple and elegant composition. He not only abides by the tradition of literati painting, but also pays attention to absorbing western and modern expression techniques, which is full of nationality and sense of the times.

In figure painting, Lin also has his own distinctive personal style. He doesn't draw facial features or expressions, but only the silhouette and back of the characters. Even though he painted his body, he was still in tears. Strangely, these characters all left behind the scenes of joys and sorrows, which is exactly the same as the artistic effect achieved by Zhu Ziqing's masterpiece "The Back". You don't have to ask them where they come from, where they are going, or what they want or abandon. The painter's pen and ink, which has simplified the complexity, has already told you the origin of those characters and even their tomorrow.

Lin's flower-and-bird paintings are also unique and have another advantage. He never painted flowers and birds with too much pen and ink. Although there are only a few strokes, his pen and ink are "bloody" and highly summarized. Not only is the flower-and-bird "shape" in his works vivid, but also the charm is unforgettable. The longer you think about it, the stronger its flavor.

Browsing the pure and sweet landscape sketches in the forest is like reading an intriguing pastoral lyric poem. It is not Wang Wei's literary detachment or Tao Yuanming's poet liberation, but a kind of civilian prose, a kind of mountain prose, and a kind of relationship between man and nature. In his landscape world, there are no waves that beat the sky, shake the earth, fly mountains, recycle mountains and gold, and collapse clouds. He has always painted a picture of Jiangnan, which is "born and raised in Sri Lanka", quiet and harmonious, lively and fresh, simple and full, romantic and vigorous.

Because he pursues a free expression of his true feelings in his creation, he shows a light, flowing and chic line, and with a light and rich color, he never leaves sorrow and burden to the viewer, so his ink painting is full of life and human touch. It can be said that Lin's landscape paintings, which are full of natural flavor, have changed the implication of being out of touch with the mainstream of Ming and Qing landscape paintings, which is his persistence in the modernization of traditional landscape paintings.

There are two main reasons for his success in the field of art: First, Mr. Lin has mastered and inherited this tradition well. He greatly appreciated the painting styles of Badashanren, Qi Baishi and Lin Fengmian, and learned the essence of freehand brushwork from them. After decades of grinding a sword, I finally formed my own unique artistic style. The second is to walk into life and refine art from life. He said: "We should go deep into life, constantly seek inspiration in life and analyze independently in creation, so as to constantly surpass ourselves and create a new realm."

Mr. Lin is an all-round artist who is proficient in landscapes, flowers and birds, figures, calligraphy and paper cutting. Needless to say, he is a famous paper-cutting master in China. In painting, what he is best at is freehand brushwork landscape painting. Mr. Guan's splash-ink painting is a freehand brushwork of landscape painting, which replaces the traditional meticulous painting of rocks with large ink blocks, abandons details and grasps the whole. This is an important feature of his landscape painting style, such as quiet rivers, majestic and gentle mountains, majestic and smooth streams. Lin's splash-ink is appropriate, true or false. This pioneering pen and ink undoubtedly enriched the artistic expression of landscape painting. Looking at his paintings, I am immersed in it, and I really want to be integrated with the paintings and the mountains and rivers.

He has a soft spot for mountains and rivers. Both the magnificent landscape in the north and the graceful and charming landscape in the south are presented in a freehand way in his works, with bold brushwork and fresh artistic conception. In particular, the landscape of Jiangnan is particularly hearty, with a stream and a boat, a tree and a shadow, and a few distant mountains. The artistic conception of Jiangnan is vividly on the paper.

Diligent Lin tried all kinds of paintings, dabbled in all kinds of themes, accepted the influence of traditional culture and western culture, learned from others, and finally formed a unique artistic style.

Expressing life is the pursuit and characteristic of Lin's Chinese paintings in the 1960s. Compared with the traditional China painter, he lacks many traditional programs and burdens, so his creation is based on his own rural life experience, and his artistic conception is quite fresh. His Folk Songs, Yangmeiji and Early Spring in the South of the Yangtze River are not traditional landscape paintings, but combine landscapes and figures, and pay attention to the refinement of artistic conception and the pursuit of formal sense while expressing real life. Yang Meiji, selected for the National Art Exhibition and collected by China Art Museum, is his masterpiece in 1960s. In this work with theme implication, on the one hand, the painter takes the pen as the center, showing a simple stone atmosphere in the characterization of plum branches and leaves and picking plum fruits; On the other hand, he shows a grasp of the flat and balanced rhythm in the overall layout of the Myrica rubra tree and the interpenetration of characters, while the rendering of the Indigo plum tree is magenta.

The embellishment of plum fruit breaks through the limitation of traditional landscape painting color. The decorative aesthetic taste of "Yangmeiji" actually indicates some style characteristics of Lin's landscape paintings since then.