Evaluation of Hao Fengxian's Works

Hao Fengxian smelted art in art colleges, and gained profound artistic modeling skills. He studied traditional painting methods for decades, solved the contradiction between realism and freehand brushwork, understood the western painting art concept, and deliberately refined the spiritual essence of characters in modeling and ink use. In freehand brushwork, the three-dimensional space is weakened, the detail description is weakened, the typical characteristics of the object are highly summarized, and the modeling is appropriately exaggerated and deformed, aiming at pursuing similarity. The face and body structure of the characters are outlined by lines, while others are capitalized by boneless method, which shows bold passion in vigorous and powerful ink painting, thus achieving the artistic effect of "similarity but not similarity". For example, in the "Voiced Picture", the silhouette of a lady is drawn in fine strokes, with thick ink in a bun, followed by thick ink, light ink and dawn. The writer holds a long flute and stands by the river one after another, while the long flute writes with a dry pen line, which seems to have a slight blowing feeling, the background is loaded, a lot of dark and faint dark green, and a few pens and inks are dry and vertical and arbitrary. Throughout the whole leopard, its works, such as Red Cherry, Reading, Lady Banana, Zhao Qingtu and Appreciating Plums, depict ancient beauties, while its paintings, such as Listening to Flowing Trees, Poems and Paintings by Du Fu, Boating in Guazhou and Appreciating Plums with Flowing Flowers, depict ancient poets and literati. Seeking rhyme, interest, pursuit and elegance in carrying forward the bold pen and ink of Kanto Painting School reflects a natural aesthetic emotion and portrait in ideological connotation and spiritual taste, and shows the artistic charm of self-confidence, self-sufficiency, delicacy and boldness.

In painting practice, Hao Fengxian observes things with a calm mind, observes life with a sincere attitude and creates. He not only attaches importance to expressing the spiritual essence of characters with the simplest ink texture, but also attaches importance to the infiltration of western painting composition in ink painting. By means of cold and warm colors, he handles the proper relationship between light and shade, turning point and image, enhances the sense of gravity and three-dimensional sense of freehand brushwork ink painting characters, and expands the artistic expression of ink painting figure painting. In dealing with the spatial relationship of pictures, they often construct large natural scenes and pursue the open momentum and artistic conception of mountains and rivers. For example, his long scroll "Map of Zhaojun River Embankment" can be described as a set of pictures with various objects and images in order, and the painter handles the spatial relationship in an almost flat way. In the painting, the background is pale, the snow is rolling, and the team of conference semifinals and maids are riding camels and horses, braving the wind and snow, intertwined. Zhao Jun helplessly sat on a convertible camel car, holding a lute in her arms, wearing a red cloak without bones, in contrast to the green cloak of the maids around her. The whole painting is not a historical freehand figure painting in the general sense, but it can be said that freehand brushwork is close to painting and formal beauty in the modern sense when thinking about history. His long scrolls Twelve Women in Jinling, Amusement Map of Eight Immortals, as well as huge paintings such as Flying General Li Guang, Nostalgia at Chibi, and Shepherd in Suwu all have such artistic factors and implications. The thickness, shade, dryness and wetness of the lines are arbitrary, the layout of the article is carefully planned, and the use of colors is heavy or elegant, all of which try to retain the unique traditional charm of Chinese painting. As well as ink lines and colored lines interspersed in light ink or color, can form artistic effects, strengthen the visual impact of color and pen and ink, thus showing the process of understanding and feeling life, which not only maintains the strength and charm of Chinese painting, but also creates a situation of freehand brushwork figure painting with strong personality, leaving readers with an extremely broad aesthetic space.

Contemporary Chinese painting is not "the end of the road", let alone Italian figure painting. Hao Fengxian's freehand figure painting is rooted in the thick soil of national culture, which once again proves that the connotation and extension of contemporary Chinese painting include the composition of China's thousands of years of brush and ink, the collision and blending of contemporary eastern and western artistic concepts, and the vitality and charm of Italian figure painting.