Traditional Culture Encyclopedia - Photography and portraiture - Evaluation of Hao Fengxian's Works
Evaluation of Hao Fengxian's Works
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.
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