Find some photos or paintings about classical oriental women?

Xiaozhai is the masterpiece of He Duoling, a famous oil painter, which is based on Yongming Zhai, a famous contemporary poetess in China. Some people say that Yongming Zhai is one of the most beautiful female poets in contemporary China, which is undeniable. Because Yongming Zhai is really beautiful. Yongming Zhai's big eyes, in particular, are as watery as grapes and impressive. Her big eyes are the most beautiful, like a pool of clear water. Her big eyes, which sparkle with the poet's wisdom, not only make many people who write poems like and obsess, but also inspire and dump the painter's emotions or impulses. He Duoling's Xiaozhai has the beauty of oriental classical women. The painter outlined the beauty and charm of women in China with a passionate pen. As an oil painter, He Duoling's modeling skills are solid and comprehensive, and the characters and scenes in his works are full of vitality. In terms of formal language, the painter used clever brushwork and feeling or simple feeling to integrate with China traditional ink painting.

He Duoling said: "The restrictions on the external contour are very strict, and the things in the contour are very rich and subtle, which is also inspired by the traditional art of China." Xiao Zhai uses the poet's watery eyes to express the artist's skillful and delicate painting language and skills.

Raphael said: "In order to create a perfect female image, I will observe many beautiful women and then choose the most beautiful one as my model."

Many women in Yang Feiyun's works have the beauty of classical women in China. I have read many of Yang Feiyun's works, such as Nostalgia, Sudden, Northern Girl, Yellow Cat, Motion, Dress-up, Black Gold Velvet and so on. These works have their own characteristics and personalities. Through these works, I feel that the painter not only has his unique painting language, but also shows the painter's understanding of color and sensitivity to color light, as well as the control depth and dimension of color painting.

The academic definition of Yang Feiyun is: "He is the leader of modern oil painting in China. His paintings are famous for their pure classical beauty in China. In his figure paintings which inherited the western classical art tradition, there is a glorious beauty that contemporary China painters were born because of a great spirit in their 20-year creative career. This kind of beauty, pure and quiet, reveals the truth of life, as balthasar, an outstanding theological thinker in this century, said, "There is nothing to hide. Everything that exists reveals itself in truth, which means coming out of the mystery of nothingness and divine will, entering this existence and dedicating it to the eyes of understanding as the essence of revelation. "

According to the theory of aesthetics, the aesthetic principle of classicism lies not in some unique forms, techniques and methods, but in a classical artistic spirit, which is the essence of Greek art, especially western classical art since the Renaissance. Life itself is the most wonderful crystallization in the universe. Artists feel God's creation through another pair of magical eyes, see the glorious beauty of the world and people, and shape it through art forms such as painting, music and architecture. In this way, there is a real artistic tradition in our culture. The so-called light, shape, structure, color, schema, and even order, balance, truth, thickness, etc., which constitute the basic language of painting art form, actually all come from the transcendental dimension in the classical spirit. Art theorists believe that Yang Feiyun began to accept pure classical art as early as the early 1980s. Different from most young painters at that time, he did not blindly pursue the bustling wave of modern art, but briefly experienced a spiritual impulse to create modern art, crossed the territory of Soviet realistic painting and early impressionism, and soon fell in love with classical painting after obtaining solid basic training in modeling and color. Someone once said that his artistic style benefited from China's academic education. In my opinion, this should be viewed from both the surface and the deep. Yang Feiyun said: "Whenever I sincerely go deep into it and touch the infinite wisdom with my mind and limited intelligence, the gift that fascinates me is given to me, and I am deeply attracted. A kind of happiness to interpret the mystery of painting arises spontaneously, and the interest in learning doubles. It was not a visit of skill style, but an understanding and touch of the essential laws of painting. I am very grateful to the master for his noble quality experience and experience. "

1994 "Thinking of the Ancient", 145x97cm. From the picture, he is a thin-faced, classical embroidered fan, quietly sitting on an antique wooden chair, with big eyes looking at the front. After reading this painting, I have been wondering why the painter Yang Feiyun called it "Sigu" when he named it. Perhaps the ideological connotation that the painter wants to express in his works is related to the influence of western classical art and China ancient cultural tradition. In my opinion, the painter's pursuit is to draw his own ideal picture with the thoughts and thoughts of eternal and essential culture when selecting materials. Yang Feiyun said: "I have long been fascinated by the subtle effect of the classical master's picture and imitated to approach him." Therefore, the original intention and deep obsession and pursuit of the painter are revealed in the selection of materials and the naming of works. From this point of view, he was completely influenced by western masters. Gu Si's picture is completely dull and cold, with a black background and dark chairs, which clearly set off a yellow-skinned woman in China. The dress worn by the woman in the picture shows a classical and noble feminine temperament. From the way she gazed at the front, I guessed that the thoughtful woman in the painter's mind might be China's ideal woman. "A delicate woman with a silk fan in her hand/sitting quietly in an antique chair/a classical and noble dress/setting off a thin and gaunt face/a pair of big eyes/staring at the distance/how far is it/whether it is farther than ancient times/thinking about the past/thinking about the ancient origin of mankind/thinking about the past more essentially and more primitive. . . . . . "

Another work by Yang Feiyun, Dressing Up 162x 130cm, was created in 2004. The conception and creativity of this work are similar to those of the ancients. However, the woman in dress seems to have more connotation than the woman who thinks about it. The characters' expressions are kinder and the images are more infectious than those in "Thinking of the Ancient". And from the perspective of women's clothing, it can better express the essence and connotation of dress. Dressed up, the woman is wearing a big velvet dress, a red shawl, and a pair of white, delicate and slender hands are exposed on the skirt. From the color matching of the picture, it is more intense, excessive and very harmonious. The woman's calm expression seems to be saying something to people. Classical dress and antique bedroom set off the atmosphere and elegance of modern women. I think this is also the ideological connotation expressed by Yang Feiyun. "A woman wearing luxurious clothes/sitting quietly in an ancient and elegant palace/smiling/full of longing eyes/as if waiting for her lover's arrival/crimson velvet dress/not only shows a woman's elegant temperament/dress/but also shows a woman's inner joy. . . . . . "

Black Golden Wool shows a naked woman with delicate skin lying sideways on the bed. The woman's expression is very calm. She blocked one eye with her right hand and looked ahead with the other. She presented the beauty of women to the world completely. From the picture, a woman's heart is clean and pure, without impurities. But why is the painter called black gold wool? I think the painter sets off the purity and exquisite beauty of women through black gold velvet. Maybe there is a deeper meaning. "A woman with a white and delicate body/leans on the black and golden velvet/she covers her most beautiful place with one hand/her eyes with one hand/a woman's body is the purest place in the world/her suet skin/painter's pen/spring sound/and she can be clever with a pair of fairy-like wings. . . . . . "

However, northern girls show the purity and simplicity of women. It is not as smart and carefree as the girl in Yellow Cat, and will enjoy the happiness and pleasure of life. Even the cat in the photo looks happy. "The girl on the back of the chair/her inner world/the flower cat on the chair/the bamboo begonia behind her/quietly spreading its leaves/the flower cat waits quietly like a girl's heart/a breeze or a ray of quiet moonlight. . . . . . "

I feel that the woman in Yellow Cat is an idealized or poetic yearning in the painter's mind. Perhaps it is a portrayal of the real life of his children and students. This painting gives the impression that it is too pure and quiet. It feels like a painter is writing poetry with pictures. Yang Feiyun has always believed that art is art after all. It is not an idea, a speech or an action, but a special aesthetic form, which can only be realized by special tools. Painting is painting, which requires lasting training and special skills, just like dancing in chains. There is no strict professional training, no special skills, no solid language foundation, not to mention painting art. Art needs basic skills, but even the best basic skills can't make great art. This sentence is very incisive. On top of artistic form and artistic language, there is another thing, that is spirit. In fact, like "thinking of the past" and "Dressing up" are the best versions to express the spirit and pursuit. I dare not evaluate his artistic level, let alone position myself as a master of classical painting. I can only examine Yang Feiyun's art from the deep dimension of classical spirit. Listening to Yang Feiyun's painting language, every painting tells people something. In many of his works, we can all feel that his unparalleled artistic techniques bring us not only aesthetic pleasure, but also ethereal poetry. But if we open the other eye, we can see that in his works, there is a flow of uncovering, observing, brightening and even thanking the mysteries of life. Yang Feiyun once wrote: