Chapter 14 Preface to "Hu Zhengwei's Picture Album"

A painter's picture album is different from a novelist's anthology, and there is no need for another person to use words to make any interpretation.Each of the paintings collected in the album can appeal to the visual and directly inform the viewer with images of the artist's insights gained through personal experience and psychological activities.I really want to say something superfluous to this album published by Mr. Hu Zhengwei.This is not only to express my congratulations, but more importantly, to express my love. Around the eleventh century, an outstanding theory appeared in the Chinese painting circle, which believed that brush and ink should not only depict the appearance of objects and reproduce the landscape, but should also have its own pure artistic quality and reflect the unique personality and soul of the author.Artistic creation should transcend and elevate the shape it is based on, and enter the "outside the painting", that is, the expressive world that cannot be covered by representation.This theory enriches traditional Chinese painting.From Mi Fu, Li Gonglin, and Wen Tong in the Northern Song Dynasty, through Wang Tingyun, and the Zen painters Muxi and Liang Kai in the Southern Song Dynasty, they finally matured into a new style of painting in the hands of the four masters of the Yuan Dynasty.Let's look at this style of painting now, which is what we call "modernism".

Therefore, I don't think Mr. Hu Zhengwei has been influenced much by the modernists, but he is very faithful to the tradition of Chinese painting.Appreciators can see from this album that he pays special attention to the wandering of brush and ink lines; figure painting does not focus on similarity in shape, but pays attention to vividness.God, not the god of characters, is actually his own god.For example, Bodhidharma who has entered the state of qigong has his own world in the closed eyes, and achieves the state of forgetting both things and me. According to my opinion, it is just his self-portrait in paintings.

Of course, there are more realistic parts in his paintings, such as "Uighur Old Man", "Snow in Ningxia" and so on.I don't know what others think, but in my opinion, to put it bluntly, this part should not be regarded as his masterpiece.However, we can also see his skill from it.It should be admitted that Zhengwei's painting skills are quite profound.It is precisely because he has such a skill that he can freely and freely sway his pen and ink.For example, in the part of the "Silk Road" that depicts the landscape of the Northwest, on a flat white paper, it creates such a majestic, majestic, and loess-like thick visual effect, which cannot but be admirable.And the achievement of this kind of effect must be that the painter himself has a lot of hills and valleys in his chest.If we apply the idiom "have a plan in mind", then we can also say that the mountains and rivers of the Northwest are all in his heart.

I have already said that the above words are superfluous, but I can't help but say: I want the audience to see Zhengwei's aura in it.No matter what others think, I am always intoxicated by his lines. Gengwudong October Zhang Xianliang knows