buy gold jewelry at wholesale prices Ink and ink heavy color painting art characteristics

wholesale turkish silver jewelry The characteristics of the art of ink heavy color painting
The center of art lies in the expression, and art works reflect the artist's heart. So, what are the characteristics of ink and ink painting art?

The work of Professor Wu Xingkuan as an example to analyze the artistic characteristics of ink and ink paintings and the special background of it. In Professor Wu's works, he can find his works with cultural blending, combining different artistic styles. In addition, the collision of Eastern and Western cultures is extremely obvious in the work, making contemporary ink painting blood and life.
. The characteristics and style of ink and ink heavy color color
Professor Wu Xingkuan was born in the vast prairie. The love of the grassland and the love of nature laid the formation of his artistic style. In the later study, it was deeply influenced by the artisticization of Western culture, and the characteristics of Western abstract paintings were shown in the process of creation. He uses abstract expressions to show his thinking and has no obvious detailed lines in his paintings. Instead, he uses strong colors and large plates to show things.
At the same time, the ink painting paintings are also different from traditional Chinese paintings. There is no way to shape the artistic conception of traditional Chinese painting in the painting. It shows the abstraction of the West and the rudeness of Chinese painting. The two are perfectly combined and innovated in tradition.
In the past few decades, Wu Xingkuan is also engaged in design work. During the design process, he has obtained more painting inspiration. It is limited to painting, but learns to integrate in the surrounding environment, and combine independent individuals into an indispensable corner of art works.
. The creative technique of ink and ink heavy color color
If due to the influence of Thangka painting in the early years, the color used by Wu Xingkuan with obvious Thangka paintings in painting Painting is used to the rich colors such as red, black, blue, and gold in terms of color, and this is also the color commonly used in Professor Wu in painting. Wu Xingku's creation combined with industrial raw materials makes the final effect of the finished product unsteady, and this uncertainty gives people a refreshing feeling.
For the combination of color tones, Wu Xingkuan uses the color characteristics of Thangka art to create well, and uses the most primitive three primary colors -red, yellow, and blue to show the infinite beauty of the landscape. Through wild colors and rough texture, the connotation of painting reflection and grand beauty are given. The large area of ​​monochrome blocks during painting is the uniqueness of its works.
The traditional ink skills to show the mellow and three -dimensional sense of the picture. With infinitely blank white and large -area colors to give people unlimited reveries, thereby extending the boundaries of the work. Traditional Chinese paintings have about one -third or three -fifth of the entire painting, and in Professor Wu's works, there is basically no white, but the ink paintings still occupy one -third of the entire painting. Two -thirds of the remaining are gray and white, coupled with the heroic brushstrokes, make people's vision develop.
In many ink and ink color paintings, the strokes are not as delicate as traditional gongbi painting, and more use of the method and texture of the rocks are used. Similarity reflects the intensity, rhythm, skills, and collision with Western modern art.
"The sky -like dome flower is like a brocade". Although it is mainly black and white, there are a few red and green mixed in the middle, but the large area created by simple large pieces of brush strokes is still the layer of landscape of the desert. The feeling is fully displayed. In addition, with a round of bright moon, Wang Wei created the artistic conception of Wang Wei's "Desert Lonely Smoke, Long River Falling Sun Day", painting like poetry. This painting reflects the author's inner sorrow and infinite emotions.
Wu Xing Kuan adopted the embellishment method to set off the atmosphere of the environment at that time, enhanced its artistic atmosphere and artistic value, provided a new reference for landscape painting, and made more painters realize that the landscape desert was not only a painting method.
It is like the painting "Jiao Single Rong", after using the red outline of red peony, the peony flower branches and green leaves are used in black and dark green for single matching. The clean strokes and capable paintings make peony. It shows the pride and loneliness and Ling Shuang's unwillingness, but also metaphorize a kind of emotion in his heart. For "Jiao Single Rong", Wu Xingkuan uses more blank blank up and down, and the connection between rigidity and softness is just right.
During the painting process, Wu Xingkuan did not blindly pursue and imitate the traditional Chinese ink painting. Instead, he used the traditional ink painting brushwork to create a certain charm and atmosphere. At the same time, combined with Western realistic and abstract methods to show a contradiction of color and brushwork. The heroic and powerful. The lines in the picture show the beauty of the rhombus, which adds the picture of the picture to the rational artistic atmosphere, and shows the texture and strength of the work.
. The expression of the art and emotions of the center of ink and ink heavy paintings
In some people say that art works are a mirror of the artist's heart. You can see the painter's inner world through painters. world. This is fully reflected in German new expressionist painting. The full expression of intuition in the process of painting is the ultimate expression of German new expressionism on the pursuit of subjective world. The direct expression of intuition can reduce the objective impact of objective subjective in the process of creative, which is similar to the tradition of Chinese painting "the light of the gods and lightness".
For German artists who were at the end of World War II at the time, the subjective pursuit of subjective pursuit caused the form of the artist's pen to be more distorted and unrealistic, as if the figuration did not exist. The picture only needs to convey the inner discomfort of the artist. In Professor Wu's ink and ink paintings, many paintings can be found in the grassland as the background to show their deep attachment and praise to the grassland.
This is a special creative background brought by its growth environment. The painter's inner emotions are the most fundamental sources of work perceptual. leading. The texture is expressed through painting materials and the painter's strokes. It is the product of the artist's spiritual guidance.
The lines and strokes are the most basic composition of the texture. The texture is not a simple form of artistic expression, but another manifestation of the inner world. The pride of the grassland is deeply reflected in the rough strokes when painting.
In conclusion
The center of art lies in expression, and art works reflect the artist's heart. For those who live in the prairie and love the grassland, the vastness of the grassland has laid its rough painting style. In addition, the long -term design and landscape design adds more rational colors to his paintings. Wu Xingkuan's painting works can not only bring unique visual enjoyment, but also allow people to be inspired by everything. The perfect combination of rationality and sensibility is the return of painting. The most direct way.
References:
[1]. Xu Xiaogeng, Chen Jing. The rich painting style of the pen and ink is concise -the aesthetic characteristics of Wu Xing Kuan modern ink painting. Art observation, 2003.6
[2]. Seeking a new change at the edge -the artistic characteristics of Mr. Wu Xingkuan, a Mongolian ink painter. Literary and artistic contention, 2010.9
[3]. Julumin. 2011.4
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