In the concept of traditional Chinese flower and bird painting, flowers and birds are two kinds of images. Artists use dynamic birds or beasts, or grass insects, to figure out the ecological environment of human beings with flowers or trees, and construct an ideal scene of human life or spiritual freedom, and the world is harmonious. This is probably the concept of aesthetic category of Chinese flower and bird painting. Bo Kui's flower and bird painting gradually came to this stage under the guidance of this traditional concept.
His artistic style is really built on the aesthetic spirit of Chinese traditional flower and bird painting. He does not inherit one part of the traditional flower and bird painting style. He completely puts his own art in a holographic angle, painstakingly continues the traditional Chinese traditional flower and bird painting, and advances to the new art.
Bo Kui | the light of flower and bird language | 2009
When he was in college, Wang Bokui had formed his basic understanding of Chinese flower and bird painting. At that time, he was very hard on his sketches. In his understanding of life, he constantly looked for the way of expression between the natural and artistic images. He observes tradition and explores and practices traditional flower and bird paintings, such as twisted branch flower and bird, boneless flower and bird, rich and wild styles.
He did not ask himself to have any innovation in the art practice of flower and bird painting, but stubbornly adhere to the worship of the spirit of traditional flower and bird painting. In this way, he went forward in the worship of flowers and birds. In the early years of the twentieth Century, there was a new period of impetuosity and exuberance in the new year of the domestic painting world, and clouds and fumes rose in all directions. There were flags of "innovation", "new tide", "fusion", "breaking" and so on, but no one has reviewed itself in the face of tradition. Ten years ago, when the lively painting world gradually cooled down, Wang Yinggang came out, and his paintings took a fresh breath of life and the brilliance of traditional flower and bird painting into people's vision, when he was just thirty years old.
Understanding and steadfast practice of art has achieved his future career. He did not search for "refinement" in a single leaf, nor did he spend much effort to "remove big stones". In the design concept of flower and bird, he took the way of work tape writing, which came from his solid sketching efforts, his bird's unity of form and spirit, and with the structure clear, and the absence of the one. He ingeniously displayed the painter's emotion in a bird, and had a feeling of "reacting to the soul". His birds are happy, melancholy, frightened, comfortable, arrogant, cowardly, and so on.
Like the human group, they experience the joy and sorrow of the world. For generations, flower and bird painters painfully pursue "seeking truth and expressing aspiration", "glances and emotions", "everything has Buddha nature" and so on. This is a kind of "wise root" outside of diligence.
Bo Kui | The bird doubting the gold bomb doesn’t dare to peck | freehand brushwork bird and flower painting | 2014
His inheritance of Chinese traditional flower and bird painting began from the spiritual level. We should start with his calligraphy. His calligraphy is based on "two Wang". After a long period of copying and feeling, he gradually formed a basic style of being broad and elegant, elegant and unique. On this basis, we can enter his world of flower and bird painting. His exploration of painting after 1980s is obviously inclined to literati painting. His flower and bird painting has been wandering in the circle of literati's interest. Painting style also presents a hazy exploration consciousness.
His works often sing in the small mood of the literati. However, from his stage of painting, we can also clearly see his hardships and struggles. Each of his works tries to accomplish it with different ways of expression, looking for his own painting language in the collision of various means of expression. As to the inheritance of Chinese flower and bird painting, he does not inherit the inherent form, but seeks the art spirit of Chinese flower and bird painting in pain through his own artistic exploration. He pays great attention to the intensity of ink and brush, and his calligraphy concept has been fully reflected in his paintings.
Bo Kui | Painting autumn | freehand brushwork bird and flower painting | 2005
In his later works, he properly adjusted the understanding of traditional Chinese painting, and further realized that the tradition has the tradition of each era. For a painter, his artistic style is different at every stage. The traditional concept of succession gradually evolved into his inheritance of artistic style. For any painter in any period, artistic style is an eternal criterion.
If a time or a painter does not have its own artistic style, it is certainly not a tradition. The traditional connotation is the classic of art. His "songbird in brilliant autumn” (368cm*145cm), "secluded stream” (368cm*145cm), "lotus pond moonlight" (368cm*145cm), and a series of works are carrying his worship and compliance with the art of calligraphy, so his flower and bird painting came along a traditional spiritual road. What is the orthodox spirit of tradition? That is, painting is the spiritual activity of human beings, the factor of this activity is the expressive power and penetration of ink and wash.
Bo Kui | secluded valley | freehand brushwork bird and flower painting | 2010
He was able to get out of a style in a few years, on the one hand, in his understanding of Chinese painting, on the other hand, he was a living painter. The themes of his paintings are extensive and typical, which not only have the significance of the times, but also have the aesthetic needs of contemporary art. His painting first broke the limitations and singleness of the painting of the folded flowers and birds since the Song and Yuan Dynasty. The change of this concept is to some extent the progress of the aesthetic thought of painting. He restored the art of flower and bird painting to the scene of the life of the literati's art of playing or clearing tribute, giving a vivid sense of life and vigor and vitality in painting.
If he realizes such an artistic ideal, he will inject his passion and wisdom into his paintings. His love for life freed him from the narrow sense of literati painting and went into the realm of life and spirit to find his own spirit. The choice of the subject of painting has brought about the innovation of the expressive techniques. In the use of color, his color is bold, intense, turbulent, and the vertical smear shows a kind of passion. His brush was calm, well disciplined, and varied in style, which brought enjoyment to painting. The richness of the pen has brought many conveniences to the creation of the artistic conception of painting, and it seems that he has easily entered the spirit of painting.
Bo Kui | midsummer is quiet | 136x68cm | 2016
He is a artist of willing and able to put down, his demands for artistic style are varied. In his paintings, we can not see procedural things. Each of his works is a baptism of his soul. I understand his pain and patience. He tested his mental capacity and inner creative desire through the form of painting. He experienced the suffering in the purgatory of art. Therefore, we see his paintings are quiet, sophisticated, simple and pure. On the way of art, he cherishes his experience very much. Because of his experience, he has had precipitation and sublimation. He didn't play games with his own talent. He cherished his artistic experience very much. He kept accumulating in this process. The exploration process of art is painful. He purports to step closer to his artistic ideals step by step in the purgatory of art.
Therefore, we do not see impetuous, hypocritical, slippery things from his paintings, calm, sophisticated, simple, and gradually formed his artistic style. "no title" (68cm*68cm), "sigh flower”(68cm*68cm) and "fishing and interesting” (97cm*89cm) are the three boutique in "selected works", and his paintings are all produced in the painting ideas embodied in the three paintings. First of all, in plastic art, he transcends the traditional idea of painting the traditional painting with the shape of God. He puts the image in a specific state of mind, which is based on the background, conveys the leap of emotion, and the mood creates the atmosphere.
The artistic conception of painting is extended in this atmosphere. His modeling language is simple and pure, so his artistic image is vivid. In addition to the modeling language, the form language of painting can be touched by the novelty of beauty. For flower and bird painting, its schema is the most representative form. His painting schema is not a constructive form, but a rendering style. What kind of schema is adopted? He established it in the personality analysis of the main body. The two cats in his picture had different thoughts because of their different thoughts. How to fully render the cat's personality and improve the aesthetic value of the image, so he adopted such a schema, horizontal or vertical. Fundamentally speaking, he deals with the form as a connotations. This kind of ingenuity of artistic treatment is harmonious and smooth in the picture, calm and has a natural interest.
Bo Kui | A bottle of flowers for the right flower person | doufang | 2008
The mysterious and unpredictable cat became simple and Zen in his paintings. In “fishing and interesting”(97cm*89cm), he depicts a lively scene. The lively lotus pond and the chased fishes formed the tension of the picture. He laid the image on the two diagonal, creating a rich spatial fluctuation to the picture, reaching an empty visual sense. His paintings are new and unusual, arrogant but not crazy. They are not only arrogant, but also easy to capture, it embodies the spirit charm of eastern painting art harmony and golden mean. The conception of whole story is written with a brush, and writing is done.