The lotus pond color in Qu Ben's works

Passersby's chest is filled with floral fragrance

——Hu Jinquan, consultant, gave a brief review of the director's "Lotus Pond Emerald Bird Dragonfly Dance"

Mr. Qu is 80 years old, and the last time I visited him was in August this year. I was invited to attend the opening ceremony of his new building. During the days when the new building opened, he was very busy receiving guests, giving speeches, attending pen meetings, and exchanging ideas. However, when we went to the local art museum, we were surprised to find that even though it was so hard, he was still busy taking time to draw.

Why is his calligraphy and painting production so large? Why is his artistic accomplishment in calligraphy and painting so high? I seem to have found the answer. Isn't he tired? "I was puzzled and asked the district dean curiously," Isn't your cervical spine and shoulder area uncomfortable? My cervical spondylosis and frozen shoulder make it really difficult for me to persist in being so diligent! "" Look! Why do I hang rice paper on the wall to create? Why do I hang the TV machine so high?... All of this is for adjustment and prevention.

As a mature artist, every action in both artistic life and life art is an experience, and every form is not a mere formality. As for his new work "Lotus Pond Emerald Bird Dragonfly Dance" (hereinafter referred to as "Lotus Pond Picture"): Why does its color give people a different feeling? Why is its composition like this? Why is the writing style unique? Why are the kingfisher chirping? Why do dragonflies indulge in the scent of lotus flowers? Why?

Human experience is infused with colors, shaping our interpretation of matter (particles and fields). Mr. Qu's lotus pond painting left the deepest impression on me with its unique and charming colors that are worth pondering. Without any sharp aura, I feel approachable and approachable; There is no frivolity, only stability. Not so youthful, but so energetic; Not so glamorous, but so elegant and clean; Not so charming, but so graceful; Not so lush, but so green; It's not as beautiful as the blooming stars, yet you can feel the fragrance of flowers overflowing. The colors of the lotus pond constantly stimulate us and mediate our perception of the picture, naturally forming a continuous explanatory "event": the dean of the district has just entered the year of the imperial examination, and he has experienced the ups and downs of life, accumulated rich experience, and enjoyed the tranquility of his later years. In the context of this artistic creation, from a more reflective and meta logical perspective, it is evident that the use of colors in the lotus pond diagram is related to the emotions of its specific stages. He used colors that reflect these psychological emotional states and used colors as emotional symbols to transform his internal experiences into an external color map.

Lines are "bones" and colors are "flesh". The combination of "bones" and "flesh" forms the living organism, and the combination of lines and colors reflects the vitality of the picture. Zhao Mengfu of the Yuan Dynasty was one of the giants in the fields of calligraphy and painting. He advocated that calligraphy and painting are "homologous" because they both require the use of brush and ink and lines to express art. He emphasized the use of calligraphy in painting, integrating the beauty and smoothness of calligraphy into his works, thereby enriching the connotation and artistic conception of his works. Zhao Mengfu believed that painting fully integrated the brushwork of calligraphy, meaning that if calligraphy is good, painting should not be bad. Through the deep color scheme of the lotus pond painting, we can vaguely see Mr. Ou's white lines, some with solid strokes and solid strokes, some with solid strokes and virtual strokes, some with virtual strokes and solid strokes, and some with virtual strokes and virtual strokes. The changes in line types are alternately used in white lines according to the structural changes of different objects in the lotus pond. Due to different objects of expression, the brushstrokes used are also different. In the works, there are thickness, rigidity and softness, squareness and roundness, curvature and straightness, pause and jerk, lightness and heaviness, dryness and wetness, richness and lightness, smoothness and astringency, brightness and smoothness, etc. If it weren't for Mr. Qu's solid calligraphy skills, how could there be such exquisite, vivid, and expressive painting styles?

A highly expressive image cannot be separated from a carefully designed composition. In Song Su Shi's "Wen and Ke Hua Tu Gu Yan Zhu Ji", it is said: "Therefore, when painting bamboo, one must first form the bamboo in the chest." "Form the bamboo in the chest" means that having a composition in advance in the mind is one of the most important things before painting. This step is responsible for thinking about how to highlight the subject, attract attention, simplify clutter, and make the picture balanced and harmonious. A good composition will highlight the center of the picture, making it more narrative and reflecting the author's understanding and emotions towards something. The main body of the lotus pond diagram is arranged along the diagonal direction of the picture, showing the dynamic of "dance" and the vitality of the lotus pond. The dean of the district used diagonal composition, which is different from the conventional horizontal and vertical composition. This composition makes the picture more stretched and full, and the visual experience more intense.

The lotus pond map has a clear theme and distinct hierarchy. The lotus in the picture is often used in Chinese culture as a symbol of purity, nobility, and elegance. The scene of lotus flowers in bud, beginning to bloom, and in full bloom expresses the beauty and nobility of life, symbolizing prosperity and unity; Lianpeng is the lotus house of lotus flowers. When the lotus flowers are in full bloom, Lianpeng is just the heart of the lotus flowers, small and tender yellow, hidden in the petals. After the summer, the petals gradually fall off, and it will become a emerald green Lianpeng. Lotus seeds are often found in lotus pods, which in ancient times symbolized as "having many children and grandchildren, and a hall full of descendants"; The dragonfly in the picture is a beautiful flying insect, regarded as a symbol of good fortune. The scene of dragonflies dancing represents the beauty of nature and the vitality of life, and signifies a bountiful harvest and good luck; The kingfisher is a beautiful bird that is often seen as a symbol of good life and happiness. The scene of the kingfisher opening its mouth to hunt once again emphasizes the vitality of life and the beauty of nature.

The lotus pond painting is unique and distinctive in terms of color, brushwork, and composition. In terms of details, lotus flowers come in various shapes. During different flowering periods, the lotus pods have swings in different postures, and the lotus leaves are vividly depicted in terms of their intensity, dryness, and wetness, as well as their opening and closing in both directions. Those few dewdrops are truly like "dew on the lotus, shining like pearls." The eternal theme of artistic creation is to praise nature, celebrate life, and express emotions. The recent work by the dean of the district, "The Dance of the Emerald Bird and Dragonfly in the Lotus Pond," is set against the backdrop of clear lotus pond water and blank space, using poetic imagery and various techniques to achieve the timeliness of his work. Clear and profound meanings such as dancing with the lotus, never forgetting the lotus core, and passing on the torch deeply express the theme, which is thought-provoking and resonant.

Introduction to literary critic Hu Jinquan: Vice President of the International Association of Old Writers, member of the Chinese Couplets Society, member of the Chinese Poetry Research Association, member of the Chinese Poetry Society, member of the Chinese Playwrights Association, member of the Gansu Writers Association, and executive director of the Hong Kong Book Critics Association.