OuBen Work 68cm x 68cm

Squirrel Painting Review:

The "Squirrel Picture" created by Teacher Qu is square in shape, with a round paper border. As soon as the paper was first displayed, a clear and refreshing aura rushed towards me. The painter takes the form of a "jade circle" to create a smooth and harmonious image, embodying the ancient meaning of "round sky and square earth", while also reflecting the endless warmth between parents and children. The craftsmanship is evident in every hand.

Composition and Layout

The ancient pine tree at the right end enters horizontally, with its old scales like iron. Its branches bend in an "L" shape to the left, taking on a dangerous and stable position, dividing heaven and earth while forming a natural encirclement. Pine needles do not paint, but only use withered cracks to write bones, showing more vitality; An old squirrel hangs upside down, its limbs tightly clasped, its spine arched like a full moon, its tail broom hanging lightly, and its fur written in long stripes of ochre, blue, and white, colorful and elegant, with the charm of folk brocade weaving. His head and neck were vigorously lowered, his eyes condensed into "nails", locked in the slender branch extending from the bottom left - there, the young squirrel crouched down, its tail casually arranged in an "S" shape, holding pine cones with its two claws, delicately nibbling on them, with a calm expression. The fur of the little squirrel is also striped in three colors, with alternating shades of stone yellow, moon white, and indigo, echoing and slightly changing with the elderly, both unified and differentiated into young and old. One up, one down, one crouch, diagonal composition makes the picture full of tension; And with each eye paying attention, an invisible "emotional axis" firmly ties the entire frame, making the viewer's gaze loop back and forth and unable to move away.

Brush, Ink, and Color

Mr. Qu writes on pine trees, using a dry brush to reverse the edge. The scales are layered like seal script, with charred ink and moss between them, exuding vitality in the midst of old age; Write about squirrel fur with a long brush, alternating between straight and reverse strokes, using a combination of color lines to blend the fluffy texture of animal fur with the decorative tricolor stripes. From a distance, it is colorful and eye-catching, while up close, the fine velvet can be appreciated. The background is left blank, without borrowing any ink, which not only shows the elegance of the paper, but also makes the two squirrels jump out of the empty space, like hearing the sound of gnawing echoes. In terms of color, the main tone of ochre blue and white is steady, with embellishments of stone yellow and indigo, breathing in with the ancient pine and ink blue. The overall atmosphere is warm, with the cold moon shining on the pine frost and the warm sun reflecting the fluff. It can be said that color does not hinder ink, and ink does not hinder color.

Artistic conception and emotion

The beauty of this work lies not in depicting the shape of a squirrel, but in portraying the taste of 'care'. The old squirrel's whole body is down, with its tail, spine, neck, and eyes forming a bundle of "caring arrows"; The little squirrel is completely relaxed, the pine cone is in its claws, and the world is full. Those who bend down are "giving", those who squat and enjoy are "receiving". Between giving and receiving, the love of father, mother, and even intergenerational relatives are all tolerated. At the age of 82, Qu Lao must have poured his compassion for his younger generation and warmth towards life into this hanging posture as he continues to wield his pen. So, the small strategy is like a "family chart" - with ancient pine trees as evidence and time as a mirror, the fragrance of pine cones is the quietest affection in the world.

Innovation and Inheritance

Traditional painting of squirrels requires a combination of craftsmanship and writing, with a focus on beautiful shapes. Mr. Qu boldly reconstructed animal fur with three colored long stripes, introducing the decorative interest of folk embroidery and painted pottery into the freehand brushwork system, transforming "sketching" into "coloring", and coloring without losing vitality. This is a breakthrough in form. And the ancient pine leaves are removed while leaving its bones, which is also a way of "writing about winter but not spring". It chooses vitality over prosperity, forming multiple contrasts with colorful squirrels in terms of simplicity and beauty, age and youth, stillness and movement. Traditional brushwork and modernity quietly shake hands, demonstrating the courage of an old artist's "aging reform". The reputation of "pine obsession" has been well-known in the Tibetan world as early as ten years ago. Looking at this work today, it is known that the infatuated do not only love the pine trees, but also love the warmth of the sky and earth between them.

Conclusion

Although the scale of 'Squirrel Picture' is small, it has a great concern for 'pitching the heavens and the earth': bending down is responsibility, squatting and enjoying is trust; Old trees are time, new colors are hope. At the age of eight, Teacher Qu still meticulously cultivates every inch, painting warmth and turning an ordinary "feeding" in the forest into eternal human love. When the viewer faces this picture, they can hear the rustling of pine trees, feel the warmth of fluff, and the softest part of their heart is gently tapped - it turns out that all we need in our lives is someone to bend down and protect us, and to enjoy peace of mind. The merit of this painting lies in the subtle 'one tap'.