Any Artist's work results from an individual's aesthetic orientation to the object, self-integration, and self-unification under a particular environment. The direction placed in front of the flower-and-bird painter is how to absorb nourishment from tradition and create good works that conform to contemporary aesthetics. Dayou's works have inherited and made breakthroughs based on traditional culture, forming distinctive individual artistic symbols.
Dayou is good at flower-and-bird painting. His works are not limited to old methods and are full of new ideas. Pursue a simple, natural, elegant, and elegant artistic style. The works give people a sense of freshness and liveliness, full of aura and poetic mood. Intensified the pursuit of "environment," formed his own elegant, open, and lively artistic characteristics, giving people a fresh and hearty atmosphere. His flower-and-bird paintings take sketching as their source and appreciate the abundance of the vast world in sketching. His artwork is not only faithful to the reality of the image but also faithful to the reality of art. He tightly grasps the essence of the flower and bird painting, the desire to write, so that the painting environment is always filled with the rhythm of life and vitality, and he can enjoy the gully in his chest with the wisdom of pen and ink.
In Dayou's drawing, the various forms of creatures are highly refined. His image of flowers and birds draws on the strengths of many families. The normal development of artwork starts from the painting is loyal to reality, to the painting with the artist's interpretation. In this process, the spiritual world of the subject of the painting has reached absolute freedom, and the subject of the painting has become integrated with the object, entering the highest realm of "the heaven and the earth coexist with me, and all things are one with me." The modeling strives to continually transcend the fetters of objective objects and pursue the artistic reality of "likeness and dislikeness." In the intuitive observation, as the Tang Dynasty Sikongtu's "Poetry and Vigorousness" put it: "Being beyond the image, getting in the loop." The process of creating flower-and-bird painting is also the gradual boundary between "heart" and "thin." The artist enters into the independent state of forgetting things and myself, enters the infinite world in a limited space, and finally obtains spiritual freedom and liberation from the real side of life to the other side of emotional reality. It was Dayou's pilgrimage to the palace of art with painstaking efforts.
Dayou's flower-and-bird works focus on the observation of natural things, discovering the hidden aesthetic interest and spiritual belonging within the image, and the paintings are "passionate" and appealing. They are taking sketching as the foundation, pursuing the mutual infiltration and integration of form, spirit, and mind, expressing his mind directly, and conveying a strong sense of humanism. Coincidentally, all the flowers and birds in the past dynasties have created new art language on the basis of inheriting the classics, and this fresh, vivid, and highly individualized art expression must be refined and summarized on the basis of long-term observation of life. The freehand spirit of traditional Chinese painting is deeply rooted in the Buddhist culture of Buddhism, Taoism, and Buddhism, which has a long history in China, and is attached to the Zen of Chinese national culture. The philosophical thought of "Let it be" has made it, after continuous development and evolution for thousands of years, still inseparable from its ancestry, and always revolves around and strengthens this freehand spirit. No matter how many dynasties change or the multiple impacts of foreign cultures, traditional Chinese paintings have consistently maintained the form of expression between likeness and dislikeness. It never regards the description of the superficial reality as the skill. Chinese painting advocating elegance, and advocating the appreciation of elegance and common sense, requires artists to focus on their creative passion, true and sincere, and affection in their hearts, like rivers pouring down, and affection at the tip of the brush. Affect Not only the author, but also affect the recipient. This is the freehand spirit of traditional Chinese painting that integrates content and form. It is also the freehand spirit of Chinese painting that we require forever to obey and continue to enrich and innovate.
In this era of universal diversification and differentiation of value demands, any form of artistic innovation cannot be divorced from the pursuit of cultural and spiritual heights, and cannot deviate from the climb to the peak of civilization. When we look back at Dayou's works and his career as an artist, we will find that he has not deliberately set new standards for grandstanding like many artists who are eager for quick success. Undoubtedly, the breakthrough he made during this period is inseparable from his decades of artistic creation experience and profound cultural precipitation. It is the natural burst of internal artistic life energy accumulation to a certain extent!
Dayou's works inherited and made breakthroughs on the basis of traditional culture. At the same time, after holding several solo exhibitions in Europe, his Chinese painting works have gradually changed from combining Chinese and Western art elements. Dayou's works have been highly praised by the many art circles in Europe. In these years of painting exhibitions, Dayou is not only exporting the influence of Chinese culture but also constantly learning and absorbing the energy of European art and culture, making his works more tense and appealing. Especially in recent years, the newly created series of heavy-color lotus works have become more symbolic and recognizable, and their unique styles are impressive. Dayou's artworks have continued to be sought after by the world art circle. He artwork is integrating the outside objective observations and inside subjective feelings. The beauty of his artwork lies between the similar and different. He insisted on the most basic form of expression of Chinese painting, and at the same time added the display of personality, breakthroughs and innovations, reflecting the true art of natural society and the beauty of life, and giving people a beautiful enjoyment. Such paintings and calligraphy works are both skillful, individual and more innovative. The artistic value of Dayou's calligraphy and painting lies in its influence on society and the development of calligraphy and painting art. It opened a new era of flower and bird painting, especially heavy-color ink and wash flower-and-bird painting, and enriched techniques and skills. Developed the subject matter and created a new genre of calligraphy and painting. There is no doubt that such works are extremely rare in China and the artistic value is inestimable.
-Yihuang, Art Critic
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