Mo Xiaosong, flowers and birds, Yuan Mo chasing the Song gods, the form is true and the painting is

Mondo Entertainment Updated on 2024-01-31

Mo Xiaosong is an outstanding painter in the Chinese contemporary art circle, whose works often win awards in important exhibitions in the art world, such as the work "Spring to the Red Wall" won the gold medal of the Chinese Contemporary Flower and Bird Painting Art Exhibition, and the works "Stone Idiot Mi Fu", "Lotus Pond" and "Dark Fragrance" were selected for the 7th, 8th and 9th National Art Exhibitions respectively, and the work "Lotus Pond Fun" participated in the Centennial Chinese Traditional Painting Exhibition, and the work "Qing Lotus" participated in the first Chinese Traditional Painting Appreciation Exhibition.

Jinghua Spring Mood" 200cm 750cm 2019.

In a series of early Gongbi paintings, Mo Xiaosong left a deep impression on everyone with the strong colors of large areas of paving, and although the expression style of some works is similar to the traditional Jinbi flower and bird paintings, the visual experience in the picture is also different from that of ancient paintings. To be precise, Mo Xiaosong's flower and bird paintings are actually based on the subjective concept of color in traditional Chinese painting, absorbing the color language of Yu Feiyan and Yu Zhizhen in the modern "Beijing-Tianjin School".

Nowadays, Mo Xiaosong's path of flower and bird painting is already very broad, although he started with gongbi painting in his creation, but in his later works, he combined gongbi and white drawing, forming a painting style similar to that of Cui Bai in the Northern Song Dynasty and Wang Yuan in the Yuan Dynasty, highlighting the affinity of ink art in the form of diluting colors. Wang Hui, a landscape painter in the Qing Dynasty, once said: "With the pen and ink of the Yuan people, the hills and ravines of the Song Dynasty people, and Ze with the charm of the Tang people, it is a great achievement." In Mo Xiaosong's paintings, he uses the brush and ink of the Yuan people to trace the form and spirit in the flower and bird paintings of the Song Dynasty, especially in works such as ink and white drawing, although he follows the technique system of "three alum and nine dyeing" in traditional gongbi painting, but the final determination of his characteristic style is still pure ink language.

Bamboo Crane Autumn Rhyme Picture, 96cm, 180cm, 2009.

As we all know, contemporary painters depict natural objects in a different way than the ancients, especially the understanding and grasp of modeling is obviously more profound. Mo Xiaosong was influenced by the concept of realistic modeling in the Academy of Fine Arts, and the modeling of flowers, plants, birds and beasts in his pen strives to be accurate. In addition, the freshness, vitality and liveliness of Mo Xiaosong's flower and bird paintings originate from the level of life, which is also stronger than that of ancient paintings. Therefore, the uniqueness of Mo Xiaosong's ink painting comes not only from his research and continuation of traditional painting of the Song and Yuan dynasties, but also from his experience and perception in real life. We often say that the structure of objects in real life can only fit the aesthetic realm of culture and art after it is transformed into the language of brush and ink, which is also the key point that contemporary painters are often tied to life when expressing and refining life. However, when Mo Xiaosong pursues and emphasizes the traditional artistic conception, he is able to transform the first feeling given by the objective image and life level into the realm of brush and ink, so that the flowers and plants he depicts reveal a fresh atmosphere of fireworks and intimacy. At the same time, because of the transformation of brush and ink language, a certain sense of distance has been formed between it and real life, and this aesthetic realm is the distinctive feature of Mo Xiaosong's flower and bird paintings.

On the whole, Mo Xiaosong's recent paintings of flowers and birds not only trace the style of the Song and Yuan dynasties, but also incorporate contemporary painters' reflections on formal composition. In fact, the technical appropriation of formal composition can even be traced back to his earlier works, such as the large red color he often used in his early award-winning works, which is not actually too directly related to the natural structure of the image itself, so the participation of these formal factors is entirely out of the scheduling and need of the sense of form in the picture. His ink paintings of flowers and birds, often using splashing, accumulation of ink and abstract ink rendering as the background color, first spread out and generate a dense ink atmosphere, and then embellished with the help of figurative flower and bird shapes, so as to introduce the audience to the scene of the real world, this combination not only reflects Mo Xiaosong's creation and reinforcement of modern forms and visual tension, but also shows his perfect transformation of life and personalized language processing. Therefore, when we appreciate Mo Xiaosong's works of flowers and birds, we can often feel an aesthetic realm of "true meaning and far-reaching", which not only emphasizes the authenticity of the dynamic shape of objects, but also creates a kind of stillness and ethereal spirit formed by "long-distance".

Lotus Flower" From the perspective of the current situation of contemporary flower and bird painting, Mo Xiaosong's paintings undoubtedly give us a "model" type of reference, he has effectively achieved the emphasis on realistic modeling and the style of the artistic conception of the world docking, the work not only pursues the artistic conception and taste of Song and Yuan Dynasty flower and bird paintings, but also combines the modern visual experience and aesthetic trends, and finally constructs its own language style. His exploration not only confirms the importance of "reaching out to tradition with one hand and art reaching out to life", but also highlights the pursuit of modern art that integrates tradition and life, which is the essence and quality that we should draw from Mo Xiaosong's flower and bird paintings.

(Wen Wangping, a well-known critic and deputy secretary-general of the China Artists Association).

Appreciation of works

Magnolia Qingbo 91cm 220cm

Xiaqi pale reddish, 64cm, 64cm, 2008

Pond Ripples, 64cm, 64m, 2007

Hibiscus Falls to the Sky and Culvert Water" 45cm 55cm 2008

Rui Bird Yazhu 2022.

Lotus, 2012.

Autumn Rhyme of Lotus Pond 64cm 64cm 2014

Prosperous Lotus Rhyme" 2022.

Chunyong Picture (Jinghua Spring Rhyme)" 96cm 200cm was displayed in the conference room of ** state organs, 2009.

Lotus Pond Crane, 2009.

New Thunder 2022.

Obtained from the Elephant Outside" 2022.

Freehand Album Series, 47cm, 58cm, 2022.

*: Chinese Talents).

Artist Profile

Mo Xiaosong,Originally from Longxi, Gansu Province, he graduated from the Fine Arts Department of Northwest Normal University in 1986 and is now the vice president of the Beijing Fine Art Academy, the deputy director of the Art Committee, and the director of the Education Committee. National first-class artist. He is a director of the China Artists Association, a vice president of the China Gongbi Painting Society, a director of the Chinese Painting Society, a director of the Beijing Artists Association, an executive director of the Tropical Rainforest Art Research Institute, a director of the Beijing Association of Non-Party Senior Intellectuals, and a member of the Beijing Senior Title Review Committee. His Chinese painting works have participated in the 7th, 8th, 9th, and 10th National Art Exhibitions, the Centennial Chinese Painting Exhibition, and won the gold medal of the National Contemporary Chinese Flower and Bird Painting Art Exhibition.

In September 2022, "Tracing the Traces of Thought: Mo Xiaosong's Ink Painting Exhibition" will be held at the Beijing Digital Channel Art Museum

In May 2023, the National Art Museum of China Academic Invitational Series Exhibition "Brilliant Charm - Mo Xiaosong's Works Exhibition".

Since 2005, he has created huge works of flowers and birds for the Great Hall of the People, the Military Commission, the National Committee of the Chinese People's Political Consultative Conference, the Ministry, the National Centre for the Performing Arts, the Beijing Municipal Party Committee, and the Party History Museum. He has held solo or group exhibitions at UNESCO Headquarters, the Louvre Museum in France, the Macao Museum, the Malaysian Museum, the National Museum of China, the Art Museum of Beijing Fine Art Academy, and the Guan Shanyue Art Museum. He has published a variety of albums such as "Tracing the Muse: Mo Xiaosong's Ink and Wash Collection", "Spring Flowers and Autumn Grass: Mo Jiancheng, Mo Xiaosong's Collection", "Qing and My Heart: Mo Xiaosong's Gongbi Flower and Bird Collection".

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