温敬蓉Wen Jingrong

Wen Jingrong was born in March 1946 People from Hangzhou. Graduated from the Department of Chemical Engineering at Zhejiang University and taught at Fuyang Middle School in Zhejiang Province for 38 years as a senior teacher. I have participated in the Hangzhou Artists Association, Fuyang District Artists Association, Hangzhou Elderly Calligraphers and Painters Association, and the Zhejiang Elderly Calligraphers and Painters Research Association. Participated in the Fuyang District Elderly Cadre Calligraphy and Painting Association, and his works have been selected, exhibited, and awarded multiple times nationwide, in Zhejiang Province, Hangzhou City, and Fuyang District.

 

Take the truth from the image of the object

——A Glimpse into Wen Jingrong's Landscape Painting Art

 

Huang Jinliang (Editor in Chief of Chinese Painting and Calligraphy Guide)

 

Guo Xi's "Lin Quan Gao Zhi" once said, "It is feasible and desirable, and it can be visited and lived in." The landscape depicted by painter Wen Jingrong weaves a spiritual realm of "emotions overflowing in the mountains and emotions overflowing in the water" between traditional brushwork and the interests of the times. Her works do not take inspiration from the grandeur of the Northern School landscape, but instead focus on the elegance of the Jiangnan cultural context. For example, in "Spring River Water Rhyme," the shallow red strokes on the peaks, the village houses, stone bridges, and red flags complement each other. She adheres to the ancient motto of "capturing the true essence of objects through observation," while also breaking through the details of contemporary life, making Shi Tao's words of "brush and ink should follow the times. The "24 Solar Terms Chart" breaks down seasonal scenery into poetic fragments. In the imagery of plum blossoms, willows, lotus flowers, and chrysanthemums, there is not only the four time grid of "autumn hair and winter bones", but also the ethereal atmosphere of "external images" blended with light colors, creating a grand "external scenery".

 

As a female painter, her brushwork lacks the vigorous axe chiseling and adds the warmth of "pleasing the way with form": modern buildings and ancient bridges blend together in ink painting, with lines like willow threads gently brushing and ink colors like morning mist, which is precisely the contemporary translation of Zong Bing's "smooth and divine" realm. This writing style of "creating scenery with emotions" allows her works to not only retain the "elegance" of traditional landscape painting, but also dissolve the alienation of ancient meaning with the temperature of life - just as she injects the perspective of overseas Chinese into her creation, making landscape not only a symbol of Lin Quan's aspirations, but also a gentle footnote to the changes of the times.

 

In her paintings, we see not only ink and brush, but also a contemporary echo of the concept of "harmony between heaven and man": mountains are a habitable homeland, water is a life that can be crossed, and those lively details are the vivid expression of traditional aesthetics in the present.