吴败

吴败美术作品

吴败，字国旗，号画狂，画魔，悲尘。《1971——》云南江川人，滇南画派创始人。4岁跟随潘天寿学生、吴冠中同学普文治先生学习书画。20岁前，学习传统和西方的技法。25岁前，喜四王，后明清初四王画山不敢用墨重色，所作山峦几乎全白，无真山之感而弃之。后又学石涛先生，明其笔与墨会，是为氤氲，氤氲不分，是为混沌。辟湿沌者，舍一画而谁耶？画山则灵之，画水则水动之，画林则生之，画人则逸之。得笔墨之会，解氤氲之分，作辟混沌手，传诸古今，自成一家，是指智得。三十岁前学黄秋园、石壶、黄宾虹等诸家，认同宾虹大师五笔七墨之说。2000年父故，画风大变，他把中国的山水、花鸟和云南自己的神秘溶入其画，形成独特的笔墨语言。用太极入画，用新的笔墨语言表现生活的哀伤。2005年，又把太极和周易和宇宙的变化融入其画，形成新的书画流派——滇南画派。吴败先生的作品既走进中国文化传统，又走出了中国文化传统的影响。造型好者，画匠。笔墨润者画家，笔墨有韧性，名家。笔墨有韧性而又画出一个地区或者时代感觉者，大家。吴败先生的笔墨非常有韧性，他能把云南的传统文化和环境融和中国传统山水和花鸟，用太极入笔，谱写中国书画灵魂的哀歌。在吴败先生笔下，自然里的东西都可以成画。在先生的笔下。已经没有自然和宇宙的区别，我们很难想象，18年的孤独。让先生的作品已经超出常人的想象，我们在先生的作品里。感受到生命的悲凉，在先生笔下，生命是这样的渺小和可贵。
满，密，繁，浓，厚，重，艳，野是吴败作品的一大特征，我们看吴败先的作品，其实还满有文人之气，又有自然之气，先生非常注意用笔的润，韧和局部的变化。吴败先生太熟悉了中国书画的顺序和规律，作画时笔走龙蛇，下笔如扫秋风，又能在其中求平和博大，可以说，先生吴败已经创造了一种新的中国书画风格，这种风格，是继承和发扬了中国书画的精髓而自成一家。
先生吴败的作品变化很多。从最初的传统作品。到现在的大道无形，我们已经很难用传统的眼光去欣赏他的作品了。在吴败先生的世界里，已经没有传统意义上的构图和中国传统文人的审美标准了。
在构图上，他用阴阳构成，互转为中国新的书画构图风格，他的作品里。透出生命的渴望和人间的冷漠，追求一种大爱无疆的文人之气。
他的作品观之，可以让人想到生命的结果是这样的悲凉。人生的辉煌和冷漠孤独。在吴败先生的作品里。是这样的恰倒好处的表现出来。他也是我国唯一把中国画颜料发挥到最好的画家。观吴败先生的作品，才发现生命没有承诺，就如同一个人想爱的时候却没有人思念一样，一切都是空白，感觉上苍老在瞬间而至，从发根到血液，一下子变得苍白和空洞，生命的意义在瞬间像酒精一样，挥发殆尽，让你感觉希望，原来是与绝望紧紧相连的。
其人半生坎坷孤独，18年不和任何人来往，终日读书画画，感悟宇宙，他是唯一能把山水和花鸟太极变化融和起来的鬼才画家，其用笔大象无形，大巧不工，重笔无峰，用传统的笔墨，把山水和花鸟太极融和，自然和宇宙融合。用云南植物和传统山水为主要画题，形成中国新的画派——滇南画派。其人不入任何美术家协会，不和糟蹋中国传统文化的人为伍，不参加任何社会活动，18年不出家门，孤芳自赏。其作品满，密，厚，艳，野，真。怪、杂、哀，既走入中国传统文人画，又走出了中国传统文人画的影响。其画如其人，2006年，断悟中国儒家传统文化，把中国传统书画和儒家文化，原始彩陶文化，山水和花鸟全部成功融和，用太极起笔，把生命的哀伤和宇宙的动感全部融和，完善了中国新的书画流派。
在吴败先生的艺术里，我们不会忽略他极深的中国画传统功力。这里有他作为一个鬼才画家的独特悟性，虽然未有名家师承，却能转益多师，在古人真迹中吸取，在真实自然中验证，使他终于得到传统绘画的种种精髓。他自创滇南画派，既亲近自然，又领悟自然，继承传统，又有所发扬并丰富绘画的语言风格。吴败先生的笔墨功力很厚，他处理大幅山川画面，笔法灵动多变，几乎不拘于某家门派，从而达到气至法备，法为我用的地步。他处理画面，布局严密，层次清晰，虚实相生，却又笔墨松活，不板不滞，干净利落，既不拖泥带水，而且皴染分明，绝无黄宾虹先生所指“兼皴带染”之病。他山水花鸟的融和．大气，自然，道家儒家的文化全部融和，他的作品，画的是自然，想的是宇宙．说的是一个生命的哀歌！！吴败先生的作品，已经不能纯粹的用笔墨老道来说明了，他的作品开创了２１世纪中国画新的篇章！我们可以相信．中国画因为在２１世纪．有了吴败作品的出现．他改变了中国画文人画柔弱的一面，让我们相信．中国文人画内心世界的光彩一味霸撼．
吴败先生，是中国唯一打破文人构图和写意的鬼才画家，我们相信。在不远的将来，先生吴败的作品将在这个世界，大放异彩。

吴败美术作品

Wu Pei, the character of national flag, the number of painting maniacs, painting demons, sad dust. 1971 --- born in Jiangchuan, Yunnan, founder of Southern Yunnan painting school. At the age of 4, he studied painting and calligraphy with Pan Tianshou and Wu Guanzhong. By the age of 20, learn traditional and Western techniques. Before the age of 25, I liked the four kings. At the beginning of the Ming and Qing Dynasties, the four kings did not dare to paint mountains with ink. The mountains they made were almost all white, and they were abandoned without feeling of real mountains. Later, I learned from Mr. Shi Tao that his pen and ink association were for the purpose of dense, dense and indistinguishable, chaos. Who is the one who gives up a picture? Painting mountains is spiritual, painting water is dynamic, painting forests is born, painting people is easy. It refers to wisdom to have the ability of writing and ink, to understand the division of dense and dense, to be the hand of fighting chaos, to pass it on from ancient times to modern times and to become a family of one's own. Thirty years ago, he studied Huang Qiuyuan, Shi Hu, Huang Binhong and other schools, and agreed with master Binhong's theory of five strokes and seven inks. In 2000, his father changed his painting style. He integrated Chinese landscapes, flowers and birds, and Yunnan's own mysteries into his paintings, forming a unique ink language. Use Taiji in painting and new ink language to express the sadness of life. In 2005, Taiji and the changes of Zhouyi and the universe were integrated into his paintings, forming a new school of painting and calligraphy, Diannan School of painting. Mr. Wu Bai's works not only entered the Chinese cultural tradition, but also walked out of the influence of the Chinese cultural tradition. A good sculptor is a painter. The painter who moistens his brush and ink has tenacity and is famous. People who are flexible and draw a region or a sense of the times. Mr. Wu Bai's brush and ink are very flexible. He can integrate the traditional culture and environment of Yunnan with the traditional Chinese landscape, flowers and birds, and write the lament of the soul of Chinese calligraphy and painting with Taiji. In Mr. Wu Bai's works, everything in nature can be painted. Under the pen of Mr. There is no difference between nature and the universe. It's hard to imagine 18 years of loneliness. Mr. Jean's works have gone beyond ordinary people's imagination. We are in Mr. Jean's works. Feel the sadness of life, in my writing, life is so small and valuable.

Full, dense, complex, thick, thick, heavy, gorgeous, wild is a major feature of Wu BAIXIAN's works. We can see that Wu BAIXIAN's works are full of the spirit of literati and nature. Mr. Wu pays great attention to the moistening, toughness and local changes of the pen. Mr. Wu Bai is too familiar with the order and law of Chinese painting and calligraphy. When he draws, he can write like sweeping the autumn wind and seek peace and broadness among them. It can be said that Mr. Wu Bai has created a new style of Chinese painting and calligraphy, which inherits and carries forward the essence of Chinese painting and calligraphy.

Mr. Wu's works have changed a lot. From the original traditional works. Until now, the road is invisible. It's hard for us to appreciate his works with traditional eyes. In Mr. Wu Bai's world, there is no traditional composition and aesthetic standard of Chinese traditional literati.

In composition, he used Yin and yang to form a new style of Chinese painting and calligraphy composition. It shows the desire of life and the indifference of human beings, and pursues a kind of great love and boundless spirit of literati.

In his works, we can think of the sad result of life. The brilliance and indifference of life. In Mr. Wu Bai's works. It's such a good performance. He is also the only painter in China who gives full play to Chinese painting pigments. It is just like a person who wants to love but no one misses. Everything is blank. It feels that old age comes in an instant. From the root of hair to the blood, it suddenly becomes pale and empty. The meaning of life evaporates like wine essence in an instant. It makes you feel that hope is closely connected with despair.

His life was rough and lonely. He spent 18 years without anyone to read and draw, and he felt the universe. He was the only one who could blend the landscape and flowers and birds with Taiji changes. He used his pen and elephant to be invisible, skillful and unskilled. He used pen and ink to blend the landscape with flowers and birds. With Yunnan plants and traditional landscapes as the main themes, a new Chinese painting school, Diannan painting school, was formed. He doesn't belong to any Artists Association, he doesn't belong to the people who spoil Chinese traditional culture, he doesn't participate in any social activities, he doesn't go out of his home for 18 years and enjoys himself. His works are full, dense, thick, gorgeous, wild and true. Strange, miscellaneous, sad, both into the traditional Chinese literati painting, but also out of the influence of traditional Chinese literati painting. In 2006, his paintings, such as human beings, realized the traditional Chinese Confucian culture, successfully integrated the traditional Chinese painting and calligraphy with the Confucian culture, the original painted pottery culture, landscape and flowers and birds, started with Taiji, integrated the sadness of life and the movement of the universe, and perfected the new school of Chinese painting and calligraphy.

In Mr. Wu's art, we will not neglect his profound traditional Chinese painting skills. Here is his unique savvy as a ghost painter. Although there is no famous master, he can learn from the ancients' authentic works, and verify in the real nature, so that he finally gets the essence of traditional painting. He created the southern Yunnan painting school, which is close to nature, understands nature, inherits tradition, and develops and enriches the language style of painting. Mr. Wu Pei's skill in writing and ink is very strong. He deals with large mountains and rivers. His writing skills are flexible and changeable, almost independent of a certain sect, so as to reach the point of Qi to FA Bei and FA for my use. He deals with the pictures with a strict layout, clear layers, the combination of the real and the virtual, but the ink is loose, not rigid, neat, neither muddled, but also chapped and dyed clearly.