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"The body of the Dharma has no image, so it should take shape." This was said by Master Zhao, an eminent monk of the Eastern Jin Dynasty. That is to say, Buddha has no image, so it can be transformed into thousands, thousands and even infinite images. Zeng Hongjie's image of landscape oil painting gives people a feeling, but there is no specific image. What she paints is the artist's image and image. It is an elusive image.
People who have some common sense in art history have seen Zeng Hongjie's paintings, and it is not difficult to see the artist's ambition to blend Chinese and Western. Xu Beihong did it and Lin Fengmian did it. But when Xu Beihong was in Paris, he was not interested in Impressionism. He learned classical oil painting and introduced realistic modeling into Chinese painting, thereby improving Chinese painting. Unlike Xu Beihong, Lin Fengmian is also doing things that blend things. However, his paintings are westernized in form, while the charm is oriental, more like improving western paintings. These two men still influence Chinese painters.
In the meantime, there may be different opinions, but influenced by Lin Fengmian, Wu Guanzhong, Zhao Wuji and Zhu Dequn have gone a long way. They painted oil paintings in the form of Western paintings, but what is in their bones is Eastern. Heaven and man are one and the avenue is simple. Oriental philosophy goes deep into their bones. Zeng Hongjie's paintings are similar to those of Zhao Wuji and Zhu Dequn. They are all the traditional Chinese landscape painting, as well as oriental philosophy and aesthetics, integrated into western painting, in order to create a genuine Chinese oil painting for a useful exploration. Once Jie's paintings are closer to Zhu Dequn's - they all have unpredictable images and magnificent colors. The difference is that Zeng Hongjie pays more attention to the effect of natural color flow. Her paintings, blended with ever-changing colors, impact people's vision.