Kou Zihao, in the early 1970s, studied traditional landscape painting with the help of landscape painter Yan Fu. He studied the techniques of Shi Tao, Zhi can and Huang Binhong deeply and followed the landscape brushwork of Yuan people; Graduated from Chongqing Institute of Architectural Engineering in the early 1980s.
No matter when you are an educated youth, go to college, or enter institutions and enterprises, you have never relaxed your pursuit of calligraphy and landscape painting art.
The ancients talked about painting: "painting is like a man, and writing is like a man, which has been true since ancient times." Mr. Kou Zihao is a man of temperament, forthright and righteous, and has the spirit of scholars; Being open-minded in people and things is conducive to happiness; Calligraphy and painting are elegant and sincere. His painting style is the same as his character. It is natural and unrestrained without losing simplicity, and it also contains nature and spirit in simplicity. Appreciating its flowers, birds and landscapes, you can feel the state of the painter, the graceful and sharp, flying and dignified brushwork, the opening and introverted, dense and ups and downs of its cloth, which gives people a sense of joy and vividness and shows the fluency of spitting it out. His works reveal the ink and ink interest, the momentum of Xu Wei in the Ming Dynasty, and the spirit of continuity. They are close to the idea of bitter Zen and become a trace with fate. They contain the Cang spicy and thick of fou Weng's painting with seal characters. The integration of a variety of aesthetic characters makes his works show the significance of connecting the past and the future. All this is due to his enlightenment and emphasis on his source of mind, so that when he accepts tradition, he always looks at it with the eyes and mindset of the contemporary people, profoundly differentiates and analyses, and brings together the best essence of the tradition into his own artistic system, and becomes his own creative element, and pursues a "freeway for my use".
The lines used by Mr. Kou Zihao in the picture appear thin and powerful, and show introverted bone strength in gentleness and softness. His image creation has the typical language characteristics of fine brushwork outlined by lines, but the lines are not wanton exaggeration, independent of the image creation, but cleverly hidden in the outline and structure, and organically swim between the image and color. His rendering is not rigid, but the blending of water and color, light color and slow dyeing, and reflects the meaning of writing in the rendering, thus reflecting the artistic characteristics of seeing writing in work and seeking simplicity in complexity. To get rid of fire, impatience, stagnation and board, while seeking spirit, liveliness, quietness and elegance has always been the artistic realm pursued by Mr.
Great virtue carries great things. Up to now, Mr. Kou Zihao has always paid attention to both fine brushwork and freehand brushwork, sketch and watercolor. Therefore, he is also good at integrating these painting artistic languages with their own strengths, and thus opened up his broad and rich artistic realm. In fact, whether sketch or watercolor, fine brushwork or freehand brushwork, what runs through it has always been his pursuit and nourishment of the cultural character contained in Chinese art. He not only pursues the free and easy freehand brushwork unique to Chinese literati painting, but also penetrates his personality, education and character in the vivid image shaping, so as to highlight the spirit and style of the artistic subject, This is the highest and purest realm he has pursued all his life.
As a contemporary painter in the 21st century, Mr. Kou Zihao's artistic view and mode of thinking are synchronized with the times. He emphasized the in-depth observation of life, broke through the program norms of traditional freehand Chinese painting, and transformed from elegance to modernity close to life on the basis of returning to the connotation and temperament of some traditional literati paintings. This transformation has opened a distance from the ancient scholars' seclusion and seclusion, and resonated with the national soul rising in the new era of reform and opening up. His paintings are big and thick, which fit in with the vast natural landscape of China; His paintings are heroic and magnificent, and they complement each other with the high spirited and enterprising spirit of the contemporary people. His artistic creation has established his coordinates in the modern Chinese painting circle with traditional pen and ink, modern meaning and affectionate artistic personality. In the creation of freehand brushwork, art has become the pursuit and spiritual sustenance of his career, as well as his eternal responsibility for art. It seems that endless pouring and seeking will accompany his life. I wish him more fruitful achievements for our times.