Cai Damings Paintings

Author: Cai Daming
Publisher:
Publish Date: 2005-09-01
Features: As the Party Secretary and Director of the Dazhou Highway Bureau, Cai Daming has had a passion for painting and calligraphy for over twenty years. He has published a monograph and co-authored a collection of paintings and calligraphy. Looking through these two books, one can see not only his achievements in "diligence leads to excellence" but also his deep roots in traditional brushwork. The composition of his works largely benefits from the expressiveness and lyricism of calligraphy and brush lines. He has studied seal script works such as Fengshan and Zhao Ban and practiced cursive script Jiju Zhang and Wei Stele Cao Baozi. He has also written Shupu and Wang Xizhi's authentic ink traces, and has meticulously studied the brushwork and structure of contemporary calligraphers. Therefore, "writing" has become a prominent feature of his paintings. He has seriously studied Xu Qingteng, Shi Tao, Ba Da, Qi Baishi, and Pan Tianshou, carefully analyzing their brushwork. He has set a principle for his brushwork: using the central brushstroke to create lines, so that the resulting lines will have strength and depth. At the same time, during his study of stele and model scripts, he has paid great attention to the flexibility and simplicity of lines, the balance between yin and yang, and has strengthened the legal and expressive nature of his lines.
Famous painter Qian Laizhong, after viewing his works, commented as follows: In his painting Peach Blossom and Dual Birds, the ink wash of the leaves and the simplicity of the birds, the exaggeration of the branches, and the inscription form a harmonious relationship between "heavenly palm" and "earthly palm." In Planting Peach Trees, Awaiting Flowers and Fruits, the unified brushwork of the small birds and peach leaves, along with the scattered composition and layout of the lines, presents a joyful scene. In Sea Breeze and Moon, Remembering the Old Nest, the majestic and leisurely dance of the twin cranes is perfectly synchronized, especially the brushwork of the inscribed stele script, which enhances the work's sense of antiquity. In Small Sparrows Resting in the Forest, the light ink blocks of sparrows with varying poses contrast sharply with the branches written in seal script. In Light Fragrance and Cold Dew, the exaggerated ink wash of orchid leaves and the clear, crystalline stone surface further highlight the orchid's purity. In the small work Who is More Beautiful, the vibrant colors of cinnabar, rouge, safflower, and indigo are dazzling, complementing the bright ink dots of the rose leaves. In The Soul of Peony, not only are the brushwork of Huang Binhong's landscape present, but also a modern aesthetic composition. The interwoven petals and leaves reveal not chaos but elegance and nobility. In Plum Wife, the shadow of Ba Da can be faintly seen. In Clear Wind and Misty Purity, there are the composition of Zhang Daqian, the brushwork of Pan Tianshou, and the techniques of modern famous lotus painters. In Red Lotus and Lingering Fragrance, the brushwork is entirely central, with a full composition. The lotus here is already aged, revealing only its spirit. In Born with the Spirit of Lofty Clouds, the sparseness and rigidity, the sharpness and subtlety, are expressed to the fullest. In Drunken Autumn, the gourd and bird have entered the realm of Zen. In Magpie and Wisteria, the opening and closing are uniquely ingenious.