Zou Li

Zou Li

In September 1998, art magazine published Liu Xilin's article entitled "Zou Li's painting of a hundred concubines". The article says: Zou Li is a contemporary woman who has been to the mountains, the countryside, the country and the world.

Personal resume

Zou Li (pen name: Yiyun), female.

He was born in Longmen County, Guangdong Province in January 1950. He became an educated youth from 1965 to 1970. The first work started in 1966.

At present, he is a member of Chinese artists, director of Guangdong Artists, Foshan artist Changli, painter of Nanhai painting academy and President of Qingzhu Painting Academy.

Ms. Zou Li dare to face herself, dare to express herself, and be able to find her own way of expression. Most of her paintings are ancient women, because the traditional shackles of "three obediences and four virtues" made their experiences more miserable and moving. As a woman, Zou Li can observe and appreciate women's appearance and heart more carefully and deeply, and feel women's happiness and pain more easily. Therefore, she chooses female themes as her lifelong artistic pursuit. It took nearly ten years. At the beginning of 1997, she finally finished the creation of 100 fine brushwork pictures of empress concubine. Since 1998, she has been working on the long volume of Wu Zetian, which has been changed six times and is still in the process of research and exploration.

Representative works

"The painting of a hundred concubines"

In September 1998, art magazine published Liu Xilin's article entitled "Zou Li's painting of a hundred concubines". The article says: Zou Li is a contemporary woman who has been to the mountains, the countryside, the country and the world. She has realized herself and women inside and outside, and finally has her own set of "women's Classics". At a time when feminism and male chauvinism came back in succession due to despising women in the western world, although there was no strong call for feminism in China of the mean, and Zou Li was not a feminist, her founding of the "love casting painting academy" and her achievements in fine brushwork painting not only contributed to women's unique working spirit, but also confirmed women's ability and talent, Just like the ups and downs of many personnel, it shows the self-improvement of contemporary women. "Hundred imperial concubines" is actually Zou Li's understanding of the "women's classic" in history, the performance of modeling. Therefore, it can be said that the painting and the deep creative motivation originate from the consciousness of female consciousness and her love and responsibility for the same kind. Therefore, she moved her heart for the perfect harmony between the beauty of Chinese women's body and soul. She depicted their natural beauty like jade and flowers in the form of colored pen. She also praised their ability of governing the country and the world, their contribution in art and their good moral character. She felt that China's women's freedom of pursuit of love and sex and their self suppression or the huge conflict with the forbidden cold palace, as the performance of the imperial concubine in the Tang Emperor Xuanzong, expressed sympathy for "residual makeup and tears and red *", and even suffered from the tragedy of the Han Dynasty's wife becoming a "human being". Zou Li said that she was excited by the complementation of the internal and external beauty of Chinese women, the conflict between restraint and temptation, pursuit and repression, their broad character of perseverance and tolerance, and the unique light of Oriental women. "I can understand, I feel sympathy, I want to praise, I want to criticize, I want to express, I can portray." It is this understanding of Chinese women, this kind of research, this kind of feelings, this kind of "from the heart" of sincerity, contributed to the "hundred imperial concubines", but also shaped the female painter Zou Li.

In 2002, Zou Li's 102 fine brushwork and heavy colored beautiful women's paintings of Chinese concubines were exhibited in Guangdong Academy of painting. Different from ordinary art works, her works have historical and humanistic perspectives. Asked about the original intention of Zou Li's creation, she said frankly that the female image is the theme of her works. In her view, many traditional Chinese female images embody the unity of external beauty and internal beauty, their persistent pursuit of love, conscious repression of sex, indomitable attitude towards life, and the spirit of fighting against oppression. As a modern woman, Zou Li believes that she has the responsibility to show this theme with her own brush through a complete and large number of excavation, so as to reflect on the existence of women in history and awaken women's consciousness in this world.

In 1992, Zou Li drew a black-and-white atlas for the empresses in history in the form of white drawing. On this basis, after several years of creation, she redrawn it in the form of fine brushwork and heavy color, and drew a hundred pictures of Chinese empresses. In the history of China, there is no record of the pictures systematically showing the ancient concubines. It can be said that Zou Li is the first time to sort out the concubines in history.

Empress concubine is a unique product of Chinese feudal society. In order to grasp the most typical characteristics and express the character's personality, Zou Li has read a lot of historical books in a few years and summed up the character's characteristics. For example, when she painted Wanrong, the last empress of China, she thought that the most effective mirror image of Wanrong was the loss of her feelings caused by her unfortunate marriage, and she could only rely on opium to anesthetize herself. Zou Li expressed the tragic life of the last empress with an image anesthetized by opium, which was unanimously affirmed by experts. In order to get rid of persecution, ban Jieyu, the imperial concubine of emperor Cheng of the Han Dynasty, withdrew from the eastern palace and wrote the song of Tuan fan to express her feelings. Zou Li paints ban Jieyu on a Tuan fan with her own ingenuity. She writes and ponders. In the picture, she also draws several Tuan fans and floating leaves circling in the autumn wind, which sets off her bumpy fate. There are many other moving images like this Although all the works can't be said to be impeccable, Zou Li's devotion to each character can be seen from every eyebrow and dress of the characters in the works.

As a female painter, Zou Li's "the painting of a hundred concubines" also shows the unique creative techniques of female painters. While inheriting the traditional techniques, she boldly uses the concept of modern painting, learns from the means of Western painting, breaks the limitation of time and space in composition, and shows the development process of the plot on the same picture. Some also learn from the overprint technique in the film, so that the works have a bright future In terms of character expression, she uses various methods including realistic, abstract and romantic to express the characteristics of characters, and uses traditional Chinese painting, watercolor, gouache, oil painting and other techniques to make many pictures rich but different; in terms of color application, she gives full play to the decorative and expressive power of Chinese painting colors, and designs different colors in each picture, which are different from each other The character's character, life experience and so on "give color according to the category", strengthen the artistic appeal.

Chinese PinYin : Zou Li