Han Shuo's paintings are deeply rooted in tradition, but he is not satisfied with the continuation of tradition and nature. Scraps and piles of waste paintings are the footprints he pursues. In his early years, in addition to creating big themes, he liked to paint some classical themes; Zhong Kui, Eight Immortals Drinking, Xu Xian White Snake, Seven Sages of Bamboo Forest, etc. They are all characters that often appear in his paintings. Because of his ability to control the pictures in those huge creations, he has a better grasp of the atmosphere and style of painting among the subjects that even ancient literati often paint. Smart but not sweet, witty but flashy, bright but restrained.

After Hot Blood won the gold medal in the 9th National Art Exhibition from 65438 to 0999, Han Shuo's ink painting creation became more concise. The depiction of characters has broken through the barriers of empty concepts in contemporary ink painting and reached a new height.

Han Shuo's modeling feels particularly good, which is in harmony with his free and easy ink language. Xu Xian's thick-ink and wide-backed robe embodies the charm of the White Snake and Xiaoqing in "Together Through the Storm". In Shan Gui, the panther is lengthened and its head is shrunk, which makes this beast more strange and vigorous. In The Journey to the West, the scene of the Monkey King soaring in the air and hitting the princess with an iron fan makes the picture humorous ... What's more fascinating is that in some of his portraits, his description of the names of these famous people is not the translation of western sketches, but only the replacement of materials, and the modeling elements in the photos are still black and white. He will repeatedly ponder the temperament and characteristics of the characters on paper, emphasize exaggeration, let the image be familiar with the chest, be vividly portrayed, and finally make it with simple lines. In fact, behind his handsome paintings, there are too many unskilled, too many followers, too many jitters; But it is these "too many" that make you feel relaxed and free and easy when facing his works.

Han Shuo's pencil manuscript is really ugly, sometimes even a little clumsy. What fascinates me is that he is actually very free and easy on a piece of propaganda paper. In fact, the process of his pencil draft is a kind of reflection, a kind of communication and a kind of love for the object to be described. Clumsy pencils move more space for Xuan paper brushes, while those exquisite sketches tend to make brushes deliberately pursue the charm of pencils or charcoal pens and lose the uniqueness of pen and ink itself. It can be said that Han Shuo's understanding of China's pen and ink is engraved in the bone marrow, which is a kind of consciousness and a state that does not need to be deliberately entered.

When Han Shuo paints people, he never pays attention to the delicate details of clothes. He tactfully decomposed it into a delicate plane under a beautiful outline, without bumps and precise anatomy. The physical structure of the object itself has long been replaced by its spiritual lines, which are slender, straight and Fiona Fang. He pays more attention to the relationship, order and rhythm between the lines than the physical structure of the image itself, which is due to his wisdom and cultivation. For the predecessors, he did not specialize in a certain school, but collected it extensively. Comparatively speaking, he seems to have absorbed Ren Bonian and Cheng Shifa a little more. Because Han Shuo is good at using thread, he especially likes double-headed long-handled brushes. Because the front is long, walking on rice paper is unpredictable and difficult to control, but it is always unexpected and infinite. A little study of his characters' hands and feet will show that his clever and unrestrained book is always a bit specious in gestures. You don't need to delve into the joint thickness of his hands, but his definite but concise sketch in a critical relationship makes you realize the clever and refreshing charm of the pen.

In a conversation with Han Shuo, he said that he didn't have much design or planning for his artistic development, and he just went with the flow. I don't think so. It may be too serious to say that he has a sense of mission, but he is an ambitious artist. In today's era when the market is prosperous and contemporary art is all red, he sticks to his position and is not confused by the outside world. It still needs a little spirit. This calmness stems from his inner understanding of the spiritual and cultural significance of Chinese painting. His portraits of Wu Changshuo, Qi Baishi, Huang, Pan Tianshou, Cai Yuanpei and Lin Fengmian show his concern for the new culture since the May 4th Movement. The success of Nanchang Uprising on August 1st highlights his breakthrough in trying to play a grand epic symphony with ink and wash. To break through oneself is to break through the barriers of ink painting. He will also paint some city life, trying to verify how far this traditional ink painting can go in expressing today's life. He tried to expand the possibilities of ink painting. Han Shuo's cultural appeal has far-reaching practical significance under the background of globalization. Today, many of us have lost confidence in our national culture to freezing point. If we build another garden now, there may not be such elegant names as the Summer Palace and Humble Administrator's Garden, but it is more likely to be a famous Spanish garden and a famous Roman garden. In this situation of self-marginalization, we try to get a response from the west anywhere, and some of us insist that the local culture seems a bit different or outdated. Judging from the trend of young people studying fine arts, perhaps one day, the way of writing and ink that we have all gone deep into the bone marrow has been ignored, and its value evaluation system has collapsed. So what is the value of pen and ink? But I firmly believe that these works will stand the test of time, it will be a tenable work of art, because it is gold, it will shine forever. The "Four Heavenly Kings" who have been scolded for a hundred years after the May 4th Movement are not useless now. If it is only fashion, what will be left after the fashion wind?

Han Shuo likes Mayor's sculpture and Balthus's neoclassical style, and he also pays attention to the contemporary, but he still maintains his persistence. The mayor may have taught him a sense of integrity in modeling. Balthus makes him feel classical, and sometimes he can make fun of it to make it less boring. Now that Han Shuo is in back in the game, he has more time to splurge. I wish him more good works, and I will look forward to it eagerly.