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《春到红墙》是当代著名青年画家莫晓松艺术鼎盛时期的代表作品,它奇予了画家对改革开放以来繁荣富强的红色中国春意盎然、生机勃勃的讴歌和赞美。在中国美协举办的《全国当代花鸟画艺术大展》近三千件参选作品中脱颖而出,荣获金奖。题材上的突破《春到红墙》是画家2001年至 2002年在中央美术学院郭怡孮花鸟画创作高研班就读时创作的作品,受到郭怡孮教授“大花鸟精神”的启发, 力图表现京城繁花似锦的春天,以赞美伟大祖国盛世太平的景象。在画家早期的作品中,多喜欢画一些花草及雉鸡类的小动物,有意摒 _弃了那些华丽的、动态的、个性鲜明的瞬间,而是选择了秋冬之际蛰伏在雪域上、秋风里、荒原中、大漠边、枯草旁、冷雨后的鸟。这些鸟不鸣不叫、不惊不惧、无喜无忧,呈现出一种近乎平寂、麻木的生命状态。画家从小生长在“陇中苦,甲天下”的甘肃中部干旱地区。特定的生活境遇和生命历程影响
“Spring to the Red Wall” is the representative work of the contemporary famous young painter Mo Xiaosong at its heyday. It gives the painter the vibrant and liveable populace and compliments of the prosperous and prosperous China since the reform and opening up. In the “National Contemporary Flower and Bird Painting Art Exhibition” organized by the China Artists Association, it won the gold medal in nearly 3,000 selected works. The breakthrough on the theme “Spring to the Red Wall” is a painting created by the painter from 2001 to 2002 at the High School of the Central Academy of Fine Arts, Guo Yiluo, drawing inspiration from Professor Guo Yihuan’s “Great Bird and Bird” Jin spring, to praise the peace and prosperity of the great motherland scenes. In the early works of the painter, many like to draw some flowers and pheasant animals, deliberately excluded _ abandoned those gorgeous, dynamic, distinctive moment, but chose autumn and winter dormant in the snow, Autumn wind, the wasteland, the edge of the desert, hay next to the birds after the cold rain. These birds are not called, not scared, no worries, showing a near-silence, numbness of the state of life. Painter grew up in the “long bitter, a world” in central arid areas of Gansu. Specific life circumstances and the impact of life history