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Lu Yushao is an important representative of the Maritime School of Painting, his pen and ink are rich in layers, vivid in temperament, flowing in lines, and outstanding artistic conception. He once said: To paint clouds and water, use the pen to fly smoothly, and form a sharp contrast with the mountain stone on the pen and ink, so that the movers are more active, and the still are quiet. The unique Yunshui method, the blank space method, and the changeable chapter method take the momentum, placing poetry, books and paintings in a position of equal emphasis, and can integrate them well. On the basis of in-depth teaching tradition, he dared to create a new law in the observation and study of nature, bringing a new brush and ink language to traditional landscape painting, but he was not stuck in a certain school, nor did he have the traditional literati painter's idea of advocating the south and suppressing the north, and then established the unique artistic face of his landscape painting, forming a very individual "Lujia landscape".
The uniqueness of his landscape paintings lies in the variety of pen and ink forms, rich in pen use, and prominently manifested in the following three aspects: First, he is good at depicting the surging and vast and diffuse trend of clouds, rivers, lakes and seas to the fullest, especially the dynamics of clouds and water are the most wonderful, not only the pen and ink are clumsy, but also vivid and vibrant. It can be said that Lu Yushao is the first master of painting clouds and water since ancient times. Second, the composition is unique. As we all know, the composition of general painters is always from large to small, and Lu Yushao's composition is just the opposite, unique. Third, Lu Yushao, whether he paints big or small paintings, relies on a pen, bit by bit, strip by block, black, black, black, white, dry, wet and dry, thick and light, creating a unique style of "Lu's Cloud Water". At the same time, one of his strokes to the end is a must in the painting world.
In his early years, the landscape focused on the structure of dot lines, with a clear, ethereal and elegant rhyme, and most of his works were intertwined with fine and dry dots and lines to express the sparse autumn scenery, from which the shadow of the traditional shallow method can be seen. In middle age, Lu Yushao's landscapes focused on sketching, absorbing the chaotic atmosphere and sense of light and shadow of creation. The lush clusters of dots play a leading role in his landscape paintings, and the clump structure becomes the focus of the picture, and the illusory pen and ink and white space are interspersed with reflections, which makes his landscape paintings develop from the structure of the early years to the middle age. Later, he painted landscapes with the intention of the laying out of pen and ink, focusing on the continuous movement of the pen, which made his pen speed slightly faster, and the pen end naturally revealed the style of the pen, which also had a slight absurdity of rough clothes. The speed of the pen is slightly accelerated, both out of the emotional infection in the face of sketching, but also because the painting uses a lot of thick and dense wet ink, and the pen tip dipped in saturated ink must be fast, and the slow ink will seep out, and the dot painting will not be seen. Of course, this pen style caused by the slightly accelerated speed of the pen is triggered by Lu Yushao's profound writing skills, which is a kind of natural and natural flow of dashing, and it is not sloppy. Due to the greater emphasis on the yin-yang relationship between big black and white, and the contrast between dry and wet, thick and light, this makes Lu Yushao's landscape paintings more abundant and flexible, and full of vitality. The handwriting is densely paved, the pen posture is elegant and flexible, the pen and ink are layered, and there are also empty interspersed echoes, these characteristics constitute the unique charm of Lu Yu's young and middle-aged landscape painting masterpieces.
It can be seen from the creation of the middle age period that Lu Yu's interest in writing portraits is quite extensive, not only in landscapes, figures, flowers and birds, but also in terraces, highways, water wheels, cars, ships and even airplanes, which are all expressed in his landscape paintings. In his early years, Lu Yushao admired Xiang Shengmu, who was "morale writers are ready", in fact, his own painting nature is also "morale writers are ready". In the early days, Lu Yushao was partial to the pure brushwork cultivation of freehand, and in middle age, he devoted himself to the rich expansion of painting intention, taking into account the play of brushwork and ink. The morale of freehand determines the depth of a Chinese painter's spiritual cultivation; and the writer's popularity of painting is a painter's sensitive reaction to the image, which is also a necessary condition for the painter to continuously expand his creativity.
In the creation, he is very good at using the curve between the mountains, clouds, and water to highlight the momentum, and places the mountain ranges in the picture with an oblique trend, and the mountains are like sailing on the surface of the water, and the clouds and water are connected into a ribbon between the mountains, forming the effect of clouds moving with the water, the water flowing with the clouds, and the whole picture is like a dance, which is the best portrayal of the dynamics of the picture. For the modeling treatment of mountains, clouds and water, he prefers to make a nearly abstract performance through the virtual and real changes of the handwriting, and this control of the handwriting is more conducive to highlighting the undulating rhythm of the picture. He said: "The heavy solid place is generally thick ink with burnt ink, and the pen must be solid and composed, heavy and dense, so that there is a feeling of thickness. Therefore, his paintings can be said to be the synergy generated between the pen and the pen, and together they construct the dynamics of the picture. At the same time, the ink color in his picture is changeable, and the contrast between thick and dry and wet not only increases the charm of the picture, but also enriches the layer of the picture. In landscape painting, the contrast between the virtual and real composition of the brush and ink itself is used to highlight the theme of the picture, and he wants to show the shape of the brush stroke itself, so the blank space is almost a gap between various handwritings in the whole picture - because if there is no blank around the handwriting, the handwriting does not have the blank space at the bottom to reflect it, and the shape of the pen and ink itself is difficult to exist obviously. Therefore, Lu Yushao's landscape paintings seem to be white as the body and black as the use. This white finger paper, black finger has pen and ink. Black carries the body of white, and black mobilizes white. If he finds that the picture qi is too scattered, he uses pen and ink to tighten the air mass, and if he finds that the qi is too tight, he uses pen and ink to channel it, which is to use black to mobilize white.
"Freedom" and "changeability" are based on the diversity and richness of expressive techniques and expressive procedures. His landscape paintings are also characterized by the diversity of morphological systems and the extreme richness of content. He used all kinds of traditional techniques and techniques, was good at everything, was not bound by one school and one family, so he painted, coherently, and galloped. He was a literati painter, studying under Dong Yuan, Ju Ran, the "Four Families of Yuan" and Dong Qichang. For example, when he painted water, he extensively studied the ancient method of painting water, adapted it, and was able to paint the variety of water at will. He first started with the "Four Kings", then studied the Yuanren, and finally took the Northern Song Dynasty as the sect. Painting mountain stones started from Dong Yuan, Ju Ran, "Yuan Sijia" and Dong Qichang, mainly wearing hemp, and also liked wang Meng's fine cattle hair, seeking pen and ink interest. He did not despise the landscape paintings of the Northern School, and boldly borrowed the strong and sharp and bold methods of Li Tang and others in the paintings. He uses a lot of techniques and can skillfully combine the techniques of various schools. While returning to the fundamentals of pen and ink, he also overcame many of the ills accumulated in the development of landscape painting to the Ming and Qing dynasties, solved many problems such as the structural context of mountains and the expression of spatial levels, and then took the excavation of pen and ink connotation as the center of gravity, creating many new expression methods. His artistic vocabulary hooking, dyeing, and wrinkles, the unique delineation and expression method of Yunshui, and the method of mountain stones are all self-explanatory and unique, so that the pen and ink have a solid physical attachment, and the shape has a vivid pen and ink fullness, so that the shape of the landscape is strong, the chapter is stable, but it flies everywhere, there is no sense of stagnation, thus getting rid of the traditional loose, scattered, floating, chaotic and other tacky atmosphere, and walking out of the ink game circle with pen and ink and invisible body. All these words will be born into a new realm, Lu Yushao's landscape painting is characterized by the expression of dynamic beauty, the flow of smoke and clouds, the waves are magnificent, everywhere is dynamic, and the landscape image he writes makes people feel that the nature of heaven and earth is in rhythm, showing a new style.
Lu Yu used a rare pen to be exquisite, but his ink and his pen shone brightly, and he did not show weakness. Especially in his later years, he saw more and more novelty and boldness with ink, and played a greater effect and role than that of the pen in the innovation of style patterns and the development of artistic conception. After using large ink blocks to leave gaps as clouds, he applied large ink blocks to the mountains and stones and trees, making them more and more bright and refreshing. Therefore, the cloud and the water interact with each other, and then intersect with the ink block, and they are all in one breath. His creative freedom has reached an irreproachable state, and his landscape painting has also reached the point of pure fire, creating a unique artistic style with a unique new and strong expression and a landscape painting artistic conception beyond his predecessors. His clouds and waters are endlessly changeable and have thousands of postures, and no matter from what angle they are viewed, they have high aesthetic value.
Lu Yushao's works are appreciated
Longshang Huangyun rice ripening day 135cm x 66cm 1964
Inaba Kaori said that the harvest year 25cm x 23cm about the 1960s
New picture of Fuchun 69.5cm x 38.5cm, 1973
Xin abandons the word intent 71.5cm x 45cm circa 1970s
Yandang Spring Waterfall 71cm x 34cm around the 1970s
76cm x 42cm 1975
Heavy rock snow map 57.5cm x 29.5cm circa 1970s
Sand punch whistle 140cm x 68.5cm circa 1970s
130cm x 68cm 1977
Jinggang Chunse 67cm x 45cm 1978
Manxia open sail 96cm x 58cm 1978
Yandang Spring Waterfall 97cm x 60cm 1978
Rapids 137cm x 69cm 1979
Guiyun residual rain map 87cm x 46cm, 1980
Shinmatsu Nao kamikami 180cm x 97cm 1984
Heavy building listening waterfall figure 96cm x 59cm 1983
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