Text/Huang Azhong
When the development of history has paper, ink, pen, and brick, which are often said to be the four treasures of the study room, the literati and scholars pick up the brush and dip the ink in the yantai and lick it a few times, draw lines on the paper, and after blurring the ink blocks and lines, the pen and ink are produced. In the process of contact between ink blocks, lines and rice paper, it left handwriting, ink marks, and also left the temperament and interest of literati rioters. This process and the traces left on the paper produce various effects of interlacing and blending pen and ink, which we call pen and ink. I don't know how the ancient literati described the pen marks and ink left on this paper, perhaps they didn't care how to call it, but only cared about using pen and ink to send affection.
Huang Azhong Qiu Gao film Chinese painting
Pen and ink is "Tao" also
Pen and ink is a culture that has been passed down for more than a thousand years. For Chinese painting, abandoning the brush and ink as the spirit and soul is equivalent to abandoning the meaning of painting and extracting the culture in Chinese painting.
Culture is a comprehensive direction, culture is the transformation of the weather by degree of objects and images; culture is the sublimation of natural understanding; culture is the embodiment of feelings, personalities, meanings, and interests; culture is the result of various expressions caused by character, temperament, and traits. I thought that the pen and ink in Chinese painting were a kind of culture, because the pen and ink could express the interest and temperament of culture, and had the conditions to transform and sublimate into culture. Brush drawing lines on paper, dot ink is not only a skill, it reflects the painter's feelings, personality, meaning, interest, it is the painter's temperament, is the concentrated expression of cultivation on the paper, so it also has the role of transformation into culture.
Zhu Yun Qiushan Tu Axis 182.8× 49.3cm Collection of Shanghai Museum
Pen and ink refers to the changes produced on the paper with pen and ink, the traces left, the charm of seeping out, and in layman's terms, the interlacing effect between lines and changing ink colors. Simply speaking, the lines and ink are the same, and the interesting thing is that everyone will not match the line and ink the same, and their final visual effects will not be the same. The same painting is the landscape, the eight major, Shi Tao, Huang Binhong their lines are different, with different collocations, the effect is also very different, the eight mountain people are scattered and empty, Qingxiang Yuanji is steep and steep, and the old man of Binhong is sparse. As the saying goes: the layman looks at the liveliness, the insider looks at the doorway, and in the art of Chinese painting, the pen and ink are the "Tao". Another example is the painting of flowers, birds, grass insects, Qi Baishi's pen and ink and Pan Tianshou are completely different, visually not similar, so the effect of pen and ink is also different. Everyone can take the stroke line, dip the ink to paint the color block, but do not know how to match, so they can not paint landscapes, flowers and birds, this collocation may be what we call today "Tao".
The writing gene of pen and ink modeling
When it comes to the collocation of pen and ink, we have to mention "freehand", in Chinese painting, in addition to the brush, boundary painting, etc., freehand is an important means of expression, and pen and ink are also fully reflected in it. (In fact, the brush also has the meaning of writing, which is not expanded here) Because the meaning performance and interest of each person are different, the meaning of "freehand" is displayed; from another point of view, freehand is a spirit, and the agility of the painter's life is in the process of "writing". The vitality of the Chinese painting gene is quite strong, so the freehand spirit can be presented in the pen and ink, naturally and ever-changing. In turn, through freehand, the expression of pen and ink is obtained; pen and ink are inseparable from the support of shape, and pen and ink are generated for the shape. The writing gene of pen and ink modeling has buried an infinite and broad opportunity in the pursuit of individual expression and free vertical and horizontal state of mind for Chinese painting technology. In addition, freehand is also inseparable from the performance of "true temperament". I found a phenomenon that every time children aged three or four, five or six years old draw a line, there is a lot of childlike fun, they paint the ink color innocent, innocent, simple, there is always some taste can be tasted, perhaps this is the true disposition of children. However, the brush and ink of Chinese painting are exactly what need such a "true disposition".
In the combination of pen and ink, "book" and "writing" complete the spirit of freehand writing. Calligraphy into the painting, intentional writing, lyricism to have freehand pen and ink, book and writing into a pen and ink marks, synthesize classics. The book takes the form as the first, seeks the bone method, and ascends the rhyme; the writing takes the rhyme as the body, the heart follows the pen, and the signs are intentional. Books and writings are based on pen and ink, and the heart is created. The pen and ink not only show their own law, but also show the weather, one or two strokes are to show my spirit, and three or five strokes are to show my physique. God is condensed and moving, spiritual but not scattered, bright and clumsy, writing but not depicting, entering into the law and obtaining nature.
Shi Tao Thousand Mountains Mangrove Tree Map
"Writing" is derived from the "writing" of calligraphy, with breathing, living, tangible and irregular lines. Or like the soul wandering in the painting; or like the subliminal image that sweeps thousands of miles. The brush and ink, shape, and interest in Chinese painting are connected with pure "writing", and they can come out of the world and have a high character.
Pen and ink should follow the temperament, temperament should see the style, style and send the mood; the state of mind is formed because of learning. Learning is cultivated by virtue. Shi Tao said: "Painting is subject to ink, ink is subject to pen, pen is subject to wrist, wrist is subject to heart, like the birth of heaven, caused by the earth", although the pen and ink come from the hand, it is rooted in the heart. On the other hand, the role of pen and ink in painting can also be clearly seen. We are still painting with a clear mind, with God, Qi, Rhyme and Taste as the body, with pen and ink as the use, and the aesthetic potential is infinite.
The way to write, to realize the natural weather is just that. If the potential of natural weather is imitated, it will be formed; if it obtains the quality of natural weather, it will be divine. I think that the temperament of pen and ink can only be completed in the "one-shot" of "writing", and "one-shot" is not rough, casual, loose and fast. It is the collision of pen and paper, the fusion of ink and water. "True disposition" is pure pen and ink in the "writing" achievement, transparent and integrated, natural and natural.
Huang Binhong Chunshan Yuji Figure 121×40.5cm
Pen and ink, the soul of painting, bone cultivation, qi rhyme flesh and blood, and create character. The pen is the backbone of Chinese painting, it supports the structure of the picture, the pen has spirituality, everyone has their own perception; ink is impermanent, TD Fa Tong, ink is the soul of Chinese painting, it gives the spirit of painting. The pen borrows the form to get the charm, if it is novel and transverse; the ink blends with the taste of the momentum, if it is clear and high. The pen must be spiritual, standing in the bosom, swimming in the heavens and the earth; the ink must have life, created into the birth of all things to form a realm. Pen and ink make the painting have a musical melody, dance-like rhythm, and poetic mood, which are unique, eternal and irreplaceable.
Traditional pen and ink classics belong to the past, but also to the present and the future, but this requires extraordinary understanding and extraordinary deeds and transformations. Under the "inheritance" of mediocrity or the "innovation" of mediocrity, the pen and ink displayed can only be mediocre, or it is not pen and ink at all.
Pen and ink should have several characteristics
I think that pen and ink should have several characteristics, one is aesthetic, ornamental, it can perceive natural scenery through vision, can see the ability to shape lines, the form of ink left on the paper; the second is to inherit the new, or have a provenance, or no provenance, but not conventional, the key lies in personal cognition and its kneading expression, antelope hanging horns without a trace; the third is vivid, with the pen flexible, the air rhyme through, the ink is flexible, not deliberate, not rigid; the fourth is plain and far-reaching, true temperament, and self-creation. The characteristic of these pens and inks is the expression of the materialization of nature into spirituality. Thus expressing the spirit of culture.
Huang Binhong Bao tie yan zhai figure 142.5×50 .6cm
It is generally believed that pen and ink seem to be very simple, just pick up the pen and dip it in ink and apply it on the paper. In fact, the "Tao" of pen and ink is very deep, visual, such as the length and shortness of the line, the dry, wet, thick and light of the ink, which can be seen; there are spiritual, such as the expression of pen and ink, the control of rhythm and charm, the pen and ink and shape, and the meaning of matching with various objects. Visually, the lines are not too long and short, and the ink block is so thick and light, it is very simple. However, it is not simple to say that it is simple, because when the pen becomes visual, it turns to spiritual requirements. From a spiritual point of view, the interlacing of the lines, the embellishment of ink rhymes, etc., are all related to your thoughts and temperaments, and your cultivation can be seen from the distribution and setting of lines, ink and rhymes, and your spirituality can be seen from the combination of lines, ink and rhymes.
Huang Azhong Stream Water
The inheritance of pen and ink is something we must complete, and the renewal of pen and ink is also a subject of Chinese painting. Change the path and habit of your own pen and ink, crack the cured program, and build a new modeling schema, line, and ink rhyme structure. Perhaps, this is the most important meaning of our dating chinese brush and ink today.
Source: Fine Arts Newspaper