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Huang Qiuyuan (1914-1979), a native of Nanchang, Jiangxi, known as Ming Qi, Zi Qiu Yuan, Da Juezi, Half a Monk, and The Old Man of Qingfeng, was a chinese painting master in the 20th century who borrowed from the past to open up the present. Huang Qiuyuan is best at landscape painting, and his landscape paintings are extraordinary and have an indelible influence on the Chinese and even world painting world.
The brushwork characteristics of Huang Qiuyuan's landscape paintings are mainly reflected in his skillful use of lines. The so-called line refers to the running traces left by the painter when he moves the brush. Different ways of moving the pen in the virtual, heavy, straight, thick, slow, dry and other aspects of the visual feeling is not the same, the speed of the pen in the process of moving the pen, the brush press and the change of the pen edge will affect the final visual effect of the line. The lines in Huang Qiuyuan's landscape paintings show a unique personality, and on the basis of fully understanding the characteristics of brushes, ink and rice paper, he abandons the influence of external factors such as light and shadow on the paintings, and pays attention to the structural characteristics of the things themselves and the expression of the charm. Therefore, the lines in Huang Qiuyuan's landscape paintings not only undertake the task of describing the specific image contours and textures of things, but also the most accurate summary of things such as landscapes and landscapes, and the most essential embodiment of the connotation of objects. As one of the main components of pen and ink symbols, the characteristics of lines in Huang Qiuyuan landscape paintings are mainly manifested in the following two aspects:
1. Soft and vigorous - the deep skill of the line
The profound power of the lines in Huang Qiuyuan landscape paintings is mainly reflected through the soft and vigorous brushwork of the lines. The so-called pen force refers to a force produced by the brush acting on the paper during the painting process, which is often closely related to the amount of ink components contained in the pen, the speed of the pen and the strength of the penetration ability of rice paper. Looking at Huang Qiuyuan's landscape paintings, we can find that his brush is full of vigor, the pen head is full of weight, the lines are suddenly frustrated and powerful, just in line with the ancients' "force through the back of the paper" and "pen power is thousands of jun", with this sense of power brush painting mountains can be heavy, painting water and water can be clear, painting everyone is alive. Because China's traditional brush pen is very soft, it is very difficult to really use the brush to show the strength of the line, but the lines in Huang Qiuyuan landscape paintings are soft and rigid, rigid and soft, which is mainly due to Huang Qiuyuan's clever grasp of pen and ink skills.
Whether it is the contour line of the mountain stone that is extremely coiled, or the line of the trees as thin as wire, each line of each of them is extremely weighty, the painter transmits this sense of strength to the soft through the fingertips, the pen is powerful, the root lines can withstand careful scrutiny, just in the middle of the soft, soft and without losing the strength of the strong, as the Qing Dynasty painter Shen Zongqian said, "Yu Gang is strong in grace, Yu Jian in the gentle, can be described as a hundred tempered tempering around the fingers soft." For example, "Sound Is Better Than Silence" is a testament to Huang Qiuyuan's profound ability to use threads, depicting a nearby bush of trees hiding a next Coats sitting and watching the waterfall, while two faint thatched huts not far away draw the audience's attention to the distance, making people feel like they are in a paradise. According to the different structural characteristics of different objects such as mountain stones, trees, waterfalls, huts, etc., Huang Qiuyuan depicts different lines of length, thickness, dryness and wetness in combination with different brushstrokes such as center, flank and partial front, and each line is calm and painful, powerful, three-dimensional and thick, showing the strangeness, absoluteness, danger and seclusion of the mountain.
2. The state is born from the mind - the abstract meaning of the line
In Huang Qiuyuan's landscape paintings, in addition to the shape of the shape, the lines can also reflect the painter's thoughts and feelings and their aesthetic tastes, which is the means of communication for the externalization of the painter's inner emotional world, which represents the painter's subjective consciousness and emotional world, and is closely related to the painter's personal quality, cultivation, life experience, etc., with unique artistic vitality and aesthetic value. In the process of painting for decades, Huang Qiuyuan has always taken the creation of a landscape painting realm with a sense of truth as the highest pursuit, and has reflected his true feelings in the pen and ink symbols as much as possible. This kind of sentient landscape painting seems to be not difficult, but it is not easy.
Huang Qiuyuan first summarizes and summarizes the characteristics of the objects to be expressed in the abstract, and then fully mobilizes the subjective initiative of the pen to reflect the creative inspiration through the technique of moving the pen, and gives different postures and emotional characteristics to the lines, so as to achieve the true sense of the unity of things and me, and borrow the pen to convey affection. For example, "Lushan Sleepwalking Map" depicts the beauty of Lushan Mountain, the painter uses soft lines and pens to depict mountains, flowing water, small bridges and other objects in detail, showing the painter's delicate psychology, and this kind of wild life of living in the mountains and with water is also the expression of the painter's true feelings, reflecting the painter's yearning for a quiet and comfortable life. (From relevant references)
Selected works by Huang Qiuyuan
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