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Nowadays, there are more and more professional students and amateurs studying Chinese painting, but the teaching level is uneven. How to get started and learn so that we don't take detours? With a certain foundation of Chinese painting, how to improve is the right direction? Maybe this class notebook will answer your questions!
The China Academy of Art, located on the banks of Hangzhou's West Lake, is undoubtedly a sacred place in the hearts of Chinese painting students. In the last century, Chinese painting masters such as Huang Binhong, Pan Tianshou, Wu Maozhi, Zhu Lesan, etc., all taught in the Chinese Painting Department of our institute and were the pillars of the Chinese painting teaching system. They have made outstanding contributions to the history of modern and contemporary Chinese painting and calligraphy and painting education, formed a heyday of Chinese painting at the China Academy of Art, established the "New Zhejiang School" in the country, and Mr. Pan Tianshou was known as one of the "Four Great Masters of Chinese Painting" in the 20th century.
In the 1950s, when Mr. Zhu Yingren studied at the Hangzhou National Art College (later renamed the East China Branch of the Central Academy of Fine Arts and the Zhejiang Academy of Fine Arts, now known as the China Academy of Art), he was a master of pan Tianshou, Wu Maozhi, Zhu Lesan and other generations, a disciple of Mr. Wu Maozhi, a famous professor of the Chinese Painting Department of the China Academy of Art, and an outstanding contemporary flower and bird painter. He has been working in the front line of the Chinese painting teaching circle for a long time, and assisted Mr. Lu Weifei with graduate students.
Mr. Zhu is a person with a heart, who has carefully recorded the words and deeds of the old gentlemen and compiled them into a book, so that these precious ideas, concepts, and techniques can be passed on to future generations. The notes of this lesson sketch recorded and arranged by him are simple and simple, and the pictures and texts are rich in pictures and texts, which are of great significance and value to the study, research, inheritance and development of Chinese painting.
"This book is named 'Lesson Drawing Notes', which has actually greatly exceeded the scope of apprentice techniques, and the old man teaches not only techniques, but also ideas and ideas. There are legal theories and philosophies in the techniques; there are learning and interests in the teaching; and the techniques talk about the realm and the style. In the past, Chinese painting was often looked at very mysteriously by laymen, and after reading this book, even those who did not know much about traditional painting could follow the path and gradually understand it. It often involves many principles of aesthetics, which are naturally of great benefit to ordinary readers to improve their aesthetic accomplishment and ability to appreciate, and it is needless to say more about the benefits to painters. ”
——Professor Lu Qi, former director of the Pan Tianshou Memorial Hall
Zhu Yingren is the author of "Notes on the Drawings of Pan Tianshou, Wu Maozhi and Zhu Le", Zhejiang People's Fine Arts Publishing House; this book was first published in 1992, and immediately became a bestseller in the professional field, and was republished many times, and won the "Special Award of the Yu Dafu Literary and Art Award". In 2017, Zhejiang People's Fine Arts Publishing House launched a new revised edition. The contents of the book are not only the speeches of Mr. Pan, Wu, and Zhu, but also some remarks of Lu Weizhao, Lu Yushao, Lu Weifei, Sha Menghai, Fu Baoshi, Qi Baishi, Huang Binhong, Yu Rentian, and other old gentlemen.
Mr. Pan Tianshou, Wu Maozhi and Zhu Lesan were all inspired by the modern flower master Mr. Wu Changshuo in Shanghai in the early days, and they all worshiped Xu Wei and Chen Chun of the Ming Dynasty, as well as Shi Tao and the Eight Greats in the early Qing Dynasty. However, Mr. Zhu Lesan has maintained the essence of Mr. Changshuo more often, making the brush and ink on his paintings more pure and stable; Mr. Wu Mozhi, with his talent, quick thinking and cleverness, has gradually detached himself from the influence of Mr. Wu Changshuo, and strives for natural interest from the indulgent pen and ink, and the brushwork is both changeable and returned to unity, which is not easy for others to do under normal circumstances; only Tianshou Weng "goes his own way" and takes "strengthening his bones" as the general purpose. His pen and ink, no matter how thick or thin, are seen in the picture with the momentum of steel and iron bones and the strength to carry the top.
From left: Pan Tianshou, Wu Mozhi, Zhu Lesan
Pan Tianshou 'Turquoise Diagram》
In addition to Mr. Pan Tianshou's reputation for his lines with steel and iron bones, in terms of using pens to turn, round pen square pens are used, so the lines are powerful and changeable, making the human body taste endless. For Mr. Pan Tianshou's picture, every bit of painting can show his dismal management and high proficiency in skills. His finger ink lines are more "folded strands" and "house leak marks", which fully express the realm of Dapu bu carving.
Wu Mozhi's "Dashing Water Country and Heaven" (on the left is Mr. Sha Menghai's inscription)
Mr. Wu Maozhi has quick thinking, cheerful and straight, emphasizing the natural momentum of natural interest, and changing the pen from the slow speed of Wu Changshuo to the speed; the pen line is just soft and very tough; the pen and ink changes are very rich, and the principle of unity is not lost, which is not easy for ordinary people to do.
Zhu Lesan 《九畹蘭香》
Mr. Zhu Lesan's painting style inherits from Mr. Wu Changshuo, and the picture is more refined and sees the law, and the use of ink and water is extremely exquisite. His pen and ink lines are gentle and thick in taste, soft and rigid, thick and simple, and the pen is not slow.
Mr. Zhu Yingren (right) poses with Mr. Wu Maozhi, the tutor of the teacher
Mr. Zhu Yingren's drawing notes when he was studying
Mr. Zhu Yingren has been engaged in the creation, research and teaching of Chinese painting for more than 70 years, and is a well-meaning painter who explores the commonality of life. After reading the words and deeds of the three instructors he carefully recorded, we felt the significance and value of ideological inheritance. What Mr. Zhu Yingren did was not only the work of the recorder, but also the mission of the mentor.
Mr. Zhu Yingren wrote a table of contents for "Notes on the Drawings of Pan Tianshou, Wu Maozhi and Zhu Le's Three Lessons"
It can be seen from the table of contents that the content of this book (pen and ink, composition, books and paintings, poetry and painting, etc.) is related to the most basic, core and critical knowledge points of Chinese painting.
First, go deep into the kernel and get to the point
Taking "pen and ink" as an example, it is the core problem of Chinese painting, and the understanding of the old gentlemen is both general and specific, clear and thorough:
Mr. Wu said that the main tools of Chinese painting are pen and ink. However, the pen and ink combination has become a proper noun in Chinese painting, which mainly refers to the ink on the screen and the pen and ink interest that resides here. For example, whether the brush and ink of a painting is good or not, in fact, almost all the skills expressed by the author in painting are included.
······
The old gentlemen said that Chinese painting, especially the artistic conception of the literati painting the first picture, and the expression of the artistic conception all depends on the brush and ink that makes up the picture, and the two are interdependent. Just as the human soul and body are the unity of two aspects, that is, the relationship between form and God, if there is tangible and lack of God, it will be dementia; conversely, if the limbs are incomplete, it is difficult to call both form and God. From the perspective of painting, there are very few artistic conceptions with low ordinary style and unique brush and ink; on the contrary, there are very few mediocre brush and ink that can express superb artistic conceptions.
Closely related to pen and ink, there are also many important concepts that can only be understood and cannot be said, and once the old gentlemen have tempered, these concepts have been clearly understood:
Everyone knows that the "Six Laws" of painting things are the first heavy rhyme. Mr. Wu Mozhi said: Qi refers to anger, that is, the life force that runs endlessly; rhyme refers to emotional rhyme, that is, the rhythm of life in various forms. Although it is difficult to refer to the truth in a certain picture, it can be perceived by people and can also be displayed by pen and ink. What Chinese brush and ink pursue is also based on this as the highest standard. If it is strong and analyzed, it is taken by the pen and rhymed with ink, of which the pen is dominant. Because in general, the ink still has to be shown by the pen, and only the ink at the bottom of the pen can be called the ink of the pen and ink.
Second, a few words, Daigo empowerment
The teaching of the old gentlemen pays attention to teaching by example and leads by example, and the content of the discussion is often lofty, concise and concise, in one sentence:
Mr. Pan Tianshou believes that although the level of painting achievements is based on personal qualities, correct exercise is the key, and it is not possible to engage in some specious magic tricks, but to rely on real kung fu. All art has its own track, and you can open or extend the track, but you can't derail it.
Although composition is a matter of form in Chinese painting, it cannot be said to be a pure form in isolation, because it is always related to specific images, brush and ink, and affection. ...... Composition should make people feel that there is a painting outside the painting, and there is also a pictorial meaning in the non-painting place, so that it can be said that the composition contains an artistic conception. If there is a painting outside the painting, the artistic conception is open, and if there is a painting without a painting, the meaning will be inexhaustible. This is a kind of explanation of Mr. Wu's connection between the form of composition and the artistic conception.