First, concise, general beauty
Freehand is opposed to sketching and realism, does not pursue objective truth and meticulousness, opposes imitation of nature, emphasizes the characteristics of typology and constancy of inductive and generalized objects, and abandons specific details and individual hues. The peony flower is a peony flower because it distinguishes it from the typological characteristics of other flowers, rather than the individual difference between this peony flower and that peony flower.
Second, simple, simple and beautiful
As it is said in the "Poetry", "God is rich and noble, and gold is light." "It is said that the real wealth does not lie in the repeated appearance of green and yellow, the rolling of hue, but the careful understanding of the spirit of nature and spiritual abundance, freehand painting against colorful colors, complex objects, but to seek richness in simplicity, simplicity and splendor. Therefore, only one or two colors are often used in the picture to express one or two kinds of objects, the brushwork is unified, the objects are simple, and only the changes in the number of water are used to obtain rich thickness and layer changes, so as to meet the rhythm transformation of vision.
Third, dashing, casual beauty
The freehand "yi" character points out that in the creation of Chinese painting, the painter should express the individual spirit of the subject, that is, temperament and cultivation. A calm, indifferent, and free state of mind is a necessary prerequisite for the painter to fully express his feelings, so the painter should cultivate a detached, indifferent and quiet mind and literacy in the midst of worldly disturbances, and only when he moves his pen can he be unencumbered and feel at ease. Implemented on the specific pen, it is not sticky, not stagnant, not rushed, not wild and not crazy composure.
Fourth, the beauty of pen and ink
The core language factor of freehand painting is "pen and ink", which is also derived from the promotion of the literati calligrapher", since the Song and Yuan Dynasties, the "pen and ink" has been raised to the highest position, almost "pen and ink is the painting method, the painting method is the pen and ink", which shows the importance of pen and ink. Pen and ink contain rich emotion and have relatively independent aesthetic value, which has become the most core freehand painting language, confirmed by modern handwriting, handwriting is the most effective evidence to identify the personal identity of the signer, but also because of the uniqueness and irreplaceability of handwriting. Coupled with the normative convention of calligraphy aesthetics, it has become the main element of the aesthetic evaluation of freehand painting, just as Huang Binhong's "five strokes" said that "one day flat, such as cone painting sand; two days round, such as folding plutonium stock; three days stay, such as house leakage marks; four days heavy, such as mountain falling stones; five days change, jagged clutch, size oblique, fat and thin short and long, pitch intermittent, uneven, is for the inner beauty." In this way, the pen and ink can "have a sense of breathing", and every line is full of vitality, which can achieve the aesthetic atmosphere implicitly contained in the work.
Fifth, life is beautiful
We often say that a painting has a "living fragrance", and this "living incense", that is, the fragrance of life, includes not only the life weather of the objective object, but also the spiritual mood of the author "I". Qi Baishi originally inherited the eight major painting styles of cold and lonely, through Chen Yinke's point, turned to his early life, flowers, cordyceps, scales all show the interest and vitality of rural childhood life, compared to the high and lonely frustrated literati mood, more can arouse the resonance of everyone's heart. Therefore, the vivid fragrance in the picture comes from the painter's real life experience, and the rich life experience creates the vitality of art.
Sixth, poetic realm beauty
Chinese poetry and painting pursue "painting in poetry, poetry in painting". Dongpo also believes that "poetry and painting are the same, heavenly work and freshness". People's emotions are diverse, and poetic feelings are the high-level forms of people's expression of emotions, can transcend vulgarity and vulgarity, freehand flowers and birds began with the literati inkers, the emotional expression of the literati is the understanding of the natural spirit of life and heaven and earth, is the literary sublimation of ordinary life, so we read poetry to draw the meaning, and the opening volume is imagery. Painters don't have to be able to write poetry, but they can't be without poetry and poetry.
Seventh, cultural and spiritual beauty
We often say that painting should "get rid of fire", "fire" and "desire" are connected, desire fire is not removed, the heart is difficult to purify, tacky is difficult to dissipate, how to go to fire? The only way to read is to cultivate oneself. People's experience and expectations for life can always converge into a cultural form, China's thousands of years of formation of the "Confucian Tao" cultural tradition is the Chinese view of life, cosmology, modern life into the concept of freedom, equality, democracy, science, environmental protection, life protection, although the ancient and modern concepts are different, but the spiritual essence is the same, after all, the road is the same, the heavens are no different, traditional culture will be in the development of the charm will always exist. While emphasizing the individual style, the work of art also attaches importance to the sense of social identity and the emotional resonance of the audience, which must be achieved by the creator to have a certain deep understanding and artistic expression of the cultural spirit, otherwise if you only indulge in the expression of narrow self, there can only be some shallow works of "lonely self-appreciation".
Eighth, the image is beautiful
The "intention" of imagery, the most basic meaning is the process from "special to universal" and "individual to general", that is, the typical image of typification summarized from the individual; further is the semi-abstract image that is similar to the symbol that gives the conceptual meaning (religious, cultural, political, etc.); the highest form of imagery is the model with strong expressiveness and can fully express the subjective spiritual meaning. The concept of modeling is not to simulate natural forms, but to create a new, expressive image. It is not the same as the natural form, it is a "man-made" and "cultural" image that transcends the natural form. It is necessary to go through generalization, induction, simplification, exaggeration, deformation, anthropomorphism, imitation and other artistic treatments to complete the "artistic sublimation" of the image, give a specific formal meaning, carry a certain spiritual will, not "only the best portrait", blindly depict the natural image.
IX. Traditional Rules and Regulations
The Yin-Yang Taiji Diagram highly summarizes the laws of the existence and movement of things, has the structural beauty of equilibrium, harmony, variability and directionality, and also contains the basic structural laws of Chinese painting, such as the birth of virtual reality, dependence or not, yin and yang, rigidity and softness, and the rhythm and rhythm displayed by rising, bearing, turning and merging. The word "yin and yang" has a wide meaning, described in modern language, its meaning categories include black and white, thick and light, dry and wet, dense, scattered, straight, square, rigid and soft, cold and warm, obscure, primary and secondary, before and after, etc. Chinese painting creation is through the establishment of these contrasting relationships, by resolving contradictions and achieving yin and yang harmony to complete a unified and changing work of art.
10. Form constitutes beauty
Chinese art has always been dominated by concepts, compared with "simulated natural form" of Western art, more has a distinct sense of form, although the concept of "form" comes from Western art theory, but there should be no resistance to the mood, the transmission of the artistic conception can not be separated from the composition of the form, whether the artistic conception is majestic, vigorous, bold, or diluted, elegant, implicit, is not through the corresponding language form and composition to be revealed. Dots, lines, surfaces, black and white gray, repetitive variations, dense gathering, virtual and real, dry and wet, divided proportions, and unified changes are all abstract, purified, and summarized in the process of artistic practice, all of which carry a certain cultural spirit and concept.