In August, the weather in Gannan Zhaga is varied, the fantastic cliff clouds, the light and shadow are separated, and the rainbow that is easy to see is like a strange place, and the situation is picturesque. Sketching here for more than a week, in addition to carefully depicting the scenery in front of me, the most important thing that comes to mind is the relationship between the realistic beauty in the eyes and the theory of the painting, and the distance, that is, the distance between the apparent beauty and the soul of beauty.
The three disciplines of Chinese painting, landscape painting is the main vein of the development of Chinese painting in the cultural context of the unity of heaven and man; figure painting is the most wonderful highlight of the corresponding aesthetic subject humanity flash; flower and bird painting because of the Qingteng, Baiyang, Bada, Xugu, Wu Changshuo, Qi Baishi, so it represents the height, is the main peak of the Chinese painting art body.
Figure painting and landscape painting because the depiction of the object is intuitive, the appearance of beautiful skin and aesthetic soul is very close, so you can borrow people's words, borrow scenery lyricism, and flower and bird painting in reality of the borrowed skin bag is relatively abstract and scattered, so most of them take things than xing, want left and right, flower and bird painting from the appearance of reality to the aesthetic core has a long distance to go.
The high degree of imagery and emphasis on artistic ontology of the aesthetic core of Chinese painting make it far away from the public aesthetic, so it needs an external skin in order to express itself in reality. This painting skin makes it easy to think of the ghost in "Liaozhai", the ghost fox needs to paint the skin because of its ugliness and invisibility, in fact, the immortal god also needs it, the god has the skin to be tangible, in order to be seen by the eyes of reality, in order to have the communication between the soul and reality, so the god needs to paint the skin for the beautiful soul.
Sketching can also be said to be looking for a model in natural reality for the painting of the skin, the process of sketching is naturally the process of painting the skin, so the sketching work can be realistic and experimental, it is a process of exploration and search, in this process, as far as possible, the unexpected in reality and the heart do not collide with him and produce a variety of unpredictable charms. If you take the existing program, you will waste this opportunity.
The soul of beauty will be seen by those who have a soul, and all sentient beings need a skin phase, so the skin phase is also beautiful and ugly: there are those who reflect the spiritual soul; there are those who are beautiful with the beauty of the laws of art; there are those who paint beautiful women as beauty; those who have no soul and have beautiful women's skins; those who have no soul and ugly female skins and are beautiful; or those who have the cuteness of natural beings, or those who are beautiful with the difference between mountains and rivers; such as the eight majority are like wandering spirits, and the old man of Shiraishi has a pen and ink in his heart with grass worms as his skin. Therefore, the work of painting the skin is done by the painter. A beautiful landscape needs to be transformed into a beautiful line surface, painting from the beautiful scenery to the painted skin. Goodbye, Zagana!
Nighthawk 45cmx34cm 2007
Deteriorated pen and ink - pen and ink discussion
Chinese painting is a pastoral song of gentle dancing that is bred in the traditional social form. The core of chinese painting is the most heart-warming movement in this soft and slow plate, which is produced in nature, in the harmonious resonance of the human heart and foreign objects in the social state of natural literati.
The sun and the moon have lost, time and space are like smoke, time has compressed the most suitable environment for pen and ink into nostalgic memories, or retained in pieces of scattered areas and temporarily forgotten corners, like the stagnant water on the beach after the rain, or there are fish that have been washed away in the water that are stubbornly alive, but the surrounding traffic is like a stream.
Every year, a pair of wild ducks fly in the pond outside the window. Probably in the midst of tall buildings and glass curtains, there is still some connection with its wild life prototype, and perhaps it is also accustomed to the way of living here, because there is a larger isolated water in the park separated by a huge butterfly-shaped overpass. The wild duck is an ordinary hemp duck in the north, with black stripes on a brown background and eyebrows that resemble the appearance of Zhao Tuo's "Lutang Cold Duck". Although this pond is small, the water grass is lush and the duckweed ripples, so a month later a group of furry ducklings followed the old ducks, which also looked like Zhao Tuo had painted. This time the scenery is pictorial and suitable for ink. Tradition, life, artistic conception, and heart are superimposed together in an instant, and the time factor and technical factor are systemted at this moment.
When the cold wind blows at the end of summer, there is no sign of a flock of ducks when they return from a business trip. Listening to colleagues say that because they were going to the adjacent larger Lake of Zizhuyuan Park, the old duck took a group of ducklings who had not yet learned to fly across the overpass on foot, and were stopped several times, and finally disappeared in one evening.
Traditional painting has left a most precious pen and ink heritage for future generations, it has the most moving artistic appeal in painting, it needs to be cherished by future generations to preserve the inheritance, but it needs to be developed. No matter how good things are, when only thinking about maintaining and retaining it, it has begun to deteriorate, it will become fragmented and unmanageable, even the most harmonious things will become out of place in the migration of the environment, only by giving it the factor of innovative development, the traditional pen and ink will have its own vitality.
Qiao Yinan Lotus Rhyme Color on paper 90cm× 180cm 2012
Artistic Encounters - On Artistic Personality
Dr. Stephen made a female mask in the last century, based on a survey done in different countries and regions, and found that from ancient times to the present, from the Far East to Africa, all recognized beautiful faces, regardless of race, fit the proportions on this mask. In fact, when we carry out art education and artistic creation, we also use the standard proportions on a mask to bind ourselves and restrain others, and completely ignore the living colors in reality.
Predecessors summed up beauty as a criterion, solidified it with numbers, and told future generations that it is beautiful if it conforms to the proportions on this mask. When we studied, we did find that this mask was in line with the faces of many people, and gradually many people put it on their faces, gradually only the face on the mask, and gradually forgot the possibility and actual existence of various beauties behind the mask.
When beauty has a standard, when beauty has complete foresight, when it is possible to accurately see the result of the creation of a work based only on analysis and speculation, beauty becomes boring. The person who creates beauty also loses the impulse to create beauty, and the viewer is even more so.
The style of beauty that the brain cannot imagine exists in life, exists in the many complex and intertwined aesthetic relationships of life, and often many artistic defects may bring about a completely different aesthetic experience. Some of the buds of art that are in the process of being formed have instead generated the possibility of a unique path in the future. The occasional convergence of factors is the possible precursor to the generation of infinite kinds of beauty, and the momentary encounter is often the beginning of artistic splendor.
Qiao Yinan Lotus Rhyme 180cmx200cm 2019
The 80-year-old "bride": inheritance and innovation
The artistic tradition is a wise man, with white hair and long hair, who teaches future generations to cultivate art, aesthetic generosity and skillfulness. This old man gives us concentration.
And the artistic creation is a young bride, she is fresh and uncertain, young and bold, this bride must give the viewer an unfathomable aesthetic feeling.
Contemporary authors are young people who are deeper than tradition, and they must not only learn from the old people, but also find a bride who suits them in life, which is a normal common sense. Learning from the elderly is to truly understand the tradition, to increase wisdom, even if there is only a feeling between enlightenment, and this process requires humility and honesty. And to find a bride is to have talent and intelligence, that is, without this talent, love, and wisdom, we must also have a yearning and desire for beauty.
But in life, what we can see most is that many people do not get even a little communication from the elderly, but they are accompanied by an 80-year-old "bride". Among them, there are those who have no choice, and there are those who cannot distinguish between the old man and the bride.
Putting some of the imitations of the ancients in the painting is like a young man pulling an 80-year-old bride. Perhaps many people also feel uncomfortable, either pretending to be old people, young beards, young and old, not classy; or hanging on to the tradition, forcing hard memorization, and the person also uses the charm of the pen to try to convince the viewer that his 80-year-old bride is also considerable and rewarding.
The core of art is creation, the essence of creation is aesthetic feeling, and the basis of aesthetic feeling is the true aesthetic emotions of the author and the viewer from the heart, the aesthetic experience of high taste, and the aesthetic vision of high requirements. Wisdom knows the true meaning, and there are thousands of kinds of makeup. The flower ghost shadow is really especially there, don't take the old woman as a bride.
Qiao Yinan Summer Solstice Color on Paper 120cm× 120cm 2020
Walking in the Garden: Entering the Creative Reality of Flower and Bird Painting
The National Academy of Painting of China is located in the Zizhu Courtyard of the Third Ring Road in Beijing, surrounded by the Zizhu Overpass and the main road of the West Third Ring Road. In the bustling and noisy city, the quiet Su-style garden of the painting courtyard is like an exotic place forgotten by the city, because the gate is open on the inside, it is not known to ordinary passers-by, but after entering, the nine-story gate tower of the Ming Dynasty of the Erdaomen Dynasty brings people into the forgotten space and time. The courtyard is surrounded by bridges, lush trees, distant views of ancient towers, myopia wind blowing bamboo, walking around the half pavilion reflecting the water, you can see the stone and fish.
After working and living in the garden for more than a few months, I suddenly found that for more than 20 years, I had been wading into the deep mountains to capture birds and phantom flowers, persimmon trees I sketched under the sunshine of the earth, and spirit stones swimming fish that I searched around for... It has long been condensed in this garden, and it is listed in such a thick way, like a natural reconstruction within a few feet, and it is listed so gracefully, cleverly divided into spaces, making the garden deep, and sometimes producing aesthetic surprises of willow and dark flowers.
None of the gardens I have been to have ever had such a feeling, and perhaps I did not take it into my mind to realize it at that time, let alone include myself in the garden and let myself melt into it, so that my heart could merge with the reality in front of me. Suddenly, I understood the ancients: the garden is a painting realm that sustenance on the cultural spirit, and it is also the reality of the aesthetic spirit of flower and bird painting.
Wander through the garden. The spiritual reality of Chinese flower and bird painting is placed in the garden, but the garden is not a nature in nature, but a natural reality in the hearts of the literati, which is a kind of secondary nature. This nature is secretive and rare, from ancient times to the present, it is hidden in ordinary alleys, and the doorway is no different from the neighborhood. But when you sit inside at the table, there are ancient books and chen cases, calligraphy and painting hanging on the wall; outside the window ledge, the heavenly Zhu is raining, the banana is shady, the round door in the curved corridor reflects the bamboo, and the fake stone is unique; the three or two plums in front of the white powder wall are obliquely shadowed, and the scales in the chaotic stone pool are clustered together.
(This article is excerpted from "The Heart of Flower and Bird Painting From Tradition to the Future", the title is added by the editor of China Art News)
Source: Xinhua Net