Chinese landscape painting has always been said to be "Cheng Huai Guan Dao", and it is especially important to the direction of poetry. Wang Wei has a sentence in the poem "Ultimate South Mountain": "The peaks in the division of fields change, and the yin and sunny are different."
Lu Lu, a well-known painter who is nearly eighty years old, has been committed to the practice and thinking of Chinese painting creation, and he believes that grasping Yin Qing is the expression of traditional cultural philosophical thought. As a Chinese painter, if you want to express the landscape, you must not only go deep into it, tour the mountains and watch the water, but also touch the scenery and grasp your own feelings. This article is a casual reminiscence of the creation of his series of landscapes and rivers.
When I was young, in the process of learning poetry from my predecessors, I found a space for sustenance in landscape poetry. Among the landscape poets I love, such as Xie Lingyun of the Six Dynasties, Li Bai, Wang Wei and Du Mu of the Tang Dynasty, Su Shi, Lu You, Xin Shuyi and others in the Song Dynasty, their landscape poetry works have brought me a kind of fascination with nature.
After I was older, I also had the privilege of using various tolerances and holidays to travel, many times to and from the Three Gorges of the Yangtze River and Huashan, Mount Emei, Hengshan, Huangshan, Lushan, Wuyishan, Yandangshan and many other famous mountains and rivers, at that time with the traditional painting of the landscape image, facing the real mountain, real water, that is, fresh and strange, but could not sort out a way to express themselves.
Ming Dynasty Shen Zhou "Lushan Gaotu"
In 1975, I had the privilege of learning some modern aesthetic concepts from Mr. Guan Liang. After the 1980s, with the question of long-term confusion about the process of landscape painting in sketching and creation, I revisited the famous mountains and rivers in various places, traveled to and from the southwest many times, and later to the northeast and north China, deepening my impression and feeling of poetry in my memory. In the midst of mountains, forests and canyons, I truly experienced the natural changes and feelings of "the peaks in the wilderness, the clouds and the sunshine and the differences" described in Wang Wei's poem "In the Zhongnan Mountain". In the process of creation and thinking, it was Teacher Guan Liang who gave me many very important enlightenments, and later when I reviewed a batch of ink paintings created by Sketches with the theme of landscape and yinqing, he said, "You can be bolder, and you can add impressions to your infinite imagination." ”
Qing Dynasty Shitao landscape painting Mountain forest leshi chart axis
Through the imitation of the ancient and later series of landscape creations, I also have a further understanding of the ancient people's so-called "reading thousands of books and traveling thousands of miles" and "having hills and ravines in the chest", the so-called hills and ravines in the chest are no longer pure and objective hills, but through the realm of their own artistic image and poetry. I feel that sketching and expressing landscapes should not only be as Shi Tao said, "searching for the qifeng and making drafts", but also having fun in it with the feelings of the poet, and playing freely until it is happy and forgetful, and the emotions and gods are blended.
In the case of Lushan, it has always been a place where high people live in seclusion, and there are many famous landscape works, such as Shen Zhou's "Lushan Gaotu".
Lu "Lushan Yinqing"
Since Lushan is a secluded place for high people, I thought in the 1980s when I painted "Lushan Yinqing", "there are self-ghosts and people coming and going alone", so the mountain in the upper right corner, painted some smoke clouds, the realm of smoke clouds, plus the temple, itself is not only an outsider or an outsider, the world is called a high person, and there are people who come and go alone. On the left, I used cyan - because Li Bai's "Wanglushan Waterfall" is so famous, which is mainly a manifestation of "having a ghostly person alone".
"Wuyi Yinqing" is a representation of Wuyi Mountain, the stone of Wuyi Mountain is mostly limestone, especially to the Dawang Peak at the front of Wuyi Mountain, the mountain stone structure is different from other mountains in the south. At that time, I thought about this, and I always wanted to express it. Later, I remembered the "Gu Changkang from huijian return, people asked about the beauty of the mountains and rivers, Gu Yun: 'Thousand Rocks Jingxiu, Ten Thousand Valleys Contending For The Stream', I rewrote it as "Nine Qu Contending For The Stream, Qianyan Jingxiu", so I used a different technique from the traditional - the inverted painting method, mainly let people feel its limestone attributes, Wuyi Mountain Dawang Peak in front of a small, as if called Hongshi Gorge, indicating that the color of the mountain over there is basically Danxia landform.
"Chibi Yinqing" mainly shows Su Dongpo's "Chibi Fu", presenting the scene of night swimming.
Lu Lu "The End of the South Yin Qing"
The Zhongnan Mountain in "The Yinqing of the End of the South" is the hermitage of the literati of the past generations, but in fact, there are many false hermits among the hermits, who are in the name of "hermitage", but in fact, they are retreating to advance and want to become officials. So I wanted to express such a sense of history and irony in my paintings, and then I thought of a poem, "The landscape has a clear sound, and it is appropriate to go in and out." That is to say, under the pretext of "seclusion", he tried to get the attention of the imperial court to become an official, but he could not go, and some people stayed, and it was appropriate to enter and retreat, both in and out.
How to express "the landscape has a clear sound"? I made an article on the word "Qingyin", remembering a technique that Mr. He Tianjian often used - gossamer yuankong, which gives people a sense of musical rhythm, and this work was later exhibited at the China Art Palace, which was exhibited together with "Empty Valley Yinqing", this painting grasps the rhythm of "皴", showing the aftersound of the aftersound, mainly because the landscape has a light tone, and it is suitable for both progress and retreat. I only grasp this part of the Final South Mountain, although in this work, the mountain does not reach the top, nor below, just paint a part in the middle, there is a small house - that is, this place can enter or retreat, in fact, the painting shows a false hermit.
Lu "Bashan Yinqing"
Speaking of "Bashan Yinqing", I remember that I traveled on the Yangtze River several times in the 1960s and 1970s, the longest time was from Leshan to Yibin, then to Luzhou, from Luzhou to Chongqing, from Chongqing all the way down to Shanghai.
After going back and forth between the Three Gorges of the Yangtze River so many times, why did you think of painting "Bashan Yinqing"? Because the Three Gorges of the Yangtze River, starting from the White Emperor City, the Chu Gorge, the WuXia Gorge, the Ba Gorge, when it comes to the Wu Gorge, people say that the Wu Gorge is cloudy and foggy, and it is not clear to go up, but after crossing the Wu Gorge, after the ship arrives at the Ba Gorge, it is different, and Badong now belongs to Hubei Province.
"Bashan Yinqing" is characterized by the use of red lines, that is because when crossing the Wuxia, the smoke and rain are not clear, when crossing the Wuxia to Padang, that day is just bright, the sun is out, at this time with the front of the Wuxia a contrast, I feel particularly red, I want to emphasize the sense of contrast, so the first stroke with red lines to express the mountain, the back of the mountain is black, so the contrast comes out.
There is also a painting called "Yin Qing of the Palm of the Palm", which mainly shows the Peak of the Yandang Mountain, like two palms, which is to express the Buddhist sense of worship.
Lu "Taihu Lake Smoke Wave"
"Taihu Lake Smoke Wave" mainly shows the wind and the sun, the wind and the wind - so the boat feeling of the painting is very stable, the sun is beautiful, under the sunlight, the colors on both sides of the Taihu Lake are particularly clear.
Speaking of Huashan, in 1999 I went to Huashan, the first few days of going there has been rain, we stayed in the hotel, once slept in the afternoon, got up and stood on the balcony, just when the rain stopped, the sun came out, look at the canglongling stone wall, originally with yellow with red, the sun came out like a golden dragon in the sky, really like a dragon, the sun shines, the stone of the mountain over there, like gold, so after I came back I made an old body poem.
The first time I went to CanglongLing was in 1975 to climb up, two days, only three people, did not meet people, the mountain is very steep, are pulling the chains up, the chains are still broken, the road is not, are pits, some can only put a tiptoe, I did not want to go up, because after a look, too dangerous, really "Huashan world danger" - do not dare to climb. The two people who were walking with me met on the road, they came from a business trip, and the two of them said, "Boy, you don't want to go up?" Are you afraid? I said yes, and the two of them encouraged me: "Well, you go in the middle, and we're one after the other." "So later they encouraged them to go up like this, all the way up to the North Peak, this road is really dangerous."
Remember that Canglong Ridge is from the north peak to the middle peak, the middle height drop of 800 meters, just like the roof ridge above a house, the middle space of this road has 500 meters, in the middle of the 500 meters there is an 800 meters drop, this height is quite high. At that time, the road was broken, I climbed on it, my eyes did not dare to look, both sides were cliffs, the chain was also broken, no wonder there is a record of Han Yu in the Tang Dynasty when he went there and cried, and threw away the books, it was really dangerous - sometimes it felt like it was a desperate thing.
After climbing up, we spent the night in the cave on the west peak of Huashan Mountain, which was very cold. Later down the mountain, more dangerous, up the mountain is easy to go down the mountain is difficult, down the road is particularly afraid. So for The Dragon Ridge of Mount Hua, I am still afraid to look back on it now, and I thought that if I fell from the mountain, my family might not know where I fell, and there was no one, and this Dragon Ridge was too dangerous.
After coming back, the impression has always been, and I have always wanted to express this risk, but I don't know how to behave. I usually go up the mountain to play, play happily, play until I have fun and forget to return.
Later, it was not until the 1990s that he painted "Canglong Ridge", which was later than this batch of cloudy landscape works.
Lu "Canglong Ridge"
In fact, as far as my creative feelings are concerned, which kind of pen and ink to use to express, on the one hand, it is necessary to touch the scenery - this is the method of using the poet, the so-called happy in it, happy and forgetful, the love is in it, at this time the way of thinking comes out, the scene you show is poetic; there is also a very important point, now many people create, first of all, they have a wrong idea of how to express modernity, always love to consider from the image, in fact, do not consider from the image first, may as well face the real concreteness, to feel, Whether it is a whole or a part, if you express such a feeling, I think it is modern.
In this series of "Yin Qing" landscape works, I did not deliberately consider modernity, but only grasped the part.
Wang Wei has a sentence in the poem "Zhongnan Mountain": "The peaks in the division of fields change, and the yin and sunny are different", grasping the yin and qing, which is the expression of traditional philosophical thought. I later borrowed this and consciously thought and created, according to different places to specifically grasp a part or the whole of their own feelings to express, not deliberately, that is, to show their most real feelings, this feeling as a whole can also appear, partial appearance can also be, I personally think that this kind of performance is actually modern.
Now many people often say that there must be an era, in fact, the era is not formal, including borrowing from Western painting, nor should it be deliberate, but should show their unique feelings about landscapes.
(Note: This article is based on the oral description of Lu)