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First, the advantages and disadvantages of boneless flower and bird painting
If a beginner painter chooses the painting subject and direction you will learn, he still has to seriously analyze whether the weight of this painting in his mind and the conditions he has can make himself insist on it. One body is multi-functional, after all, it is a minority. "Single-mindedness" plays a key role in whether a painter can better succeed in the future, because only "single-mindedness" can you better understand and analyze a painting subject in depth, and explore and try in the long-term continuous study and tempering, so as to reach a height. My teacher, Mr. Huo, once said to me, "If you paint something that others also paint, and you feel difficult to reach your height, then you are close to success." "Every painting subject you want to learn is bound to distract a person' energy, just like a bush, it is difficult to grow like a material." Seven points main, three points vice. The learning direction is clearly divided, so that it is easy to grow into a tree, you will have a certain height, a broad perspective and deep thinking, which will be of great help to future creation.
In the early days of learning boneless flowers and birds painting, I carefully analyzed and carefully copied some excellent boneless flower and bird paintings of the past generations, and found that the advantage of boneless flower and bird painting is that it is easier to move with a pen than to paint with a brush, and the painter's brush stroke, if the talent is not enough, it is easy to draw a knot, three alum and nine dyes, it takes a long time, and often consumes the initial feeling. Because to create a larger brush flower and bird painting, as little as ten days and a half months, more than a few months, half a year, or even longer, and freehand flower and bird painting focuses on the smooth lines, color and ink level changes, express instant interest, and these without deep basic skills to support, it is difficult to implement the control of the picture. Boneless flower and bird painting is different, there is a powder draft as a support, the powder draft has been repeatedly pondered and deliberated, in the picture expression no longer too much consideration of composition, object structure problems, more full and focused on the freshest emotional expression in the heart. Its characteristic is that it absorbs the neatness and rigor of the brush painting part, and the painting eye can be deeply and meticulously depicted. The creation of the situation draws on the fluency and writing of a part of the brush used for freehand flowers and birds, so that the whole picture is tight and loose, both work and writing, and more natural and quiet.
But boneless painting of birds also has its shortcomings, when I studied and copied the bonesless flower and bird paintings of the past, I found that its length is not too large, there are some works, although the picture is elegant, a little far away will appear weak. Painting, although it can not be judged by the size of the scale, but the larger scale of the work, or test a painter's ability to control the picture. Pen and ink are contemporary, and exploration and experimentation are the responsibility and responsibility of our painters today.
Second, the color used in the painting of boneless flowers and birds
Because the boneless flower and bird paintings are mostly completed in the expression of the picture, avoid repeated rendering to maintain the flexibility of its picture, so that in its natural state, the collision of color and ink, pink and color, water and color, water and ink, and presents a variety of subtle and rich changes. Ancient sages in the creation of boneless paintings mostly with water color or water injection method directly dyeing, the picture is fresh and elegant, but the distant view is slightly weak, at that time this should not be considered a drawback, because the boneless flowers and birds paintings at that time were small in size, and the close-up and hand-held views accounted for the majority. Today's boneless flower and bird painting creation works, in addition to painting some smaller scales, but also to create some larger works, in order to facilitate the display of more viewers in the larger exhibition hall to appreciate or comment, which requires us painters to think about how to use color, ink, to avoid the thin and weak aspects of boneless flower and bird painting problems. The use of color is not conventional, and the style of Fang Xian's works is elegant, which requires us painters to repeatedly try, ponder, and explore their own set of methods to facilitate their own skillful use in future creation.
Let me talk a little bit about my color experience: use fewer colors to express richer layers. Because, the color is easy to mix, a little careless is easy to fall into the vulgar, and reduce the style. The amount of color mentioned here is only relatively speaking, in a basic tone, properly grasp the use of ink and color measure, but make the picture more abundant. Since the water color is easy to thin, you can use the stone color to blend with the ink, and the stone color has a certain coverage ability, which can avoid the thinness, transparency and weakness of the water color. In the use of stone color in gongbi painting, it is necessary to lay a layer of base color first, and then use the stone color to show thickness and brightness. However, in the boneless flower and bird painting, it needs to be completed at one time, which requires that in the partial expression of the picture, ink color and stone color are used to harmonize and rely on each other, weakening the brilliance of some stone colors, making it more subtle and calm, and rich in layers. However, the proportion of color and ink needs to be carefully figured out by oneself, and it is necessary to achieve elegance without frivolity, thickness without being depressed, and expressing the vulgar elegance of the dust and the tone of the work, which is determined by the aesthetics of the painter and his own cultural accomplishment. The ink mentioned here, that is, oil smoke or lacquer smoke ink ingots, the ink polished ink will be more stable and delicate, the layer will be more abundant, you can also grind the ink to the concentration you want, the work is completed, and the mounting should not be inked. Stone color (stone blue, stone green), ochre, flower blue, garcinia, white powder and other colors, try to use well, degummed is not used.
Yun Shouping said in his exposition: "Laymen on painting are easy to set color, do you know that rendering is extremely difficult, painting until coloring, such as entering the furnace to re-exercise, the fire is slightly worse, the previous achievements are abandoned..."
The tone of a work and the use of pen determine the level of taste of the work.
Avoiding the vulgar and elegant, rich and not vulgar, so that it is contained in the middle of a tone, presenting a quiet and peaceful atmosphere, so that the viewer can feel the beautiful reverie and inner peace in your works. Therefore, painters who are new to using color try to avoid using color too complicated and complicated in their works. But where color is needed, it must be used boldly, which is the grasp of the degree. Always remind yourself how to grasp the overall effect of the picture in a tone. The whole is powerful, the potential is unified, the unity seeks change, and the change is rich. This subtle change in flatness makes it easier for the contemplator to slowly appreciate the emotions you inject into the work. This kind of fun and agility needs to be reflected in our painters in long-term, continuous exploration and practice. Frozen three feet, not a day's cold. We need to seek qualitative change from quantitative change. The beauty of pearls comes from the mussels for several years of incubation, and our works are the same, we can't be in a hurry, calm our minds, let the mind calm down and think, and clarify the direction we want to pursue. We must also dare to try, so that we will slowly gain a little bit, and we must respect and learn the use of color, ink and pen in traditional painting. Good inheritance, there will be good development! With a certain foundation, we must also dare to break some programs, do not break or stand, dare to explore to have new discoveries, listen at the same time, but also learn to think independently and ponder.
Good painters will have the ability to think independently, the ability to do it, and the courage to dare to explore. It is not from the teacher to know a little bit of color grading techniques, composition of the know-how, and the teacher painted very similar, secretly rejoicing, this is not OK. There is a saying that says it well, "Ten to learn seven is to throw three, and each has its own spiritual seedlings to explore." "Everyone's growth experience is different, the difference in self-cultivation and the level of sensitivity to the image are different, and finally you have to use your own true self to explore, the teacher can only give us guidance and expression, but the perception of the object can only be completed by ourselves, and no one can replace it." This realization can only be discovered and explored in life, and it can only slowly become clear as one's own techniques mature and one's cultivation improves. You can't blindly chase the wind, so that no matter how mature your skills are, you can only follow behind others. Therefore, we still have to go to nature and find a carrier that can express our inner feelings.
Third, the choice of boneless bird painting themes
Boneless flower and bird painting occupies a very important position in the choice of theme, good themes have the effect of doing more with less, giving people a refreshing feeling, try to see the award-winning works in previous national exhibitions, all of which present a novel and unique perspective. It can be seen that when we create large-scale works, we still have to spend some thought on the selection of topics. In the process of searching, there are often some painters who are distressed and do not know what to paint, and always feel that the subject they want to express has been painted by others. But calm down and think about it, nowadays, science and technology, the network is so developed, the traffic is also convenient and fast, go out more, look, will always be moved by a plant, an animal, a scene, stimulate their desire to create.
I still have a little experience in this regard. For example, once I took my family to the park to play, just arrived at the park on the light rain, so, I took my family to a small pavilion under the rain, the light rain stopped for a while, there is a garden next to the small pavilion, we will go to the garden to see, but as soon as we enter the garden, we are attracted by a cluster of plants, perhaps it has just rained, it has two or three meters high, the posture is elegant, the flower color is white and crystalline, it seems that the whole bush of plants is covered by a layer of light water mist, it seems so quiet and indisputable. I was touched by it at the time, "I want to let it into my picture" this was my decision and thought at the time. The next step is to gain insight into the details, shooting data from all angles, so as to facilitate the auxiliary memory of future creation, find the name of the plant, observe its growth environment and other details. This theme has been brewing in my mind for two years, and every year during the flowering season of this plant, I will observe and accumulate materials. During this period, I tried to paint a smaller piece of work with the boneless method, and I felt fine. Some time before the 11th National Art Exhibition, it took me half a month to complete it (title: Clear Shallow Waterside Size: 178cm×198cm). He participated in that exhibition and won the award, was selected by the China Artists Association as a traveling exhibition work, and was sent back after three years of traveling abroad. The twelfth art exhibition is also the same, to Yunnan to collect wind, Yunnan side of the plant poinsettia and our northern poinsettia is very different, conceived more than six months to complete, the exhibition award was also selected as a national tour exhibition works. In fact, there are some common animals and plants around everyone, but they are not noticed by everyone, and there are often beautiful ones, but we lack the calm to find it. The world is rich and colorful, as long as we are willing to work hard, we will gain something.
Fourth, the composition and expression of boneless flowers and birds
Boneless flowers and birds paint smaller scales of works or clever, or clumsy, or real, or virtual, mostly with folded branches. The composition and expression of the larger-scale boneless flower and bird paintings still need to be paid attention to:
1. The big painting should be flat, flat and tidy, and the whole side should be stable. Flat is not no level, no change, just more subtle, you can first adjust a medium color as the tone, in the creation process with the feeling of water and ink, in the shortest possible time, complete the basic tone of this work, and then from which to seek level, change, seek virtual and real relationship. In this way, the whole picture will not appear weak because of the scattering.
2. Big paintings look at the situation from a distance, and look at the quality from close. To create large-scale works, you need to repeatedly consider the composition, you can first use charcoal strips to gently outline the position of points, lines, and surfaces, pay attention to the changes in the edges and postures, these places are often secondary painting eyes, but also the location of posture and emotional expression. The composition of the larger boneless painting works is easy to show weakness, and you can refer to the composition of excellent landscape paintings in previous generations. Merge the points, lines, and surfaces of boneless flowers and birds with them. After the big relationship is determined, start from front to back, in-depth portrayal of the drawing, try to be as accurate as possible, so that when you create the main draft, you will not be distracted to consider the location and details of the object you want to express, and you can use the paintbrush to express your emotions wholeheartedly. Bold pen writing, careful cleaning, and the portrayal of details also determine the quality of the work. Superb techniques can be combined with heart and hand, fully express self-interest, good composition and color can enhance the style and level of the work.
3. Overall adjustment of the picture. After the completion of the large-scale picture, the adjustment may take longer, the adjustment of the overall virtual-real relationship, the cleaning of the details, is related to the final success or failure of this work, and the work should be placed in a distance to meditate and contrast. Whole to part, part to whole, and finally achieve an ideal effect.
The painter walks on the road of exploration and experimentation, full of joy, forgets the so-called suffering, eats more bitterly, and success is near. Let us be free to go to nature to find inspiration, learn languages in tradition, discover ourselves in creation, and continue to move forward to fulfill our mission and responsibility. (Author: Zhang Xiaoyan)
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