Click on the "Included in Topics" category to view all.
Tip: The graphic information comes from the Internet, and the copyright belongs to the original author. The picture is not sure of the authenticity of the work, not as the basis for investment collection, only for everyone to share and learn, if the author believes that it involves infringement, please contact us, we will verify and delete it immediately.
Throughout the history of Chinese painting, it is also a history of creation and renewal by generations of painting masters, and it can be seen that all those who have achieved success have their own unique painting styles, and can integrate their own academic cultivation and feelings about nature through the integration of the programming language of pen and ink, and give full play to their personality at will. Especially in the Chinese landscape painting method, because every change in landscape painting in the past thousand years is importantly related to the innovation of the chinese landscape painting, it has always been valued by painters. It is also due to the difference in personality and knowledge of the painter and the difference in understanding of different natural features, creating a variety of different methods. The traditional method is mostly based on the center hook point, and the lateral edge is brushed, and in the development process, there are also phenomena such as "chaotic firewood", "chaotic trouble", "dragging mud with water wrinkles" and other more expressive temperamental methods, such methods are unrestrained, improvised, very personal, seemingly chaotic, but it is impossible to have a law, very human. Huang Binhong said, "A good painting, not chaotic in chaos, not chaotic in chaos." Its qi pulse will be connected, the qi pulse will be connected, the painting will have the aura, the painting will have the aura, and the qi rhyme will be natural and vivid." Among modern painters, most painters honestly follow the ancient method in the traditional brushwork and dare not cross the thunder pool for half a step. Because of the constraints of tradition, it is natural that it is impossible to reach a vivid state of breath and vitality. The only people who can combine their hearts and hands with ink and ink and achieve the realm of random painting at will are only Fu Baoshi, Huang Binhong, Chen Zizhuang, and Shi Lu.
Fu Baoshi is in the long-term painting practice, the personality and talent into his own painting, and gradually formed a different method, he dared to break through the shackles of traditional brushwork, not only with the tip of the pen belly to paint, but also when transporting the pen to increase the use of the pen root and scattered pen blade horizontal sweep, letter pen swing, the performance and potential of the brush to the extreme. At first, his broken brushstrokes look rough and unruly, but the lines are subtle, chaotic and lawless in the midst of pain and happiness, and the overall style is harmonious and unified. His method of wrinkles not only contains "chaotic firewood, chaotic hemp, lotus leaves, dragging mud and water" and other methods, but also has some changes, thus creating a new method that integrates traditional classics. When others asked him what kind of fa he was practicing, he himself could not say which kind of fa it belonged to. Because of the chaotic sweeping and disorganization, it was jokingly called "confused", which was the new method of chaffoclature that was later named after him, and was revered as "bouldering".
Recently, I read the collection of essays by Mr. Chen Chuanxi, a famous scholar and professor of art history, and benefited a lot. In an article in his collection on the ranking of modern painters, he listed Qi Baishi as the first of the most influential Chinese painters of the century, Xu Beihong second, and said: "Unless you are ignorant, I am afraid that you will give in." Originally, each painter has his own unique style and special contribution to the development of fine arts, there are places that others cannot reach, can not be ranked to measure the level of their artistic value, if you have to divide one, two, three, Qi Baishi, Xu Beihong's popularity and artistic achievements are well-known among the Chinese. However, if fame is put aside, in terms of the influence of his artistic achievements and the degree of renewal of his art, many readers will certainly disagree with professor Chen's above two. The author is only shallow and shallow, and I am ignorant compared to Professor Chen, but I am indeed dissatisfied with Professor Chen's ranking, unless there is also a reason for me to bow my head.
Professor Chen, who studies art history, should know better than me and others, as early as the Eastern Jin Dynasty, the famous painter and theorist Gu Kaizhi clearly put forward: "Where painting, people are the most difficult, sub-landscape, sub-dog-horse --"." With the development of history, Chinese landscape painting has gradually developed into the mainstream of Chinese painting, and its theory and painting are the most mature in development. In the second chapter of Professor Chen's other (co-authored) book, "The Refraction of the Spirit: Chinese Landscape Painting and Hermit Culture", it is directly stated that "landscape painting is the mainstream of Chinese painting, and its creators are mostly hermits and people with a reclusive mentality". It can be seen that Professor Chen acknowledges the important position of landscape in Chinese painting. Chinese love landscape, heavy landscape painting, and think that landscape can "smooth the spirit", from landscape painting can experience the realm of "can be appreciated, can live, can swim", but also put forward "benevolent Leshan, wise people leshui" and other theories, in the history of Chinese art can also be seen that every emerging epoch-making people are also landscape painting home, broad and profound landscape painting has become the representative of national art, in Chinese painting occupies an important dominant position, Qi Baishi is the best at flowers and birds, but also more interesting, but it is impossible to be majestic and magnificent, The ever-changing landscape painters are compared. Xu Beihong painted figures, but is it suitable for Chinese painting to advocate that drawing is the basis of all modeling? Can brush drawing really convey Chinese culture? Finally, Professor Chen has an article "From the Masculine Atmosphere" to say very well, he believes that there is a sense of strength, masculine art is the most orthodox national art, then among modern painters, the only three who really achieve a new and masculine atmosphere, and the theoretical writings have a great influence and comprehensive artistic achievements. (Fu Baoshi was only sixty-one years old when he died, equivalent to the middle-aged and young people of Qi Baishi and Huang Binhong, and the works of the two masters at this age were not mature at all.) If the masculine atmosphere and degree of innovation of the work are achieved at the same time, the landscape and the characters are highly accomplished, then Mr. Fu Baoshi will stand in the end.
Since Fu Baoshi has been pushed to the highest position, let's first understand his artistic journey. Fu Baoshi was inspired by the love of calligraphy and painting from the calligraphy and painting mounting shop, his earliest contact with art was from the seal carving, the imitation of the famous seal in middle school can reach the degree of chaos, he advocates: "take the law to the top", from the Qin and Han studies, the works are flat and medium-changing, the style of the works is high and classical, similar to the style of the great seal carver Huang Mufu. Because of the inscription and the involvement of writing, Fu Baoshi began to study calligraphy diligently, and started from GaoGu's "Sanshi Pan" and "Stone Drum Text", and the style of his works was stable and simple. He greatly admired the status of calligraphy in Chinese art, and in his article "A Brief History of Chinese Seal Engraving", he began by saying that "the most basic source of Chinese art is calligraphy, and if there is no considerable knowledge and understanding of calligraphy, then all Chinese art can be said to be the absolute cause." It can be seen that he has a deep understanding of calligraphy. What makes me wonder here is that Fu Baoshi's calligraphy and seal carvings are all in the style of Quaya Juanxiu, that is, the cursive writing is also beautiful and dignified, and I always feel that I am bound by the ancient law and cannot let go, which seems to be completely different from his magnificent and atmospheric Style of Chinese paintings. He often inscribed several neat iron wire seals in his uninhibited paintings, which is extremely incongruous with the overall temperament of the work. If Fu Baoshi calligraphy is to learn the wild use of pens by Xu Zhi, and the seal carving is like Qi Baishi swinging a knife straight at nature, then this is a perfect Fu Baoshi.
Fu Baoshi's earliest study of painting began by copying traditional painting, and when he was a teenager, he studied Shi Tao's works, and felt that Shi Tao's paintings were indulgent and vivid, and he was very admired, so he changed his name to Bouldering. Throughout his life, he was deeply influenced by Shi Tao, but he was able to learn and transform, and copied Shi Tao and the famous works of the ancients, with both form and god, and had a deep traditional basic skill. I have seen him copy Shi Tao's "You Huayang Mountain Map" work, which has both the charm of Shi Tao and his own "bouldering" style, which is much more intelligent than Zhang Daqian's Shi Tao paintings without his own language. By copying classics and absorbing the essence of brush and ink from the landscapes of the past, he created a new artistic conception of landscape painting. Although Mr. Fu Baoshi claimed to be "for the needs of the landscape, he also occasionally painted figures." However, in terms of the traditional skills of his figure painting and the meaning of high antiquity, no one has been able to surpass it so far. When he paints figure paintings, he obviously learns the ancient method of iron line drawing, orchid leaf drawing and high ancient gossamer drawing, etc., he makes a meticulous and meticulous line for freehand flying, and uses the technique of breaking the blade and flying white, which seems to be sloppy and absurd, but it is in line with the charm and content of the characters. These flying lines are similar to the style of qiufa in his landscape paintings, the pictures are unified and harmonious, the lines are flowing and simple, bold and beautiful, cold and elegant, and the achievements are in harmony with the landscape. Although Fu Baoshi's figure paintings are good, they have many regrets compared to landscapes, such as the monotonous shapes of the characters, especially in several female figure paintings, in which the direction of the face shape, the size of the position, and the movement of the expression are almost the same.
Fu Baoshi is a painter, but his love for art history is even stronger, and his research on art history theory is so profound and his achievements are so great that no one can stand with him so far. He is also a pioneer and authority on the study of Chinese art history. As early as the age of 22, he completed the first art history monograph "Outline of the Origin and Flow of Chinese Painting"; at the age of 26, he completed the first art history monograph "Outline of the History of Chinese Painting Changes". Then, he went to Japan to study the history of Oriental art, and successively published a variety of treatises such as "Chinese Art Yearbook" and "History of Chinese Art". Perhaps it is precisely because of his understanding and judgment of art history that he gradually formed his own painting theory, and summed up lessons and learned the essence in the process, and also promoted the formation of his own unique painting style. Here, we can see from Mr. Fu Baoshi's artistic experience that Fu Baoshi has been rigorous in his life, involved in a wide range of art, has made achievements in painting, seal carving, calligraphy, philosophy and the history of oriental art, and is good at choosing and thinking, taking the essence, integrating and penetrating, and finally standing proudly in the modern Chinese painting world and becoming a generation of masters. Look at the unprecedented number of people who studied art after the founding of the People's Republic of China, and how many really good painters are there now! Art schools have expanded enrollment, and non-art colleges have added art!
To study the works of painters, we must first understand the personality, character and hobbies of the painter himself, the work is only a product of the combination of the painter's thoughts and personality, and Fu Baoshi's works are typical examples of organic combination of his own authenticity and pen and ink to achieve perfection. In the history of Chinese painting, untethered by external interference and etiquette, as Song Yuanjun said, "is the real painter also" of the "undressed" painters, there are Wu Daozi, Xu Wei, Bada, etc., their common feature is good wine, drunk after the brush is the most wonderful. Fu Baoshi has a common seal called "often drunk", which is the best portrayal of his hobby. Fu Baoshi is good at wine, and every painting must be wine, every wine must be painted, almost to the point where no wine can not paint, in his art world, wine and calligraphy and painting are inseparable, and become an inseparable part of his art.
The connection between wine and calligraphy and painting has been very close since ancient times, and the great painter Wu Daozi and the calligrapher Wang Xizhi both revealed their nature after drinking, taking advantage of the pen and looking at each other, thus exerting an extraordinary level. Later, the two great calligraphers of the Tang Dynasty, Zhang Xu and Huai Su, because of their extravagant nature and wild behavior, often used mood, sorrow and unfairness to use cursive writing to apply to the pen end, the pen was wanton, and the cursive was played to the extreme, and the two were called "upside down drunkenness" by posterity because of the forgetfulness after drinking. The reason why Fu Baoshi is a great painter who has only been seen for hundreds of years is actually inseparable from his good wine, and after each big drunk, he takes wine as the driving force, borrows wine lyrically, paints with his pen, sweeps the pen wildly, and quickly turns off the electricity like thunder, and is as gentle as a trickle of streams. The picture is as painful as the book madness, the momentum is compelling, its pen and ink changes are rich, the coherence of the lines and the dryness of the ink color, the thickness and lightness of nature, the joys and sorrows of the weekdays, the glory and humiliation of the worries are forgotten between this half dream and half awake, the process of creating painting itself has extraordinary artistic appeal, because of its profound traditional skills, so its works are extremely legal in the wild, indulgent but rigorous.
The reason why a scribble like Fu Baoshi's is difficult and high is because it must integrate nature into pen and ink, which is unattainable under normal circumstances. Because the various rules and regulations formed in the mind usually restrict the nature of art, so that people cannot play freely, they must use some way to eliminate this obstacle. Fu Baoshi chose wine, and only when he was drunk, his nature could be brought to its best, and at this time, he was bold and unrestrained. Nature and reason seem to be disconnected between trance. In the frenzy of the paper, there is no unreasonable law. But things always have a degree, drinking should also be just right, really drink too much that will produce a good work! It is said that once when Fu Baoshi was in Chongqing, he drank a lot of wine one night, and then he started to paint, and drank while painting and drank a lot of wine, he felt that this painting was vivid and vivid than before, it was a masterpiece of his life, when he woke up, he looked at it again, the picture was wolf, the picture was chaotic, and it turned out that after getting drunk that day, the letter was scribbled randomly, full of paper black, and could not be cleaned up, so it can be seen that it is not good to draw after being really drunk. Learning art requires passion, and everyone has a way to make themselves excited, or face the majestic landscape, or enjoy the moving song and dance, or listen to touching music, etc., as long as you find a suitable point for you to enter the passion, you can also bring into the realm of self-forgetfulness. Not everyone can draw good works after drinking, you are not good at wine, you have to drink three mouthfuls can only be top-heavy, dizzy, the work painted is also destined to be "Hu painting".
Writing this, the author found that it is by no means a coincidence that among the painters of the twentieth century, Huang Binhong, Fu Baoshi, Chen Zizhuang and Shi Lu reached the realm of scribble painting with a relaxed attitude and indulgent brush and ink painting, because the author noticed that they all had an extraordinary connection with the guqin. Huang Binhong's student Wang Bomin, in "Huang Binhong's Painting Quotations" (Shanghai Fine Arts Publishing, 1961 edition), said that Huang Binhong learned to play the piano and dance the sword before he was forty years old. Mr. Bin Hong also owned a guqin before his death, which was later collected by the Nanjing painter Dong Xinbin. Shi Lu's student Li Shinan also mentioned in the book "Crazy Song when Crying" that Mr. Shi Lu once hid a dark sandalwood Tang qin, Shi Lu could say the role and allusion of the seven strings and thirteen emblems, and pressed the piano with his left hand, plucked the strings with his right hand, and sang while playing, it seems that Shi Lu did have a study of the guqin. Sichuan painter Chen Zizhuang's feelings about the piano are even deeper, he often with the great pianists at that time, and with the famous pianists Yu Shaoze and Wang Huade every week in the "Hundred Flowers Music Society" elegant collection, Fuqin painting, once in the "Chen Zizhuang Painting Collection" (Sichuan Fine Arts, Foreign Languages Publishing House, 87 edition) saw Chen Zizhuang's painting with the title of the piano rhyme, the inscription: "Yu listened to Wang Huade drum "ape crane exercise", the scene is like, when it is the first person to get it after practicing hard for ten thousand times, the predecessor has clouds, with a pen like playing the piano, try to write my landscape with piano rhyme, can be natural and lively, It seems to be in it."
There is also "sound in the painting, not in the pen and ink but in the degree, the viewer can see and hear also." This shows how deeply his paintings are directly affected by the piano. Mr. Wang Huade, who is still alive and is still alive, 83 years old, often mentions the interaction with the painter Chen Zizhuang in his memories, and talks about the interaction between his piano and calligraphy and painting. Whether Mr. Fu Baoshi plays the piano or not is not recorded in the data, but it is certain that he appreciates guqin music, because his works often have themes such as Fuqin Gaoshi and Lady with Qin. Among them, in his later years, he also directly created Chinese painting works with the most widely circulated and most representative of the literati's mood, such as "Pingsha Falling Goose" and "Yangguan Sandi" (Weicheng Qu), as the theme, as well as such as "The Staff with the Qintu", "Dongshan Silk Bamboo", "Li Ren Xing", "Liuxia Fuqin", "Seven Sages of the Bamboo Forest", "Zhuliguan", etc. are directly on the screen with Fuqin figures, and other ethnic musical instruments such as Ruan, Xiao, and Pipa often appear in his paintings. In "Studies in Chinese Painting" (episode 8), there is an article by Fu Xiaoshi remembering his father, which includes a passage in which "sometimes when the painting is proud, my father also hums a few tunes that were popular in Nanchang at that time, such as "Plum Blossom Three Alleys" and "Zhaojun Out of the Plug". And these two pieces are also classics in guqin songs. From this, we can infer that Mr. Fu Baoshi likes classical music, especially guqin. Regarding the close connection between the guqin and calligraphy and painting, it is not something that can be explained in three words, and the topic will be described later.
Since these gao yi and super wonderful Chinese paintings all have a strong interest in Guqin, what did they get from it. We often say that the four arts of piano, chess, book, and painting are interconnected, and poetry, books, paintings, and printing are inseparable, but in the end, most of them are at the low stage of understanding, such as painting with a pen for calligraphy. As the first of the four arts, the piano naturally has its own reason, calligraphy and painting are visual arts, it is tangible, even pheasant children know what they paint, and music is all based on feelings to experience the charm, the sound is fleeting, can not see, can not touch, is completely a freehand way to express the mountains or flowing water. And in terms of guqin instruments alone, it is also directly connected with calligraphy and painting, the basic elements of calligraphy and painting are points, lines, and surfaces, and the piano itself is composed of dots (thirteen dots of varying sizes as emblems), lines (seven silk strings of varying thickness), and faces (curved panels of different shapes), and then through the coordination and cooperation of people and pianos, hands and strings, through the vivid performance of qi rhyme, the use of light and heavy, rapid, square, rigid and soft, thick and light, light and dark, virtual, intermittent and other techniques, the gods will express the charm in nature. Thus expressing different emotions such as joy and sorrow, its mood and handling methods have many striking similarities with calligraphy and painting.
"Rhyme" is also the life of music, "rhyme" is also the core of Chinese art, it can be said that without "rhyme" there is no art. Lu Shiyong of the Ming Dynasty said, "If there is rhyme, it is born, if there is no rhyme, it is dead, if it is elegant, if it is not rhymed, it is customary, if it is rhymed, it is loud, if it is not rhymed, it is heavy, if it is rhymed, if it is far away, if it is not rhymed, it is innings." The first of the six methods of Chinese painting is "vivid rhyme", the Song Dynasty calligrapher and painter Huang Tingjian said: "All paintings and calligraphy should rhyme now", and "rhyme" has become the criterion for the creation and appreciation of Chinese painting. The ancients also emphasized the harmony of rhyme in poetry and song, and there is a saying that "poetry has rhyme, such as the pillar has a foundation", and the poetry with rhyme can be catchy and endlessly evocative. The basic elements that make up music are melody and rhythm, which produce colorful music through the combination of beautiful rhythms such as length, height, urgency, and disconnection. Calligraphy and painting all express temperament through the dense, scattered, slow, thick, rigid and soft and other musical rhythms of the dots and lines. "Rhyme" is really the secret of Chinese art communication, do not understand this, will not experience the magic of art communication in a lifetime.
So, what is rhyme? The word "rhyme" appeared later, between Han and Wei, according to research, some people think that the "rhyme" character of "Qing Rhyme of Listening yaqin" in Cao Zhi's "White Crane Fu" is the earliest source. Cai Yong's "Playing the Piano" has "complex strings are suppressed, and elegant rhymes are Yang". Thus it can be seen that the word "rhyme" is closely related to guqin music, and the guqin vibrates for a long time due to the length of the string, so it is also the most "rhyme" instrument. "Rhyme" is originally relative to "sound", the continuation of sound is "rhyme", "rhyme" can make the sound produce an infinite "taste", this is "rhyme", there is "rhyme" to avoid boring. When we strike wood, we only have sound and no "charm", but when we make a guqin from wood, we can produce a lingering and endless rhyme. This infinitely wonderful "taste" is "rhyme".
Qing Dynasty pianist Zhuang Zhenfeng once said in the "Harmonic Score of the Heart of Qinxue" that "the piano is a naïve yuan rhyme, the sound is natural, do not like to be bound by the text, and the sound is lacking", more importantly, the piano score that has been circulating for more than a thousand years only has the fingering micro-bit, and the irregular rhythm often gives people a kind of unrestrained, free and free free free writing. Even for the same piano piece, the pianist is always expressing different emotions in different ways with the change of mood and environment, and it is safe to say that before the recorder recorded, there were never two identical piano pieces. The Chinese paintings of Fu Baoshi, Huang Binhong, Chen Zizhuang and Shi Lu convey the rhythm and melody of music through the rhythm and melody of pen and ink dancing on paper, through the lines and trajectories of the "pen walking dragon and snake" movement, and find the expression and means that fit their personality in the line of writing with high artistic literacy and pen and ink kung fu, and adapt to the changes and unity of heart and hand in the freehand pen and ink. Those free, rich and changeable, rhythmic lines leave traces of emotion in the rhythm, precisely because they are not mechanical, but alive, with vitality and tension, so the pen has a special "rhyme" taste. We appreciate their works as if listening to a vivid ancient song, the elegant soft, graceful and calm tune and the undulating, depressing melody, showing us endless reverie of divine thoughts, always making people feel confused and confused. To study Chinese painting, you can learn the guqin without learning it, but if you can't inspire and understand chinese classical music, you will never become a high-level painter.
Since Mr. Fu Baoshi loves ancient music, then I will be when he is a "drum and piano master" Bo Ya is alive, even if he plays the imposing "Flowing Water", he is confident, when he strokes the piano, I forget both things, my heart and hands are one, the sound of the piano is sonorous and exciting, like a cliff and a valley, deep and poignant, like a trickle of mountain springs, calm moonlight. As the ancients said: "The size of the piano is medium and the sound is harmonious, the loud is not loud and flowing, the small sound is not annihilated and not heard, it is enough to be with people's spirits, and it is touching and kind." That is to say, to control the appropriate rhythm of priorities, so that the high notes are loud and thick without clutter, and the bass is as light as a gossamer and endless, so as to reflect the unique musical quality of the piano and the profound content connotation and spiritual temperament. Of course, the Boya Drum And Qin is the same for Zhong Zi period such a good listening confidant to appreciate Fu Baoshi's paintings. If you just started to scribble and say that your scribbles are the same as Fu Baoshi, then, the cotton player also has rhythms and rules, you can also think that this is music, listening to the Boya drum and piano you also feel that there is no difference between playing the cotton next door, then you can only do the cotton playing. Finally, I may be tempted to ask again: "Friend, why do you have to study art?"
Click: "Included in the topic" Next article, turn the page to read.