Zhang Zining was a painter of the Qing Dynasty who lived during the Qianlong and Jiaqing periods. His friend wrote a long poem recounting his life experience and artistic style. The poem writes that his painting style is changeable, and his pen and ink are full of style. He likes the literati painting style and has a special love for Mi's cloud smoke. He did not adapt to official life and longed for a free and free life, so he resigned and returned to his hometown. He walked into the mountains, holding a cane in his hand, and felt the beauty of nature.
Without this information, I am afraid that Zhang Shining would have been annihilated in history long ago. Objectively speaking, Zhang Cining's technique is very solid, but it lacks creativity. Some people call the Qianjia period of the Qing Dynasty a period of stagnation in the development of painting, and painters only know how to create according to the orthodox model of the painting world. Zhang Shineing is influenced by the times, and only by working hard to adapt can he survive.
From these landscape paintings, it can be seen that Zhang Shineing mainly studied the operation mode of the Four Kings, whether it is painting the boating rivers and lakes or painting the deep valleys, which have ancient meanings. Unfortunately, far from life, the observation is not careful enough, and the so-called ancient meaning has become a shackle. That is to say, Zhang Shuning's paintings lack life and lack vitality. He strongly emphasizes the interest of pen and ink, and cannot hide the hollowness in the content.
For example, he imitates the yuan people to paint small scenes of mountain villages, and the literati visit friends. The out-of-proportion picture makes people look at the "drama". Such works are "suppressed" in the studio, not painted by observing life. It seems that his friend wrote a poem saying that he lived in seclusion in the mountains in order to improve the level of creation, which should be an overflowing word.
The source of creation dried up because Zhang Zhining was bound by the painting style of the Four Kings. Inheritance is fine, but you can't just know inheritance.
When he shows his pen and ink skills, there won't be too many problems. This landscape with a variety of methods of painting looks super elegant and elegant, and the pen and ink kung fu is quite good. The contrast between the two landscape paintings is strong when put together. If the above picture represents the shortcomings of Zhang Shuning's creation, then this painting represents his ability. It is not too much to describe the artistic conception in the painting with the realm of seclusion.
When borrowing from the works of predecessors, the paintings are very good. When you need to play freely, draw generally. This is the sadness of the painter during the stagnation period, Zhang Shuning knows enough, deliberately pins his feelings on the painting, but always almost means it. On the basis of the three-part composition, he painted this landscape that expressed the vast and deep. He can increase the complexity of the composition, turning the two banks of one river into two rivers and three major mountains. However, the depth of space and the number of layers stacked are not necessarily related. Painting in this way, on the contrary, appears to be full of snakes.
Since complexity is not desirable, try to simplify the composition. Zhang Shuning finally found the direction of showing creativity, and the deliberate change in pen and ink cannot be changed, so he will take the road of fresh lyricism. Zhang Shuning adopts a top-down perspective and finally has a new idea in composition.
Admiring Zhang Zining's landscape paintings, you can understand a truth that artistic creation needs to change. This change is not only to adapt to the changes of the times, but also to change the painter's creative outlook and aesthetic taste. Only change can surpass the predecessors.