The two sessions of the National People's Congress in the "new era" in 2022
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Tree cultural self-confidence, cast national glory. The book Chinese spirit, painting the new wind of the times, focusing on shan Yinggui, a pioneer figure in the art world, brings his works to present gifts for the two sessions, and contributes to the new glory of Chinese culture.
As the artist of this activity, Mr. Shan Yinggui created a large number of vitality and penetrating works of art with a high degree of cultural self-confidence, built a new classic with Chinese spirit, Chinese values and Chinese strength in the "new era", and participated in promoting the "new culture" with a strong cultural force, and was the promoter of China's new culture, an artist who was thoughtful, responsible, developed and influential.
Shan Yinggui, female, born in Jinan in September 1933, her ancestral home is Gaomi, Shandong.
He began his career in May 1949 and served as the editor of Shandong People's Publishing House. He graduated from the Central Academy of Fine Arts in 1961 and studied under Ye Qianyu, Jiang Zhaohe, Li Keyan, Li Kuchan and Liu Lingcang. He is currently a professor of Shandong Academy of Arts, a librarian of Shandong Provincial Research Museum of Literature and History, the honorary chairman of Shandong Women Calligraphy and Painters Association, an advisor of the China Women Painters Association, a director of the Fourth China Artists Association, and the Shan Yinggui Art Foundation was established in 2016, serving as the honorary chairman of the foundation. Former vice chairman of Shandong Provincial Artists Association, enjoys special government allowances from the State Council.
After graduating from the Central Academy of Fine Arts, he was transferred to Shandong Art College (now Shandong Art College) in 1962 to teach, transferred to Shandong Art Museum in 1977, and transferred to Shandong Art College in 1999, engaged in fine arts work for more than 60 years, created a large number of fine art works, and cultivated a large number of outstanding art talents.
In 1988, she was elected vice chairman of the Shandong Artists Association and chairman of the Shandong Women Calligraphers and Painters Association. In 1988 and 1995, he was twice awarded the top professional and technical talents of Shandong Province, and the "March 8" Red Banner Bearer of Shandong Province. In 1994, he was approved by the State Council to enjoy special government allowances.
Shan Yinggui,2004 140cm×245cm
Back home away from the well
Field Nurse, 1979, 47x62cm
Shan Yinggui, "One of the Group Paintings of Women in Mountain Villages", 1979, 70x48cm
Shan Yinggui, "Yishui Song", 1979, 140×245cm
Shan Yinggui Mine Warfare (cutting off the enemy's retreat), 1973, 213x118cm
Ding ling
Wedding New Year Painting, 1984, 59cm×101cm
Make military shoes
Peace and happiness
Trying to talk about "qi" in Chinese painting
Text/Shan Yinggui
The first person in history to talk about "qi" from a theoretical point of view was A saint Mencius. It was he who proposed "raising the aura of my majesty."
The General History of Chinese Aesthetics (I) says: "From an aesthetic point of view, 'Yang Wu Haoran Qi' raises a question of the relationship between 'goodness' and 'beauty', and this process of cultivating personality beauty in a broad sense makes 'goodness' achieve in 'beauty', or 'beauty' covers, improves, and enriches 'goodness'. The text also said: "Mencius's theory of personality cultivation is at every turn the core issue of Chinese aesthetics. ”
As a person engaged in painting creation, it is natural to think about "qi" in Chinese painting art. But this is a more esoteric subject. And it involves philosophical, aesthetic and other aspects of the study. Truly understanding it also requires higher theoretical cultivation and rich experience in pen and ink practice, not to mention that I am not a theoretician. I always feel that I am still lacking, and I still dare not say that I have understood it very well, so I have added the word "trial talk" to the title of this article.
Miaozhai style
In the early 1960s, I heard Mr. Shi Lu's academic lecture on "The Problem of Chinese Painting". When talking about the different aesthetic standards of Eastern and Western painting, it is said that "Western painters say that "light" is the lifeline of painting. But our Chinese painting pays attention to "qi", such as phosgene, color qi.........". From then on, I first learned about the importance of Qi in Chinese painting, but I did not understand its deeper significance in Chinese painting.
When Mr. Li Keyan gave us a landscape painting class, he also talked about "qi", talked about "knowing white and keeping black", talked about "denseness", talked about "qi rhyme", talked about "dragons and snakes in the mountains", and emotionally experienced the momentum and charm formed by qi in the painting. Decide the soul and life of this painting.
After that, I read the "Quotations of Huang Binhong's Paintings" in which "the law comes from the reason, the reason comes from the change, the law prepares the qi, and the qi is created into the painting." When creation becomes art, it is guided by qi, and "creation into the painting" and "qi" are inseparable.
"Qi" in painting
"In the sheikh's mind, the subtlety and subtlety of all kinds of things are not as full as the 'divine qi'. Sheikh's emphasis on 'qi' embodies the profound philosophical heritage of Chinese aesthetics...".
——Quoted from The General History of Chinese Aesthetics (III)
Female writer Zhang Ailing
This "qi" referred to in Chinese painting has a distinct subjective element. It is an inner breath and artistic emotion. I understand it as a manifestation of a "force" on the spiritual level, an invisible kinetic energy of "goodness" and "beauty" that governs the painter's expression of emotions, and this "force" is conveyed and radiated through the work. Such as divine qi, domineering qi, delicate qi, deep and majestic qi, delicate qi, vast qi, and the escape qi in the chest. This kind of qi embodies the subjective spirit, cultivation, temperament and aesthetic taste of the painter. This kind of qi can convey different emotional forces in the painting, can educate people, motivate people, and can cultivate people's temperament and improve people's aesthetic taste. This qi can form the style of a piece of work. Reflect the character of the author. For example, when we see Mr. Li Keyan's landscape paintings, we feel a kind of calm and majestic atmosphere, and when we see Mr. Pan Tianshou's paintings, we feel a kind of domineering spirit regardless of composition and pen and ink. Seeing the Tang Dynasty painting a kind of full and luxurious atmosphere of the Tang Dynasty, seeing the Han Dynasty painting, I felt the overwhelming and unrestrained romantic atmosphere. This spiritual atmosphere, whether it is a painter or an era, can naturally appear in culture and painting. It shows a spirit and style of the times.
Ride a donkey to read the record book
When it comes to qi, there is also a kind of qi that exists between heaven and earth and exists objectively with natural attributes, such as clouds, fog, smoke, steam, and so on. In the painting, especially in the landscape painting we often see the cloud and mist atmosphere, this is the painters will be subjective qi and objective qi skillfully combined, or borrow things to send affection, or think of the wonderful, so that everyone will see the clouds and mist around the meteorological picture, but also "there are dragons and snakes in the mountains" association and artistic conception.
In Traditional Chinese medicine, it also attaches great importance to the existence of qi, paying attention to observing people's qi, divine qi, sick qi, etc. When acupuncture treatment, a needle goes down to acid, numbness, swelling and appearance, you will feel that the silver needle is sucked by a "force" in the body, the doctor said: "Get angry" What is the concept of qi? Is there some similarity between it and the qi in painting, and is there a distinction between subjectivity and natural attributes? From this, I thought that when painting, the inspiration expressed emotions through the ends of the pen (Mr. Li Keyan said that the tip of the pen is the peripheral nerve of the painter) reproduced the artistic spirit, is this also called "getting angry"? Because they have reached the realm they are pursuing. I am a layman in Chinese medicine, and I dare not say anything, but whether they have some kind of high-end connection in philosophy or thinking formation.
Shandong old man
As an oriental world, the Chinese national culture has formed the concept of "qi" in aesthetics, which can never be formed in a short period of time. In ancient times, when our ancestors began to worship the totem, did the pious prayer, or the confusion and reverence for the heavens and the gods due to helplessness, the illusions and impulses in the haze, have been bred with a hazy perception of the symbolism of "qi"?
Until we see the portrait stone in the han dynasty tomb. It makes us discover a fiery romantic world, full of composition and depictions of life at that time, whether in heaven or on earth, unrestrained and romantic to see the expression of Chinese-style imagery thinking, such as the bold exaggeration of the long-sleeved dance of "Song and Dance Feast and Drink", which is by no means a naturalistic and completely realistic depiction, it is both a feast, a song and dance, but not exactly the natural state of reality. In the Han Dynasty, these painting stone carvings or portrait bricks in the feast, drinking, song and dance has been through the processing of art, this processing generalization, enhance its artistic expression, its movements are exaggerated more beautiful, here has reflected the "freehand spirit" of a momentum, meteorology or spirit, this image of the thinking is also reflected in folk painting art such as New Year paintings, paper-cutting and grotto statues.
I am not a theoretician, I have not made a historical examination of this, but only a little experience obtained from my personal creative experience, the "qi" mentioned earlier, subjective, natural or chinese medicine, although it is different, since it is also called "qi", for the descendants of the Chinese nation, the emergence of this concept, there is always a valuable artistic spiritual connotation formed and passed down in the development of ancient Chinese civilization.
Too white to step on the moon
Reproduction and representation of painting
Qi, as a subjective spirit injected into the conception, shape, pen and ink of painting, Gu Kaizhi put forward the theory of "writing God in form", which is followed by our descendants for a long time, and it contains the dialectical relationship of reproduction and expression. The form is expressed from the real place, and its appearance is conveyed through the form of the real object, that is, the spirit of the object. A painter must first learn and master the ability to express objects, the more solid the basic skills, the stronger the ability to convey the figure or object. The modeling ability referred to here is not only the external realistic kung fu of naturalism, but also requires the painter to have the way of image thinking and the artistic technique, to summarize, improve and exaggerate the object to be expressed, at this time the subjective emotion of the painter will be injected into the object to be expressed, in order to achieve the effect of conveying the gods.
The creation of heaven and earth provides a broad space for the painter to express, but this only provides the real life of "teacher creation" for artistic creation, and as a painter, it must not be simulated in stone, nor is it a repetition of nature. Reproducing life is not equal to expressing life, only when the creation and the mind collide, it evokes the trembling of the painter's heart, which arouses the inspiration of the moment when you tremble, which is exactly what you want to express, perhaps this is what the ancients said about the state of "the source of the heart in the creation of foreign teachers", then your work is naturally injected with your subjective emotions, so it is expressed through your pen and ink form. At this time, what is in front of the audience is the work that you have undergone artistic processing, screening, deletion and addition through the thinking of imagery, and the thinking of Chinese painting has always been imagery and the art of expression. Rather than a naturalistic, repetitive and simple reproduction of life. "The magic lies between the resemblance and the dissimilarity" is the essence of it. Performance, it can be said that it pays attention to freehand and writing gods, so it is said that Chinese painting has long contained the creative concept of expression.
Summer chart
Because of the dialectical unity of Chinese painters in creative thinking, artistic thinking and artistic expression are also unified, such as the non-naturalism of thinking and the abstract elements of formal expression, such as the abstraction of lines and the symbolization of certain objects, the two have achieved a good combination, which is neither a repetition of objective objects and naturalism, nor an abstraction to the point of being incomprehensible to life. This impartiality in traditional Chinese art may be related to Confucian philosophical thought. Because traditional Chinese painting does not go to extremes.
The expressiveness of image thinking is that after the condensation and sublimation of beauty, the painter's artistic feeling of the object he wants to express, or the artistic realm formed after the induction and rise of the feeling in nature, people often use "qi" to express this artistic feeling. Therefore, the artistic creation thinking of Chinese painting has never been naturalistic. Even the language of the line it uses to express objects is a highly abstract and expressive art form that is summarized from natural objects. For example, as early as the Han Dynasty, we can see this typical artistic expression from the portrait tiles of "Shooting Harvest Map", from the operation of character modeling and composition, it is both harvesting and shooting, but it is by no means a realistic scene naturally reproduced in reality, but more beautiful than life. The exaggeration of character dynamics, the rhythm and mutual reflection between people, the layout of flying geese and lotus flowers, such as poetry such as prose, the treatment of lines and surfaces makes you deeply feel the sublimation of beauty, it is by no means to reproduce life but to express life, reproduction can only be a repetition of objective objects, and the performance here is full of freehand spirit. What the artistic language here wants to express is an artistic atmosphere, momentum and weather.
Xiao Hong
I am engaged in the creation of figure painting, especially modern figure painting has encountered many new topics in the "Conveying The Divine Portrayal", whether it is the concept of modeling or pen and ink expression, which requires new experiments and innovations. People often say that "the eyes are the windows of the soul" means that the painter should convey emotions through the eyes, which is very correct, indicating the importance of the depiction of the eyes in the painting to convey the gods.
With the changes of the times and people's social life, the expression of the emotions of the characters in painting has become more diverse and more angled. Expressing joy and sorrow in modern painting is not limited to using facial expressions to convey to the audience "angry" or "crying with joy". For example, in the creation of large-scale paintings with multiple characters. How the overall layout of the movement of the group figures creates a large momentum in the composition arrangement, or the warrior charge, or the cheer after victory, the formation of this momentum is based on the diagonal line of action or the radioactive line to constitute this momentum, thus telling people that the dynamic is also an important aspect of the transmission of the gods. The role of physical posture in conveying and expressing the emotions of the characters is sometimes beyond the facial facial expressions, of course, sometimes the two are complementary. The traditional New Year painting door god shape highlights the domineering spirit of Qin Qiong and Jingde, the ethereal atmosphere of the depiction of Luoshen in Gu Kaizhi's "Luoshen Futu" of "Ling Bo Microstep" and "Fluttering Like Immortals", while the portrait of Li Qingzhao highlights the contemplative and quiet wisdom to express the atmosphere of her scrolls; the small bridge flowing water paints the freshness and tranquility of Jiangnan water town. The movement of fishermen's nets in the works of fishing full of cabins exudes the joy of harvest.
lullaby
Character dynamics are the most able to convey emotions, and the spirit of character paintings should not only be sought in static, but also in dynamics, but also in the back shadow. The back shadow is a non-negligible part of the human body to convey emotions, do not think that it is just a foil in the work, the back shadow is the form, it also has expressions, the back shadow is processed well, and it can also convey the identity and temperament of different characters. A very good work that portrays the expression of the back can also convey people's anger, joy and sorrow, also convey hope and despair, and can also shock people's hearts. This depends on the painter's painting skills and artistic accomplishment. This profound expression is the charm, spirit and momentum in the Chinese aesthetic requirements, why do people's requirements for paintings must achieve vivid rhyme?
Qi, which runs through different forms of objects and images, shows different meteorological spirits, and the vivid form of expressing this essence, qi and god is the brush and ink technique under the domination of the freehand spirit of Chinese painting. Chinese painting focuses not on "reproduction" but on "performance", what it pursues is not to reproduce the appearance of life, reproduction - only emphasizes realistic depiction of nature, and performance is freehand, god, and momentum.
Fun
Get "gas"
When the inspiration for creation appears, the author will eagerly express his thoughts, emotions, moods, and charm. When you do, artistically it should be "angry."
A work from the inspiration flash to the conception and performance of the completion, should always maintain a creative impulse, then the painter's brain from the concept of art, the management of the position of the picture, the portrayal of the image, until the perfect expression of the formation of pen and ink, this is an inseparable overall creation process, unconsciously the painter will be pulled by a kind of "qi", affecting the content and form of the painting, that is, the soul and appearance of a painting. It even determines the quality and height of the work. At the time of the initial inspiration and the approximate idea, although it is not yet perfect or concrete, its core soul has been grasped and controlled by you, and the state at this time should be the best state for the painter. Because it has always been through the "qi", when the final stage of the performance of the pen and ink is perfect, or more perfect, it can be called "getting the gas". We often say that painters are somewhat "crazy" and some are "crazy", and when painters create, they often have the state of "out of shape to know" and "things and I forget", which can be understood by thinking deeply about this.
This kind of thematic idea and form of expression often appears in the author's thought at the same time, and the fusion, infiltration, interlacing and symbiosis produced in the creative process reflect the state of "penetrating the breath", "the pen is cut off continuously", and "the pen is broken". The explanation of "one stroke" is clear. No matter how vast and complex the subject matter we create, and how many characters there are, as long as you have always retained and run through the full creative passion, in terms of intention, composition, and modeling, you will be able to convey the theme and character of the expression. When the ink is dropped, the pen is exquisite and the ink is exquisite, so that it does not show traces in one go, and the whole work will have an excellent sense of unity, and this overall sense will feel "through the air".
I remember a Western painter once said to me: "No matter how hard the author tries to revise in the process of creating the work, you can't let the audience see your hardships and troubles in the process of painting after the work is completed, and even the traces of repeated revision." The final effect of the work must make the audience feel that it is in one go. This shows that no matter which country and type of painting, there are some sweet and bitter experiences in the process of creation. To sum up this state in Chinese words one can be summed up by "the extremes of the meaning, if inadvertently." " to describe. It is also very difficult to achieve "through the breath". However, Since ancient times, Chinese painting has attached great importance to the summary of the laws of art, and Shi Tao's "one stroke painting" has raised the laws of Chinese painting to the height of a philosophical aesthetics. The meaning of "one stroke painting" is "through the breath".
If a painter has no feeling for the subject expressed, no passion. Then he will piece together and dig up the composition. Pen and ink are not expressive, and it is difficult to convey emotions in shape, which makes it difficult to draw a good picture. We often say that painting should have an artistic feeling. This in the initial stage of youth to cultivate their artistic feelings, that is, the sensitivity of art, often only pay attention to the dissection and perspective and other technical means when painting, forget the artistic feeling of the objects painted at the beginning, this initial artistic feeling is very important and precious, do not only look at technology and forget art, technology, techniques are to serve artistic expression. Otherwise, it is difficult to be "angry".
Pen and ink and rhyme
The charm and artistic conception of Chinese painting depend on the expression of pen and ink, and the exquisite ink of the pen can be magical, because the expression of Chinese painting is pen and ink, and its various brushwork and ink methods are the best forms of expression of Chinese aesthetic emotions, which both embody rhyme and qi.
The ancients' study of pen and ink taste and description: cang, run, old spicy, show, tender, etc., pinned on the painter's feelings for pen and ink, so summed up the thick, light, dry, wet, scorch and other techniques, such as Huang Binhong old man said: "Painting mountain stones has outlines and outlines, and then add wrinkles, and then break it with light ink, so that it can change, painting to the feeling of 'dry cracking autumn wind, running with spring rain' is stoppable." Another example is that Nantian Zhi Xiangshan once said on the dialectical relationship between the "old" and "show" of the brush and ink in the painting: "The old and the young are really old, and the old party in the show is the real show" This pair of vigorous old and beautiful expressions with the pen is strong and soft when controlling the greenness of the pen and ink, and the body odor of the pen and ink is not withered, so as to describe the real three points into the wood. It cannot be summed up without practical experience.
Mr. Pan Tianshou also said in his art collection: "Wet pens take rhyme, dry pens take gas." However, dryness is not without rhyme, and wetness is not airless. Therefore, we must pay special attention to the rhyme of dryness and the breath in wetness, knowing that this is the way to get pen and ink. Here is the close and dialectical relationship between pen and ink and qi rhyme.
The idea and theme of a painting are good, but the pen and ink that expresses it is not good, it is difficult to become a masterpiece, on the contrary, the pen and ink are exquisite and cannot express the theme realm, nor can it achieve the touching purpose. Only a good combination of intention and exquisite ink is a masterpiece. Chinese painters have spent their whole lives working on this best combination. When evaluating the level of a work, we are accustomed to judging the quality of someone's pen and ink, which shows the importance of pen and ink. Some of our young painters still lack to really calm down in the study of pen and ink, get rid of impetuousness, and learn to master traditional pen and ink skills well, so as to find pen and ink interest, and to use and develop the rich expression of pen and ink in innovation.
Chinese painting is the art that pays the most attention to the form of brush and ink, which is more vividly expressed in freehand ink painting, and the change of thick and dry and wet pen and ink coupled with the unique infiltration performance of Chinese rice paper is more suitable for expressing the charm and aesthetic habits of Chinese style. Since ancient times, the achievements of successive generations of mainland painters in exploring the expressiveness of pen and ink art have amazed us. To achieve the pen and ink because of the creation of life, the creation of the creation and become more vitality because of the wonderful pen and ink, in order to reflect the "creation into the painting, painting to seize the creation" situation. The progress and innovation of our pen and ink are the perseverance of generations of people in the spirit of "words are not surprising and endless" in the process of innovation and exploration. Only in this way can people experience the realm of "the unity of heaven and man".
People always use "vivid rhyme" to evaluate a successful work, the emergence of this kind of rhyme, only the use of superb pen and ink forms, can be properly expressed, the pen and ink are exquisite, can be fascinating.
In the study of pen and ink art, painters are seeking to appreciate the mysteries of using pen and ink in creative practice, and constantly summarize the laws of their art. So that the pen and ink and the artistic conception or content and form to achieve the best combination. We often admire the vigor of the pen in some masterpieces, the agility of the ink, and some stylized expression techniques, such as the different methods of mountain stones, large axe splitting, small axe splitting, phi ma ma, etc., which are classified according to different mountain stone structures, summarized and symbolized, and different symbols and titles are also given to different leaves such as pine needles and bamboo leaves, such as preposition dots, character points, etc., forming the unique expression form and oriental charm of mainland painting art. This stylized expression undoubtedly enhances the aesthetic taste of the work. Because it uses abstract elements to express figuration. This is unique to Chinese painting.
Looking back at the famous Chinese painting theories in history, most of them were obtained by the famous painters of mainland art through their own artistic practice, and they were not specialized theoreticians (this phenomenon is worth studying) such as Gu Kaizhi and Shi Tao are extremely prominent examples, and the modern Huang Binhong, Pan Tianshou, Li Keyan, etc. have further inherited and developed these theories through practice. The common feature of these painting theories is the painter's own personal experience and feelings in artistic creation, and the true knowledge and judgment obtained by this personal experience and feeling can be reached to the point, to the point, in order to enter the wood and hit the nail on the head. I am even more amazed by their dialectical thinking in art criticism, the rationality and objectivity of treating the laws of art, neither paranoid nor extreme, such as: "writing God in form", "not similar to", "wonderful between similarity and dissimilarity", "unable to have the law", "seeking evacuation in secret", "setting dangers and breaking dangers", "qi but not aligned", and so on. This way of thinking, and aesthetic standards, fully reflect the cultural characteristics of the Eastern way and the pursuit of beauty Chinese in the works, and have their own distinctive characteristics in the world's diverse art.
In the creation of Chinese painting, the role of pen and ink is enormous, and its function is to better express the theme of thought, express the realm that the author wants to pursue, and finally achieve vivid rhyme. Pen and ink as a form of expression of painting, it and the theme are mutually helpful, the essence is the relationship between form and content, perfect pen and ink expression can enhance the expressive power of content, good pen and ink can make the realm more noble. If only pen and ink and no realm, or only the realm and no pen and ink can not become a good work, only with good intentions and good pen and ink performance, can we achieve the highest realm of a work, that is, the charm and vividness.
Speaking of this, as a painter engaged in freehand figure painting, I cannot avoid talking about how the brush and ink in the creation of figure painting inherit the ancients, and how to apply and innovate in the expression of new things. I can only talk about it briefly due to space limitations.
Our generation grew up directly under the guidance of Ye Qianyu, Jiang Zhaohe and other figure painters. Under the Xu Jiang teaching system, those who grew up in the basic training of Western sketching and structural sketching and the dual regulation of white drawing classes not only had the things of the Cheschakov sketching system in their minds and under their hands, but also worshiped Chen Laolian and Ren Jiayan (Ren Weichang, Ren Fuchang, Ren Bonian) families. "Water Margin Pages" and "Evening Laughter Hall Painting Biography" do not leave their hands, under the guidance of this shuanggui (at that time, the Chinese Painting Department of the Central Academy of Fine Arts adopted a dual-regulation teaching), and finally we who studied Chinese painting could only abandon the influence of light and shadow modeling and return to tradition, because "shuanggui" is a different artistic concept, and it is impossible to intersect and go to a road in parallel. As Chinese painters, the imagery thinking and the infinite charm of brush and ink are naturally integrated into our artistic life by Chinese culture. This is the fate and responsibility of being a Chinese painter.
We should fully acknowledge the major achievements made in the creation of figure painting after the founding of the Republic, and a number of successful figure painters and works have emerged. In inheriting the pen and ink techniques of the predecessors, from the appearance of a huge multi-character "position management" and momentum expression, as well as the dense, black and white treatment of pen and ink; as small as whether an expression can write god in shape, and whether the combination of clothes shows the characteristics of the times? In short, artistic changes and breakthroughs are not easy, new artistic conceptions, new sense of form are obtained in the painstaking pursuit, Jiang Zhaohe's "Displaced People's Map" Ye Qianyu's "Dance", Zhou Changgu's "Two Lambs" are immortal works in inheritance and innovation. They use traditional pen and ink and lines to express the style of new themes, new characters and new eras, while pen and ink are also emerging with new content, new expressive skills, these new pen and ink skills promote and enrich the improvement of new realms, and the connotation of qi rhyme will also be more vivid with the perfection of content forms.
The brush and ink and methods used to express new social life and character styles have changed greatly compared with those of old painters. "Pen and ink should be contemporary" is what the ancients said, and it is also the law of artistic development. Modern figure painters not only learn from the ancients in pen and ink techniques, but also absorb and borrow the brush and ink methods of sister paintings such as landscape painting and flower and bird painting into figure painting to enrich the expressiveness of new freehand character painting, whether it is thick, light, dry, wet or wrinkled, rubbing, dotting, dyeing can be used for character painting. I remember Mr. Ye Qianyu said to me in the 1980s: "In the past, when you were in school, there were too few flower and bird painting classes, and over the years I have been thinking that the class of figure painting should start with flower and bird painting. This is the old artist's deep thinking on art teaching and talent training, and when he was suspended from teaching during the Cultural Revolution, he was still thinking about the development of figure painting. To develop methods that must absorb pen and ink expression from landscape paintings of flowers, birds, and landscapes. In 1983, he spoke again about this view when he was lecturing at the Shandong Academy of Arts.
Practice has proved that regardless of landscapes, figures, flowers and birds paintings, although the types and shapes of paintings are not the same, the artistic treatment of pen and ink techniques from the whole to the part, as well as the fact that there are many consistent similarities in theory, should learn from each other and complement each other. There should be no portal between paintings. The pen and ink interest in flower and bird paintings, the heavy strength in landscape paintings and various methods are absorbed, all for the sake of the charm of figure paintings and the improvement of the theme realm.
Know the white and keep the black
Lao Tzu's aesthetic thought of "knowing white and keeping black", the management of calligraphy and painting positions, the arrangement of structure, and the laws and laws of object composition have become the aesthetic standards of Chinese art.
When the author faces a blank piece of rice paper, with pen and ink in which to express your subjective emotions and objects, this white paper is already an inseparable picture of your work, at this time the painter's mind, the object in the heart or the mound, is not only an important part of your painting, and the painter painting "white" has been included in the painting at the same time, the author can not only stare at the painting object, and when "leaving blank", we must take into account the size of the blank, and the rhythm and mutual reflection between each other. Even the melody formed between black and white must be thought of at the same time, which is also an important aspect of "having a good idea". Knowing white can keep black, white as black as attached importance to management, this kind of first white and then black or black and white at the same time appears at the time of conception, the overall sense of a painting and the momentum is very important, its importance is not only position management, but also a broader aesthetic significance.
An important aesthetic feature of Chinese painting is that it likes to use large blank spaces, or even not to paint the background, which is an omission and subtraction in art. Blank spaces often tell more emotional language, leaving the viewer with unlimited space for reverie, making people have more associations, as Bai Juyi said, "At this time, silence is better than sound." This aesthetic realm does become a spiritual enjoyment.
I have seen the famous painter Chen Shaomei's "Little Lonely Mountain" created in the 1950s, attracted by its peculiar composition, the center of the picture is a peak independent, the area of the lonely mountain accounts for only one-fifth of the entire picture, surrounded by a large blank space and a looming river microwave, several small boats dotted in between. The author carefully outlines the water pattern in the blank space below, and uses the pen to void in and out, with or without symbiosis, and the vast sky and water are one. The author uses the "blank space" to a wonderful situation, which is enough to see the author's profound traditional cultivation and sense of innovation.
The artistic treatment of "Little Lonely Mountain" allows us to see the use of the artistic treatment of "white" in Chinese painting, like to use large blank spaces, or even do not paint the background, leaving the viewer with room to recreate and inspire its rich imagination, "unspoken meaning" is a very important charm of a work, so that people feel that there is an endless emotional story. Bada Shanren's works make good use of a technique from artistic language to blank space.
The aesthetic idea of "knowing white and keeping black" in Chinese painting has been well inherited and has become the aesthetic habit and law of painters, critics and even audiences. Everyone accepts this method of expression, the virtual place can be a cloud, it can be water, it can be the sky, or something else, depending on your association, this can be cleverly used everywhere in our Chinese paintings. "Blankness" gives the imagination more than the visually visible unobstructed depictions, and sometimes we evaluate whether the work is "ethereal" or not may be related to this.
Mr. Li Keyan's landscape paintings are touching with the thickness and vigor of the ink rhyme, and it should be known that he cherishes the "blank space" in the painting when using ink. I remember that when he talked about the use of pen and ink in his "Paddy Field Under Yandang Mountain" in class, he said: "The mountain stones and trees in this painting are all painted against the light, with heavier ink, but the paddy field behind the tree is very bright, and I will consciously aggravate the mountain tree under the backlight, adding layer by layer, these thousand strokes are all to highlight the brightness of the paddy field." "Black is for light, not for black and black, it should be the heavier the ink and the brighter the painting." From the narration, it is thoroughly explained that "virtual and real" and "white and black" are opposites in the painting, and the dialectical relationship between each other and the background is thoroughly explained. In his later years, Mr. Ke Dye's pen and ink were thicker and deeper, and he used the pen of gold and stone to express the "dragon and snake" of trees, clouds and mountains. He often warns us that the distant mountains are often despised and ignored. In fact, the more imaginary the more subtle, the most difficult, the most need to be taken seriously, the "blank" place should be more cautious, to be very careful to retain the "God" in a few places, the difficulty is here. Also make good use of every inch of the picture........ From Mr. Li Keyan's works, we can see his ingenuity in art management.
Points, lines, and surfaces in pen and ink
The dots, lines and surfaces that make up the beauty of Chinese pen and ink forms are the most expressive artistic language, and they are also the artistic language with the most oriental charm in painting. In Chinese freehand paintings, we can see pieces of splashed ink, intertwined lines of various forms and rhythmic ink spots. It constitutes the rhyme and poetry in the painting. Why many painters especially like to paint lotus, because the theme of the lotus can best enable the painter to play the beauty of points, lines and surfaces.
Regarding the knowledge of the point, Mr. Li Kuchan once gave me an unforgettable lesson. When I visited Mr. Li in 1961, I talked about the art of Peking Opera, and he said that Peking Opera and Chinese painting have a lot in common, such as the rapid rhythm of ink dots in the painting, the gathering and dispersion are like the drums of Peking Opera, and they have the same aesthetic value. In order to illustrate the reasoning more vividly, Mr. took the pen on the spot to make a demonstration of "Wugua Tu", first drawing the crow, with heavy ink shape, the blank space of the neck is wonderful, showing the "pen broken breath connection", and then with the shape of the melon in light ink, the crow stands on the melon. At this time, Mr. Yi dipped the ink with a pen, and the excited fast pen pointed out the large and small ink spots from thick to light, from wet to dry, and the ink was intoxicating in one go. It's like a drum beat in groups of three or five. The help that my husband taught me from words to deeds this time made me remember it forever.
Finally, mr. Li made a long inscription in the blank space of the painting and wrote the teacher's record of the inheritance of pen and ink. Paragraph: "The Eight Greats once wrote the WuguaTu, the ancestor Bai Shiweng also did it, and I also used it to give Ying Gui classmates a smile, Xin Ugly Autumn Moon Zen." The long inscription mentions that from the Bada Shanren, Qi Baishi, and Li Kuchan, they all wrote the pen and ink inheritance of "Wuguatu". This year is another ugly year, a nail has passed, and the time has passed for 60 years. And that vivid pen and ink fun and Mr. Li's words and smiles are still in front of you.
Ink dots, the aesthetic significance of Chinese painting is extraordinary, the points on the mountain stone can be moss or trees, but also for the formal beauty of the picture to add atmosphere, forming rhythm, melody and other required musical symbols. It has both a figurative and abstract meaning. The completion of a painting will increase the spirit by the moss, which is sometimes an oriental aesthetic need. It is an indispensable symbol of beauty in Chinese ink painting.
In 1995, when I created Escape: Childhood Memories, I tried to apply this point method to figure painting. The technique of this painting is basically realistic, but the shape is appropriately deformed and exaggerated, highlighting the modeling technique of the line. The theme of the painting is to show the tragic scene of people leaving their hometowns and fleeing in exile when Japanese militarism invaded China, and I do not want the floating soil on the ground when the fleeing crowd is waded up, the legs and feet of a pair of pairs are too clear, it will take the audience's attention to the expression of the character image, and try to weaken the clarity of the second half of the painting. In addition to using light ink rendering to darken it, it is also necessary to see the pen in the dark, see or feel the reality in the virtual, and properly retain the shape of the legs and feet, not too clear, so that it can have a durable effect. So I thought of the ink dot, this "point" is not a point on the stone, it has to move with the pace of the person, so here the point becomes transverse and elongated. This both changes the ink color and helps to reinforce the feeling of hurrying. This is my first attempt at large-scale figure painting, and it is not yet mature.
The painting was seen by Mr. Mark, an Italian sculptor hired by our institute, who said: "I like these dots", he compared, meaning that these dots formed a potential. This foreign artist's sensitivity to Chinese dots and lines was something I didn't expect.
Mr. Li Keyan has been pursuing a new pen and ink language of Chinese painting and pursuing a new artistic realm with a new language, and His Western painting foundation and traditional artistic accomplishment have enabled him to stand at a new high point to innovate art. For example, his aesthetic requirements for the line are to be calm and powerful, and "house leak marks" and "accumulation points into lines" are the characteristics of his lines. In the use of ink, he emphasized that thousands of strokes are aimed at highlighting the brightness of the "painting eye", "art should pay attention to contrast rather than 'eating'". Some people call Mr. Li Keyan's painting method "squeezing white".
The subject of cattle herding has a great weight in Mr. Kojisen's work, and he has been painting repeatedly from the 1940s until his later years. This kind of subject matter is relatively easy to paint, and in this state of creation, it can play the pen and ink interest to the extreme. Mr. Herding Cow's paintings are naturally combined with landscape paintings, and the language is more concise, small in the big, with small works to paint a big mood, the more in the old age in the pen and ink, the more full of vitality. Take "Autumn Wind Blows Red Rain" as an example, just like the saying that "the old has a tender side is really old", the old spicy of the pen and ink, the novelty of the artistic conception, and the childlike heart when conceiving all determine the maturity and perfection and vitality of the art. In terms of intention, Mr. Li's inscription has stated that "Shi Tao's poetry clouds and autumn wind blowing red rain to love its charm and write it" wrote the state of mind when painting. The whole picture uses scattered pens to point out the overwhelming red rain, the red dots gather and scatter, fluttering and sprinkling from the sky to cover the picture, thick ink lines, thick and thick, thin and long interlaced to write a very personal branch. And the cattle-riding shepherd boy leisurely came from the red rain. That infinite painting and poetry, under the skillful combination of Mr. points, lines and surfaces, the charm of expression has reached the extreme, and reading such a good work of infinite poetry and full of strong pen and ink can not make the reader intoxicated.
Looking at Mr. Pan Tianshou's works, you will feel "domineering" from the composition and pen and ink. This is related to the personality, temperament, and cultivation of the painter, and being able to exude this aura in the painting is the result of cultivation. When the students heard Mr. Pan Tianshou's lectures, they often said that the composition of the painting should be "risk-setting", and after the risk- Standing risk is the first surprise move, a stroke down seems to have no way to go, whether it is a diagonal line or in the composition of the zhongshan stone object occupies an unexpected position, and then try to do balance or find support to seek balance, in order to achieve the purpose of "breaking the danger", this is not the average person can do, which requires courage, as Mr. Li Keyan said "valuable courage", need to cultivate and "confident".
Domineering may be born from this!
The use of lines and ink clusters can appear different breaths and feelings such as handsomeness, domineering, and calmness according to the different authors, and it seems that the production of "qi" has a lot to do with the subjective personality of the author.
Mr. Pan Tianshou's "Dew Qi" in the 1950s draws lotus leaves with a thick and moist ink method, hooks the stone with heavy lines, and condenses the ink dots of large and small concentration along the dense points of the stone structure, highlighting the beauty of the points, and using heavy ink lines to easily outline the lotus stems and water weeds, and the image of the grass runs through the picture. Dew gas rises from the pond. The combination of dots, lines and surfaces exudes the aura of oriental painting and water and ink. I especially like the treatment of dots in Pan Lao's paintings, whether it is the ink emitted by his finger paintings or the dots of his strokes and the sense of rhythm formed when combined with the line, and sometimes the ink dots are added to the points of light ink, which expresses the infiltration of ink and is rich in decorative taste.
Qi Baishi's old man's soft and rigid line, whether it is the interspersed melody of the shrimp whiskers and the elastic beauty in swimming, the inner beauty of the line is fully expressed. His "Sunset to the Cow" made me admire the five-body throwing. He uses a minimalist pen to show the tranquility of twilight. A round blob of ink paints the back of the cow, and a few fluttering lines hang from the top of the painting, drawing three or five willow silks, telling the loneliness of the evening. Don't underestimate these few soft and affectionate threads, which remind people of the control of the hand holding the pen, the wicker line gently, silently, and carefully caressing the back of the cow, bringing you into the beautiful mood of late return to the countryside. The expression of this artistic conception is the expression of the exquisite pen and ink, and it also reminds me of the cultivation and control of the old man's inner emotions of pen and ink. Mr. Li Kuchan said: "With the pen, there must be both weight and a 'lifting' strength", and only by raising the strength can we see the ability to control the pen.
As a person who has been engaged in the creation and teaching of Chinese painting and New Year painting for a long time, I have some personal experience and feelings in the process of practice, and I want to record my own experience and thinking from the perspective of creative thinking and pen and ink forms on the formation of the characteristics of Chinese national painting. But I am not a special theorist, I can only talk about it from the perspective of a painter, maybe it is very superficial or there is a deviation in understanding, but the person who writes and paints should be true when he talks about his own experience, and now he dedicates the humble text to his colleagues as a family word.
June 26, 2021 at Rong Garden