Mei Mosheng: The sketching method forms a realistic beauty
The sketching method forms a realistic beauty
Photo: Mei Mosheng
The so-called "sketching method to form real beauty" is to paint this picture as if we were immersed in the scene, which is what Chinese painters did after the 20th century, which only appeared at a specific stage of historical and art history development. In the early 1950s, some people in China said that Chinese painting could not be realistic and could not reflect real life, and the political needs of that time should reflect real life, and should reflect workers, peasants, and soldiers. In this discussion, Mr. Ke Yan said, I want to use the practice of Chinese painting to prove that Chinese painting can reflect the real scenery.
Previously, the Lingnan School had realistic performances, but it was not as realistic as Mr. Ke Dye's paintings, which made people feel more realistic and more immersive. Painting with feelings, I think is the starting point for Mr. Ke Dye to create a new brush and ink, he is the feeling of painting, before the ancients painted the most pine trees, it is difficult to paint dense artificial afforestation and even the whole mountain, such as his later painting of "Jinggang Mountain", Mr. Ke Dye used a special pen and ink language to paint, painting feelings, this is his method of borrowing Western painting.
Mr. Pan Tianshou once said: Chinese painting is painting cultivation, and Western painting is painting feeling. This point of Mr. Kejian is borrowed from the West, such as "Li River Victory Map", "Li River Victory Map", "Jinggangshan" and so on. As the old saying goes: the real situation is forced and the real situation is born, and Mr. Li's paintings, re-observing, summarizing, reproducing, telling the real scene, and painting the real situation, is an angle of his innovation. This is not a huge reproduction of nature, but its own induction. Although the forest mountains painted by Li Kejian are very thick, what is more important is the overall induction, which is not how meticulous a painting is. I think Mr. Ke Dye is painting a new sense of self in Chinese painting.
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Regarding sketching, we have a tradition of sketching since ancient times, ancient Jing Hao, Zhao Chang, And Yi Yuanji of the Song Dynasty, they all have sketches, but very few works have been handed down, and they have not reached the so-called true reproduction of the visual meaning of modern people, and Li Keyan created this style, which is also his first response to national nihilism with artistic practice.
Li Keyan's reality is different from that of Fu Baoshi, Guan Shanyue and others, from which we can see the profound influence of Qi Baishi and Huang Binhong, as well as the influence of Lin Fengmian. Their attitude toward nature, to animals, to plants, to the nature of mountains and rivers is reflected in Mr. Koji's paintings. The reality of Fu Baoshi's painting lies in the beauty of dynamics, Mr. Fu Baoshi's paintings also really have a sense of reality, especially the waterfalls he painted, many representative works painted in Jinggangshan in the 40s, really have the feeling of immersion, wind and rain, and meteorological majesty, but the reality of Mr. Dye's paintings is static, you see the Li River he painted, it is an incomparably dense and deep feeling of mountains and rivers, I think this is related to his personal humanity. The feeling and understanding that Mr. Kan's mentality gives me is that he is extremely calm, extremely resolute, extremely quiet, extremely rational, and feels that he is as stable as Mount Tai, which is shown in his paintings, all of which express the beauty of the admiration of the mountains and rivers.