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Wang Xuetao is an accomplished master of flower and bird painting in modern China, and has made outstanding contributions to the painting of small freehand flowers and birds in mainland China. He inherited the excellent traditions since the Song and Yuan dynasties, learning from each other's strong points and complementing each other's weaknesses. His works are wide-ranging, exquisitely conceived, shaped like gods, fresh and beautiful, and full of pen and ink interest.
The painting method combines work and writing, and the combination of virtual and real. He is good at depicting the colorful and lively world of flowers and birds, and is also good at expressing the painter's spiritual feelings and moving imagination. He pays attention to sketching, especially good at depicting small life in nature, such as butterflies, praying mantises, grasshoppers, celestial bulls, frogs, dragonflies, wasps, etc., which are vivid and endearing. He also makes good use of dexterous and changeable pen and ink, the combination of color and ink, color aid ink, ink color rendering, and integrates the color law of Western painting methods into the traditional inherent color, in order to seek the overall color contrast and coordination, adding rhythm to the picture.
He can accurately grasp the flowers and birds in the dynamics, and can reflect the fleeting interest in the blending of scenes. Therefore, his flowers, birds, insects and fish are portrayed in detail, vivid and colorful, vivid and cute, and full of fun. It got rid of the rigid formula of Ming and Qing dynasty flower and bird paintings, and created a distinct style of fresh and subtle, elegant and popular appreciation. In the 1950s and 1960s, his paintings of flowers and birds reached an artistic peak, and no one has yet surpassed them.
Painting experience
How do I draw? How to draw well? It's something that a lot of people care about. Some people come to see me to paint, and they write with their hearts, so that they write how to draw flowers, how to draw birds, and so on, and regard them as a fixed law. Does this make a good painting? The technique is not static, how to draw? To be solved; How to draw well? Be more deliberately inquiring. Use this opportunity to share a little experience. ——Wang Xuetao
First, the exercise of basic skills should be solid
Flower and bird painting is to depict flowers, birds and birds to express the vitality of the natural world, reflect the thriving vitality, so as to give people a healthy artistic infection. The object it depicts is nature, so cultivating the vitality of the natural world and training the sensitivity of observation is the main thing.
It is necessary to seriously understand the structure, characteristics, habits and laws of life of objects and images, so that when painting, we can achieve the corresponding heart and hand. In particular, it should be mentioned that some people have a certain misunderstanding of the so-called "freehand paintings of flowers and birds", thinking that "freehand" people do not have to seek their shape, but only try to practice pen and ink, which is to confuse the observation, refinement, and generalization of reality with the living habits and structural characteristics of the object that do not have to be studied, and the result is that the vivid, diverse, and varied nature is either painted uniformly, or it is not a donkey or a horse.
Some paintings come from the hands of people who do not pay attention to observation, which can be seen at a glance, which is not good at painting. The source of flower and bird painting is vivid nature, not the brush and ink of others, and refining and summarizing should also come from the observation of nature, so the observation of nature is the basic skill of training the mind and the eye.
If you do not pay attention to the sketching of objects and cannot grasp the characteristics of the object's body, you lose the ability to reproduce art. Sketching is not a specimen of insects and birds, not only to be able to accurately portray the image, but also to emphasize the ability to summarize and capture the dynamics of the object's moments, I always ask for my own sketches. The agility of the hand and eye is the problem to be solved by sketching, and the vividness of the picture is inseparable from the exercise of sketching.
Second, silent writing is more important than sketching
What I am talking about silent writing is actually silent writing, seeing with the eyes and remembering with the brain. No matter how fast the sketch is, it is often limited to one thing at a time, and after careful observation, the image printed in the brain is more complete and vivid, and it is naturally issued at the end of the pen when it is applied.
My teacher Wang Mengbai is a modern painter who pays great attention to sketching, and the main method is silent writing. He liked to watch videos about animals, and once when we watched a movie together, he saw monkeys forming into a bunch and drinking water, and he was very excited, and kept squeezing my hand to make me pay attention. His monkeys are well drawn, catch the spirit, and have a living atmosphere.
Today's art development is far from being comparable to any past era, and many young painters have been trained in modeling ability, color, sketching and other aspects; If the technique of sketching is combined with silent writing and silent memorization, the mastery of the characteristics of the object and the living environment will be further deepened. The ability to silently write has been improved, and it is also helpful to capture the instantaneous dynamics of objects when sketching. The benefits of silent writing are great and harder.
Copying is important, and as early as the Six Dynasties, the Sheikh was valued for listing it as one of the "Six Laws". However, the copying of freehand paintings has been ignored by many young friends. They are not completely indifferent to painting, but they pay attention to the problem of painting methods, but they do not seriously study the spiritual temperament of the works. Copying is mainly to understand the theory of the painting, both to be faithful to the original work, but also to change its shortcomings. The problems to be solved must be clear, and the harvest will be more.
Third, pen and ink skills should be natural
Pen and ink are in the service of the object of expression and should be formed naturally. The Ming Dynasty people talked about pen and ink, and used more centers, but its effect, as Huang Binhong said, was relatively bald, and the pen was short, which seemed too dry. When painting, any brush edge can be universal, as long as the better performance of the object can be, over time, their own pen and ink style will naturally form; Remember to pursue brush and ink in the initial stage of painting, and relax the vivid representation of natural objects. The order of difficulty in mastering pen and ink is pen, ink, and water. In fact, the water-drenched painting method is easier to express, and the dry pen really needs skill. Pen and ink expression has a great influence on the artistic conception of painting.
Fourth, explore the characteristics of the use of color in Chinese painting
People who don't know much often think that Chinese brush and ink are preferable, while the color is not exquisite, in fact, it is not the case. The colors of Chinese painting are traditional and distinctive. The faience art of thousands of years ago can still give people a sense of beauty, not only because of the perfect combination of patterns and instrument shapes, but also because the black and red color of the smooth lines drawn is coordinated with the surface color of the pottery after firing, forming a unity of color, pattern and shape.
Not emphasizing the visual feelings in a specific time and environment, and adopting highly generalized artistic processing methods to express them, is the characteristic of the use of color in Chinese painting.
The method of expression, one is the combination of ink and color, or ink instead of color; First, the inherent color of the expression object is the mainstay. Ink painting is a concise summary of color expression, the so-called ink is divided into five colors, used well, many times can play an artistic effect that cannot be achieved by using color. Using ink to summarize the colors of nature is a major feature of color expression in Chinese painting. Similarly, the combination of ink and color can often be enriched and better expressed for specific emotions. Color to help ink, ink color, has always been valued.
Peony is a favorite flower variety, and the Tang Dynasty people appreciated peony became a major fashion in Chang'an and Luoyang. Historically, many literati and painters have written poems and painted on this theme. However, the feudal literati depicted it as a symbol of wealth, and today's people have completely different hobbies and feelings about it. I once tried to paint the branches and leaves in ink color, setting off the red flower head, breaking through the format that the red flower must be supported by green leaves, and removing the feminine and rich atmosphere. Although the color used is reduced, the overall effect is prominent and solemn; When used well, the color feeling is not necessarily monotonous, and at the same time, it can exert the effect of pen and ink on the branches and leaves.
The color expression of Chinese painting is completely different from that of Western painting, although everyone understands that Chinese painting mainly expresses the inherent color of the object, the problem is how to skillfully use the inherent color of natural objects to enrich the picture.
The clever use of color can add a sense of music and rhythm to the picture. With the help of foreign color experience, it is worth studying to enrich the traditional techniques that mainly express inherent colors.
Fifth, the creation of an artistic mood that introduces people's feelings
In general, the Chinese painting tradition is freehand, just like the art of Peking Opera. Not limited to the mechanical reproduction of the object, but also to grasp the spiritual temperament of the object, focusing on creating an artistic conception to infect the viewer. At the end of the Qing Dynasty, the grass worms in Guangdong juqiao and julian had sketching kung fu, but they lacked the inner spirit, which was like a specimen, and it lost its touching artistic conception.
Chinese painting talks about painting theory, painting feelings, and painting fun. The content of a painting is good, but it always has to be interesting to impress people's hearts. It is necessary to draw in a way that is not noticed by people in nature, or a kind of humor that may occur, so as to give people an unexpected feeling and room for reminiscence.
Exaggerated techniques are most used in flower and bird paintings. Exaggeration is to be created according to the artistic conception, still with the help of form and convey the gods, exaggeration and comics are not equivalent.
Deliberately expressing the vitality of the natural world and grasping the moments in life to express the momentum is an important factor in the creation of artistic conception.
Sixth, the layout of the rules and regulations is attributed to the intention
The layout structure determines the basic form of the entire work. The ancients emphasized that the intention was to write first, the intention was the general outline, and its basic idea was what to use to impress people's hearts. Even in the face of a small piece of paper, you must stand and draw to see the overall situation. Due to the paper and creative characteristics of Chinese painting tools, it is not possible to require a sketch made of all kinds of deliberation. When it comes to business composition, it has its own uniqueness.
Flower and bird painting requires an abdominal draft before painting, but it can only determine the general appearance, and the important thing is that it can adapt to changes after the pen is dropped. Shi Tao talks about "one painting", in terms of painting method, this initial "one painting" determines the style, and the brush and brush follow each other in order to penetrate one breath, which may be called "starting from one". This kind of painting is smooth and the structure is complete. We must not ignore the actual situation after the pen and adhere to the original compositional ideas, so that the picture is chaotic, which is one of the important characteristics of "Chinese painting" different from Western painting.
Chinese painting pays attention to lines, and the arrangement of lines in composition is mainly based on the arrangement of lines, which can roughly have three types: main, auxiliary and broken lines. The main line is the dominant form of the definite type, the auxiliary line strengthens the momentum of the main line, and the broken line breaks the monotonous layout on the one hand, and at the same time highlights the main line again in a contrasting way.
Although the grass worm is small, it is not an embellishment in flower and bird paintings, and a cicada with a short body can sometimes be regarded as a necessary ink color; The mantis with agile nature is often treated as a curved line in the composition, even the long tentacles, whether it is low or yang, must be properly arranged, and it is not difficult for careful people to carefully ponder, as for dense, scattered, dynamic, virtual, etc., it only plays a role in enriching the main effect. The law should be summarized, but it should not be made by law. Just deliberately in the center of the painting, the ancients called it the node of qi, the pen and brush must consider this center, the chapter is naturally strange.
Wang Xuetao
In the spring of 1980, it was recorded in the capital
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