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.
Guo Weiruo (1908.2--1971.12), a native of Weifang, Shandong, was a contemporary painter. He boldly practiced and innovated in art, advocating the combination of flowers and birds and landscapes, the combination of white painting and dot dyeing, the combination of brushwork and freehand, and the combination of heavy color and splashing ink. His works are fresh in intention, beautiful in color, novel in composition, and have a strong atmosphere of the times.
To draw a freehand painting of flowers and birds, pay attention to the use of pen and ink is the key. In his "Theory of Six Laws", Nanqi Sheikh initially raised the problem of using pens for bone methods. Tang Zhang Yanyuan said in the article "On the Six Laws of Painting" in the "Records of Famous Paintings of Past Dynasties": "Ancient paintings may be able to move their shapes and retain their bones, and seek their paintings outside the shape, which is difficult to be compared with ordinary people." ...... The image of the husband must lie in the shape, the shape must be all its bone, the bone qi is similar, all based on the intention and return to the pen. That is to say, in the process of creation, the painter must rely on the use of pen and ink when carefully organizing, refining, and summarizing the memory of objective existence, and reproducing the form of natural objects on the picture. Use the pen to shape the image, use ink to express the demeanor, so as to achieve the artistic height of the charm and vividness.
That is to say, the artistic truth pursued by the painter is not equal to the purely objective natural truth, and it must be through the painter's ideological wisdom and the use of brush and ink means to give the objective object a more concentrated, ideal, and generalized expression.
Pen and ink is the language of art, the image charm, all-encompassing. High artistry, that is, high pen and ink requirements, good composition color. The integrity of art is not complicated and trivial, not all-encompassing, but must be representative and typical. Character images are alive and should be expressed in the skillful use of pen and ink. Pen and ink are expressed through technique, and a painting with pen and ink can better express the inner spirit of objective objects.
Three strokes and five strokes have been completed; one brush at a time, has an infinite charm; iron painting and silver hooks can express the power of objects; they can express the momentum of space; the layout of bright and majestic must be explored in the composition of pen and ink; the mood of wind and rain, as well as the unrestrained character of personality and the realm of natural self-sounding, which must be sought from pen and ink techniques.
When we study the basic laws of using pen and ink today, we are not making things up for a reason, but are meant to serve the content and thematic ideas. Pen and ink must first meet the requirements of the theme idea, and obey the content. It is necessary to forcefully highlight the theme through the author's mastery of using pen and ink.
Pen and ink are inseparable in their use, as if fighting a war, the pen is a spear, ink is grain, paper is geographical advantages, if the same incompetent, the battle will be lost. Therefore, in order to complete a highly artistic creation, the pen and ink artistic conception cannot but be emphasized. On the basis of objective modeling, it is necessary to strengthen the training of subjective pen and ink skills, familiarize themselves with their performance laws and performance, and summarize the laws and accumulate experience in long-term practice.
To study pen and ink skills, it is necessary to delve into the theory of painting in previous dynasties, learn from the practical experience of predecessors, and comprehensively analyze them through personal practical exercises to summarize their own creative experience. In order to make the use of pen and ink flexible, skillful, thick and thirsty just right, it is not easy to meet the requirements of expressing the theme of thought and the spirit of objects, and the author must go through a long period of labor practice.
There are many articles on the theory of pen and ink in painting, such as Shen Zongqian's "Pen for Ink Handsome, Ink for Pen Charge" in the "Mustard Boat Study Painting Compilation", which is about the relationship between pen and ink, indicating that all objects can be looked at with pen and ink, but we must work hard to study the rules of using pen and ink.
Ming Wang Shizhen's use of the pen in the "Yiyuan Ziyan" (Yiyuan 卮言) "should be like cone painting sand, printing mud, folding strands, leaking marks in the house, falling stones on the peaks, paraquat vines, and frightening snakes into the grass", which refers to the method of using the pen. The Song Dynasty painter Ge Shouchang demanded that the pen be "fine and sparse, simple and meaningful", which means that the pen should be used to summarize objects and express attitudes. With the pen can get the shape, with the ink can get the charm. The so-called square, round, flat, flat is the shape, turning, turning, trending, direction is the potential, the spiritual essence is the intention, freehand is to write the inner essence of the object. The so-called "out of shape to take the like", "the likeness of the individual", "between the intention of the similar and the non-similar", can be understood as the height of the pen and ink requirements, but also the high requirements of the freehand painting.
Since ancient times, Chinese painting attaches great importance to pen and ink, and has accumulated rich experience in the use of pen and ink, the so-called Tang people use pen, Song people use ink, and the changes after the Yuan Dynasty are endless. Since freehand flower and bird painting should express the spiritual essence of objective objects through skillful use of pen and ink, it requires freehand flower and bird painters to conduct more in-depth research on the problem of pen and ink, and comprehensively use various methods to obtain various effects.
Use the pen to pay attention to the pen tone, pen strength, pen rhyme. Use the pen to be lucky, to pay attention to the breath, the pen has qi, it is a living pen, and if there is no breath, it is a dead pen. From the beginning to the end, it is necessary to connect the end and the pen to be delivered, so that it can be done with ease. The line that comes out in this way is vivid and can eliminate various problems such as plates, engravings, and knots. The pen should be strong, and the strength will arrive. The "pen power to carry the ding" said by the predecessor refers to the pen power. Pen strength does not refer to the firmness of the pen, the height of the pen, the tightness of the grip, and the strength depends on the needs. The pen pays attention to the use of fingers, wrists, arms, and elbows, and it is necessary to achieve the unity of finger strength, wrist strength, and arm strength. Hang your wrist, palm back, and support your arm so that your whole body strength reaches the end of the pen through your fingers and falls on the paper.
Qing Shi Yuan ji said: "The five fingers, four fingers, and three fingers all rotate with their wrists, and they are stretched out and contracted with their elbows, and they are all in unison. He also said: "First of all, you must start with the wrist, positive transport, side transport, rapid transport, and late transport." "Due to the different methods of pen movement, the performance effect obtained is different. If the pen is not used, the line under the pen is weak and spiritless. The force must be measured, there is a clever, clumsy, light, heavy distinction, otherwise blindly domineering, pen and ink flesh and bones do not fit, turning the board, you will not get a good effect. The use of the pen must have details and roughness, and the pen must be made by heart, in order to meet the requirements of expressing realistic objects.
The fifth generation of Jing Hao said that the pen has four potentials, including the pen qi. Pen rhyme is to pay attention to style, artistic conception, and is a functional effect expressed through the use of pen. A line, a point, due to the depth of the painter's skill, the effect is also different. The magic of using a pen is the charm, and if you use the pen properly, the texture and weight of the volume can be expressed.
Freehand flower and bird painting is mainly the use of lines to express objects. Through the technique of using the pen, it is required to eliminate the characteristics of concrete shapes and lines from the complex state of the line of things, and to see the essential spirit of the object. It is required that the line described by the pen can express the reality of the object without borrowing the smudge, the pen is simple and complex, the state changes at will, and every turn is interesting. The so-called "Yu Gang Jian is in the grace of na, and the vigor is within the charm" of the predecessors, which is the concrete embodiment of the pen method. The so-called pen is exhausted, and the qi sees that the pen is not seen, and it is obtained from the pen.
The pen pays attention to the center, flank, counter and battle pen (thirsty). The center forward requires that the pen be right, not biased, and the pen should be round and tough, and it is not dangerous to be weird. Generally speaking, it is used to describe everything that has a fixed shape. The flanking requires the pen to be swept sideways, which can be used to describe amorphous slope stones and tree trunks. The counter-edge is mostly to change the normal direction of the pen to increase the sense of turbidity of the brush strokes.
The war pen is the center of the pen, which is running in the war. It is suitable for writing stereotyped houses, bridges, buildings and outlining flowers and leaves, which avoids the stereotyping of the line and increases the taste of astringency. In general, the pen should be used with thirsty ink, and sometimes the appropriate ink color can be selected according to the needs.
Different from the gongbi flower and bird painting pen, which pays attention to the strength and tenacity of the brush, the Sichuan pen of freehand flower and bird painting requires China Resources, loose and lively, flexible, calm, free and straight. Robust, vigorous, blended, jerky, old, in short, to have change, to have a lively vitality. The author changes his technique according to the need to express real things, through light and heavy, depth and reality. It is necessary to be light and rigid, one stroke and three battles, there are rubbing, there are setbacks, there are hooks, the pen is broken, and the breath runs through. Using a variety of pen techniques, to achieve the effect of achieving neither stained pen marks nor blurred on the picture, so that people can see not the pen and ink but the god of the concrete object and the author's intention.
The pen should avoid stagnation, slenderness, domineering, sweet and slippery, dry, floating, feminine, miscellaneous, childish, frivolous, requiring force through the back of the paper, requiring a line to have light and heavy setbacks, bright and concise, vivid and powerful, so as to grasp the typical image in reality.
The line under the painter's pen is to be "written" out, not "drawn" with the bend. Use a pen to avoid drawing, painting, and wiping. The brush is weak, there is no undulating change, the smear is to see the ink without the pen, it is used by the pen. Without exercise with the pen, it is difficult to express the essence of the weak and weak, and it will not infect the viewer and cause psychological resonance.
The painter uses pen and ink to pay attention to the methods of choosing a pen and transporting a pen and a pen in the expression of hook, axe, dot, dye, wrinkle, rub, knead, drop, drag, promotion, picking, picking, painting, mediation, and writing. To know what pens and what to use on what paper silk. The pen is suitable for blending, dyeing, mediation, polishing, doting, rubbing, and the wolf pen is suitable for hooking, cutting, scratching, and rubbing. The new pen is gentle and vigorous, and the pen is old and thick.
The author can use dry and wet interchangeably, freely retracted, so as not to be a penman. The pen must be used interchangeably with the nib, the pen belly, and the pen root. The nib is strong in elasticity, the air runs through, it is quite beautiful, and the shape is complete. The pen belly line is plump and round, calm and strong, and textured. The root of the pen should be retracted and returned, and the atmosphere is full of rhyme. The next pen should have twists and turns, the wave is the ups and downs of the pen, and the fold is the change of the pen. Hooks must be frustrating, and conversely, a line makes the flat soft and lifeless. However, the staggering of the so-called is a twist and turn, starting and turning, no going back and forth, no hanging and shrinking, requiring successive penetrations, the pen is broken and the intention is continuous, the intention is not enough, the so-called "away from the dot painting, when the time is missing, although the pen is not weekly and intentional" (Zhang Yanyuan's "Records of Famous Paintings of Past Dynasties"), the so-called "God cannot write" (Tang Zhiqi's "Painting Matters").
It is required to "be slightly undisciplined and disciplined in it", and to be able to "have a criterion on the side, and turn around and be more intermittent". Hook the pen, realize the pen follow, do not be pretentious; rub the pen, so as to be loose, hairy and not stagnant, light and not slippery; smudge requires cang and ethereal; promotion is fast and slow. The pen has positive, sideways, horizontal, oblique, inverted, as well as whole, broken, smooth, turning, there are Hidden Front, Dew Front. There is also a turning pen, when moving the pen, so that the pen is rotated in the hand, so as to use all its ink, so that the pen edge does not split. Keep the pen loose, natural, and ethereal. The pen should be flat, the wrist should be alive, the small one should be suitable for lying down, and the large one should use the wrist to hang the elbow and pour all the strength of the body.
Use pen and ink to be thick and thick, not to be meticulous, to be informal. But it is not to ignore paper and ink, but to be in the law. The beauty of composure lies in the fact that the pen is picky and not frivolous, the line is not abrupt, a thousand strokes can be simplified, and one stroke and two strokes can be complicated, so it is intended. Jagged clutches, pitch intermittent, hooks and strokes are all pen also. Use the pen to avoid flowing, avoid frivolity and softness, and be energetic and tenacious. You can ignore it, the strength is victorious, the pen is very strong and the so-called round pen can be transported, and the center tough line can be produced. Twisting and folding, with the force of lifting and dragging, in order to have strength on the outside, with the inner fun, God is implicit. With force and composure, the pen is transported, in order to have the fun of running thunder and falling stones, frightening snakes and grasses. The weight of the pen can get the volume, and the pen is sloppy and weak, which is called a manic pen, and it must not be moistened.
Beginners learn freehand flower and bird painting, and exercise with a pen is the first priority. Polymorphism with lines, that is, from the complex lines of reality, extract useful main lines under the pen. In the practice of technique, the author is also required to have a high degree of mastery of time, because the success of using pen and ink has a proper fire to express the required artistic effect. There should be no hesitation on the pen paper, and the pen should be paid attention to the heat. If the heat is not right, the pen is not flexible and does not show the function it deserves.
Therefore, freehand flowers and birds use brush and ink to grasp the time, and more importantly, it is necessary to master the use of water, master the relationship between water and all aspects, in order to obtain the effect of ink and ink. You should always grasp the season of painting and the weather changes of cloud, sun, snow and dew, and carefully review the weather conditions when you are haloning, dyeing, wrinkles, rubbing, and batch leaf tendons and hook petals. There is a difference between the north and the south with the pen and ink, the weather in the south is wet, and the north is cool and dry, and it cannot be ignored.
Secondly, let's talk about using ink. Du Fu said that "the yuan qi is dripping with obstacles and still wet", and Dong Xuanzai commented on Huang Zijiu's paintings and said, "Chuanyuan is thick, grass and trees are huazi", which are all wonderful uses for commenting on ink. If the ink is used well, the picture will be smooth and shiny, and the effect of "creeping and moving, rising and flying" can be achieved. Freehand flower and bird painting is to require a simple and vivid paper full of lushness.
Ink is an important color in Chinese painting pigments, and the painter mentions multiple brushstrokes and inks at the same time. Ink is a black color, but also has a comprehensive effect of multiple colors. Ink is color, ink is light and dark, ink is backwards, ink is far and near, in short, ink is the shape of objects. Generally speaking, there are so-called four inks: thick (wet deep ink), light (wet light ink), scorched (dry deep ink), thirst (dry light ink) or quality, hua, order, product. There is also the so-called five ink and six colors, five inks are scorched, thick, heavy, light, clear, Qing Tang Dai in the "painting of events" put forward black, white, dry, wet, thick, light six colors, five ink and six colors refer to the efficiency of the use of ink. In the creation of freehand flower and bird paintings, the pen is used to form a vertical shape, and the ink is used to divide the yin and yang, and the pen and ink must be tuned. The light and heavy of the pen and the thickness and wetness of the ink are well coordinated, the pen and ink will change, and we must pay attention to the successive levels in order to be handy.
Freehand flower and bird painting is more difficult than using a pen. The pen is a bone, ink is a muscle, the pen can get a shape, and the ink can get the charm. The use of pen and ink is interconnected and cannot be separated. Ink method comes from penmanship, and ink assists the effect of the pen. Pen and ink cultivation is good, painting is inked, ink is subject to pen, pen is affected by wrist, wrist is hearted. Landscape painting authors use pen and ink to achieve the weather of steaming clouds and rain, and freehand flower and bird paintings must also achieve this state.
Tang Zhang Yanyuan said in the "Records of Famous Paintings of Past Dynasties" "On the Writing of Paintings with Tatami": "Grass and trees are glorious, and they do not wait for Danlu to be harvested." The clouds and snow fluttered, not waiting for lead powder and white. Mountains do not wait for the sky to be green and green, and phoenixes do not wait for five colors and silk. It is the five-colored tool that transports ink and is proud. Intended to be five colors, then the object is obedient. That is to say, as long as the painter can use ink to have five colors, he can replace the color to express the vivid and lively natural world.
Generally speaking, the ink is divided into five colors, which refers to the color scale of the ink, and the level of ink color shade. Oppose playing with pen and ink, opposing one-sided talk about five ink and six colors, but in order to improve the expression effect of freehand flowers and birds painting white spoon, to achieve a high degree of artistry, let the pen and ink serve the theme well. The problem of using ink should also be raised and studied in depth. It is possible to explore a law through a long period of artistic practice, and to carry forward and create new methods on the basis of inheriting predecessors. The ancients used ink to pay attention to the order before and after, and the Qing Ren Shi Yan Tu divided the ink into positive ink and vice ink in the "Painting Study Heart Method", dry, light and white are positive ink, and wet, thick and black are the vice ink. This is enough to say that the use of ink should have a hierarchy and an order. The predecessors first applied light ink and then used thick ink, which was divided into front and side. Mr. Huang Binhong opposes the theory that ink color changes, can be used for each other, seek thickness and lightness, paint black and white, wet to dry, dry to wet.
There are ink accumulation, broken ink, splash ink, cover ink, ink, thick ink, light ink, scorched ink, ink staining, ink jumping methods, there are thirsty, wet, thick, light, scorched differences, there are dead and alive, dull, blurry, cloudy, stagnant, dripping, smooth, thick, heavy, angry, lively, flooded, idyllic feeling. Sketching in freehand flower and bird paintings, thirsty ink, wet ink, scorched ink and application: the feathers of the dot dyeing method, more use of broken ink and cover ink, blending and dyeing, more use of accumulated ink: capitalization is used splashed ink, and ink is used. Use burnt ink thirst ink can not be embarrassed: splashing ink with wet ink can not be sloppy, sloppy, stagnant: the use of broken ink requires first light ink and then thick ink or vice versa.
But it is easy to break with thickness, and it is difficult to break through thick with light. Qing Shen Zongqian said: "With light ink to moisten thick ink is obscure and blunt, and to break light ink with thick ink is fresh and beautiful, so the sex is first light and then thick." Mr. Huang Binhong said that "the method of breaking ink is light to thick and broken, wet to dry", "thick is not stagnant, light is not floaty". Ink pouring and ink accumulation method, layer by layer, up to dozens of layers. Jumping ink is to pay attention to the nearby ink color at any time, intentionally expand the ink level, if the depth of ink is divided into five grades, when painting, the first class of thick ink and the fourth class of light ink are used next to each other to strengthen the comparison effect. Splashing ink is more than natural, bamboo in the chest, random agility, dripping, pounding, lively and lively. All kinds of ink colors should be used for each other, and they should be light and deep, because of thirst, they should be moist, and thirst should come out.
The use of ink can not stick to the old rules, unchanged. Freehand flower and bird painters like to use dripping brush and ink to sprinkle at will, as long as there is quality and quantity, there is a sense of spatial distance, the pen is simple and meaningful, the shape is complete, the shape is in mind, it is to achieve a high degree of ink transportation.
Mr. Huang Binhong uses ink and pays attention to more than three ink methods in a painting. He uses a variety of ink methods, and the pursuit is that the pen is denser, the more complete the shape, and the more lush the ink. He advocated that the thirsty pen should be moist, rigid and soft, moist and not dry, and the ink should be dripping. He also often used the Yuanren Ink Method to strive for a vivid effect. The old man of Baishi emphasizes the harmonious change of ink and strengthens the effect of unifying with the pen, which is reflected in the moving rhythm of pen song and ink dance and inhibition of speed, so that people can see things without seeing pen and ink.
Pen and ink should be used for each other, not disconnected. In the pen, we should pay attention to reflecting the sense of rhythm, and pursue different ink tones and ink colors through different methods of using the pen. The pen is bone, ink is muscle, the so-called "pen bone ink skin", bone and then tendons can be connected, flesh and blood can be attached. If the pen is frivolous, it is easy to be covered by ink color, and if the ink is too abundant, it can reduce the sense of realism of the quality; too dry, it has no rhyme, too moist, and it is rare to be divine. The pen rhymes from the height of the ink, and it is necessary to run the spring rain, dry and crack the autumn wind, thirst but not dry, moist but not fat. Only when the pen and ink are used well can we be psychic everywhere and awake everywhere.
Chen He of the Ming Dynasty was good at using ink, and Xu Wei said in the painting of Chen He: "Clouds are cloudy, ying is rainy, and weeping is dew." Xu Wenchang used clouds, rain and dew to describe the high effect of Chen He's ink in painting. Chen He was a famous freehand ink painter in the Ming Dynasty, and later Xu Wenchang inherited his painting method and founded the splash ink school. Qing Shitao advocated that people should use the law to obtain the law, and the law should not bind people, believing that the law is created by man according to nature, that pen and ink have the function of expressing natural phenomena, and that the thickness and dryness should change with the image of nature. He said: "Murphy is not nourished, and the pen is not a god of life." Here, he believes that the painter borrows pen and ink to write his feelings about all things in heaven and earth, and uses the pen to experience things (life), and uses ink to cultivate (cultivation).
He also said: "The spirit that can be nurtured, but the god who does not understand life, is the god who has ink and no pen, and the god who can receive life, and the spirit that does not change to be cultivated, is the spirit that has no pen and no ink." Here, the important relationship between the use of pen and ink and the practice of life and all cultural cultivation is also proposed.
Qing Li Futang has an inscription ink pen peony poem said: "The empty hook is even fragrant white, Wei Ziyao is yellow and light, blooming in the deepest part of the orchid, and the ink is as thick as lacquer is dark red." "Here put forward the principle that ink is color, indicating that the author uses pen and ink on the screen, and empty hooks, light and light ink, and thick ink all represent a variety of different colors.
The use of pen and ink serves the expression of realistic objects in the author's many practices of in-depth understanding of life feelings. The pen and ink we are talking about can never be disconnected from the content. To practice life, to be proficient in pen and ink, to learn from the ancients, and to jump out of the ancients. If the basic skills are not enough, lack of copying kung fu, can not master the traditional techniques of the ancients, only want to get out of the shortcut effect, of course, it is difficult to achieve the goal; if you blindly approach the ancients, it is only kung fu, can not be the concept of purpose.
Today's creation, first of all, requires the image to be true, the artistic conception is new, the momentum is grand, and it can reflect the spirit of the times. Paintings with pen and ink should be more from the perspective of thought, spirit and emotion. In short, not paying attention to life experience, simply playing with pen and ink interest, will fall into the mud pit of formalism. But if we do not attach importance to pen and ink, we must not be able to express the artistic reality of objective objects. Therefore, on the basis of life, we must strive to exercise pen and ink techniques. Painting is expensive and run, cang is pen power, run is ink color, pen and ink work is deep, deep in physics, bend the state of matter, and then can rhyme vividly. If you fall into evil customs, you will not be able to return.
Click: "Included in the topic" Next article, turn the page to read.