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.
First, the expression of Chinese painting can not lack brushwork
The lack of freehand brushwork has led to the gradual dilution of the performance of the current freehand painting.
What is "freehand"? It is to use a pen that does not seek detail, to show the appearance of objects, to create a poetic mood, and to express the author's feelings. At present, many freehand brushwork and intention are missing, resulting in a very vulgar style, taste, and artistic expression of the work.
The requirements of "painting with books", "calligraphy and painting homologous" and "calligraphy and painting method" in the unique expression method of Chinese painting determine that the expression method of freehand painting is to use the brush method of "bone method with pen" and "unable to produce a law, with the law through the law", to present the profound artistic conception.
Sheikh listed the "bone method with the pen" in the "Six Laws" of the "Catalogue of Ancient Paintings", and pointed out specific embodiments such as "using the pen bone stem" in other related treatises. Later generations believe that its theory is only aimed at the figures of the time, which is probably biased in understanding. Facts have proved that after thousands of years of historical deduction, this theory is still outdated.
The "Five Pens" in the "Six Essentials" mentioned in the "Notes on Penmanship" of the Five Dynasties Jinghao also expound the problem of using pens. He also preached: "Although the author is in accordance with the law, the fortunes are changed, and they are not qualitative or formless, as if they were flying. "Meaning: Although there are rules for using the pen, it is necessary to be flexible, and the penmanship is so skillful that it can be written freely, such as flying; the pen can neither focus on the essence of the object, nor deliberately focus on the shape of the object, and the penmanship can be freely adapted after it is mastered, and the penmanship is vivid and lively without being rigid and rigid.
Today's freehand painting should be well digested and absorbed in the great development of advancing with the times, which is suitable for expressing the current freehand painting - this is the inheritance and innovation in the true sense.
So, from what aspects should the brushwork be recognized and understood?
I think that first of all, we should understand the brushwork of freehand painting from the method of calligraphy. When the calligrapher creates calligraphy works, the brush walks on the paper and condenses into lines with changes such as lifting, stumbling, hiding, twisting and turning, thickness, and density, so that the calligraphy has a varied artistic effect and expresses the rich emotions, thoughts and life ideals of the calligrapher.
For example, the writing of Wang Xizhi's "Orchid Pavilion Preface", the lines are comfortable and elegant, and the rigidity and softness are harmonious, all in one go. With the real emotion of telling the humor and the exclamation of the pitch to life, the book writer shows his flexible and flowing brushwork in the gentle wind and changing nature, which is really fast!
Every word written by Wang in the "Preface to the Orchid Pavilion" is like a rich and vivid life, and the words and words, ranks and ranks and ranks have the vividness of primary and secondary, facing, back, lending, interspersed changes, and finally creating a model of Wang's calligraphy. The magic weapon of Wang's victory is the calligraphy of the brushwork. I think the same is true of freehand expression in Chinese painting. And this is not only a change in the use of pen and ink, but also a change in the chapter and composition.
Zhang Yanyuan of the Tang Dynasty said in the "Records of Famous Paintings of Past Dynasties": "The image of the husband must lie in the shape, the shape must be full of its bone, the bone is similar, all based on the idea and return to the use of the pen, so the painter is good at writing." This sentence shows the truth that good painters are good at books, specifically that good painters are good at using pens.
And the Yuan Dynasty Zhao Mengfu used "stone like flying white wood like a basket, writing bamboo should also be eight laws." If anyone else can do this, it should be noted that calligraphy and painting are originally the same as "to explain the relationship between calligraphy and painting brushwork." This understanding and understanding gives a basis for the change of brushwork that is particularly emphasized in freehand painting.
If the brush used in freehand painting is not exquisite, it is like a body with flesh and bonelessness. The creation of freehand paintings should be done with the combination of pen size, the speed and slowness of the line, the pause of the press, the rapid conversion, the light entry and exit, the gathering and dispersion, the upstream, the downstream, the desire to leave first right, the desire to right first left, the desire to be uneven. The pen should not be too smooth, but the square should be rounded. There should be a connection between the pen and the pen, and the area size of the ink and color cannot be treated evenly, and similarities should be avoided.
Combing through the performance of contemporary Chinese painters with brushes and ink, we can see the importance of brushwork. None of the late painters Qi Baishi, Huang Binhong, Zhang Daqian, Li Keyan, Pan Tianshou, Fu Baoshi, Lu Yushao, Qian Songyao, Li Kuchan, Cheng Shifa, Gao Guanhua, etc. did not talk about Chinese brushwork, nor did they make outstanding achievements in Chinese painting through calligraphy brushwork exploration. Understand this principle, and know the road of painting.
Second, the expression of Chinese painting can not lack cultural connotations
In addition to paying attention to the way of using the pen, Chinese painting performance should also pay attention to the expression of cultural connotation. At present, freehand painting, whether it is figure painting, landscape painting, or flower and bird painting, the lack of cultural connotation leads to mediocre artistic conception and widespread customs.
While the rapidly developing market economy has brought prosperity to people's lives, it has also pushed some talented painters to the situation of manufacturing "fast food works" of Chinese freehand paintings, and a large number of mediocre works have flooded and flowed to the market. Driven by strong interests, the "famous painters" have been tempted by the market to lose the rigor of learning in the past and the peaceful mentality that cultural people should have, the consciousness of fine products has disappeared, and academic thought is numb...
Looking back at the era of Qi Baishi's artistic creation, as long as you know a little bit about collecting knowledge, the works you get are most likely treasures with high artistic value. The painters of that era, who hyped and chased fame and fortune and the market like today's painters?
In the current Chinese painting world, the production of wind, the dilution of freehand brushwork, and the lack of cultural connotation have become common diseases. As everyone knows, those who have become masters of everyone, who have not been the masters of cultural cultivation? To this day, some people have asked why the current Chinese painting world cannot see the shadow of the master? Can the Master still appear? Examining and thinking about the current seemingly prosperous Chinese freehand painting, we will find that it has two problems: first, in terms of technique, there are more ink without authors, more people without pen and ink, and fewer people who see ink with pen; second, there are very few people who have cultural connotations and spiritual temperament in freehand painting.
We look back at Su Shi of the Song Dynasty, "Being able to write without seeking to lift, and being good at painting without seeking to sell." The cultural cultivation of "Wen yi da wu heart, painting to suit my intentions", its artistic pursuit of using dead wood and strange stone themes to convey the painting's noble "meaning" (cultural atmosphere and cultural connotation) is worthy of our deep consideration. The ideological proposition that Su Shi insisted that painters could only be "unique to the outside of the elephant" on the basis of learning, morality, and cultivation became the cultural essence of literati painters from theory to practice. This is also the noble and holy cultural quality that Chinese painters should consciously pursue.
However, the expression of the realm and cultural connotation of Chinese painting mentioned here requires that the painter's cultural accomplishment, spiritual realm, values and ideas and concepts of contemplating nature must rise to the level of traditional Chinese culture; otherwise, what is created in Chinese paintings lacks not only changes in pen and ink language, composition and chapter methods, and forms of expression, but also more of the lack of cultural connotation and spiritual temperament, and even ultimately leads to the lack of artistic thought, which is very frightening for a person engaged in Chinese painting art.
Third, how can Chinese painting performance lack "style"
The art of painting should talk about "style". What is "style"? It refers to the comprehensive representation of a work of art and the style or character of a person. In order to make the work have style, the author's thinking, quality, realm, cultivation, pursuit, virtue, aesthetics, cognition, etc. must reach a higher level.
When you watch works and appreciate art, the first breath that comes to your face is the manifestation of the painter's personality temperament and quality. A good work can make the viewer happy, admired, moved, and overwhelmed by it, probably because the painter shows the weather, momentum, boldness, and charm of the object, and has the spirit of elegance, integrity, upward mobility, positivity, exuberance, and great beauty. With this series of cultural qualities, spiritual realms, and noble sentiments, only then can the "style" of Chinese painting works be displayed. This is the truth of "painting like a person".
Therefore, the elegant works of the past generations are the embodiment of the painter's own first-class character and noble sentiments. And why are the "style" of many works today not high, or even have no "style"? This is just as the predecessor said, "Since the character of the person is already high, the temperament must be high" (Song Guo Ruoxu). There is a difference between being a person and a superior person, why? Because everyone has their own outlook on life, values, and world outlook, the combination forms a person's cultivation and comprehensive quality, thus determining the direction of a person's work and behavior.
The pursuit of truth, goodness and beauty, the praise of benevolence, righteousness, and faith, the praise of loyalty, filial piety, and etiquette, and the advocating of law, tao, and reason are the embodiment of the spiritual quality and noble realm of the Chinese nation. Only with such a character and realm can the painter understand the "style" of painting.
Moreover, whether painting flowers, birds, figures or landscapes, why do some painters write fresh and elegant ink, outstanding, full of charm and full of interest; some painters go down with one stroke but are impatient, counting down, the brush stroke is vulgar, and finally the eyes are full of impetuousness, the ink color is dirty, and the mediocrity is unbearable? The reason for this lies in the difference in cultural accomplishment and ideological character. It is easy to be an ordinary painter, it is difficult to be an unusual painter, and it is even more difficult to be a painter with cultural accomplishment, ideological realm, and noble character. Character is the cornerstone of the painter's artistic style.
Chinese painters should understand what is "invisible elephant"
Lao Tzu speaks of the highest state of the Tao Te Ching in chapter 41 of the Tao Te Ching: "Great whiteness is like humiliation, generosity is boundless, great instruments are late, great sounds are loud, and elephants are invisible." The "elephant" of "elephant invisible" is an "elephant" that is higher than the image of a concrete object, and it is an abstracted "elephant", which is the meaning of "conveying god" expressed in Freehand painting in Chinese painting.
The object depicted by the painter conveys the spirit or not, and it is not hidden from a three-year-old child. I was once painting in Jiangxi, and a collector friend came to see me with his four- or five-year-old child. I was drawing ducks, and on a whim, I pointed to the ducks drawn in a few strokes and asked the child, "Is Uncle drawing a goose?" The child looked at it for a moment and then said affirmatively, "Uncle painted a duck!" I think this is Chinese painting—it uses the brushwork of "not resemblance" to express the form and god of objects.
In fact, children do not know what the specific shape of the duck's head, mouth, wings, and claws is, and their understanding of the image is the recognition of an overall impression, or the memory of a certain look. This is exactly the so-called "conveying god" performance in Chinese painting, and it also shows that the key to "similarity" and "dissimilarity" lies in the expression of the "demeanor" of the object. "Elephants" seem to be "invisible", but in fact they show a yangyang atmosphere. In the spiritual realm of the Chinese nation, "elephant invisible" embodies an intangible cultural connotation and spiritual symbol.
Therefore, the art of Chinese painting should also uphold this spirit and make Chinese culture continue to move towards glory.
Lao Tzu said: "Holding the elephant, the world is going." (Tao Te Ching) Every painter, while seeking an entry point for artistic innovation, must also become a painter who "holds the elephant". Elephants are invisible, "intentional" can be transformed into "unintentional", "elephants" can be transformed into "no elephants", so you don't have to deliberately do anything, but you have to be free-minded and accommodate everything, no fixed form, no rules and regulations to accommodate everything, in order to get the momentum, atmosphere, and realm of painting.
Fifth, Chinese painters should understand the principle of "raising paintings"
Why do some painters paint for decades, but their own paintings have no new content, nor do they have a unique style, but they are extremely similar to those of other painters, without any sense of vividness?
Painters should understand the principle of "raising paintings", because painting well is not achieved by practicing brush and ink and practicing modeling, but by cultivating their own painting art with rich cultural accomplishment, profound ideological realm, and noble personality qualities, and eventually forming their own distinctive painting style. Painters must first have a unique personality charm, and then they can form a unique artistic style.
The vitality of art lies in innovation. However, if you do not study traditional painting and traditional culture in depth, it will eventually lead to the work having neither thought nor deep cultural connotation, let alone a profound artistic realm.
The formation of the painter's ideological realm comes from the painter's life situation, experience, and even more from an adversity and dilemma. If a person has experienced suffering and tempering, and can still resolutely adhere to his ideals and live a strong life, he has a tenacious character, a tenacious and tenacious will, and an upright personality quality, and his thinking has naturally reached a lofty realm. It is precisely because of this state of life that everyone in Chinese paintings of past generations can exude a clear breath, a breath of elegance and a sense of righteousness at the bottom of the pen.
In addition, people's cultural cultivation is slowly cultivated over the years. Whether it is a writer, a calligrapher or a painter, reading a book can make it clear, reading a good book can make his thinking more intelligent and sharp, his cultivation more profound, his virtue more dignified and generous, his temperament more elegant and detached, his realm more simple and noble, and his heart more confident and open-minded... When this kind of cultivation is transformed into artistic creation action, whether it is the art of articles, poems or paintings, what is revealed in the pen and ink will be an elegant atmosphere, a civilized atmosphere, and the integrity of the literati.
On the contrary, if there is a lack of cultural accomplishment in artistic creation, the concept is vulgar, the thinking is superficial, and the mind is narrow-minded, the taste and temperament of the artwork created will be correspondingly low. For artists, the biggest thing in the world is artistic creation.
Good works of art can please both themselves and others, and eventually pass them on to the world. Since you have chosen the art of painting, wouldn't it be unpleasant to use your own cultural connotation and human experience to add color to your works, add color to your life, and inject vitality into the spiritual life of others?
Click: "Included in the topic" Next article, turn the page to read.