Calligraphy and Painting Alliance 丨 Freehand Flowers and Birds of Chinese Painting: Scene Blending, Materialism and Self-Unity

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The art of Chinese calligraphy and painting has thousands of years of inheritance, carries the blood of Chinese culture and humanistic spirit, and has far-reaching historical significance. Freehand flowers and birds are one of the more important forms of subject matter in Chinese painting.

Chinese flower and bird painting sprouted in the Song Dynasty, matured in the Ming Dynasty, and flourished in the Qing Dynasty. It was originally only to meet the needs of decoration, although it was also expensive and interesting, but in the end it was all for the pleasure of the viewer. It was not until the end of the Northern Song Dynasty that people had some understanding of the function of the "allegory of the object" of flower and bird paintings - Su Dongpo, Ouyang Xiu and others successively put forward the ideas of "getting carried away" and "implying things".

After the concept of "intention" was proposed, flowers and birds were gradually personified, and the so-called "freehand flower and bird painting" came from this. The spiritual meaning symbolized and alluded to by the creative themes of freehand flower and bird paintings is the embodiment of the values formed by the Chinese nation for thousands of years.

Its most significant artistic characteristics should be to rely on the material to speak of the zhi, borrow the scene lyricism, through the depiction of the object to express the painter's true feelings, to achieve the realm of scene blending, material and self-unity. However, it is not easy to master and use this lyrical medium well, and several aspects of homework must be done.

Ming Xu Wei "JuZhu Tu"

1. Pay attention to absorbing the nutrition of traditional Chinese culture and cultivate elegant artistic feelings

Successive generations of accomplished Chinese artists have attached great importance to their comprehensive cultural accomplishment. Shao Meichen of the Qing Dynasty once pointed out: "In the past, people wrote books and painted, and 'shedding fire' was superior. If you want to 'get rid of the fire', you can't learn. That is to say, the artist needs to absorb nutrition outside of painting and integrate this nutrition into his feelings and personality.

Chinese painting pays attention to poetic expression, and the poetry into the painting adds to the lyricism of Chinese painting, and it is easier to create a high and wonderful artistic conception. Classic poetry works throughout the ages are a valuable asset for contemporary artists to gain inspiration and cultivate elegant emotions. Integrating this poetic emotion into freehand flower and bird paintings will definitely enhance its artistic charm.

Ming Chen Chun "Aoi Stone Diagram"

The mastery of the rhythm can also sublimate the painter's emotions. This not only cultivates rich emotions, but also the rhythm of music can be directly applied to the painting, so that the picture has a distinct sense of rhythm.

In addition, almost all of the freehand flower and bird painters of the past generations are calligraphers. Nowadays, the development of calligraphy and Chinese painting do not seem to be synchronized, which also restricts the development of contemporary freehand flower and bird painting.

Zhu Yun's "Lonely Goose" vertical scroll on paper is now in the collection of Jinling TianduLou

Chinese painting pays attention to the use of calligraphy brushwork, and many painters with solid calligraphy skills use cursive brushwork to paint, which not only expresses objective objects, but also expresses strong emotions.

The Ming Dynasty painter Xu Wei entered the painting with cursive brushwork, and his large-scale freehand flowers and birds used lines to ups and downs, depression and setbacks, which can be seen in the passion of painting. The ever-changing ink lines give people a sense of lightness and pleasure, some give people a sense of thickness and solidity, and some give people a sense of innocence and nature. Each line shows the artist's temperament and touches the viewer's heart. In terms of online lyricism, Western painting cannot be compared with Chinese painting. The lines of Chinese painting have a richer emotional and relatively independent value, thanks to the calligraphic pen.

Pan Tianshou 'Eagle Rock Mountain Flower Map》

Second, pay attention to observing nature and consciously experience life

Chinese freehand painting of flowers and birds is the product of the fusion of scenes, requiring the painter to have sufficient emotions to observe all the objects in nature. The objects of nature are cloaked in the artist's eyes with an emotional cloak.

When the artist is painting, the flame of emotion is always burning in his heart, and what he thinks about most at this time is not the pen and ink, lines, etc., but how to express his emotions.

For example, Qi Baishi's paintings of flowers and birds, although the subjects painted are all objects that can be seen everywhere in daily life, these extremely ordinary cabbage, crabs, chickens, fish and shrimp are so vivid in his pen. This is due to his love of life and his meticulous observation of objects.

Zheng Banqiao of the Qing Dynasty planted bamboo around his residence, and for decades he watched and painted bamboo every day, and experienced the transformation relationship between "bamboo in front of the eyes", "bamboo in the chest" and "bamboo in the hand", thus painting a moving painting of "one branch and one leaf always caring".

Third, correctly handle the relationship between emotions and thoughts

Human emotions are always based on thoughts. The artist's emotional experience of real life and nature is very emotional and unstable, so it is necessary to think rationally. This promotes the deepening of the artist's emotional experience.

Throughout the history of the development of Chinese freehand flower and bird painting, Song Dynasty painting has changed from focusing on the depiction of objects to showing the emotions, thoughts, temperament, personality and so on of the subject. Literati painting has initially formed a system in the middle and late Northern Song Dynasty. Literati and doctors with profound cultural heritage always attach importance to the lyricism of subjective emotions in painting.

The emotion and ideology embodied in the freehand flower and bird paintings of the Bada Shan people in the Qing Dynasty can be said to have reached the extreme. His flowers, birds, fish, insects and other objects are full of complex thoughts and feelings, vividly expressing the nostalgia for the homeland and the resentment, ridicule, and helplessness of reality for the rulers of the Qing Dynasty.

Although the concept of home country has changed and the emotions, thoughts and temperament conveyed by artists are also different, art is still derived from life, and contemporary artists are also using their unique perspectives and techniques to express the prosperity and prosperity of contemporary China.

I hope that the brushwork skills of my friends will become more and more sophisticated! It's getting better every day!

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