Curator's words
The term "sketching" is no stranger to art creators. This link is not missing in different artistic practices. In the history of Chinese painting throughout the ages, the great achievers are all advocates and practitioners of "sketching", as early as the five generations period, Huang Quan's "Sketching Rare Birds" appeared, which truly reflects the sketching ability and superb artistic standard of shaping objects with the technique of Chinese brush strokes. Jing Hao of the Song Dynasty mentioned in his "Notes on Brushwork" that he painted pine trees in the Taihang Mountains, first "appreciating them all over" and "writing them tomorrow with a pen, where tens of thousands of copies are as true as they are". Zou Yigui of the Qing Dynasty discussed the law of flower and bird sketching in the "Small Mountain Painting Notation", "All things are born in heaven, and there are four hours in heaven. "To the birds and butterflies, press four hours each. There are no swallows in the plum time, and there are few bees in the chrysanthemum. Winter flowers should not be green, and spring scenery should not be decorated with autumn insects. Observe at all times, ask for the name according to the verses, and when each is right, then the creation is in me. Shi Tao is "searching for Qifeng to make drafts", and Huang Binhong combines Shi Guren and Shi Zhaohua. To sum up, the paintings of the predecessors rarely completed in the face of scene sketching, but most of them completed their creations through sight, mental memory, and god meetings, the so-called "creation of foreign teachers, the source of the heart".
Western sketching is a painting method that directly faces the object of depiction, Western art is valuable in realism, while Chinese art focuses on freehand, and its "realism" and "freehand" have profound historical and cultural implications behind them, each with different colors. Ancient and modern, Chinese and foreign, art has the same destination, and sketching has become a widely accepted method in the creation and inheritance of modern Chinese art. Sketching in the current Chinese painting system is not simply the expression of objects, as far as the results of artistic creation are concerned, sketching completes the creation at the same time; With the help of sketching, materials are collected, the picture is reconstructed, and the final work is also created. How to understand and express "sketching" is an important issue facing Chinese painters.
"Private Art" launched an online series of cloud exhibitions: "Sketching and Creation - Chinese Painting Sketching Series Cloud Exhibition". The exhibition selects sketches of different themes, including the scenery of the northern country, the water town of Jiangnan, the customs of the west, etc., aiming to focus on the creative ability and aesthetic taste of contemporary painters in Chinese painting, further explore the relationship between sketching and creation, and call on us to pay more attention to and care for nature, humanities and all historical relics that are on the verge of decline.
Chen Zhao - Banna Flower Four Screens - Color on Paper - 231x53cmx4-2021
Chen Zhao - Iron Bone - Color on Paper - 132x71cm-2014
Chen Zhao-Qing Bone Chastity Flower Union
Chen Zhao - Spring Meaning Thick - Color on Paper - 248cmx125cm-2019
Qi rhyme is based on wandering hearts - a brief discussion of sketching
Wen Chen Zhao
Writing in the study and creation of traditional Chinese painting is another extremely important process and means in addition to the ancients. Lingu can learn the brush and ink techniques of the past generations, business positions and other painting capabilities, while sketching can observe the infinite forms of all things, and can enrich the feelings in the process of sketching, from the heart, the pen must be particularly vivid.
The ancients also attached great importance to sketching, and most of the classic works handed down to this day were created on the basis of sketching, which can be confirmed in the inscriptions of the paintings of the past and the works. Chinese painters have always insisted on the creation of the teacher method, the creation is the heaven and the earth, is the object we want to express, just as the Tang Dynasty painter Zhang Xuan summed up the "foreign teacher creation, the source of the heart" is exactly this reason, and just like the Tang Dynasty painter Han Gan's famous work "Zhao Ye Bai Tu", the horses painted in it are vivid and heroic, and the reason why Han Gan paints the horse pen is god is because he usually pays attention to observation and sketching, he said, "Stable horses ten thousand horses, all my teachers.". After that, there were five generations of painters Xu Xi, known as "Huang Jia Fu Gui, Xu Xi Ye Yi", his painting style has an important influence on the development trend of Chinese flower and bird painting after him, his paintings are mostly based on the natural scenery of the field, and pay attention to the sense of fun, "taste wandering between the gardens, every time the scenery stays, so he can pass on the state of matter, there is business", so his Tinghua wild bamboo, vegetable seedlings, water birds and fish, etc. can "think of the ancients". In the Northern Song Dynasty, Zhao Chang's flower and bird paintings were mainly sketched, he called himself "Sketching Zhao Chang", and the combination of form and god was the main feature of his paintings, and Fan Zhen's "Chronicle of Dongzhai" mentioned that Zhao Chang painted flowers: "Every morning when the morning is exposed, play around the railing sills, and write it in color in your hands." All of this shows the importance of sketching in the creation of Chinese painting and the importance that successive generations of painters have attached to sketching.
Chen Zhao - Green Jade Vine - Color on Paper - 240x200cm-2022
Chen Zhao - Begonia - Color on Paper - 69x34cm-2022
The word "sketching" is the most subtle in this "life" word. "Born", "angry", qi rhyme also. It is the process of transforming the form of external things into inner feelings, and then resorting to the end of the paper through a brush. The ancients have always pursued the "creation of teachers", opposed the works of mud and ancients, and in addition to their original cultivation, knowledge and techniques, they regarded "vivid charm" as the highest criterion for the evaluation of painting works, so the paintings of all generations have been innovated and developed in good inheritance. The Shitao monk has the saying "Mountains and rivers meet with gods and traces", which is about the spiritual communication between people and mountains, and the last traces on the silk are not only the traces of the brush, but the feelings of the soul and the inner cultivation. The "creation of foreign teachers" mentioned by Zhang Xuan must ultimately be implemented into the "source of the heart of the middle", and the same truth is said.
That is to say, the sketching of Chinese painting is by no means equivalent to copying objects, and its consistent spiritual connotation is "writing God in form" and "borrowing things to speak of zhi", through depicting objects, to express the spiritual outlook of objects, and then convey the painter's own emotions. As Yun Shouping once said: "The pen and ink book is ruthless, and the person who carries the pen and ink must not be ruthless." ("Xiangguan Collection", vol. 11) Regardless of the geometry of the subject matter, the painter is to express himself through painting, a work, it can convey the painter's state of the various parties at the time of painting, the depiction of the foreground objects, not only can express the morphological characteristics of the painted objects, but also can fully convey the painter's control over various painting languages such as pen and ink skills and business positions, and can express the painter's emotions and feelings at that time.
Chen Zhao - Boneless Yellow Flower Diagram - Color on Paper - 130x34cm-2022
Chen Zhao- Qiu Ju Jia Color Chart - Ink and Pencil on Paper - 76x46cm-2022
Huang Gongwang, a Yuanren, wrote in "Writing Landscape decisions": "The stroke pen is placed in the leather bag, or in a good scene, and when you see that the tree is strange, the bento model writes it, which has the intention of happening." "The state of landscape sketching is more or less like this, traveling around, feeling, when seeing the scenery that can be painted, the heart is inevitably surging and there is a sense of unhappiness, so the felt paper is ground, and the excitement of this time is expressed in the sound of birdsong. The same is true when painting and creating floral themes, a cluster of plants is either placed on the desk, or seen occasionally on the side of the road, when the painter faces it, he must first feel it in his heart, admiring the beauty of its growth form, or as the poem Saint Du Zimei said: "When the flowers splash tears when feeling, hate other birds are frightened", they think of their own encounters so that they have a lot of feelings, and all kinds of emotions gush out from the heart for a while, intending to express it. For example, the Han Dynasty's "Preface to Mao's Poems" says: "The poet, the place of the zhi, in the heart is the aspiration, the speech is the poem", so is the poem, the painting is the same. After the paper grinding ink, people have been calm, while referring to the posture and growth structure of the object in front of them, while roughly laying out a composition in their minds, the concept does not need to be exquisite everywhere, and the pen falls on the paper with the feeling in their hearts, and the more places the pen is, the contrast factors such as thickness, dryness, virtual reality, and denseness in the composition of the picture also change in the hair.
Painting is to write the heart, and the classic paintings of the past generations are particularly appreciated in this way, and the reason why they have been regarded as classics by generations is not only because the objects in the picture are depicted accurately, the brushwork and ink are exquisite, the color matching is harmonious, the picture composition is unique, and more importantly, the expression of emotions, which is the most touching place for those masterpieces. Just as in the Northern Song Dynasty Guo Ruoxuan's "Picture Seeing and Hearing Zhi", Yun: "Where painting, the qi rhyme is based on the wandering heart, and the spirit is born from the use of the pen", a work that pours out the author's emotions, coupled with the corresponding painting techniques, the qi rhyme in the picture is followed.
Chen Zhao - Lousa Flourishing - Ink on Paper - 281.5x192cm-2021
Chen Zhao - Golden Needle Flower - Color on Paper - 36x45.5cm-2021
Chen Zhao - Boneless Sketch - Color on Paper - 132cmx71cm
Chen Zhao - Yan Hai Tu - Ink and Pencil on Paper - 2021
Chen Zhao-Washed Stone Mountain House Appreciation Map-Color on Paper-2020
Chen Zhao - A branch of flowers full of incense - ink and pencil on paper - 2020
Chen Zhao - Yunnan Flower Four Screens - Color on Paper - 200x33cmx4-2019
Chen Zhao - Passionflower Sketch - Color on Paper - 245x125cm-2019
Chen Zhao - Zen Shi - Ink on Paper - 2019
Chen Zhao - Hibiscus Flowers Full of Red - Color on Paper - 130x67cm-2018
Chen Zhao - Zhu Jin Blossom - Ink on Paper - 45x75cm-2018
Chen Zhao - Gentleman - Color on Paper - 248x125cm-2019
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Chen Zhao - Ink Pen Hydrangea - Ink pen on paper - 35x36cm-2022
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Chen Zhao - Drunken Taoyuan Hibiscus Poetry - Ink and Ink on Paper - 34x71 cm - 2022
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Chen Zhao - Narcissus Diagram - Color on Paper - 55x45cm-2018
Chen Zhao - Rain Basho - Ink on Paper - 248x125cm-2022
Chen Zhao - Lily Orchid - Color on Paper - 2022
Chen Zhao - Hollyhock Blossom - Color on Paper - 2022
Chen Zhao - Golden Autumn Laixi - Color on Paper - 69x69cm-2022
Art 丨 丨術丨 home
Chen Zhao, Doctor of Fine Arts, is a teacher of flowers and birds at the School of Chinese Painting of Tianjin Academy of Fine Arts, a member of the Jiusan Society, and a painter of the Young Painting Academy of Li Keyan Painting Academy. Born in 1983 in Wuhe County, Bengbu City, Anhui Province; From 2005 to 2009, he studied at the Flower and Bird Studio of the Chinese Painting School of the Central Academy of Fine Arts and obtained a bachelor's degree in literature. From 2010 to 2013, he studied at the Flower and Bird Studio of the School of Chinese Painting of the Central Academy of Fine Arts, and obtained a master's degree in literature, and his supervisor was Professor Yu Guanghua; From 2017 to 2020, he studied at the Graduate School of the China Academy of Arts and obtained a doctorate degree in fine arts, and his supervisor is Mr. Zhang Lichen.
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