As one of the painting languages, brush strokes are unique and cannot be copied, different painters will use different brush strokes when shaping the same object, and different brush strokes can produce different picture effects. Brush strokes are the painter's expressive techniques and emotional symbols, which belong to the category of painting language, and the "qi" in oil painting works is the overall momentum and aura of the work, which belongs to the spiritual category. How to create the generation of "qi" of "brushstrokes", that is, how language conveys the spirit, whether the virtuality, size, thickness, width and narrowness of the brushstrokes, whether the soft and hard have rhythm and rhythm, whether they are freely integrated with the structure and color along the trajectory of the mind, directly affecting the generation of momentum, rhyme and breath in the picture.
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"Pen" has the meaning of verbs and nouns respectively, the meaning of the noun is: writing and painting tools, brushwork, handwriting, strokes; verb interpretation: writing, recording. "Touch" has the meaning of contact, touch, bump. "Brush strokes" refer to the brushwork and style of calligraphy, paintings, articles, etc., or the lines, colors and images formed by the brush touching the picture. The "brush strokes" in oil painting refer to the traces produced by the brush when it is running on the canvas, also known as texture. Although brushstrokes are a technical factor, they can convey the artist's artistic personality and cultivation, so they are also an important part of the painter's artistic style. When the painter moves the brush, he uses the contrast between the thickness and thinness of the pigment, the change of the thickness of the blending agent, the light and heavy strength when the pen is dropped, and the fast and slow rhythm of the pen to reflect the texture of the object, the sense of volume, the light and shadow and the virtual reality, the brush strokes and the structure are in line with the right fit, the pen goes with the shape, the shape follows the pen, and the qi is born. The forms of brushstrokes are diverse, and different brushstrokes have different expression characteristics, which is a natural expression of the painter's personality, interest and artistic endowment. Texture refers to the use of different brush strokes of paint thickness or other methods to form a surface tissue effect on the canvas, also known as the physical effect of the picture. For example, mixing dirt, sand, confetti and other materials in the pigment, according to their own subjective ideas, so that the picture shows expressive changes and layer changes in the lower layer structure of a certain light.
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(1) The concept of "qi"
The original meaning of "qi" refers to objects that do not have a certain shape and volume and can be freely dispersed. The meaning of "qi" can be divided into three levels. The first is the cosmic qi, or yuan qi, which originated from ancient Chinese philosophy, which is the basic element that produces and constitutes all things in heaven and earth, the most subtle and flowing substance, and the philosophical thought that explains the universe in one breath. Secondly, the momentum in TCM theory studies the concept, generation, distribution, function and systematic theory of the relationship between the human body's qi and the relationship between the internal organs, essence, blood, and jin. Qi is the most basic substance that constitutes the vitality of the human body and maintains human life, and people's mental states are: courage, style, righteousness, courage, etc. The human body is full of qi and prolongs life with qi, and the human spirit is mainly filled with the flesh qi in the body, and once this qi is expressed, it becomes a manifestation of internal strength, such as a drum and a breath. If a person devotes himself wholeheartedly to artistic creation, he will express it with his entire body and soul, in which a word, a line, and a stroke are the trajectory of the author's vitality movement of life. The third is the inner qi of the work, that is, the "vivid qi rhyme" qi proposed in the Six Laws of Sheikh, which is the fusion of the qi of the universe and the whole spiritual character and the whole body of the subject on the picture. Qi moves regularly and rhythmically in the work, forming a sense of rhythm.
(2) Words related to "qi" in oil painting works
Momentum refers to the strength and power displayed by people or things, including momentum, arrogance, weather, style, etc.
The aura is a description of the invisible energy emitted by a person, and the influence this temperament has on the people around them. The existence of any substance is accompanied by an aura, and the nature of the aura is also very different, and it can be most simply divided into yin and yang. In fact, there are no two exactly the same aura in the world, and the nature and strength of the aura can change with the changes in the thing itself and the surrounding environment, a large aura can be composed of several small auras in a unique way, adjacent auras are also mutually influencing, and their main manifestations are mutually exclusive and assimilated, so as to achieve the dynamic balance of the overall operation.
Atmosphere is the sum of the psychological factors that pervade the space and can influence the course of behavior. These psychological factors include: nervousness, excitement, frustration, fear, anticipation, happiness, enthusiasm, apathy, positivity, negativity, affirmation, denial, doubt, trust, respect, contempt, etc. It is invisible and untouchable, but objectively exists, somewhat similar to the magnetic field, force field, electric field of matter, the interaction between matter, sometimes without direct contact, through the invisible field can produce effects. #文化 #
The "qi" in qi rhyme refers to the endless vitality of the natural universe, and "rhyme" refers to a certain state of affairs that things have, and qi and rhyme are related to spirit, so there is a theory of divine qi and divine rhyme. The divine form of the work of art is the charm, which is hidden behind the sex, can not be perceived by the senses, is the soul of the artist and the work of art, and is the highest realm of traditional art works in China.
Breath breathing is the breath that goes in and out.
Comprehensive comparison shows that momentum, aura, atmosphere, rhyme, and breath are all invisible, perceptible, and can be displayed through external forms.
(3) How is "qi" generated in oil painting creation?
The generation of "qi" is mainly from two aspects. First, in terms of composition, the arrangement and combination of the main objects in the main space in terms of squares, sizes, proportions and other shape positions to achieve visual balance to create momentum, the potential is the god born from the form, it is the most moving place of the form, it is the shocking place, and the potential can then be said "qi". In addition to the main space, the blank space is also a place where "qi" and "qi" are diffused, and the integration of the main and negative spaces, such as the yin and yang in the Taiji diagram, jointly promotes the penetration of the "qi" in the picture.
The second is to render the atmosphere of "qi" from the language. The color contrasts with cold and warm, virtual and real, the size of the color block area and interspersed as the coat of "qi", the brushstrokes with its unique traces and laying out the way of operation as the bones of the "qi", the color follows the pen, the pen moves with the movement and posture, and the "flesh gas" is full of "blood gas" between the freehand. Any lack, excess, or lack of a stroke will block the circulation of "qi", resulting in a breathless body and an invisible god. The arrangement of the layout and the expression of language have become the two inevitable conditions for the vividness of the picture. A picture with charm is a manifestation of a living spiritual outlook.
<h1 class="pgc-h-arrow-right" data-track="17" > third, the characteristic analysis of brush strokes in oil paintings</h1>
Oil painting as one of the types of painting, with its unique materials to show a good picture effect, won people's widespread love, its brushstrokes, colors, modeling methods have an important role in the picture effect, of which, brush strokes are particularly important. Brush strokes are the painter's expressive techniques and emotional symbols, which belong to the category of painting language, and the "qi" in oil painting works is the overall momentum, breath and aura of the work, which belongs to the spiritual category. How does "brushstroke" create the generation of "qi", that is, how does language convey spirit? The morphological manifestations of brushstrokes are various, specifically pointing, sprinkling, splashing, coating, kneading, sweeping, swinging, rubbing, patting, scraping, piling, frustration, etc., which can be divided into the following three types from the characteristics.
(1) Restrained brush strokes
The oil paintings from the Renaissance to the classical period pay attention to color and shape, the brush stroke traces are not clear, the connection is delicate, the introverted is not external, and there is no pioneering in the use and excavation of brush strokes, which is in line with the aesthetic taste of the grand narrative scene of classical oil painting and the pursuit of quiet divinity.
(2) Personality and flamboyant brushstrokes
The Purpose of the Impressionism period is to reproduce the instantaneous light-color relationship of natural objects, each painter is excavating new brush stroke styles, more and more emphasis is placed on the diversified meaning of brush strokes, the brush goes with the shape, the emotion is formed, and the individual power of the brush strokes appears on the canvas stage, making the art of oil painting reach a new height. For example, Seurat uses small dots and solid color dots for spot color, and the repeated dots as modeling carriers fill the entire picture, resulting in a hazy and harmonious unprecedented fresh picture effect and poetic visual enjoyment; Van Gogh's brushstrokes are composed of curved and thick and thin lines, thick, rough brushstrokes, straightforward and simple expression, giving people a thrilling and rotating universe, flame-like cypress trees, this restlessness, twisting, wild, struggling and spasmodic like Van Gogh's nerves, pulsating, Use this unique language to vent and strengthen his inner emotions, forming his unique painting symbols with strong subjective colors; in the "Water Lilies" series of works, Monet broke the flexible brushwork used in the edges between objects, the brush strokes were free, the lines were like silk threads, the whole lotus pond was natural, a free realm of arbitrary; "Slaughtered Cow" is a representative work of brushstroke exploration, the use of oil painting knives is the highlight, strengthening the expressiveness of the brush strokes, large knives scraping, wiping knives, carving, Interspersed with brush connections, the shape is as solid and thick as a sculpture, and the knife and pen alternately travel on the canvas, which can be called a sonata of oil painting knife and pen, thus more vividly reflecting the painter's thoughts and mood at that time.
(3) Forgetful form brushstrokes
After expressionism, the brushstrokes of Western oil painting have undergone a great turn, each painter emphasizes the value of individuality and individuality in society, emotional expression, subconscious, and counter-narrative have become basic tendencies, and the pursuit of extreme freedom and openness has promoted the development of bold innovation consciousness. One of the most typical painters is Jackson Pollock, as a master of abstract expressionist painting, his creative process is different, the brushstrokes are not brushstrokes in the traditional sense, his creation has never sketched, the huge canvas is laid on the ground, using a basin, stick or brush with small holes soaked with paint, with intuition and experience, walking around, dotting, dripping, splashing, splashing, throwing onto the canvas, letting it drip, merging with each other, covering, infiltrating, presenting complex and indistinguishable in repeated unconscious movements. Crisscrossing abstract lines of the picture effect, recording the direct body movement and exciting color vitality of his paintings. He abandons the painter's usual painting tools, completely gets rid of the traditional mode of being subject to the wrist, elbow and shoulder when painting, and creates his own improvised and casual brushstroke mood with the breath of life, elephant formless brushstrokes.
De Kooning, another master of exploring the future path of brushstrokes, once said that "order is dominated by me, a restriction, must be excluded, must be restrained", so his artistic world is integrated with the symbols of writing and the ideas of radical art. The pen is extremely bold, the pen is decisive, fast and powerful, and the brushstrokes are fast, heavy and fierce to express its restless emotions. Even the unenvironed figures and purely abstract paintings can still feel the relationship between man and nature and the unique spatial mixture.
From the summary of the three characteristics of brushstrokes, it can be seen that in order to pursue the artistic conception in the picture, more and more artists seek various innovative methods in the brushstrokes, adding personal understanding to the brushstroke expression methods of inheriting predecessors, innovating the old and diverse styles. Brush strokes as one of the painting language, unique, can not be copied, different painters in the shape of the same object will use different brush stroke performance, the same painter in different moods, different periods will also produce different brush strokes, whether it is introverted brush strokes, distinctive brush strokes or complacent brush strokes, different brush strokes can produce different picture effects, giving people different aesthetic feelings, not only showing the painter's artistic style and personality characteristics, but also reflecting the overall momentum and charm of the picture. So, how does this momentum, breath, and rhyme breathe, how to move, and how is it generated through brushstrokes?
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(1) The operation mode, direction, size and strength of the brush strokes affect the generation of the "momentum" of the picture
All things have spirits, all things have qi, how to express the strength, posture and style of the object itself through brushstrokes, whether the expression method of brushstrokes is appropriate is the most important. For example, painting a waterfall, if you use horizontal and oblique brushstrokes, with gentle and shaky brushstrokes to complete, will cut off the majestic atmosphere of the waterfall flowing straight down. The direction and strength of the brushstrokes must be perfectly combined with the structure and growth of the object in order to highlight the momentum it should be. Therefore, the flying stream needs to be vertically downward with a certain speed, strength of the virtual in and out of the big stroke in one go, the momentum of the waterfall will be spontaneous.
(2) The virtuality, softness, hardness, thickness and thinness of the brushstrokes affect the generation of the "breath" of the picture
Breath is the natural and sacred breath of all things in the universe, the leisurely state of all things, and the existence of a characteristic of life. "Breath" is composed of "self" and "heart", "self" represents the nose, "heart" represents the chest, represents the heart as the nose for breathing, this "breath" is different from the breath with sound, it is if there is none, it is quietly running, is the sound of the big sound, the invisible life existence of the elephant. In what way does the brushstroke embody this silent latent atmosphere on the picture?
First of all, the virtual reality of the object can be expressed with brushes of different materials, such as when depicting clouds, fog, smoke and other objects, they can use the brushstrokes of kneading and sweeping to express their ethereal breath flow. If a cloud is represented, with kneading strokes and a brush stroke posed by a block, then the overall breath of the cloud is blocked and cannot flow. While considering the entry of qi, we must also consider the problem of qi coming out, qi must come in and out, there must be room for disc, there is room to stay, and finally it can constitute a living picture feeling. Therefore, when depicting clouds, the brush strokes should be uniformly kneaded and swept, and the air flow that permeates the clouds can be penetrated, and the picture can be full of vitality and vitality; for example, when depicting hair, you can use soft brushstrokes to sweep in and out of the trend, and even use your hands gently, which can reflect the soft and flowing breath of the hair. Conversely, when painting stones, the hardness of the stones can be expressed using a drawing knife or a square block brushstroke. When painting trees, you can combine the dry brushstrokes produced by the bald pen with dots to reflect the grandeur of the leafy leaves.
Secondly, the thickness of the picture affects the formation of breath. For example, in order to reflect the heavy texture of a painting, people will repeatedly use paint to accumulate, and the accumulation of each layer is a very strong solid brushstroke, so that the color brushstrokes of the previous layer are completely covered, and the picture appears stuffy, dead, and breathless, but the picture is completely breathless. Therefore, the thickness of the brush strokes should be properly combined, the brush strokes at the bottom are not completely covered, the picture can have layers, can be breathable, the picture has both the breath of the brushstrokes, and the breath of the painter himself, the breath of the object itself, the three are one and the breath is surging.
(3) The rhythm and rhythm of the brushstrokes affect the generation of the "qi rhyme" of the picture
Qi rhyme is the charm, rhyme, mood. Wang Keyu of the Ming Dynasty once said that "the bone method uses a pen, and the non-qi rhyme does not work", which shows the importance of qi rhyme. The brushstrokes of a painting run without undulating rhythm and rhythm, the qi will not be able to move, and the vivid rhyme will not be realized. Zhu Dequn's oil paintings have reached a certain level in terms of the rhythm and rhythm of the brushstrokes, and each work reveals a majestic momentum and vivid charm. His oil paintings have the gentleness and delicacy of Oriental art and the strong roughness of Western painting, both with arrogance and poetry. He uses the wide, narrow and thick lines of the broad pen and the block pen to flow through the air, round, three-dimensional, undulating and flowing, swimming on the picture. The straightforward brushstrokes are like countless direct and refracted rays of light, skillfully handled, combined with strength and speed, making the dynamic sense jump on the canvas. Sometimes the waterfall rushes with water, quite a large river to the east, a thousand miles of momentum, the details of the part with a thin pen outline of the meandering lines, subtle, gentle. His brushstrokes can be virtual or real, large or small, can be isolated and transparent, can be moved and static, the perfect combination of points, lines and surfaces, the overall picture is not fragmented, so as to ensure orderly changes and clear levels. Wu Guanzhong once described Zhu Dequn's works as "the big strings are noisy like a rapid rain, and the small strings are cut like whispers". Due to the rhythm of the lines, a sense of rhythm is formed, and the interlacing and channeling of the dots and lines combines the light and darkness on the screen to form a musically note-like melody of urgency and slowness, high and low. His flexible grasp of the rhythmic sense of brushstrokes has created a vivid and vivid picture of meaningful and atmospheric rhyme.
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The pen is another finger that God gave to the painter and is closely connected to the painter's heart, it drives colors and lines to run freely on the canvas, writing the hills in the chest for the painter and expressing the convulsions in the heart. When people appreciate the works of the master, they will feel the pulse and breath of the master under the paving of the brushstrokes, and the preciousness of the brushstrokes for conveying feelings lies in its proper form, position, correct operation mode, virtual and real changes and the sense of rhythm brought about by the appreciation. The real value of brushstrokes lies in taking into account the color and shape shaping and wandering between color and shape, calmly entering the free and galloping state of mind, getting rid of the shackles of objects, sometimes not being able to realize the pen, the situation is reached; sometimes it is necessary to sweep and penetrate the picture; sometimes it needs a thick, freehand brushstroke generalization, each stroke has texture, layer and change, and there is emotion. There is no good or bad brushstroke, only whether there is emotion, whether it is along the trajectory of the mind, the brushstrokes that are freely integrated with the structure and color, and what is annoying is that those single pendulum float on the canvas, detached from the structure, lack of stylistic beauty, no angry brushstrokes. As one of the carriers of painting modeling, brushstroke breeds the diffusion of "qi" in its unique form, which in turn nourishes "brushstrokes", "brushstrokes" are beautiful because of "qi", "qi" appears because of "brushstrokes", and oil paintings are eternal because of the seamless whole of "brushstrokes" and "qi".
If the "brushstroke" is the meridian of the person, then the "qi" is the blood of the person, the blood runs through the meridian, and the blood of the person is smooth and radiant. If the color is used as the skin of "qi", the brushstroke is the muscle and bone of "qi", and the muscle and bone as the main heart bone can drive the movement and posture of the overall aura. A living picture needs to have flesh and bones, and a picture with qi rhyme is a combination of virtual reality, size, thickness, width and narrowness, soft and hard organic combination, rhythmic and rhythmic operation mode, which jointly reflects the breath of the painter, the breath of the object, and the breath of the picture. Author: Wang Shengqin