Editor: Xu Shuxin
Modern Chinese landscape painting is the product of a combination of East and West:
First of all, the premise of modern Chinese landscape painting must be painted by today's people, not the ancients. Secondly, Chinese landscape paintings must have the atmosphere of the times, the thinking of today's people, and they must have flesh and blood, and have a foundation for life.
In addition, modern Chinese landscape painting must be innovative and have realistic skills. It must be based on the predecessors to incorporate the elements of the new era, including the change of concept, composition and color, which not only retains the tradition but also achieves a qualitative leap.
The times are different, the mountains, rivers, and living environment have changed from ancient times:
With the infiltration of Western painting and shadow art, landscape painters have a broader vision, are exposed to more abundant Western art, and their steps are getting bigger and bigger. Whether it's "walking the old way in new shoes, or walking the new way in old shoes." "It's inevitable that they'll incorporate something Western.
As a result, there is innovation, and there is new thinking that goes out and pulls in.
This shift in thinking is the progress of modern Chinese landscape painting. It is the embodiment of the organic connection between Chinese landscape painting and Western painting.
For example, the Chinese painting master Li Keran's "Ten Thousand Mountains Are Red":
The ink painting is deep and dignified, with bright and colorful colors, and has obvious spirit of the times and artistic characteristics.
"Ten thousand mountains are red all over", using the Western photography "backlight silhouette" effect. This effect is like a relief, bringing the great rivers and mountains of the motherland to life, which is refreshing.
Wanshan red is full of scattered perspective, joyful and bright cinnabar, so that the picture is rich in color, bright and vulgar. The whole work is imposing, revealing a shocking power, and its innovation can be described as unprecedented and unique.
The hierarchical relationship between the near, middle and far scenes of Wanshan Red adopts a treatment technique similar to that of bas-relief, which enhances the convex and concave sense of the picture and makes the sense of hierarchy clear; the whole work has dark in light and bright in dark, and there is light in dark, and the contrast is strong, not sluggish, not condensed, and vivid.
This subtle treatment of space is what Li Keran calls "two and a half degrees of space". That is, to stand tall and far, to form a flat and far-reaching realm, so that the tall and majestic and far-reaching and secluded are combined into one.
The ancient is used for the present, and the foreign is used for China:
In addition to Li Keran, some New School painters also used this method. However, his artistic concept is qualitatively different from Li Keran's Chinese landscape painting. Li Keran's Chinese landscapes retain more Chinese elements, which is a true sense of "foreign for Chinese use". On the other hand, the new school of landscape has abandoned some traditions, and the most obvious way is to focus on realism, and the factor of Western painting is greater than that of Chinese painting, and the similarity between its works and Western painting and photographic works is as high as more than 80%.
In this kind of work, the focal perspective of Western painting and the scattered perspective of Chinese painting coexist, "there is scattering in the focus, and there is focus in the scattered." "A mixture of freehand and realism that is both contradictory and unified. It not only retains the characteristics of Western painting and photography, but also retains the freehand and composition of a small part of Chinese painting.
Three characteristics of the new style of landscape:
1. The factor of Western painting is greater than that of Chinese painting.
Second, there are realistic sketching skills, light freehand re-sketching.
3. The works are like Western painting and photography, but they retain a small amount of Chinese painting elements.
To repeat:
On the basis of retaining the essence of traditional Chinese painting, it organically integrates Western painting techniques with Chinese painting techniques, which is really to bring forth the new. Including the application of composition and perspective, the change of color, the expansion of the sense of artistic conception and space, etc., gradually forming a great change of freehand and realism.
The following shows two of the author's painted duck works:
Let's take a closer look, what do these two landscape paintings look like?
First, unnamed:
Like a stitched wide photo:
This work is the product of the fusion of multi-point perspective and the focal perspective of Western painting, and in this landscape, it is difficult for the viewer to see where the focus point and the light source are. Because this surreal work is stitched together, it cannot be found in nature.
Second, Dawn:
Morning light is a kind of "Tianyuan landscape" that is close to realism, with gorgeous colors, such as dreams, although it is realistic, it is really freehand.
This work has both the "line surface" of Chinese painting landscape and the "block surface" of Western painting watercolor, both "rubbing and hooking points" and large-scale rendering; it is like a hodgepodge, with both multi-point perspective of Chinese painting and focus perspective of Western painting; it is a freehand work that has both freehand and similar photographic depth of field and watercolor charm.
The above statement is the author's words, which have not been verified by many parties, and it is still possible to say whether it is right or wrong. However, one thing is for sure. That is, "change is passable, and unchanged is lag." "Change is the mainstream, and only change can climb out of the mud and get out of the dead end. The path of landscape painting can be wider and farther.