Junior high school sea scorched ink landscape
The painter loves the painting
Text/Junior High School
First, about my artistic views and propositions on Jiaomo landscape painting
Su Dongpo.
Painting bamboo freehand, pen and ink to send romance.
One day, Su Dongpo was happy and had no ink, so he used cinnabar to make vermilion bamboo. The people asked: How can there be a bamboo in the world? The layman asked: Is there such a thing as an ink bamboo in the world? Bamboo is as green as jade, and since the Tang Dynasty, painters have mostly written bamboo in ink. Ink can replace green, and Zhu can also replace ink. Regardless of the ink bamboo and Zhu bamboo, they are all the painters to view the bamboo with their hearts, and the bamboo written by the heart, which is the painter's "sacrifice of the shape of the pleasant shadow" and "the sacrifice of the quality of the soul".
Junior high school sea scorched ink landscape
The Diamond Sutra clouds: "There is no self, there is no image, there is no sentient being, there is no longevity", "If you see all the things that are not the same, you will see the things that are", and too much attachment to the image of objects will inevitably weaken the realization of "true truth" and "Buddha nature". A true artist's artistic instinct and artistic mission must also transcend the "shape" of objects and images and express the "reason" and "spirit" of objects. In the face of the colorful and magnificent mountains and rivers, I only use the language of Jiaomo to depict the world of my heart, and choose its spiritual inner beauty, that is, like the painting of Zhu Zhu by Dongpo monks, but also "give up the form and the shadow" and "give up the quality to take the spirit".
Detail of Jiaomo landscape work
Detail of Jiaomo landscape work
"The mountains are the mountains of ancient times, and the water is the water of ancient times. Mountains and rivers rao spirit, painting is not in the look" (Wu Changshuo), mountains and rivers, must first learn from the ancients to read thousands of books and inheritance, and then the teacher to create and travel thousands of miles to confirm the law of the ancients, just like Buddhism to participate in living Zen but not to die Zen meaning.
Burnt ink landscape, one black and one white, one yin and one yang, black in black, black in white, with simplicity, with nothing, no painting everywhere into a wonderful land. "There is no place to paint, that is, "the image outside the image", "the taste outside the taste", and "without a word, you can be romantic". Zhuang Ziyun: "The empty room is white, and the auspiciousness stops." For me, the creation of Jiaomo landscape is the externalization of the world with the heart of contemplation, that is, with the state of emptiness, clarity, lightness, and simplicity, it presents a kind of pen and ink expression of the natural beauty of heaven and earth and the true art of "me", and a kind of pen and ink expression of "me" perception of the cosmic avenue.
Detail of Jiaomo landscape work
Detail of Jiaomo landscape work
The scorched ink landscape, black and white freehand, aims at the great beauty of nature. How can it be great? Reflect all things with one heart, and not serve all things with one heart. Only if the painter's heart can be "big", the learning is big, the mind is big, and the spirit is big, then the pen can be "big"—the pattern is big, the realm is big, and the weather is big. Tracing back from Huang Binhong to the Northern Song Dynasty, the "majestic and vigorous", "black dense and heavy" brush and ink style of the Northern Song Dynasty landscape and the "great mountain hall" style created the "great landscape realm", leading my painting aesthetic vision and painting creation.
The scorched ink landscape, only seen in black and white, his brush and ink are soaked with the painter's ideology and cultural form, and the whole body exudes the charming taste of Chinese philosophy, and the avenue is full in a painting. My scorched ink landscape is not painted for the sake of painting, but for the Tao and painted for the Tao, with the yin and yang of the Tao to control the brush and ink, to black as the movement, to the black as the real, to the black as the rigid, and the static "white", the virtual "white", the soft "white", the movement and the static are born together, the virtual and the real corresponding, the rigid and the soft are combined, although a mountain, a water, a grass and a tree are negative yin and embrace the yang, with the micro macro, with the small body large, the only heart in the creation of the painting to seek the Tao to paint the body of the Tao.
Detail of Jiaomo landscape work
Detail of Jiaomo landscape work
The scorched ink landscape, the art is in the road, and the pen and ink are beautiful, and the mountains and rivers are charming. The wonder of its painting method, the first heavy use of the pen, the leakage of the strands, the withered vine falling stone, the six laws and the eight laws are the same as each other, positive, grass, seal, li, contains the mystery of the "five strokes", and especially the Shifu body is more interesting. I have been obsessed with calligraphy since I was a teenager, and I have been immersed in the Jin Dynasty of the Han Dynasty and the great calligraphers of the Tang, Song, Ming and Qing dynasties for nearly 60 years, and I have learned the secret of using the pen in painting. Therefore, my scorched ink landscape is all "writing", diligently in the penmanship and seeking pen power and pen fun, with 60 years of methods and experience to achieve the freedom of the pen, with clumsy, virtual and real, rigid and soft, sparse, light and heavy, astringent, mental, strange, square and round of the mutual use of both, in harmony with the astringent old and spicy, practice the ancient clumsy luck of the pen feelings, free to write the mind, do not seek to please the world, only to seek the law to prepare the qi, all see the spirit of the soul.
Burnt Ink Sansui Works
The scorched ink landscape is dry and thick and black. The wonder of penmanship, you have a quiet atmosphere, quiet and, and elegant, and the elegance of leisure can fill its dryness and fire in the invisible. The ancients talked about painting clouds, and the Bodhisattva's low eyebrows were all introverted, and King Kong's angry eyes were not domineering. Therefore, Ni Yunlin's works can make the wise rest their hearts and the powerful people lose their hearts, and Huang Binhong also said that Chinese painting is the best health preservation. My scorched ink landscape, the center is thick, the side is strong, the solid line is dignified, the heavy cang is also heavy, the qi is also seeking rhyme, the pursuit of the lushness and perfection, the charm and beauty, its inner spirit is flexible.
Detail of Jiaomo landscape work
Detail of Jiaomo landscape work
The scorched ink landscape is really beautiful. The spirit of his pen and ink is also deep. The academic spirit is like the wings of a painter's bird and the two wheels of a car, all of which are indispensable. Those who are academic, the technology is in the way, the art sea is endless, the road is lonely, and the pen is worn through the mound iron inkstone, that is, such as the gradual cultivation of the Northern Sect, and the period is in the realm of Dahua. The spiritual, smiling flowers, shattering the void, and becoming a Buddha with an epiphany. From gradual cultivation to epiphany, it is Qingyuan Weixin Zen Master to participate in Zen, the first time I saw the landscape is just a landscape, and then I see that the landscape is not a landscape, and finally the landscape is still a landscape. The three realms, the tastes of each, are very different. The realm of epiphany comes from the gradual cultivation of the day, and the gradual cultivation is the road to enlightenment. In the Buddhist "Lengyan Sutra", the Venerable Ananda was praised by the Buddha: "It is better for you to learn wisdom in a thousand days, than to learn the Tao in one day." If you don't learn the Tao, it will be difficult to get rid of the drip." Indeed, the more difficult I am on the road of creating Jiaomo landscapes, the stronger I am. The so-called "Taoist people have a Taoist heart and are not lonely".
Junior high sea
Junior high school Hai, No. 1, Yuhong, Zhai No. Hongtang, etc., was born in Shandong in 1955 and lives in Haidian, Beijing. He is a member of the Chinese Calligraphers Association, a member of the Chinese Artists Association, a tutor and professor of the landscape calligraphy master class of Chinese min University, the executive vice president of the Huang Binhong Art Research Association, the president of the Beijing Painting and Calligraphy Institute, a member of the New Literature and Art Calligraphers and Painters Working Committee of the China Federation of Literary and Art Circles, a consultant of the CCTV Sinology Channel, the former vice chairman of the Qinhuangdao Federation of Literary and Art Circles, the deputy director of the Review Committee of the Hebei Calligraphers Association, the art consultant of the Zhongxuan Painting Institute, the consultant of the Xi'an Forest of Stele Calligraphers Association, and the consultant of the Sichuan Ya'an Buddhist Association.
Theoretical Research & Publications:
Anhui Fine Arts Publishing House: "A Treatise on Painting",
Guangming Daily Publishing House: "A Discussion on Jiao Mo", Anhui Fine Arts Publishing House: "Da Dao, Daya, Huang Binhong-Binhong's Black and Xin'an's Spicy", "A Discussion on the Essence of Jiao Mo", "A Jiao Mo Painting Language", China Bookstore: "A Treatise on the Teaching of the Tao Junior High School Hai",
Guangming Daily Publishing House: "The Scorched Ink of the Country",
China Bookstore: "Rainbow Shadow on the Sea - Huang Binhong's Thirty Years of Art Activities in Shanghai: Slush and Claw", "The Most Brilliant Sunset "Rainbow", "Huang Binhong - The Most Beautiful Sunset Red" and calligraphy research "Complement Each Other - Comparison of Calligraphy of Zodiac Zhou and Ni Yuanlu in the Late Ming Dynasty and Others", "A View of Calligraphy", etc. Return to Sohu to see more