The painting is not a tree and a stone, copy it again, such a pro, there are not many benefits. It is necessary to find out the rules and the method of using pen and ink, and ask why, why is this so? Imitate it carefully, and make his benefits my benefits, and see results.
Looking at the painting is an important part of learning, once you encounter a good painting, it is beneficial to me, I will grasp it, enjoy it, first look at its general weather, charm, style, business position, virtual and real potential, and then look at the pen, with ink, to follow its pen and pen, horizontal direction, ups and downs, set the color of the light, completely silently in mind, as long as the eyes are closed, as in the present.
But after reading it, it has to be used to create, so that there is a harvest from seeing one by one. If you sloppily copy a painting, do not figure out its brushwork, and do not ask why it has such a layout, although it is also a tree, rock, spring, waterfall, house and bridge, there are a lot of things, do not use your mind to copy again, such a copy is not as good as carefully looking at it as beneficial.
If there is no condition for copying, when encountering a good painting, you must borrow to look at it carefully, ponder it one by one, look at it well, and put the weather, context, and ink in your heart, and close your eyes, such as at present, use your brain, and always think that there is a [painting] word in your heart. When you start writing, you think, when you don't use your pen, you also think, you see that it has nothing to do with painting, but the reason is the same, once you untie it, you have some understanding.
Pro painting can be a stroke of pro, let go of the place less, look at the painting can also be seen one stroke at a time, so that there is an impression in the heart, you can even use your fingers to compare its pen and stroke, frustration and turning trend, so that you can receive the same effect, if you sloppily pro, copy again, it is better to look at it seriously, get benefits.
Looking at paintings is also called [reading paintings], the paintings are read a lot, there are dozens of good paintings in the chest, memorize them, close their eyes, such as in the present, always think about it, train it, and do not worry about no tradition. If we bring forth the new and learn from nature, we will definitely be able to develop on the basis of tradition and create a new look of the times.
If we want to get nourishment from traditional techniques, it is necessary to see and see, and in addition to these two, we must also add [think]. If you have the opportunity to go to the south of the Yangtze River, Taihang and the Loess Plateau, see the real landscapes, compare the ancient methods, and guess how they created this style and method through repeated practice, then you will not be unable to eat the ancient because of the ancient paintings. Moreover, when encountering different landscapes and learning from their experience, I can also create new styles and methods, obey the object, and use them for my use.
In the past, people said: [It is better to learn from the ancients. In this way, it seems that the teacher of the ancients and the teacher of the creation are contradictory to each other, but in fact, the two complement each other and are not contradictory at all. Because all the techniques of the ancients were not conceived out of thin air behind closed doors, but were also refined from continuous practice in creation. The ancients could save a lot of energy, and the difference between this and what they learned from is very different. However, it is not right to stay in the techniques of the ancients, there must be development and innovation, which requires the creation of teachers.
Looking at the paintings of ancient monuments, we should carefully figure it out, see its general spirit, and then see how it is laid out, how to move the pen, line by line to figure out its pen and pen, with fingers, how to render, and keep it in mind.
If you copy it, you must not draw a tree, I will also draw a tree, he will draw a stone, I will also draw a stone, copy it again, and do nothing, so the effect is not great. You have to figure out where he started and put down the pen one by one, how to use the pen and ink, ask more questions, why do you do this, if you change the method, is it possible, and what is the effect?
Master painting, can do the paper sparse a few strokes, not redundant, although the pen is less, but the performance of a lot of things, we copy the famous painting, the original three strokes of five strokes, the pen is not much and can show a lot of things, and to the original, seven strokes of eight strokes or even more pens, and the reflection of the things is less than the original. Or the same three strokes and five strokes, which were originally enough, but the original always felt that it was not enough, not enough to add more, and there were more pens. The reason is that the original pen is not fictitious, and each makes the best use of it, so it is rare and many. The pen does not work, indiscriminately fills the number, and even fights with each other, and the effect is canceled, so although it is more common.