Huang Tieshan is currently the honorary director of the Watercolor Art Committee of the China Artists Association and the honorary chairman of the Hunan Provincial Artists Association, and has been committed to the research and development of Chinese watercolor painting for many years. He began to learn painting at the age of 13, was admitted to the Hunan Art School at the age of 14, studied watercolor painting with Wang Zhengde, and graduated from the Hubei Academy of Fine Arts at the age of 20. Huang Tieshan's watercolor painting is good at landscape painting with local atmosphere, making good use of green, and his works are moist and lyrical, and are deeply loved at home and abroad.
West Coast of North Africa
Manhattan
In 1715, Lang Shining first introduced watercolor painting to China, an imported product that has been in china for more than three hundred years. From the first generation of Chinese watercolor painters, their dream was to create their own watercolor painting in China. Xu Yuanqing, a pioneer of watercolor painting, is the first generation of watercolor painters trained by the "Tushan Bay" painting museum, on the one hand, he studied watercolor painting, on the other hand, he studied Chinese painting with Ren Bonian and Wu Changshuo, and applied the traditional methods of Chinese painting to watercolor painting, which has a distinct Chinese interest in the treatment of points and lines. Li Tiefu studied Western watercolor in the United States in his early years, but he boldly used the Technique of Chinese Capitalization in his creation, and even painted on rice paper, forming the first collision of watercolor painting and Chinese painting. It can be seen that the older generation of watercolor painters had the idea of creating Chinese watercolor painting from the beginning.
After generations of efforts, the dream of creating Chinese watercolor paintings has been gradually realized, whether in terms of technique, composition, content, color use, today's domestic watercolor paintings have a strong chinese atmosphere. Invisibly, the Chinese painting technique subtly affected the expression of watercolor painting and formed a Chinese watercolor painting. Foreign countries are also unanimously optimistic about China's watercolor painting road. Jenny, editor-in-chief of France's "World Watercolor" magazine, said that the world's watercolor paintings lead the way, and the next leader may be China. Nicholas Sims, president of the Watercolor Association of the United States, also said that there are many excellent watercolor painters in the world, and he predicted that Chinese watercolor paintings can lead the world.
Levitan's hometown
Fisherman's Wharf
Huang Tieshan believes that Chinese watercolor artists should establish a sense of pride, have their own ideas, and explore their own unique creative methods and means. He said that although watercolor painting originated from the West, we hope that in the future, local artists can raise Chinese watercolor painting to a glimmering status, so that people in the world can think of China as soon as they see watercolor painting. He said that we should believe that we have extraordinary creativity and have confidence in local art theories. At present, there is some confusion in Chinese art theory, theorists have no theoretical self-confidence, blindly listen to foreign opinions, these people's articles are often obscure and difficult to understand, the fundamental reason is that they have lost confidence in their own theories, thinking that plagiarizing Western theories is superior. Therefore, in order for a work to be recognized by the public, it is first necessary to establish academic self-confidence.
For a time, watercolor was a very marginal small painting in China. Watercolor painting is described as light music, and artists often focus on technique and despise the connotation and social significance of the work, so there are not many masterpieces that can witness history and represent the changes of the times. In this regard, Huang Tieshan believes that the mainstream of the development of watercolor painting should be realism, and realism here refers to realism in the broad sense, that is, realism, which is based on the depiction of the reproduced object. Realist-style works are more easily understood and accepted by people from all walks of life. The road of realistic painting is very broad. Painting techniques and painting mentality are also interdependent, painting techniques are the weapons of realism, and feelings are the strong backing of artists. Go to life and nature to get inspiration, and use good skills and skills to practice excellent works.
Watercolor painting has been baptized in China for so many years, and painting techniques are constantly innovating. However, Chinese watercolor painting must first have a national nature in the world, without nationality, it is impossible to gain a foothold in the world, and only by examining China's national culture in the world category will we understand the preciousness of Chinese national art.
Nowadays, the development of watercolor painting in China has reached a period of accumulation and thin hair. Chinese watercolor has shown its own unique appearance in terms of depth of thought, artistic expression, diversity and richness of techniques. Huang Tieshan said that our watercolor should emphasize harmony and difference. A sound can not constitute music, a color can not be colored, a taste is not delicious, only different can complement each other, art is also the same, light or dark, dry or wet are complementary to each other, so Chinese watercolor artists should absorb the strengths of a hundred, accommodate a variety of expressions of language and other painting techniques.
In recent years, with the prosperity of the domestic art auction market, the value of watercolor painting has gradually been discovered by the market, becoming a new favorite after Chinese painting and oil painting. Dreaming, persevering, not empathizing, and not falling in love, can lead to success.
The essence of watercolor painting skills lies in "handy", which is the experience of Huang Tieshan's many years of watercolor painting.
First, "get it from the heart."
You must exercise your artistic eyesight and perception. Painting is a visual art, the author's creation and the viewer's appreciation are all based on "seeing" as the way, the appeal of art is also born from it, the painter's look, not only with the eyes to see, but also with the "heart" to see, to perceive, to understand, only in this way can "get the heart" and enter the art of the mystery. Baltis had a deep understanding of traditional Chinese aesthetic thought, so he proposed to "create a painting that can convey the gods and express the beauty of reality I see", advocating "transforming myself into nature", thus expressing the painter's "inner vision", which is actually the embodiment of China's philosophical ideas of "the unity of heaven and man", "the creation of foreign teachers, the source of the heart", and "both form and god". The great painter Van Gogh also coincided with this idea, and his diary revealed the mystery of his painting: in nature, I found feelings and souls, and I found in paintings the kind that touched my heart.
For example, I (referring to Mr. Huang Tieshan) created "Golden With Late Autumn" (exhibited in the special exhibition of the collection of the 30th anniversary of the establishment of the National Art Museum of China) is a year of hard work in the countryside of western Hunan and has a deep affection with farmers. One day in the afterglow of the setting sun, I saw an old peasant woman reveling in the joy of the harvest, and his hard-working, perseverance, and contentment were both revered and sad. I felt that this was the image of a traditional Chinese mother, and thus gave birth to my painting. The tone of the golden evening sun, the contrast between the overall shape of the old woman squatting on the ground and the long straight line of the sun-rake, the texture of the thick towel and the weather-beaten hand show also gave me a sense of formal enlightenment. These are all gifts of life, and I have only learned them by the resonance of feelings.
Second, we must "respond to it."
Karma is diligent, practice makes perfect, this is the same way of craftsmanship throughout the ages. Baltis said: Art is first and foremost a craftsman's craft, and art starts from here. As a watercolor painter, you should honestly learn your craft and grow your skills. This should include three aspects of craftsmanship:
One is to master the basic craft of drawing and color. This is the basis of all painting craftsmanship, and as a realistic painting, this basic skill is indispensable. Now many problems in watercolor painting do not lie in watercolor techniques, but in the lack of sketching and color skills, so the shape is loose, the color is weak, it is impossible to have a solid expressiveness, and it is necessary to rely on the so-called "deformation" and "monochrome" to deceive people, or rely on the use of water color to try their luck.
The second is to master the craft of water use and color. "Water" and "color" are the two basic elements of watercolor painting, and without this, watercolor painting does not exist. Mr. Wu Guanzhong has a very incisive exposition on this: watercolor, which is characterized by 'water' and 'color'. Without giving full play to the advantages of water, it is not as expressive as oil painting and pastel painting; without the characteristics of color, it is inferior to the charm of ink painting. Unfortunately, there are too many phenomena of "water without color" or "color without water" in the current watercolor creation, and watercolor painting has certainly lost its charm and competitiveness to some extent.
The way to use water is the strength of Chinese painters, painting on paper with water color, Chinese painters have a unique endowment, Chinese ink painting has done its best to use water, and the rich heritage provides us with the best reference. The famous theorist Wang Bomin once had a special article on the "Water Method" of Chinese Painting", such as: "Water to adjust ink, water with ink, water to break ink, water to stain, splash water, lay water ...", a variety of mysterious, Chinese watercolor painters if they still do not use "water", it is really thirsty to die at the fountain. The way of watercolor painting is not only in what is often called "water color", but in appropriate and ingenious, and in organically showing the painter's feelings and artistic personality. The wet painting method of the older generation of watercolor painter Ran Xi and the dry painting method of Wang Zhaomin also got the magic of water. Generally speaking, watercolor painting can be used both dry and wet painting methods, so that the picture has both the meaning of the autumn wind of dry cracking, and more moist and contains the charm of spring rain, with bones and flesh, and virtual reality. Huang Tiesheng starts with wet painting on wet paper, quickly spreads out the general color block of the picture, and then closes with dry painting, or gradually and deeply portrays the part of dry painting, in this process, it is important to grasp the time.
The third is to master the craft of watercolor painting with a pen.
The use of the pen is the most expressive means of transmitting the "god of things" and the author's feelings, and it is also an important part of the formal beauty of watercolor painting, so the way to use the pen must not be ignored. Chinese painting is the most exquisite "color" and see "pen". There are three requirements for the use of pens for watercolor paintings: One is the accuracy of the pen. A stroke of paper, should be all kinds of color, try to do as little as possible to make changes, to achieve Chinese painting requirements is "the next pen god, its shape is cool", "the next pen will have a concave and convex shape". The use of the pen should also conform to the laws of nature, as the old watercolor painter Zhang Meisun said: "With the pen, no matter the horizontal and strong turns, we must talk about the context." There are veins, the water has veins, and a leaf has a texture. The pen must have a pattern, the pattern must be reasonable, reasonable, reasonable, is true. "This is actually the bone pharaoh of Chinese painting, and the watercolor painters of the Pharaoh generation have taken a step ahead of us in this regard, and this kung fu is indispensable."
Huang Tieshan, born in 1939, is a native of Dongkou County, Hunan. He graduated from Hubei Academy of Fine Arts in 1959. He is currently a director of the China Artists Association, the honorary director of the Watercolor Art Committee, a librarian of the Hunan Provincial Museum of Literature and History, an honorary member of the Hunan Provincial Federation of Literature and Literature, and the honorary chairman of the Hunan Provincial Artists Association. His major works include "Dongting Lake Group Painting", "Moroccan Town", "Leviathan Hometown", "Golden With Late Autumn", etc., all of which are collected by the National Art Museum of China, of which "Golden With Late Autumn" won the bronze medal of the Sixth National Art Exhibition and was selected for the "Special Exhibition of Treasures collected by the 30th Anniversary of the Establishment of the National Art Museum of China". He has held solo exhibitions at the National Art Museum of China, the Shanghai Art Museum, and the Guan Shanyue Art Museum in Shenzhen, and published "Huangtie Landscape Painting Collection", "Huangtieshan Works Selection", and "Chinese Famous Huangtie Landscape Painting Linben".