Wen | Xia Shaoyi
Introduction: Huang Gongwang's landscape painting "Phi Ma Jiao" originated from Wang Wei and Dong Ju, and has the beauty of blue. The brushwork is varied and appears very ethereal, which pushes Chinese landscape painting to another peak and has a great impact on future generations. This article makes a shallow analysis of Huang Gongwang's "Phi Ma Chuan" pen, hoping to bring some inspiration to landscape painting enthusiasts.
Keywords: Huang Gongwang; landscape painting; Phi Ma Zhen; with a pen;
Five Generations Dong Yuan's "Xiaoxiang Map" Palace Museum Collection Part 1
1. What is "Phi Ma Chuan"?
Five Generations Dong Yuan's "Xiaoxiang Map" Collection of the Palace Museum Part 2
It is a combination of flexible center lines to express the structure and texture of the mountain stone, which is shaped like hemp, scattered and staggered. Pioneered by Dong Yuan, it is mainly used for the gentle and soft Tushan of Jiangnan, whose wrinkle line is short and thick, and the contour line is obviously separated from the wrinkle line. The composition generally uses banners, which can better represent the low southern tushan and river surfaces. On the basis of Dong Yuan, Juran stretched the wrinkle line, which was equally dense, and adopted a vertical composition, and the pen strength was more majestic and strong. The landscape paintings of Dong Yuan and Ju Ran are collectively known as "Dong Ju" in the history of Chinese landscape painting.
Second, the use of Huang Gongwang's mountain stone method is extremely rich and varied.
Yuan Huang Gongwang "Fuchun Mountain Residence Map" part
On the basis of Dong Ju, Huang Gongwangshanshi's method simplifies the lines of the pencil and the hook and the hook, and it is impossible to distinguish which ones are wrinkles and which are hooks. Its penmanship is more abundant, adding flanking, dragging forward, top edge and other pens.
Third, Huang Gongwang's wrinkle method mainly changes the line from dense to simple generalization, which is simply clear and clear, and achieves the ultimate purpose of Chang Shen.
The mountain stone represented by Huang Gongwang, although its brushstrokes change in details such as thickness, size, and thickness, although not as thick and dense as Dong Ju's, it has a richer connotation.
Huang Gongwang's brushstrokes of painting mountain stones are not only the brushstrokes of the model, but also not only limited to the shape. The rigidity, straightness, speed and slowness of the brush strokes, the positive side of the pen edge and the power distribution of the pen milli touch paper are more abundant and changeable.
Therefore, its lines are not limited to the depiction of mountain stone shapes, but the most important thing is to infuse its corresponding subject emotions and artistic concepts.
Although the details on the mountain stone are slightly simpler, they have more aesthetic connotations beyond the object itself. That is, in the moment of the paper, the heart and hand are one, and the traces of the brushstrokes on the paper are the feelings and thoughts of the painter's heart at the moment, thus presenting a kind of pen and ink image that is quick to spit out, and the ultimate purpose of Chang Shen has been achieved.
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IV. Conclusion.
All in all, the method of mountain stone is one of the important techniques of landscape painting, especially the "Phi Ma Chuan" is the ancestor of all the fa. Therefore, mastering the method of using the pen is a necessary stage for painting landscape painting well. And comprehending Huang Gongwang's landscape painting method is the basis for solving the problem of the pen used in the method. Therefore, people who are interested in landscape painting must add more brush and ink lines to practice, and at the same time, they must strengthen the practice of calligraphy, only in this way can they improve their ability to use the pen.