We have the honor to invite Zhang Weimin, director of the Institute of Chinese Gongbi Painting of Zhejiang Academy of Painting and special master tutor of Hangzhou Normal University, to explain to us the Chinese painting brush flowers and birds, and this course will be presented in six chapters, such as the general theory of gongbi flower and bird painting, the flower sketching method, the copying of "Snow Tree Cold Bird Diagram", the boneless method, and the part-time work belt writing brush flower and bird painting coloring.
How a painting of flowers and birds is made
Instructor/Author: Zhang Weimin
(Full-time painter of Zhejiang Academy of Painting, first-class artist)
Since its birth, Chinese flower and bird painting has been closely associated with Chinese culture. Its expression is also a specialized form of Chinese painting art based on Chinese cultural concepts.
China has always called painting flowers and birds "sketching", and "life" in Chinese culture is endless life, a state of growth, vitality and the generation of all life. The expression of Chinese flower and bird painting is the development of primitive culture and life consciousness, the superposition of humanistic temperament and artistic expression of various eras, and it has a completely different aesthetic pursuit from Western paintings of flowers and birds. The artist's understanding of life is reflected in the state of life presented by pen and ink - this is the transformation from the essence of life to social culture, which is guided by the painter's intentions to transform material into spirit and expand into the reproduction of art, reflecting his display of the brilliance of life. Therefore, Chinese flower and bird painting is a cultural carrier with a profound imprint of human civilization, an artistic miracle that embodies oriental civilization, and can be described as a pen and ink expression of human culture. Therefore, those "flowers" and "birds" are infiltrated with humanistic thought, and then rise to aesthetic schemas with poetic and psychological implications.
Song Bean pod dragonfly chart page
From a sociological point of view, Chinese flower and bird paintings are accepted by the broadest audience in China, and are the most popular and most psychological characteristics that Chinese appreciate. The creator expresses it with a normal heart and simple feelings; the appreciator appreciates and accepts it with a normal heart. Therefore, flower and bird painting is also the painting art that is closest to and closest to "people".
As long as people see his true understanding of life and his wonderful grasp of the wonders of nature in the paintings, they can read his sincere feelings about simple life from the bottom of their hearts and be moved by it. Therefore, I think that the most simple state of life can produce pictorial meanings and situations, and the pursuit of vigorous life is also the value of Chinese flower and bird painting that has been passed down for thousands of years. No matter how history changes, whether the style is complicated or scattered, and whether its function is to remember things clearly or to see the heart, between complexity and simplicity, each generation leads the way, but the past history of 5,000 years can be consistent from this.
Song Flower Double Bird Diagram Page
Chinese flower and bird painting is one of the traditional painting disciplines of Chinese painting. The Northern Song Dynasty's "Xuanhe Painting Notation, Narrative of Flowers and Birds" Yun: "The poet Liuyi, who knows more about the names of birds and beasts, and when the law calendar is four, he also remembers his glory and dry language and silent waiting, so the magic of painting things is more interesting here, and the poet is in harmony." ”
Being good at image and meaning is the most basic point of an excellent Chinese gongbi flower and bird painting. Therefore, this requires chinese painters of flowers and birds to have the ability to "measure the image of things and take their truth" and the ability to "take the hua of things, take their hua, take the truth of things, and take the truth". Whether it is the heyday of the two Song Dynasty Gongbi flower and bird paintings, or the later history of Gongbi flower and bird painting, it is the real and specific form description and artistic expression in an important position. Whether it is a fan or a huge production, it has taken a lot of effort to operate hard. This is not only a formal feature that distinguishes Gongbi flower and bird painting from other genres, but also an important criterion for the aesthetics of Chinese Gongbi flower and bird painting.
Song Flowers and Birds Chart Page
The creation of an excellent painting of flowers and birds has experienced a process of thinking and brewing from the outside to the inside, because of the emotions of things, and then from the inside to the outside, and from the things to the object. What is presented is the spirit of heaven and man, the spirit of strange creation and transfer, and if the reverie ascends to see the things, it is unconsciously incorporating nature into the self, and it dissolves into the scenery, creating a state of no-self. In the paintings of flowers and birds of the Song Dynasty, they always present the endless life of the world to the viewer with a kind and lovely gesture. It is the expression of the painter's feelings and the materialization of the spirit, and in the mountains, flowers, birds and birds, there is an endless flow of interest and affection. The rhythm of brushstroke and color is exactly the pursuit of the painter's full emotional ideals, which is both the rhythm of natural life and the ripples of poetry. Judging from the paintings of flowers and birds that can be seen, whether it is the rigorous Huang Family Body, xu Xi's wild and open-mindedness, and Cui Bai's Xiao Shanfeng bones, although the styles are different, we can all feel the ideal desire and love for life in these paintings. "Sound color, drinking and pecking attitude, far away and nesting in the wilderness, sleeping sand swimming pool, playing wide and floating deep, close and wearing the house Hexia, such as the year Si Chen, crying spring noise late..." All of this is expressed in the Song Ren's pen, bringing people to a beautiful reverie.
Song Partridge Lotus Leaf Diagram Page
Gongbi flower and bird paintings express the spirit of human will and spirit are always presented in a natural way, with the vividness and natural interest of the picture. The aesthetic pursuit of the painter is often integrated with the natural image. Like a "natural thing" that does not show a sense of artificial carving, it seems that the object presented on the screen is the original appearance of fireworks that does not eat human fireworks. It is like a "pure" natural scene of "the essence of the five elements, purely between heaven and earth, yin and yang booing and applying glory, inhaling and pulling, then it is beautiful and beautiful, seen in the hundreds of trees", and it is the "realm of no self" that "self-color". Even the simple mistake of arguing that this delicate flower and bird is the reproduction and pursuit of natural forms. In fact, this is the realm in which gongbi flower and bird painting quietly combines the subjective spirit of man with the objective form of nature, the integration of the author's inner thinking and the external world, the attachment to nature, and the combination of the interest of viewing nature (peeking into the natural opportunity, condensing the meaning of nature) and the author's spirit (subjective interest). It is this organic combination that creates a painting realm of flowers and birds with living colors. It can be said that the excellent authors of the paintings of flowers and birds in the past are all pursuing this realm. This is precisely the charm of Chinese Gongbi flower and bird painting, and it is also different from the different cultural backgrounds and artistic aesthetic realms presented in Western paintings that express the same subject matter. It can be said that the realm created by the Chinese Gongbi flower and bird painting must conform to nature, and the realm written will also be adjacent to the ideal, which is the ideal of beauty of "the unity of heaven and man".
Zhang Weimin Dynasty Twilight 113× 121cm silk
Partial sketch of the work
Reading painting: Highlighting the word harmony in formal processing. The echoes, movements, seclusion, size, density, backward, and sideways are all fused in an oval circle, which seems to have a harmonious painting. The whole picture is an organic combination of the dynamic expression of content and the abstract composition of form. The personality of the content is not only a concrete and vivid living individual, but also an integral part of the overall form, a "beat" in the overall rhythm. Only when the parts are organically integrated into the ensemble of the whole work can the rhythm and rhythm outside the supernatural image be produced.
Zhang Weimin Long Sky Falling Wind 140× 110cm on paper
Reading the painting: "Dipping in sad red rain, hanging on the side of the dream clouds", this is the scene in which Tang Xianzu wrote about the love and honey of the beautiful talent in "Peony Pavilion • Frightening Dream" was suddenly shocked by the falling flowers. The common cloud "pity the incense and cherish the jade" is exactly the expression of this mentality. One night of autumn rain, countless falls of red, witness the fall of red with the waves, at this time you will show a different you than usual, people's true disposition will suddenly rise.
The painting of "Long Sky Falling Wind" is formed under this conception, which is a common scene of imitation nature, but has another realization of life. The painting depicts a sudden gust of wind on the lake in autumn, which frightens the water birds, and willow branches and autumn water hibiscus sway in the wind. The vivid paintings are based on the accurate depiction of the image, the late red and pale green tones, and the shaking posture set off the cool autumn atmosphere to set off the seasonal characteristics of the cool autumn.