Qi Baishi, Peony, 103.5×34cm, color on paper, 1955, Beijing Academy of Painting
Not like that
For "not similar", Qi Baishi's statement is that "the magic lies between the resemblance and the dissimilarity, too similar to kitsch, not like the deception of the world". The essence is the transcendence of the form and shape of the object of Chinese painting. In reality, the shrimp's eyes are dots, and in Qi Baishi's painting, the shrimp's eyes become two "straights". He is not painting the eyes of the shrimp, but painting the feeling of the eyes shining when the shrimp swims, which is more vivid and expressive. You say it's not like it, it's actually more like it. Landscape painting is also, the Song Dynasty painter Fan Kuan's "Journey to the Creek and Mountain", is depicted at the foot of the mountain, but the woods on the mountain are very clearly depicted, and cannot be seen at the bottom of the mountain, which needs to be raised to see. It can be seen that Fan Kuan's depiction of this painting is not fixed in a foothold, but constantly moving the viewpoint, of course, not the actual movement, but the imaginary movement. The scene depicted in this painting does not exist in real life, and it is absolutely different from the picture taken from the actual scene. Between similarity and dissimilarity, it can also be expressed as a "pun on language", and the pine trees in the early Qing Dynasty painter Mei Chong's "Songzhi Tu" are both like pine trees and mountains, but they are not exactly like each other. If it is seen as a pine tree, the pine branches are one-sided; if it is regarded as a mountain, "pine branches" are the texture of the veins of the mountain, and the painter uses the visual form of "words with puns" to express the blessing of Shoubi Nanshan Bulao Pine. This is a special case, there are not many such works, but they are very enlightening to us.
Song Fankuan Xishan Travel Map
Shadow in the form of a house
One of the characteristics of Chinese painting is that it is willing to give up the shape and enjoy the shadow, that is, to grasp the object from the revelation of the projection. The Yuan Dynasty painter Gu An was good at painting bamboo, saying that he was inspired by the Tang Dynasty painter Xiao Yue to see the bamboo shadow on the wall. There are many records in history that paint shadows, not shapes. For example, Chen Chun's "Baiyang Collection Ink Peony Poetry Preface" said: "On the spring day of the first afternoon, there are several kinds of ink books. Each kind of drama is a sentence, in the shape of a shadow cord, blurring the bottom ear. "What he is talking about is to find the shadow through the form, and then to grasp the shape through the shadow, to grasp the object vaguely. The Ming Dynasty painter Xu Wei also said in "Xu Wenchang's Collection of Painting Bamboo": "All things are expensive to take pictures, and it is more appropriate to write bamboo." Zheng Xie in the Qing Dynasty has a section of "Banqiao Inscription" that is very vivid: "The Yu family has two huts, bamboo is planted in the south, the new basket is first bloomed in summer, the green shade shines, buy a small bed in it, it is very cool and suitable." In the autumn and winter, take the bone of the screen, cut off both ends, and Heng'an thought that the window ledge was pasted with a thin white paper. The wind and the sun are warm, the cool flies touch the window paper as a small drum sound, and a bamboo shadow is chaotic, is it not a natural picture? Fan Wu painted bamboo, without any teacher, more than the paper window powder wall sun and moon shadow in the ear. "Since the 20th century, our understanding of ancient traditional paintings has been somewhat one-sided, and Chinese traditions have sometimes been obscured, so when we strive to establish a inheritance system, we sometimes have to excavate the inheritance.
Modern Pan Tianshou dewy
Programming vocabulary
Another feature of Chinese painting is stylization. The images of Chinese painting are stylized, symbols of corresponding objects, not truthful depictions. Mr. Wen Yiduo once said that Chinese painting is indicative, and the purpose can be achieved through understanding, such as painting bamboo starts from the program, the program is used, and the modification of the program becomes its own vocabulary, which has its own characteristics. The formation of the Chinese painting program, on the one hand, is the schema corresponding to the object, on the other hand, it is operated according to a certain program.
Song Wentong Ink Bamboo Diagram
Ori was created
Another feature of Chinese painting is Olith's meditation – bold imagination and illusion. Ori meditation was made by Shen Kuo of the Northern Song Dynasty, that is, to boldly imagine and illusion. In Qi Baishi's "Self-Scale Diagram", a small mouse jumped on the scale hook of a scale, as if he wanted to weigh himself, strangely, the scale rope on the top did not know who to lift, and the scale did not know who moved it to balance it. The image in the painting is actually Qi Baishi's imagination, through imagination to ridicule the little mouse: you little mouse steal oil to eat, steal grain to eat, don't think that there is something remarkable, how much weight you have, you may wish to weigh it yourself. The content of the painting does not exist in reality. Let's take another example of bold imagination. In Huang Shen's "Melon Moon Map" of the Qing Dynasty, the watermelon on the melon vine is a cut watermelon, and the inscription next to it is: "Cut open the three autumn moons in the sky, and fly into the june frost on earth." "What is said is that the weather is very hot in the summer, and if you cut open a watermelon like the moon at night, it will be very cool to eat in your mouth." Looking at the Bada Shanren's "Fish and Bird Diagram", it is said to be a bird, but it has a fish tail; it is said to be a fish, and it has the wings of a bird. There are two interpretations of this. First, as a descendant of emperor Mingzong, the demise of the Ming Dynasty can be described as the destruction of the country and the death of the family, and in the early Qing Dynasty, an extreme ethnic policy was implemented, "leaving no hair, leaving hair without leaving head", the former kings and grandsons of the Bada Shanren, who could only become monks, meant not to leave their hair, not to recognize the Qing Dynasty regime. From this point of view, he has experienced the tragedy of his ups and downs, and his heart is very sad, if you think of the ancient poem "The sea is wide with fish leaping, the sky is high and the birds fly", you will feel that no matter how wide the sea is, the fish cannot jump; no matter how high the sky is, the birds cannot fly. Another is based on the identity of the great Zen monk, which is intended not to cling to one thing: fish and birds can be transformed, and the inscription of this work is to quote Zhuangzi's "Getaway": "There is a fish in the north, and its name is Kun. The size of the carp is unknown to its thousands of miles; it is transformed into a bird, and its name is Peng, the back of the Peng, and it is not known how many thousands of miles it is also. This bold imagination did not come out of thin air, but had a basis in literature.
Modern Qi Baishi self-scale diagram
As if there was sound
Chinese painting also pays attention to "as if there is sound", that is, the transformation of vision. Qi Baishi's "Frog Sound Ten Miles Out of the Mountain Spring" shows the distant frog call by painting the tadpoles swimming in the water, and uses visual images to express the auditory feelings. This is a work of cooperation between writers and painters, which was painted by the writer Mr. Lao She who asked Qi Baishi to write a letter: "The sound of frogs is ten miles out of the mountain spring, check the first white sentence." Tadpoles are four or five, swaying with the water, and the sound of frogs is imaginable. Qi Baishi painted this painting according to Lao She's meaning. Chinese painting should not only express extramural and extramural meanings, but also express other sensations other than vision. Yu Cheng's "Fluorescent Snow Cong Sayings" said, "Huizong Zhenghe zhonghe, the construction of painting science, the use of the Taixue method to make up for the four square painters, with the ancient poetry proposition, I don't know how many people also choose ... Try again 'stepping on the flowers to return to the horseshoe incense', which is indescribable and indescribable, and cannot be seen to be kind. A painter, doing his best, but after sweeping the butterflies to fly away from the horse, he will watch the horseshoe incense. "The painter expressed the sense of smell through vision. Qian Zhongshu said in "Synaesthesia": "In daily experience, vision, hearing, touch, smell, and taste can often be opened to each other or communicated with each other, and the fields of the eyes, ears, mouth, nose, and body can be regardless of the boundaries. The color seems to have a temperature, the sound seems to have an image, the cold and warm seem to have a feeling, and the smell seems to have a physique. "In recent years, some scholars have pointed out that Chinese poetry pays attention to synaesthesia, and I think it can also play a synaesthesia role in modern art creation. It's also a good tradition.
Modern Huang Binhong Yuquan figure after the rain
Bichen is poetic
Chinese painting pursues poetry-like Beeching methods and attaches importance to Confucian Bede thought. The Fifth Dynasty Jing Hao gave pine trees a humanistic spirit in the Book of Brushwork with the confucian idea of "Bede". The Song Dynasty's "Narrative of Flowers and Birds in Xuanhe Paintings" advocates that by expressing the same feelings of poets ("Yuxing"),it is necessary to pin down feelings and communicate with the viewer spiritually, so-called: "Therefore, the magic of painting things is more interesting here, and the poet is in harmony with the poet." Therefore, flowers for peony and peony medicine, birds for luan feng Kong cui, will make them rich; and pine bamboo plum chrysanthemum, gull heron goose, will see the leisure; as for the crane Of Xuan Ang, the fight of the eagle falcon, the willow sycamore of the support of the wind, the cold and falling of the qiao song ancient cypress, the exhibition in the picture of those who raise people's will, the rate can shift the spiritual reverie, such as the landing of the view of the things. Although it is mixed with "symbolism" and "allegorical", it reveals two ways of expressing the spiritual world. In the Southern Song Dynasty painter Chen Juzhong's "Four Sheep Diagram", the two lambs playing are lively and cute, the ewe lovingly admires the play of the two children, and the ram stands on it to show a more serious look. This painting is full of parent-child love, is a painting feeling, and is also anthropomorphic.
Chen Juzhong Four Sheep Diagram
Draw with a book
The above "Yuxing" is mainly the close relationship between Chinese painting and poetry, in addition, the relationship between traditional Chinese painting and Chinese calligraphy is also very close. In the Southern Song Dynasty painter Ma Yuan's "Water Map", the rushing of the Yellow River and the vast smoke waves of the Yangtze River are expressed by lines. Relying on the weight of the lines, the virtual reality, the rigidity and softness, the combination, and then a little ink will show the object beautifully. This is closely related to brushes. Zhao Mengfu of the Yuan Dynasty is a very famous work of his "Xiushi Shulin Tu", and the inscription after the painting is: "Stone is like flying white wood is like a basket, and writing bamboo must also be eight ways." If there are people who can do this, they know that calligraphy and painting are the same. "It is about the combination of handwriting form and object image, if you want to paint stones, you can use flying white to show the vicissitudes of stones through thousands of years of wind and frost; to express the vitality of trees, use Zhong Dingwen, the lines are very rounded; and painting bamboo branches and bamboo leaves "Yongzi Eight Methods" can be used. Calligraphy into the painting, the line, dot painting formed a kind of historical accumulation, accumulated the quality requirements, Huang Binhong on the pen and ink said "flat as cone painting sand", "three twists and turns", "house leakage marks", are the basic requirements for the quality of dot painting, more can reflect the "heart of heaven and earth" of "one yin and one yang is the Tao". Speaking of ink, it can be splashed ink, all in one go, or it can be broken ink, first use light ink and then thick ink, you can also ink first and then use water to form different forms. Huang Binhong's "Nine Sons Mountain" diagram is to use accumulated ink, layer by layer of ink, the lines are woven, do not overlap, transparent in black. In addition to the shape of the object, the pen and ink can also write the heart, so that the dot line forms a rhythm or rhythm, corresponding to the personality of the person and the emotional state at that time.
Zhao Mengfu Shu Lin Xiushi diagram
Poetry, calligraphy and printing are combined
Chinese painting pays attention to the combination of poetry, painting and printing, and a painting is actually a comprehensive art, forming the synthesis and interaction of related arts. The Qing Dynasty painter Zheng Banqiao's "Ya Zhai Tu" reflects the author's benevolence through the combination with the calligraphic inscription. He heard the sound of bamboo blowing in the gate, thinking that it was the cry of the common people, so through the relationship between the old bamboo and the small bamboo, he combined the painting with the inscription, showing the thoughts and feelings of the officials who were close to the people who cared about the well-being of the people. Qing Dynasty painter Li Fangbin's "Zhong Kui Tu", created during his return home as an official, his hometown encountered natural disasters, he was very touched, he painted this "Zhong Kui Tu", in the combination of poetry and painting to express cynical feelings. The inscription Chinese is "The festival is near the end of the yang heavy rain and wind, debuting in the two wheat lying in the mud." Zhong Kui still has spare money to use, in the end people are not poor! "The painting is of Zhong Kui holding a broken umbrella, looking very poor, but there is a string of copper coins pinned to his waist. It can be seen from this that the author did not paint Zhong Kui as a positive image of justice according to tradition, but painted a corrupt official pretending to be a clean official. In addition to expanding the artistic conception, the combination of poetry, calligraphy and painting can expand the artistic conception, so that the extramural meaning and the expression inside the painting are closely combined, and the hair extends the painting realm, but also affects the composition of the picture, li Fangbin's "Swimming Fish", if there is no column-style large character inscription on the right, the momentum expressed in the painting will be weakened.
Li Fangyi Bamboo Stone Diagram
Source: Little Crab Who Loves Fiction
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