I have always thought that the ink paintings in Chinese painting and the characters of Chinese opera are the most complementary, because in their bones they are the most traditional and oldest things in China. Here are the most difficult to learn charm of Western painting, like the lotus flowers of Zhou Dunyi blooming in Chinese ponds, and even Monet's water lilies cannot be compared.
I love to watch opera, especially Peking Opera, and occasionally I am involved in painting opera characters with pen and ink, although they are all laymen, they like it very much, so I also love to watch some opera characters painted by painters. The opposite door is the Panjiayuan flea market, go there to find some albums, learn to paint, only to find that there are many people with me, famous and unknown painters, are willing to use their own ink to the pear garden to sprinkle smudge.
Undoubtedly, painting opera characters, the most famous and characteristic painters of contemporary times, belong to the three predecessors of Guan Liang, Han Yu and Ma De. They all belong to the childish faction of rejuvenation, do not pay attention to realism, do not stick to pen and ink, old tree branches, sparse shadows, their own dark fragrance, belong to the kind of big taste must be light. But if you look closely, there are differences, and the styles are different. Guan Liang's composition is childlike, more funny, and more like a stage; Han Yu's pen and ink are simple, more concise, and more abstract into simple imagery; Ma De's lines are smooth, more foreign, and have a decorative style.
Taking "Overlord Farewell" and "Female Rising Solution" as an example, despite the exaggerated shape deformation, Guan Liang's characters are still basically the position and expression on the stage, and even the painting is still the classic movement of Yu Ji's dancing sword; Han Yu is not at all, his overlord and Yu Ji are as if the wooden chicken stands side by side, Su San and The settlement are also side by side, Su San is not wearing a chain, just looking back at the solution, expressionless; Ma De's overlord is very thin, changing the original strong, the armor worn is also cut to only clean lines, Yu Ji's back covers his face and weeps , and Su San's distant figure, it has a modern sense.
If you take the world's three major directors' schools as a non-inferior analogy, Guan Liang is more like Mei Lanfang who pays attention to the performance itself; Ma De is a bit like Stanislavsky's experiential school; and Han Yu is an authentic Brecht, the effect of separation is particularly obvious, and the meaning of many lives is like a foreign meaning.
Compared with the three predecessors, the latecomers paint opera characters, which is not a unique path, which makes people shine. After seeing Dong Chensheng and Chen Yuxian, one was heavy, one was heavy, one was heavy, one was heavy, one was heavy. It's just that the former is too realistic, and the latter has painted opera into modern dance. I have also seen the painting of Dong Hao, the host of the TV children's program, he has a family school, and wants to turn out new ideas, but the painting is too full, the use of color is complicated, the airtight is airtight, too noisy, and the feeling of the opera itself is dashing and freehand.
There is a painter who is not as famous as Guan Hanma, but I like it very much, that is, Liu Fangping. The old man is more than ninety years old, has been working hard, and has been obsessed with Peking Opera since childhood, and his opera characters are quite immortal.
In terms of the ability and simplicity of the lines, Liu and Guan Hanma are in the same vein, but his characters are more dynamic and expressionless, the colors are rich, and the ink is wanton, making the place where there is no image, so that the whole picture is full of drama imagination and the echo of gongs and drums. Watching his paintings of "Wu Jia Po", "Three Forks", "Grass Boat Borrowing Arrows", "Wu Peng Ji", "Cosmic Front", really makes people feel heart and make people breathtaking. In particular, "Cosmic Front" and "Wu Peng" have also seen other people's paintings, and his treatment is quite different. In the painting, Zhao Gao's father and daughter, Liu Shichang and Zhang Beigu, each a pair of characters, the color contrast is clear, but it seems to be handy, and the weight is light, because he pays special attention to and is good at using the ink color itself. The character modeling is not full, but the color flow is just right, quite like the fading out of the movie. In particular, the ghost of Liu Shichang, who is covered in ink and ink, and the lower body pen is gradually ending, and its vigor and desolation can be heard a few anti-two yellows of Ma Lianliang or Yang Baosen; several faint blue strokes of Zhao Gao's robes, meandering and flowing, gradually disappeared, and its treacherous and embarrassing feelings are intertwined, and it seems that they are all drama.
There is also a painter, who is also indifferent, that is, my middle school art teacher Deng Yuanchang. Like the old man Liu Fangping, he is also obsessed with Peking Opera since childhood, and he has purchased a large number of costumes at home, and is one of the famous tickets in Beijing, the old student and the net horn and repair, and has performed on stage the overlord of "Farewell to the Overlord" and the Qin Qiong of "Qin Qiong Selling Horses". Because he liked it too much, he insisted on painting after the operation in his later years, and published "White Painting of Drama painting - 240 famous opera masters of Peking Opera" at his own expense. His opera character paintings are unique in their net corners, and I have never seen a painter who can have so many of his paintings with different personalities and different shapes, and have a graceful posture on paper. Because he understands opera, he has specially studied and painted hundreds of clean angle faces, and has published a monograph "Peking Opera Pure Corner Classic Face", which is a key book of China's "Eleventh Five-Year Plan", which has been translated and published abroad. Therefore, his net horn, with his feelings, whether it is the head of the line or the face, are meticulous and accurate, leaving us with valuable information.
Liu Deng, the two teachers who often learned to draw opera characters, although they painted tigers and anti-dogs according to cats, they enjoyed themselves. Privately compare the two: both are real fans of the play, Deng is willing to buy a treasure knife at all costs, mink Qiu is also proud of wine, desperate to buy a costume; Liu twelve years ago went to the countryside to sketch, met a shepherd old man, and his friends are also fans of the play, zhiyin is difficult to meet, he avoided the hustle and bustle, living in the beautiful mountains and rivers of the Wang Wu Mountain and never went out of the mountain. The difference in chest times, the charm of their paintings, is different. If we take the poetic theory, Deng is somewhat like Du Fu who is bitter and realistic, and Liu is like a Tao Qian who is hidden in the mountains and forests.
I have to say that there is a painter who has the same name as the writer Zhang Tianyi and is the same age as me. I stumbled upon one of his paintings on the Internet, and I never forgot it. The painting is a Dan horn, except for a little cherry red on the lips, all of them are black lines, round, staggered, randomly waved, clean, cheerful, without a little hesitation, but let me feel the clothes rippling, the water sleeves fluttering, endless dynamics, there is a wind breeze, there are strings. I have never seen a painter paint opera characters like this, and the simple lines actually make our opera refreshing and full of such a flexible beauty. I tried my best to find paintings of almost all of his opera characters, and I still liked the lines outlined, although the thirty-six parents he painted were dignified, bearded eyebrows, exquisite color, magnificent, but familiar, not new.