Learn from famous painters such as,, and Yu. On this basis, Mr. Chen Taiming studied and copied the master works of modern and contemporary freehand brushwork masters such as Xu Wei, Ba Da, Qi Baishi and Wu Changshuo. And participated in the pen and ink research of master works, and gathered the strengths of many families for my use. This laid a solid foundation for Chen Taiming's freehand brushwork to form his own painting language symbols in the future.
When it comes to freehand flower-and-bird painting, people first think of cursive or crazy grass. It is considered that freehand flower-and-bird painting is wild and uninhibited, which is similar to the cursive script of China's calligraphy. Xu Wei is a master of cursive script in Ming Dynasty, and his freehand brushwork of flowers and birds is undoubtedly a model of cursive script. With the brushwork of weeds, the picture is freehand, elegant, light, wild, swaying and straightforward. The wind and rain are coming, and the statutes are not lost in the wild, and the elegance is not lost. Xu Wei's freehand flower-and-bird painting shows the methods of literati, culture, calligraphy and painting vividly. Chen Taiming has fully absorbed this kind of casual and frank expression, and his writing style is like a dragon walking a snake, and each stroke is full of insight into nature.
However, painting freehand flowers and birds with cursive script is just one of many forms of expression of freehand flowers and birds. The brushwork of Badashan people's freehand flower-and-bird paintings is not cursive, but similar to Xiao Zhuan. Badashanren's pen is implicit and restrained, soft outside and rigid inside. Wu Changshuo's freehand flower-and-bird painting, with the help of his Shi Guwen, writes the calligraphy of Da Zhuan, which is rich, round and unrestrained. In addition, Mr. Wu Changshuo has a better understanding of "Qi" in freehand flower-and-bird painting than his predecessors. "It takes one breath to paint", claiming that "old people paint with gas instead of shapes". Qi Baishi's freehand flower-and-bird painting relies on his running script and single-knife seal cutting. What I'm talking about here is the influence of calligraphy on freehand flower-and-bird painting. But there are still differences between painting and calligraphy lines. Painting is painting and calligraphy is calligraphy. It is reasonable to look at freehand flower-and-bird painting from the perspective of storytelling, but it is not entirely correct. Painting has its own rules and procedures. Sheikh's six laws say that painting should be done with a pen, but calligraphy does not say that painting must be done with a pen. Therefore, the brushes used in China's calligraphy and painting have similarities, but there are also many differences. Mrs. Chen is good at drawing chickens, and the cock he draws fully absorbs the advantages of others. Every feather is in full bloom, full of energy, full of pride and self-satisfaction, which makes people feel excited and enterprising. Chicken is not a difficult bird to draw, but it is an extraordinary product that uses its emotions, which is the result of years of observation and performance by painters. For example, the techniques shown in Chen Taiming's Spring Breeze and Good Luck show that the rooster is fierce, dignified and carefree, which fully embodies the writing of freehand flower-and-bird painting.
Why emphasize the "sculpture" of Chen Taiming's freehand flower-and-bird painting? Is to re-understand the freehand brushwork of flower-and-bird painting. In the new era, it is inevitable that China's freehand brushwork flower-and-bird painting has new requirements, new progress and emphasis on "sculpture". The sculptural nature of Chen Taiming's freehand flower-and-bird painting means that he does not break the whole, gathers but does not disperse, and pursues the sense of space and volume of the picture. This pursuit is different from western painting, which is expressed by pen and ink. In the past, freehand flower-and-bird painting did not pay attention to its sense of volume and space, but only paid attention to the form of the picture, so the writing style completely dominated freehand painting. The development of freehand brushwork flower-and-bird painting still feels that its expression method can't fully express the author's thoughts and feelings, so many freehand brushwork flower-and-bird painters have dealt with the picture in various forms in order to pursue the lack of pen and ink expression. However, these pursuits are nothing more than small interests and small changes. In the final analysis, they are petty and have not grasped the foundation of today's freehand flower-and-bird painting. Chen Taiming often said that "freehand brushwork of flowers and birds does not need special effects, and most of these special effects are untenable. Freehand flower-and-bird painting must use pen and ink, which is the development direction of freehand flower-and-bird painting.
There is no contradiction between carving and writing in Chen Taiming's freehand flower-and-bird painting, and writing is still the skeleton of freehand flower-and-bird painting. Sculpture is emphasized to enrich the expressive techniques of freehand brushwork flower-and-bird painting. The sculpture of China's freehand flower-and-bird painting is a sculpture that uses pen and ink structure to complete the image. Your pen and ink structure requires sonorous voice, powerful lines, heavy image and shelf structure between pens. There's a wire. By combining lines and blocks, the carved image is much more powerful than what you draw with a pen. The reason why today's freehand flower-and-bird painting has turned into a trough is because there are too many weak works and too many understated works. Sculpture freehand brushwork is to cure this stubborn disease. The difference between carving and writing in Chen Taiming's freehand flower-and-bird paintings is that one is written with a pen, and the other is carved with a knife. The reason is the same, but the effect is different.
Chen Taiming's freehand flower-and-bird painting needs pen and ink, but also culture, cultivation, philosophy, realm and spirit. These cultures, self-cultivation, philosophy, realm and spirit are constantly improved, condensed and sublimated in the process of pen and ink. For example, the technique shown in Chen Taiming's "Happy Spring Breeze and Good Luck" and the cock's brushwork are vertical and horizontal, concise and thick, which fully embodies the sculpture of freehand flower-and-bird painting, and can only be realized through pen and ink. The sculpture of freehand brushwork flower-and-bird painting is not a slogan, but Chen Taiming realized the inevitability and sculpture charm of freehand brushwork flower-and-bird painting after years of pen and ink efforts and continuous sublimation of realm spirit. Sculpture is the sublimation of more perfect pen and ink kung fu. Chen Taiming expressed pen and ink kung fu more concisely, changed pen and ink kung fu from one hand to fist, and gathered more internal force and impact. I think the main reason why freehand flower-and-bird painting has been stagnant for decades is the lack of internal force! Of course, this internal force includes pen and ink kung fu, including the improvement of the painter's own cultural literacy, including the sublimation of the painter's own realm and spirit. Mr. Chen Taiming has always maintained a good attitude, being down-to-earth and calm. He started from bit by bit, gradually accumulated and precipitated his life and cultural heritage, and gradually sublimated his spirit and realm. He sincerely hopes that Mr. Chen Taiming's freehand brushwork of flowers and birds can embark on a more brilliant tomorrow.
Text/Liu Jianhua