"Based on broad-minded learning, dominated by emotions and will, and controlling the pen and ink to gallop freely, this is the key to Xu Wei becoming a master."
There are many factors that lead to becoming a master. Yes, this is true in all fields. I think first of all, you must have a noble moral character, so that you can endure loneliness, resist temptation, and concentrate on studying that small world. Secondly, you must have solid basic skills. In addition, the overall quality must be comprehensive, and the interpretation of the work must be comprehensive and unique. Finally, and the key factor, is life experience. Without experience, there will be no profound understanding of life and life. It is the so-called "the times create heroes."
This lecture mainly includes two aspects:
The first is the paintings in the collection of Nanjing Museum
The second is the innovation of the famous master and apprentice father and son painters
1. Chen Chun, the representative painter of Baiyang flower and bird painting in Qingcheng
The principle of appreciating traditional Chinese painting is to first "observe its potential from a distance and appreciate its quality up close".
The theme content to be expressed in the picture must have a subject and an object, and the composition of the picture must also have a subject and an object. When composing a picture, you cannot treat the image you want to depict equally, let alone dominate it. You need to create a center of the composition to achieve the fullest expression of the subject. Therefore, composition in Chinese painting is also called "operational position" or "composition". The composition in painting should be highly unified.
Chen Chun studied under Shen Zhou and Wen Zhengming. Chen Chun's "Autumn River Qingxing Picture" is a masterpiece of coloring and coloring in his later years. There is a poem by Chen Chun in the upper part of this work, "Should be afraid of being washed away by all the flowers." "It highlights his unconventional character. (Picture 1) From the composition point of view, it is a "whisker"-shaped composition, with ducks, lotus leaves, stones, poems and other scenery as a whole to the right, facing left, and leaving blank space on the left side.
Features of the shape: The duck in the picture is upright, with its head, body and tail in a line, which is taboo in painting. Generally speaking, the different directions of the head, tail and body will make the picture more vivid. However, the depiction of the teal in this painting is extremely vivid. The color of the feathers, especially the feeling of wetness after being soaked in water, is reproduced through the wet and slightly dry ink color, and the treatment of the feathers all over the body is inconsistent. The expression and movement of the duck are extremely precise. arrive. The eyes are dotted with slightly wet ink, full of energy and eager to live. The water ripples caused by the teal's swimming are described with a few casual lines and slightly exaggerated to set off the teal's quiet and leisurely demeanor.
Chen Chun really set the tone of literati painting. From Shen Zhou's ink painting to Chen Chun's ink painting, this was a conceptual leap. The characteristics of literati paintings are relatively light and handsome. The inherent advantage of literati is the combination of calligraphy and painting, and it is different from the style of court ink painting that blindly pursues momentum. It focuses on movement without neglecting the inner tranquility. But there are also disadvantages. The modeling ability is not as good as that of court painters. Literati paintings mainly express the artist's inner mood and understanding.
Chen Chun's breakthrough
As for the subject matter of flower and bird paintings, court painters mostly used exotic flowers and subjects that conveyed wealth, auspiciousness, seasonal and festive meanings as their depiction objects, while literati paintings used plum blossoms. The themes include orchids, bamboos, chrysanthemums, etc., which are related to personality and ethics. Daily flowers, vegetables and fruits are rarely included in the paintings. Shen Zhou noticed this and put it into practice, while Chen Chun created based on his teacher's unique aesthetic vision of literati and officials, expanding the subject matter of flower and bird paintings. The real emphasis on the artistic conception of pen and ink in flower and bird paintings began with Chen Chun. He not only wrote the shape of the object, but also wrote the life of the object through the shape of the object, and then understood the meaning and the heart. It is precisely because of his creative practice that it kicked off the arrival of Chinese freehand painting.
Five-character composition method in Chinese paintings
1. "Zi" composition method (Figure 2) The so-called "Zi" composition method It is a line that pushes left and right, from near to far, with a strong sense of depth, a bit like an "s". The trick of the zigzag composition method is that "pushing left and giving way to the right" is a bit like Tai Chi. When the mountains on the left extend to the right, there is a blank space on the right to get out of the way. This blank space is white space.
2. Composition of the word "A" (Figure 3, 4) The word "A" is heavy on the top and light on the bottom, which has a very strong visual impact. The heavier part at the top is the main body of the vision, and the lighter part at the bottom is the companion. The "A" composition method is suitable for vertical compositions, highlighting the upper part of the picture (the distant view), using a lot of white space below, and then a very small finishing touch on the main body (the visual point).
3. The composition method of the word "Yu" (Figure 5)
Contrary to the composition method of the word "A", the word "Yu" is light on the top and heavy on the bottom. Use a lot of white space at the top of the picture and keep the focus of the picture at the bottom.
4. The composition method of the word "ze" (Figure 6)
The composition method of the word "ze" is that the left side is solid and the right side is empty. Express the relationship between space through virtuality and reality. Combining reality and reality, and using the technique of leaving blank space, you can often create works with a strong sense of space in just a few strokes.
5. The composition method of the word "Xu"
The composition method of the word "XU" is opposite to the composition method of the word "ZE", which is virtual on the left and solid on the right. Put the visual emphasis on the right side. Whether the left is real and the right is empty or the left is empty and the right is real. A key point is that there should be a good balance between the left and right, the virtual and real should be expressed in space, and there should be no imbalance between the left and right.
2. Chen Hongshou
(Picture 7) The composition is a "ze"-shaped composition with a slight "zigzag" composition. The "belly of golden-edged silverhorn grass" in Chinese painting mainly refers to the composition. The "belly" area in the center of the picture below is blank, which is similar to the feeling of the human body after stretching, giving the picture obvious tension.
3. Xu Wei was a great talent of the Ming Dynasty. His talent, his bloodiness, and his madness were all revealed in his works. Looking at his paintings, it is amazing, enviable, breathtaking and pitiful.
?Miscellaneous flower scroll? This painting unfolds from right to left (Picture 8). The scroll opens with broken branches of peonies and pomegranates, and then splashes of ink on lotus flowers and large strokes to transition to the first climax--- ---Wu Tong. Its shape stands tall and tall, with splashes of ink and dotted leaves. Drawing from Wutong trees, I admire the spirit of self-sacrifice and helping others. After this climax, the double-hook sycamore fruit is used as a subtle transition into the intermission --- chrysanthemum, pumpkin, lentil, crape myrtle. After the interval, it enters the climax of the entire painting - grapes and bananas. On the grapes, a dry brush is used to sweep out thick and dry vines like a gust of wind, and the leaves are violently painted with a contrasting technique of contrasting shades of light and dark, and the wet brush with light ink is used to point out the fruits at random intervals, making the eyes full of sourness and misery. Basho uses a large brush to sweep across the painting, dripping with ink, and the composition is once again upright. The banana leaves change from thick to light, and come to the end------plum blossoms, narcissus, and bamboo.
This painting is a freehand painting, with splashed ink, burnt ink, and accumulated ink, all in one go. Xu Wei opposed being conservative and rigid, and followed in the footsteps of the ancients. His works emphasize more on the catharsis of emotions, and the subject matter and techniques are just means of expressing emotions. The most authentic part of the emotions is vividly expressed through pen and ink. Based on broad-minded learning, dominated by emotions and will, and controlling the pen and ink to gallop freely, this is the key to Xu Wei becoming a great master.
4. Zhang Lu’s picture of a goshawk chasing a rabbit (Picture 9). Generally speaking, it consists of a glyph and a glyph composition. It depicts a goshawk discovering a hare in the vast wilderness, and then tilts its head. Turning around, he turned around and swooped towards the hare. The hare realized that a disaster was coming and fled deep into the grass on the bank. The nearby birds were also frightened by the sudden formation, and the grass on the bank was blown away by the wind. aside. The brilliance of this painting is that it focuses on the movement of the eagle, rabbit, and autumn grass, and the conflict between the two forces. The grass is blown to one side by the wind, while the power of the eagle is opposed to the power of the wind. The impact of the two forces makes the picture lively.
5. "Spring Herding" (Picture 10) in Yan Ciping's "Herding Cows in Four Seasons" (Picture 10) in "Herding Cows in Four Seasons" (Picture 10) is a cow drawn with a fine brush, and all the hair is visible. The grass is written with a fine line pen, smooth and soft. The willow leaves are also lifted out piece by piece with smaller strokes, making them dense and beautiful. One figure of the cow is from the side, and the other is from the front. The front view of the cow has a strong sense of perspective, which fully demonstrates the painter's realistic ability. The lines of the characters are concise and summarized, and the spirit can be seen from the brushstrokes. The main trunk of the willow tree uses thicker lines to show its quality and body. From cow hair, human faces, clothing patterns to grass, willow leaves, tree trunks... various brushwork techniques from fine to thick are used, which transition naturally and complement each other.
6. Gong Xian In the early Qing Dynasty, he was a righteous man who fought against the Qing Dynasty and restored the Ming Dynasty. He was a pioneer. His characteristic was that he accumulated ink countless times and the ink was thick and moist. The early Bai Gong (the ink is light in color, often turned with a dry brush, the stone texture is outlined in the sky, and the dense brush is used to create a sense of volume in the recessed areas), the middle-aged Gray Gong (between the two), and the later Black Gong ( Accumulated ink several times). Five hundred years later it was highly regarded.
7. Jianjiang rebelled against the Qing Dynasty and restored the Ming Dynasty, and later became a monk
His works are cold, line-based and rigorous
The method of painting mountains and rocks is to use overlapping lines. Performance.
8. Jin Nong is one of the "Eight Eccentrics of Yangzhou", and his "Jade Pot with Spring Colors" is his masterpiece of plum painting in his later years. The most striking thing about this painting is the extremely thick trunk of an old plum tree placed in the center of the painting. This is a bold composition that almost no one except Jin Nong would dare to do. Jin Nong believes that this can express his aloof and proud mood. It seems to be Jin Nong's self-portrait. A person with a lot of knowledge can stand upright and be a pillar, but he cannot be a pillar.
? The composition of this work is difficult to deal with, and the large area of ??rough work can easily appear dull. To this end, Jin Nong painted with dripping wet brushes, interspersed with thin branches and stamens, cleverly breaking the rigidity of the thick stems. The thick trunk is not wrinkled, such as the boneless method, which not only avoids the confusion of the thin branches, but also makes the picture more integrated and the thick trunk more prominent. The twigs are either straight or curved, thick or light, calm and straight up. The twigs are either straight or curved, thick or light, and go straight up calmly. The branch in the lower left corner first bends down and then tilts up, which is the so-called "pretty" place. Then, some white powder is dotted on the plum blossoms to make it more eye-catching and refreshing.
8 Jinnong
The branches in the picture above are strong and innovative.
9. Kun Can was a monk who rebelled against the Qing Dynasty and restored the Ming Dynasty.
10. Shi Tao, one of the Four Monks
His painting style is changeable and he is very innovative. "Search closely and make a draft", the above picture adopts the composition method of "three sections and two paragraphs".
11. Wu Changshuo From him, Chinese painting gained vitality. (See)
12. Bada Shanren’s style is "cold, sparse, and very bleak"
The curved brushwork makes the painting highly unified and leaves a large area blank. Only by leaving blank space can the viewer leave endless space for imagination.
13. Huang Gongwang ranked first among the four Yuan families, but his fate was bumpy. Known as the "Song Xuexuan Primary and Secondary School Student", he worshiped Zhao Mengfu as his teacher. Famous work? Dwelling in the Fuchun Mountains?
14 Ni Zan, Four Houses of the Yuan Dynasty, one piece near, one far away, with a large area of ??white space in the middle. It's so cold and cold, it doesn't even have a seal.
2. Famous Master and Apprentice Painters
(1) Landscape Painting Western landscape painting became independent only after the Industrial Revolution. Chinese landscape painting reached its peak in more than 1,000 years.
Landscape painting began during the Wei and Jin Dynasties
1. Gu Kai’s people are larger than the mountains, and the water cannot be flooded
2 The Sui Dynasty changed the imbalance of proportions, "A mountain is as tall as a tree, and a horse is as small as a horse." "Dividing people"
Li Sixun studied exhibition, but it also developed. The trees in exhibition were not blocked, while Li's trees were stacked on top of each other and blocked each other. It is based on learning and carrying forward.
Father and son, "Big and Little Li", were the founders of Beizong. The mountains and rivers painted by Li Zhaodao,
Jing Hao, and the Taihang Mountains painted by Jing Hao during the Five Dynasties period express the feelings of a reclusive scholar
Guan Tong
Panorama of Li Cheng Landscape
Li Guo’s Master and Disciple’s Circular Cloud Chopping Method
?Early Spring Picture? There are streams on the left and right, like two dragons embracing each other, and the characteristics of a panoramic landscape with symmetrical central axis
< p>Li Tang's method of chapping is "square folding", which is called axe chapping. Ma Yuan painted "big axe chapping" based on his teacher's work. It is rare in reality, highly subjective and has stronger visual impact.The great painter of the Five Dynasties period, Jingguan Dong Ju
Dong Yuan used small lines "covered with hemp", while Zhao Xuedong used long lines "covered with hemp". Huang is also "covered with pockmarks". Tell us to find our own characteristics on the basis of learning
Dong Qichang,
Shi Tao "The book has two kings' methods, and the paintings divide the northern and southern sects. I laughed and said, I use my own method." The subjective consciousness of "I am myself, I am" is closely related to the creation and application of "my method" in artistic creation. In addition to the resentment and rebellious consciousness brought about by his life experience, its basis is also It should include the creative subject’s rich feelings about natural landscapes, new aesthetic discoveries and experiences, as well as the corresponding level of artistic creation and the accumulation of rich practical experience. He believes: "Before the ancients legislated, they didn't know what the ancient laws were. After the ancients legislated, they did not allow modern people to follow the ancient laws. For thousands of years, today's people have been unable to get ahead." In other words, the so-called The ancient law was originally legislation that could not be passed later, or it was a reformed law after legislation. There is no need to be rigid at all. Since people are infinite, the law is also infinite.
If you stick to the ancient method, how can you break free from the shackles and become your own family?
Li Keran, a landscape painter, learned from the calmness of Qi Baishi, a painter of flowers and birds in Qi. Mr. Keran went to Beijing to study under Qi Baishi and stayed with Qi for ten years. He did not I directly studied Qi Baishi's paintings, but learned the most crucial word in Qi Baishi's paintings and calligraphy - "slowness". Qi Baishi has a famous saying: "Those who learn from me live, and those who imitate me die."
Anti-perspective
The West attaches great importance to the reality of proportion, while the East attaches importance to the reality of feeling.
The Chinese will draw the mountains behind them very big, while the West will make the mountains near and far small, and the mountains in the distance will be very small