The innovation of Chinese painting as I understand it is not only reflected in the patterns, but also in the practice of brushwork and ink. On the premise of learning from literati paintings, the creation of pen and ink is even more important than the creation of patterns. It is reflected in the Chinese paintings. They are also painting landscapes. Wang Qia likes to splash ink, but Li Cheng is good at cherishing ink. They are also painting ink. Shi Tao mostly uses colorful broken ink, and Gong Xianzhu uses rich and vigorous ink.
In my opinion, the innovation of Gong Jixian's painting is not only in the graphics, but more importantly in his brushwork, especially the ink technique. This is a rare innovation, and it is also an innovation that is difficult for people who lack the cultivation of traditional Chinese painting and literati painting to understand and discover. In the contemporary Chinese painting world where pictorial innovation is prevalent, the innovation of brush and ink is often ignored. Therefore, Gong Jixian's pursuit and creation of style seem lonely. However, the connotation of his pursuit, I think, is exactly the high style pursued by traditional Chinese painting, especially literati painting.
Gong Jixian's skill in using pen and ink may not be as good as that of the previous masters. This is because the calligraphy skills of contemporary painters are inferior to those of the ancients. However, when it comes to using ink, he is able to compete with the sages. After decades of accumulation, he has gradually developed from his original pursuit of profoundness and simplicity to a state of great mastery that emphasizes both richness and nourishment as well as extraordinary indulgence. He has actually reached a point that no previous sage has reached.
Gong Jixian has his own unique views on the realm of pen and ink that he pursues throughout his life. He once wrote in his own words: "If a person has no bones, he will not stand; if the line has no bones, he will be kitsch; if he has flesh, he will be lazy. If the thread is fleshy, it will be flashy. If the muscles, bones, flesh and blood are intact, the thread will contain the vitality of creation, and there will be no discomfort, and life will be free." He used human nature as a metaphor for the nature of pen and ink, and regarded pen and ink as the trace of life and will, opening up people. The estrangement from things. In his opinion, the way of writing and ink is not only the way of all things, but also the way of human beings. The way of heaven is the way of humanity, and heaven and man merge into one. This brought his understanding and understanding of ink painting to the level of Tao, and also brought his mastery and control of ink painting to a state of perfection.
In order to fully express the art of pen and ink in his heart, Gong Jixian used a large number of papers with different properties to create different pen and ink effects. For example, he used raw paper to draw "Splashed Ink Lotus", where the brush strokes are like the wind, cutting jade and gold. , the ink color is heavy and green, which perfectly captures Changshuo's interest in gold and stone that "paints the spirit but not the form"; "Frog and Drum in the Lotus Pond" painted on pulp paper, the broken ink is like life, pushing the romantic and colorful interest to the heart-wrenching extreme. And "Vase Lotus" made of cooked paper uses the broken ink method to take advantage of the unique transparency of the material to enhance the flow and penetration of ink, which has the charm of ivy...