In the creation of landscape paintings, accumulation of ink is the most basic and important means of expression of pen and ink. In the process of accumulation of ink, each painter’s method of using pen and ink and the subtleties of personal aesthetic pursuits and other factors Differences will lead to obvious differences in picture effects and shape the different artistic styles of each painter. Huang Binhong, a master of modern landscape painting, has made outstanding achievements in the use of accumulated ink by virtue of his comprehensive understanding of traditional culture and decades of experience in brush and ink practice. His accumulated ink method is derived from tradition and has a unique look.
1. Pursuing the metaphysical spirit of pen and ink
Mr. Huang Binhong’s landscape works, especially in his later years, pursue the pursuit of When using calligraphy brushes, there is no need to seek resemblance in form. "Short-sightedness hardly resembles the object, but far-sightedness makes the scenery dazzling." When he painted trees, he only focused on the posture of the trees. The treatment of branches and leaves was briefly summarized, and most of them were trees and trees, trees and mountains and rocks. The trees only conformed to the needs of the overall form and artistic conception of the painting. He paints mountains and rocks with natural vein structure and flexible and unrestrained chamfering techniques. The clouds and water he painted are mainly empty, looking and caring, uniform but not uniform. Whether it is houses, thatched pavilions, boats, small bridges or people, the lines he outlines are relaxed, agile, refreshing and neat. Although there are only a few strokes, they are vivid and expressive.
The moss spots in the painting can be said to be both concrete and abstract. Mr. Bin Hong's moss point painting method is obviously different from that of his predecessors. First of all, the moss point forms are particularly rich. They are of odd size, dry and wet shades, dense and scattered, and are ever-changing. Various dot techniques and ink techniques are piled up in one place. Vast, thick and gorgeous. In addition, in terms of function, it is often not just to clarify the structure, context or the relationship, but sometimes even on the contrary, it is to harmonize, and at the same time, it can maintain the sense of brushwork and the independence of moss points. He said: "There are many variations in the chaffing method, and dotting can also be used to make chaffing." "Three thousand dots are made along the chaffing to bring out the charm of the mountain." Many of his works are densely covered with ink dots and have different shapes, which are both solid and flexible. It is both chapped and invigorating, and has a great sense of rhythm.
Mr. Bin Hong’s paintings are not intended to express the specific natural forms of mountains, rocks and trees, but rather express the spirit of “rich mountains and rivers, lush vegetation”. He summarized the modeling rules of landscape paintings as "uneven triangular arcs", and the organization of rocks and the interspersing of trees are all combinations of "triangular arcs". His twists and turns of S-shaped lines and dots make the painting more natural, harmonious and abstract. He once said: "Creation has spirit and charm. The inner beauty is invisible to ordinary people. Only if the painter can capture the charm can it be a true painting. Merely taking the form and shadow like a bonsai on a desk is not a true painting."
2. The ultimate pursuit of the expression technique of accumulated ink?
Huang Binhong is a scholar-type landscape painter. He has his own painting thoughts and views on using ink, which are mainly reflected in: (1) ) He takes ink accumulation as the basis, and uses thick ink, light ink, broken ink, splash ink, burnt ink, long ink, stained ink and bright ink in the process of accumulating ink. *Sure, sometimes the water for washing inkstones and washing dishes is also used on the pictures. The method of using the pen is also extremely versatile, and the pen and ink naturally have some special wit.
(2) Excavation of Su Mo. Because the glue, ink (bituminous coal) and water in the ink are in a separated state, the ink particles are uneven in size and rough in texture. If you use the pen carelessly, especially if you drag, smear or smear with the pen, the residue will easily leave marks on the paper and ruin the picture. Therefore, in the past, the painter's idea of ??using ink was "the ink should be fresh" and no need to let the ink settle. However, when painting with Su ink, the ink color is thicker and the ink is not restricted by the adhesive force of the glue. The ink mark is thick in the middle and light on the surrounding sides, giving it a unique charm. Huang Binhong made use of these characteristics of Su Mo to turn decay into magic. He not only valued Su Mo and made good use of Su Mo, but also brought the characteristics and characteristics of Su Mo to the extreme, reaching the "transformation state", thus forming an aesthetic appreciation that is different from traditional Get used to your own painting language.
(3) Pay attention to water use. Traditional painting only uses water to mix ink and wash brushes, but Huang Binhong takes the use of water in painting to a higher level. There are two methods:
One is the "dip in water method".
One stroke is like this, and thousands of strokes are all like this." There are many similar discussions, scattered in Huang Binhong's writings, inscriptions, letters and conversations. His tree and stone modeling and mountain stone chamfering methods are mainly S-shaped lines and S-shaped line chamfering. He also used calligraphy techniques such as "carrying a man to fight for the road" and "scrambling method" in the outline and dyeing of landscape paintings, enriching the expression of pen and ink. The power of pen and ink has both calligraphic meaning and modeling function, and has a strong aesthetic sense.
Ink has a close relationship with traditional Chinese culture. Laozi said that "the five colors are blinding", that is, It means that the objective world is colorful, but it will make people lose their sense of color. Zhuangzi also has the view of "carving and polishing, returning to simplicity" and "the five colors confuse the eyes and make the eyes unclear". In the late Tang Dynasty, Zhang Yanyuan put forward the idea of ??"using ink and using five colors." "The famous conclusion. The sages' denial of color and affirmative attitude towards black have a profound impact on landscape painting. Painters use black to express mountains, trees, rivers, clouds and mist, to express the colorful world and themselves, and ink is the original painting material Huang Binhong attaches great importance to the use of ink. Judging from the formal sense of his use of ink, he completely breaks the traditional formula and uses various ink and water methods flexibly. The structure of brush and ink built up through layers of dyeing makes the relationship between hardness and softness, thickness and lightness, dryness and wetness, sparseness and density, evenness but not uniformity, chaos but not chaos, achieve the greatest contrast and harmony in one picture. , has a strong sense of form. At the same time, it objectively weakens the natural form of objects and blurs the morphological differences between mountains, rocks, and grass. All objects are included in an almost flat dimension, and the sense of three-dimensional space becomes weak, and the sense of flat space is weakened. The combination and composition are enhanced, and it is more abstract.
In ancient Chinese philosophy, aesthetics and painting, "nothing" is more important than "being", which means that virtuality is more important than reality. He is well aware of the beauty of "nothingness" and pays great attention to the expression of virtual reality and black and white. There are many blank spaces in his layered works, which are rich in expressive power:
1. Emptiness He understands all things. He writes houses or characters in the blank space, which makes people feel that there is a scene in the blank space. It can be said that everything without words is a wonderful scene.
2. The scenery is far-reaching and profound. White can be clouds, water, or paths, so it makes the mountains appear higher, the water wider, the scenery farther away, and the meaning deeper.
3. The ink color is richer and more vivid. Some white is just blank. These small blank spaces are glowing and breathable, making the whole painting flexible and transparent. It can be said that "a torch of light makes the entire painting void." However, it is not only the blank spaces that are void, many are formed by the blending of ink and ink dots and lines. The thick ink mass without the appearance of "real thing" can also be "virtual". This kind of emptiness has a "mysterious" flavor, so the painting is "spiritually brilliant".
Throughout the history of the development of Chinese landscape painting, almost every revolution in landscape painting has been accompanied by the enrichment and innovation of ink-laying techniques. The "accumulation of ink" in the "Seven Ink" painting theory has the most direct relationship. It can be said that without its unique expression of "accumulation of ink", there would be no unique landscape painting style. Chinese painting must be inherited but also developed. An appropriate interpretation of Huang Binhong's ink painting style may provide some positive reference for the future development of landscape painting.