There are no lines in nature, and lines are an aesthetic abstraction of objects.
The greatest creativity and level of ancient painters in China is embodied in "using a pen with bone method".
Chinese painters of past dynasties have made great achievements in applying line to modeling.
the "bone method" is very real through "using a pen".
mustard seed garden classifies different styles of line drawing into eighteen strokes, and indicates the representative painters.
mustard seed garden is worthy of reference.
◆ Bone-based pen refers to the hook and poke of traditional Chinese painting, and the pen should have the "bone strength" of animals to compare with the skill of using a pen.
"Pen Diagram": "Those who are good at writing are bony, while those who are not good at writing are fleshy; Those who are bony and meaty are called Jin Shu, and those who are meaty and meaty are ink; Those who are strong and strong are holy, and those who are weak and weak are sick. "
The use of a bone brush is one of the criteria for judging figure painting in ancient China.
◆ Applying lines to modeling
As a symbol of painting modeling, lines are a dynamic visual function for consciousness to perceive foreign objects and grasp objects.
As early as Wei, Jin, South and North Dynasties, Sheikh put forward a systematic artistic standard for Chinese painting for the first time in his Catalogue of Ancient Paintings: "Six Methods".
The six methods are arranged in the following order: vivid charm, brushwork in bone method, pictographic representation of objects, coloring with classes, business location, transfer and modeling.
Vivid charm is the general requirement for painting, which means that the painting should be not only complete, but also vivid and touching.
In addition, the five items are all vividly developed around the charm and serve it.
The bone brush refers to lines specifically, so that lines can express objects more vividly and naturally.
The ancients invented many kinds of line drawing methods, such as orchid leaf drawing, You Simiao drawing, iron line drawing, nail head and mouse tail drawing, etc. The vivid and powerful lines directly reflected the "vivid charm" of the works.
at that time, the greatest creativity and level of the painter was embodied in the "bone-based pen".
Chinese painters of past dynasties have made great achievements in applying line to modeling.
◆ bone method and pen
"bone method" is very real through "pen".
why do you say that the artistic level is mainly reflected in the use of pens in bone method? Combined with the historical background before the Six Dynasties;
Painting exists as a ritual of ethical code, and the subject matter and content of painting, including modeling, are stipulated, and artists are not required to create;
The only thing that can reflect a painter's creativity and standard is how to describe these contents and how to express his creativity. Line is undoubtedly the most important form.
Although color is also very important, the application of color is flat painting, and it doesn't matter whether the artist's level is high or low.
The ups and downs of the brush lines, flying and diving, combined with the shaping of the image, not only have accurate contours, but also fly high, which depends on high-level painters.
Therefore, in the collective creation at that time, low-level painters were responsible for painting colors flat, and high-level painters were qualified to undertake the work of marking lines.
As can be seen from the literature of painting in the Six Dynasties, the highest requirement for painters at that time and the place where they appreciated their creativity most were the brushstrokes, that is, lines.
For thousands of years, line modeling has been constantly enriched and improved.
There are great differences in the expression of "bone method" between Chinese and western paintings. There is no such thing as "bone method" in western paintings, and the modeling is reflected by the light and shade changes produced by the light projecting on the object.
Therefore, the most important modeling technique is the description of each surface composed of light and dark tones. Although western painting is wired, it is only the intersection of face to face, or the appearance of the intersection of light and dark.
because western painting pays attention to the description of light and dark sides as the main means of modeling.
Therefore, Goethe believes that the painter's "real talent" in "plastic arts" is particularly manifested in "being particularly sensitive to the shape of objects";
and "the shape of an object can be vividly drawn as if it is within reach by lighting."
In contrast, the tone of light and shade of objects in Chinese painting is almost ignored. The painter does not take the description method of light and shade, but pursues the full play of the efficiency of lines in painting.
where the surface of the object is undulating, turning and intersecting, the structure is described emphatically, and the modeling effect is obtained with the help of the application of lines. Modeling with lines is no easier than modeling with light and shade.
before writing, the painter must have a full, accurate and thorough analysis of the physical composition of the object, and after writing, he must adapt to the subtle changes in the priorities of the object to master the pen.
This method of using "line" as a means to express modeling, and Goethe's use of light to express the shape of things as a symbol, just reflects the differences between Chinese and western paintings in modeling views.
The application of line is actually the application of pen, which is understood by many painters, and many think that being strong and vigorous is the high realm of "using pen".
Just as Sheikh commented on the painter's pen use, he praised "the pen is elegant and elegant, and it is beyond compare" and criticized "the handwriting is weak and weak".
because Chinese painting is difficult to change when writing, it is necessary to write with intention first, and to write in one stroke with strong and accurate handwriting.
Tang Zhiqi of the Ming Dynasty pointed out in A Brief Talk on Painting that some painters are "so old" when using pens, but in fact they are "extremely tender", which means playing with pens without the object, and "it's hard to escape the knowledge".
It should be noted that due to the reasons of the times, Sheikh's "bone-based pen" is mainly aimed at figure painting.
With the development of history and landscape painting in the Song Dynasty, the meaning of Sheikh's "bone-based pen" has changed greatly.
◆ Inheriting tradition should be combined with the development of the times
Traditional Chinese painting has always placed special emphasis on inheriting tradition, and how to inherit tradition with lines has not been well solved for a long time.
When it comes to line modeling, senior painters often ask their younger generations to learn ancient paintings, emphasizing that they should be "lifelike" and reach the point of "confusing the fake with the real".
However, there are not many ways to combine traditional tick marks with the times.
mustard seed garden classifies different styles of line drawing into eighteen strokes, and indicates the representative painters.
in fact, from the shape of lines, they can be roughly divided into two categories, one is lines with no thickness change, and the other is lines with thickness change.
Calligraphy of lines has always been advocated by painters. In the Tang Dynasty, Zhang Yanyuan put forward the view that "calligraphy and painting are of the same origin" in his "Notes on Famous Paintings of Past Dynasties".
Although some people think that his point of view has multiple meanings, it is obvious that calligraphy and painting are the same in technique.
when Zhang yanyuan said "the same technique", he should mean the same abstract method, not the same specific brushwork.
Because painting and calligraphy are not exactly the same in actual pen use, and since ancient times, most painters do not specialize in writing, and many calligraphers are not good at painting, which can be verified.
line drawing is a means of modeling, and the purpose of line drawing is to shape the structure.
when it comes to keeping pace with the times and making line drawing modern, the key is not how to hook lines, but how to solve modeling problems.
the so-called sense of the times should also refer to the aspect of modeling.
The ancients saw the world and objects with many limitations, so they looked awkward in painting plastic arts.
with the development of science, people's understanding of objectivity is becoming more and more reasonable, knowing that objects have internal structures, including cells, molecules, quanta, nucleons and so on.
in plastic arts, the most obvious thing is to understand that the external form is determined by the internal structure.
To shape an object, we must analyze it from the inside of the object structure, so as to vividly express its external characteristics.
and the grasp of the structure can be multi-faceted.
how to make its development keep pace with the times should be combined with modeling to reflect aesthetic value.
Chinese painting, as an ancient art, is characterized by line modeling, not an objective and true representation, but a traditional modeling concept with expressionism.
When you ask for a pen, you should consider artistic treatment, so you should pay attention to "having answers".
this bamboo is not in front of you, but in your heart.
in the face of physical objects, we should not imitate, but create.
Modeling is to create images, and the only task of artists is to create images with aesthetic value.
Everyone knows that western painting stresses focus perspective, while Chinese painting is scattered perspective;
However, with the passage of time, many western modern artists apply scattered perspective to their modern works.
They divide the shape of the object into several viewpoints and put them in the picture, or break the normal perspective and reorganize the structure, so that the works have new artistic life.
Modern art has already entered the era of composition, and all kinds of schools pay great attention to the composition beauty of pictures despite their different concepts.
since Bauhaus was founded in Germany in the 193s, the "three major components" have swept the world.
The understanding of plane, solid and color is also necessary for visual plastic arts.
In fact, a careful observation of China's traditional art will reveal that Chinese painting has always attached great importance to composition.
Chinese painting doesn't seek the shape, but emphasizes that the characteristics of escaping from the chest are similar to those of western modern art in modeling concept.
From Shi Tao, Ba Da, Chen Laolian to Huang Binhong, Qi Baishi and other masters of traditional Chinese painting, many objects have exquisite shapes and lines;
not only vivid, but also consistent with modern composition art modeling;
so, people always feel unconventional.
line drawing skills are nothing more than two points, one is to hook lines, and the other is to shape.
There are many people who have strong lines and smooth lines, but if they don't pay attention to the sense of the times, their works will look old and old-fashioned.
Mr. Lu Xun advocates "takenism", which requires both vertical inheritance and horizontal transplantation, and whatever is useful can be accepted.
When using line modeling, you can add the concept of composition, the technique of deformation and the technique of exaggeration;
Combine new ideas with tradition to create new Chinese paintings.
◆ "Pen" and "Ink" must be used to create images.
The so-called "pen" usually refers to the brushwork such as hook, strangulation, curling, rubbing and dot.
The relationship between gesture, gas potential and strokes in the picture stippling, "brushwork pays attention to brushwork".
In the Eastern Han Dynasty, Cai Yong once said "nine strokes", and in the Eastern Jin Dynasty, Wang Xizhi wrote "Twelve Chapters on the Stroke" to teach the younger generation.
Kang Nanhai in Qing Dynasty said in "Two Boats of Guangyi": The ancients put the potential first when discussing books.
Zhong Lang said' Nine Potential', Wei Heng said' Book Potential', and Xi said' Pen Potential', which is a general description of book morphology.
if you are tangible, you will have power; if you have power, you will have a chance to win.
the right army's theory of writing posture says: one is correct, the other is the situation, the third is the embellishment, and the fourth is the depression.
Zhang Huan-sui said: If you want to write a book, you must first accumulate potential, then you will be too late to be astringent, too late to be divided, and you will seek freedom and restraint. You will seek all kinds of metamorphosis, the purpose of metamorphosis, and you will care about the reason of excitement, the capital of abnormality, the change of abnormality, and you will not be drowned and withdrawn, and you will serve the spirit.
as the saying goes, goodness comes from the heart, but from the hand. My words say, God doesn't look at things with his eyes, but God does it himself. The new theory is different, and it turns into infinity.
if so, the blood is thick and the bones are old, while the tendons are hidden and the flesh is bright. For example, the Taoist priest's stock has been refined, and he looks like a king, which is absolutely ordinary people.
It can be seen that predecessors attached great importance to grasping the "pen gesture".
The pen used in painting is more complicated and changeable than that used in calligraphy. The fundamental thing is that the pen should be used to create an image, that is, to serve the modeling.
pay attention to the shape and posture of the pen.
When writing on paper, it is necessary to show various changes such as points, lines, surfaces, Fiona Fang, straightness, oblique lines, etc. according to the requirements of different representations of objects, and integrate them into an organic unity.
the speed of running is the movement of the pen. When you write, you must be in harmony and rhythm, and you must not be impetuous.
there should be no delay in traction.
The pen's qi is fluent, the veins are connected, the pen's qi is constantly concentrated, the stippling is reflected and looked forward to, the lines are like running water, and the blood vessels are connected, so that the machine interest and spirituality can be displayed, otherwise the pen's spirit will be lost.
and all this should be "not confusing" and should not be sent at will.
No matter how smooth the pen is, it is meaningless.
The so-called "ink" refers to the techniques of baking, dyeing, breaking, splashing and accumulating.
Theoretically speaking, the development of Chinese painting begins with single-line sketching, and then emphasizes pen sketching as the leading factor, and ink and color complement each other.
Zhang Yanyuan pointed out in "Notes on Famous Paintings of Past Dynasties": "The shape of backbone is based on the idea, but it depends on the pen."
"It's to be proud to transport ink with five colors."
indicates the master-slave relationship between modeling conception and pen and ink.
In Qing Dynasty, Shi Tao's view on "pen and ink" in "A Record of Paintings by Bitter Melons and Monks" is:
In ancient times, there were people who had pens and ink, some who had pens and ink, and some who had ink but no author. It was not limited by mountains and rivers, but people's endowments were uneven.
the splash of ink is also spiritual, and the ink of the pen is also spiritual.
mofei's upbringing is ineffective. His pen is not a life without a spirit. He can be nurtured by the spirit, but he can't understand the spirit of life without a pen.
it is a pen without ink to be able to accept the god of life without changing the spirit of being nurtured.
Pay great attention to the "spirit", "spirit" and "nurtured life" of pen and ink.
Huang Binhong's "Painting Quotations" says: "When using brushwork, you must use ink at the same time, and the beauty of brushwork is all written with a pen."
Chinese painting emphasizes pen and ink, which complement each other and cannot be neglected.
All previous opinions about "ink" reflect the important position of ink color in Chinese painting.
When learning Chinese painting, many people often revel in the "pen and ink kung fu" of their predecessors, and keep practicing in order to master the technique of "dripping with ink".
However, "ink" is not in Chinese painting, nor is it a trick, but is used to show structural modeling.
It can't reflect the ink color of modeling, but only "dirty" ink.
In short, the modeling methods of Chinese painting should develop with the times.
The structure of objects has the variability of special linear structural factors, which is the basis for studying the brushwork of hook, stroke, rubbing and dot in Chinese painting and the brushwork of drying, dyeing, breaking, splashing and accumulating. In any case, lines should reflect the fundamental structure of objects.
that is to say, the macro structure expressed by the linear structure modeling of Chinese painting will not fluctuate due to a small concept change.
its connection with the outside world will also give them a new series or a new combination function, which is the charm of Chinese painting.
Therefore, the relationship between pen and ink with lines is the core of studying Chinese painting modeling, which is both a whole and a process.
In this process, we can explore and discover the thread and trend of modern and future development of Chinese painting, which provides a great space for the sustainable development of Chinese painting.
Chinese painting has unique aesthetic taste
Chinese painting has a long history and unique aesthetic taste, and occupies an important position in the world art field.
line modeling is the main means to express objects in Chinese painting, which plays an extremely important role in the development of Chinese painting.
In Chinese painting, the tone of light and shade of objects is hardly different.