From the Beauty of Landscape Painting to the Beauty of Pen and Ink —— Reading the painter Zhang's Landscape Painting Series
Feng feng
China's landscape paintings are the heaviest precipitation of China people's feelings. The mainland cultural consciousness of traveling around mountains and water, the inner cultivation consciousness of taking mountains as morality and water as nature, and the optical illusion consciousness near the horizon have always become the main axis of landscape painting interpretation. From landscape painting, we can concentrate on appreciating the artistic conception, style, charm and tone of Chinese painting. No painting discipline can give China people more emotions like landscape painting.
China's landscape painting is actually a history of China's thoughts. Art is not only an imagination to conquer nature, but also a symbol to conquer nature. From the beginning, our ancestors talked with nature in an artistic way. The discovery of logic and the appreciation of art have opened people's eyes, and made China's schema of harmonious coexistence between man and nature move from chaos to clarity.
I say this because I have always loved China's landscape paintings. If we carefully study the courtyard map of Qufu stone carving, we will be shocked by its optical illusion creativity. This is two kinds of art of visual conflict: on the premise of satisfying the problem of frontal head-up, the translational overlap and oblique overlap of buildings constitute the main body of contradiction, and the collision of forces produced by two different perspective rules makes the picture have a surreal three-dimensional sense. Interestingly, the artists of the sages used the overlapping perspective rule from the beginning, and the sight was deep but did not disappear, and they could conflict with the two perspective rules of forward-looking and tilting in composite vision. It should be said that this law is nearly two thousand years earlier than the present western cubism.
With the passage of time, this artistic touch formed by the conflict of visual forms can be more richly experienced in many classic works of China painters today. A very obvious direction is that with the deepening of the relationship between man and nature and society, the way people appreciate the art of Chinese painting has also changed, from the initial schema of taking ideas as images, decoration as purposes and geometry as diagrams to the classical schema of taking will as images, life as purposes and realm as diagrams. The deduction of this course, the accumulation of ideas, and the budding collection of landscape painting elements are all extremely important driving forces for today's landscape painting to move towards a diversified art market, build a diversified theoretical system, and produce artistic classics from it.
Similarly, I also like the landscape works of Mr. Zhang, a young painter from Hunan. For many years, Zhang drifted between Nanning, Guangxi and Jingdezhen, Jiangxi, making a living from art. He seeks a kind of spiritual comfort in the lonely landscape, expresses the eternity of heaven and earth and art from the perspective of individual life with spiritual pen and ink, appreciates the freedom of people in it, and captures and embodies the essence and significance of this realization through some media, turning them into tangible things. An artistic idea is to find the shape of the invisible structure that you have experienced personally. Landscape vegetation is sincere and affectionate, a philosophy that embodies the spirit of China, detached from things and diluted peace.
Mr. Zhang's traditional Chinese painting works consciously pay attention to the support of form, starting from the ontology of life, art and philosophy, and pursuing the supernatural transcendence of quietness and inaction. Constantly show the humanistic feelings of China's landscape, and strive to pursue the understanding of natural ontology and life ontology. Through the overlapping form of flowing lines and bird's-eye echoes, the dazzling magical landscape art of China is displayed.
In Song Dynasty, Zong Bing put forward the famous perspective rule in Preface to Landscape Painting: draw three inches vertically, as high as thousands of feet; Ink a few feet wide is a hundred miles away. It can be said that the core belief that China's landscape paintings are far from potential and close to essence has established a logical starting point, and the principle of spatial vision has been logically deepened.
Zhang seems to have consciousness. When I read his series of landscape works, such as Eight Chapters of Yongzhou, Folk Customs of Xiangxi and Folk Customs of Lijiang, it seems that he is looking for the order of painting from the natural order, or thinking, because his works have been deeply rooted in the ideological source of taking truth as a teacher. Seeking the fusion and change of China's landscape painting may be the most profound place of China's landscape painting. Although it is really difficult, only in this way can we reach the depth of vivid images of China's landscape paintings, such as qi, rhyme, thought, scenery, pen and ink, draw nutrition from nature, seek differences from nature and create true beauty, and be good at debating the true meaning of landscapes and paintings. As for landscape brushwork, Mr. Zhang takes the main axis as the main line, which is primary and secondary, staggered, staggered, far and near, high and low, virtual and real, hidden and obvious, and pays attention to related deduction, forming a strange scene of "Shan Ye is open", which embodies the traditional landscape style of "lush trees, pavilions and ancient pavilions, and leisurely characters" in his works. The works are full of classical interests, such as bleak weather, clear clouds, brilliant front and exquisite brushwork.
Zhang's works in recent years pay more attention to introducing Zen into painting. His "Love Home Mountain", "Watching Spring" and his series of porcelain paintings created in Jingdezhen show an open and broad realm with ink and wash techniques. It gives people an idyllic tranquility, and the image is far from painting, which is quite resistant to chewing. Zhang's landscape emphasizes that "ink painting is the law", and he consciously brings the order law of ink painting into the artistic height, thus giving birth to poetry and painting.
We have to admit that the beauty of China's landscape paintings has been independent of aesthetics since Dong Yuan of the Southern Tang Dynasty in the Five Dynasties. In a sense, pen and ink are beauty. Different techniques of hooking, rubbing, lighting and dyeing are used to show different weather conditions of wind, sunny, rainy and snowy, so as to realize the flat and deep layout of mountains and rivers, simplicity and tranquility. Zhang's works are good at drawing nutrition from sages and traditions. His works are rich and elegant, and gradually become a landscape.
Zhang attached great importance to the in-depth and meticulous description of specific scenery, and carefully managed waterfalls and springs in deep valleys and dense forest on the top of the mountain. Especially on the front of the mountain, the quality and bones of the stone giant peak are exposed with dense small pens. It reflects the painter's own meditation and escape in the face of nature, integration with nature and epiphany, and has also become a yearning. China people born after China's entry into WTO and rural areas in cities present a special aesthetic experience.
In China's landscape paintings, the harmony between man and nature, the painting outside the painting and the taste outside the painting are undoubtedly the highest realm of artistic appreciation. To achieve this state, we must try to figure it out, experience it imperceptibly and analyze it deeply, so as to achieve the highest pursuit. Zhang's works are exquisite, profound and unique, with elegant pen and ink, from sublime to implicit, from vast to implicit. Naturally, the methods of hook, pull, wipe, dot, dye and bake are systematically carried out, thus forming a sense of space beauty, which not only makes pen and ink have a bigger performance stage, but also has a deeper theme performance and a more beautiful consciousness.
Today's landscape painting is under the banner of realism, and the beauty of China's landscape painting has suddenly emerged from the beauty of pen and ink, which can be called a classic among giant paintings. Obviously, both the pen of leisure and the pen of general history, including the present, have their own articles, and the epic narrative style is difficult to be competent without mastering the grand composition ability. Xia Gui, a famous painter in the Southern Song Dynasty, is good at filling in the blanks with great breadth and small precision, seeking to draw without ink, which is worthy of consideration by many contemporary landscape painters.
I only hope that Mr. Zhao Yu will think, because there is still a long way to go before him. As Guo pointed out in the "Landscape Training": "The mountain is three miles away, and climbing from the foot of the mountain is high; Looking at the mountain from the front is far-reaching; Looking at the mountain from the near mountain is a distant mountain. " I firmly believe that because of her persistence in art, Zhang can go higher!
(Author Feng Feng is a member of Hunan Literature Critics Association, vice chairman of Zhuzhou Literature Critics Association, and a painting and calligraphy critic. )
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Zhang: All scenery words are love words.
Liu quanjun
The author's overall impression of Mr. Zhang's artistic characteristics is that he is bold and unrestrained, and everything is emotional. Although he has dabbled in a wide range of themes and genres, the feelings revealed in each work are undisguised. Love is always carried out in his painting and calligraphy art, which is related to his personal experience. An artist who needs to develop, in the pursuit of survival and development, in the sense of homesickness, always wants to seek spiritual comfort in the love and friendship of seeing things, so as to soothe his long-cherished wish of indulging in elegance and beauty. Let's leave aside the inheritance and new changes of his paintings. The different emotions expressed in his works are really wonderful. In fact, six emotions are still in the middle, and all kinds of soups are outside. His flowers, birds and objects are elegant and interesting, his characters are interested in scenery and things, and he is broad-minded in Gao Shuang. His calligraphy is full of ups and downs, which is what he is talking about!
Mr. Zhang's hometown is in Chenzhou, Hunan Province, which is called the Chuyue Tunnel. It has a long history. Tang and Song scholars Han Yu, Liu Zongyuan, Qin Shaoyou and Zhou Dunyi wrote many famous articles in Chenzhou. Because of my working relationship, I became attached to Baiyue, and because of my artistic popularity, I wandered between cities to seek artistic exchanges and cooperation. The footsteps of art travel all over the world, and there is no home. Home is only between clouds and water, and home is only in the series of scrolls of "Wandering around the world and loving the landscape of my hometown".
Art is an artist's true and accurate emotional expression. The background of an era often affects the artist's way of thinking and aesthetic orientation. Different social life, different life experiences, different life feelings and life experiences are emphasized and refined through their own subjective consciousness, and emotions are strongly expressed with the help of different individual artistic elements to create works with individual style. The art of heaven and earth. The process of integrating body and mind into nature is actually a process of enlightenment and self-purification. Whether in accordance with the law or in a flexible way, if a work of art loses its inner needs and inner soundness, it will lose its soul if it cannot see its own shadow. The value of Mr. Zhang is that he has not easily lost the connotation of traditional culture and the context of pen and ink. Instead, on the premise of expressing nature with the breath of spiritual images, I explore my own ink and wash images in the mystery of Mo Yun, which is full of endless changes, thus making my ink and wash paintings rich in valuable connotations and feelings. His "Eight Chapters of Yongzhou" series is a colorful chapter in his artistic creation, which can be described as a combination of meaning and antiquity. Liu Zongyuan's travel prose has had a great influence on the development of China's travel literature, among which Eight Notes of Yongzhou is the representative work. Lin Yunming's Analysis of the Meaning of Ancient Chinese says: Language refers to a picture, and after a thousand years, it is like reading it. The communication between Mr. Zhang and Mr. Zhang is a kind of "drunkenness" with the real philosophy of life, which releases the pent-up emotion and makes him enter a solemn, free and unrestrained state.
Mr. Zhang's works transcend nature's interest and endow images, ink streamers, visual forms, individuality and clear emotions. His series of landscape works, such as Nostalgia, Eight Stories of Yongzhou, Xiangxi Customs, Lijiang Customs, Poems of Tang and Song Dynasties, and his tentative porcelain paintings are all characterized by "using a pen". "Mo Yun" is based on "mental image", full of ancient meaning and mystery, savoring the image of life and experiencing the way of life, which is naturally and truly expressed. This kind of exploration is also the sublimation of his spiritual realm of "respect, quietness and purity" and the pursuit of aesthetic education value of understanding, strengthening, improving and edifying truth, goodness and beauty.