On the other hand, absorbing the painting language of printmaking into Chinese painting requires a corresponding breakthrough and transformation of the ink form of Chinese painting itself and even some expression schemes, which also promotes the development of Chinese painting itself and expands the aesthetic field of Chinese painting to a certain extent. In this complicated transformation project of two different artistic languages, Wu Ran showed his outstanding talent and originality, and created a new brush and ink form and program of Chinese painting, thus transforming the painting language of printmaking into the painting language of Chinese painting, making his Chinese painting unique in the garden of Chinese painting. I remember that when I talked about Chen's Chinese paintings, I also pointed out his successful experience in absorbing and using printmaking language. I can even cite the successful experiences of Lin Fengmian, Zhu Qizhan, Wu Zuoren, Wang Zhaomin, etc. who switched from oil painting and watercolor painting to Chinese painting. These successful experiences are of great significance for promoting the innovation of Chinese painting, which deserves attention and research. Perhaps it is because the schema language formed in Chinese painting for thousands of years is too mature and perfect, and it is particularly difficult to break through from itself. This has become a prominent difficulty in the modernization of Chinese painting. Therefore, many China painters also look for inspiration and enlightenment outside Chinese painting. From the standpoint of Chinese painting, they draw useful nutrients from printmaking, oil painting, watercolor painting or folk painting and introduce new languages to promote the innovation of Chinese painting. They have different starting points from Wu Burning, but the purpose is the same.
How did Wu Ran transform the painting language of printmaking into the painting language of Chinese painting? I want to analyze it from the following four aspects. First, pay attention to and use the block surface. Block surface is the most basic painting element in printmaking. Wu Ran, with his rich experience in using block in printmaking, skillfully applied block to Chinese painting, creating a new schema language and expression technique, which is refreshing. The use of the block needs to focus on the big picture, start from the big picture, grasp things as a whole, and boldly add, delete and summarize Liu's complex images. The author sometimes uses only one or two large blocks in a painting to form the basic structure and main body of a painting, and endows it with distinctive personality characteristics.
These blocks are sometimes painted in thick ink, light ink or color, and sometimes they are composed of colors, lines or small bodies. A number of paintings, such as boating on the beach, grass fertilizer on the eve of the old house trough, autumn colors of mountains and streams, autumn colors of the sky, small villages lying under rocks, ancient wine near the shore, sunset at the ferry head, etc. All of them are based on one or two large blocks, which makes the picture particularly simple, light, bright and strong. At the same time, even scattered objects must be concentrated in a whole range to make them a combined block. For example, in villages lying under rocks, blue waves hold islands, donkeys come up with hills, roads in ravines are difficult to level, villages lie still, and boats are crossing. This strong sense of blockiness stems from his long-term artistic experience in printmaking and has also become a remarkable feature of his Chinese paintings. The second is to use texture instead of preaching. Wu Ran is not only good at using block surface, but also good at texture processing of block surface. No matter the ink color, light and dark, dry and wet, and the change of reality, it is drawn in a certain style, and a certain texture effect is drawn (not done). This texture is used differently in different paintings. Sometimes, even a painting will be expressed in different ways because of different objects. For example, in the painting "Grass Fertilizer on the Eve of the Old House Trough", the texture of the tree, the texture of the roof and the texture of the stone trough are expressed in three different ways.
Another example is the painting "Village Lying under the Rock", in which several different textures are intertwined to increase the change of the picture. Replacing Chinese painting with the texture of printmaking (the texture drawn) is another creation of Wu Ran's transformation of printmaking language into Chinese painting language. At the same time, the clever use of texture can not only avoid possible diseases such as flatness, rigidity, death and knot, but also make the picture full of changes in reality and reality, vivid and flexible, and fully embody the spirit of pen and ink as an important aesthetic content of Chinese painting. The third is the expression of lines. If block is the strength of printmaking, line is the advantage of Chinese painting. Because of the intervention of calligraphy pen, the lines of Chinese painting are more colorful and interesting than those of board painting. As he himself said, "In the process of creation, I overcame one difficulty after another and crossed another steep slope". After all the hardships, I finally "plugged in the wings of imagination, brought forth new ideas, was emotional, resonated with my body and mind, and was unrestrained." He used his art to "embrace the whole eternal world". People are sublimating, painting is sublimating, and poetry is sublimating. ? Wu Ran achieved real freedom in the world of ink painting, and achieved the realm of self-forgetting and old-age care in painting. Mr. Lu Xun is a famous scholar, poet, calligrapher, painter and art theorist in China.