In the eyes of ancient China literati, orchids are vanilla, an ideal symbol, and can also be regarded as an aesthetic objectification. Throughout the ages, painters and painters have taken orchids as their theme, leaving many treasures handed down from generation to generation.
Pan Tianshou, who is good at printing poems, calligraphy and painting, also likes writing bluegrass very much, leaving many masterpieces handed down from generation to generation. Pan Tianshou's paintings inherited Ma Yuan and Xia Gui in the Southern Song Dynasty, approaching the obscurity of Shi Tao and the strangeness of Zhu Da. In particular, Zhu Da's extraordinary style is more suitable for Pan Tianshou's temperament, which has a far-reaching impact on him. Among modern painters, he only chose Wu Changshuo, which made Wu Changshuo? Are you surprised to see the words? Sigh. However, Pan Tianshou was not satisfied with absorbing the ancients, but after a long period of exploration, he created his own artistic style, which was magnificent.
Pan Tianshou Chulantu
Traditionally, painting orchids is not called painting, but writing. This is because drawing orchids is based on China's calligraphy, and every stroke is writing. The shape and spirit of the painted blue are often closely related to the painter's calligraphy attainments. Are there any common leisure sentences in Pan Tianshou? Strong bones? , condensed his aesthetic pursuit of painting, that is, winning with backbone and strength. And the strength of bone lies in the pen first, so-called? Take the pen line as the frame, so take the line as the bone? . As can be seen from the picture of this painting, he does not hesitate when painting, and his writing speed is very fast, with the center as the main part, which makes him rotate smoothly, stumble and press, be flexible, strong and powerful, and do it in one go. Pan Tianshou's accomplishments in calligraphy are integrated into the lines of Lan Ye, which makes what was originally gentle look tall and graceful.
The orchids of Pan Tianshou, a master of Chinese painting, are unique and intriguing. Pan Tianshou's wild orchid paintings and his superb calligraphy skills. After a few strokes of running water, orchids stand upright on the paper, wantonly making public, giving people a very natural and casual feeling. At the same time, I have to sigh the expressive force of its empty valley and orchid! Pan Tianshou's orchid works are generally long, and the picture composition is risky and innovative, which just better shows the orchid's character and Mr. Pan's artistic life style.
Pan Tianshou Lanzhutu
Idle as Wen Junchun's temples and clear as ice and snow.
Push the king from the style, not just the fragrance.
Pan Tianshou yonglan
Pan Tianshou likes painting orchids, and has a special liking for their temperament. Different from his predecessors, he painted orchids from the strength of personality and strength, which is a common idle chapter in Pan Tianshou's works. Strong bones? , summed up his aesthetic pursuit.
Pan Tianshou's paintings are extremely rigorous, paying special attention to the layout of the pictures. This painting must be erected. Therefore, we should emphasize the layout structure, that is, the principles of selection, reality, priority, density, insertion, shade, oblique placement, support, opening and closing, echo and so on. ? Although the content of this orchid picture is extremely simple, its layout, reality and opening and closing have obviously been carefully considered.
Morantu, Pan Tianshou
In Chinese painting, the big space, the big reality, the big sparseness and the big density are aimed at making the picture clear and prominent. So-called? Thousands of flowers are dazzling, only two or three are pleasing to the eye? As long as the painter focuses on a cluster of orchids, there are no weeds and rocks, and the background is empty, the posture of orchids will be more clear and prominent, giving people a very deep visual impression. In the performance of Lan, the change of ink color is also reflected in the mutual foil of reality and reality.
Chinese painting pays attention to pulsation, that is, the vein trend and feeling trend marked and infiltrated by the form or blank on the screen. If the air pulsation in the painting is well arranged, it can dominate the overall situation and make the whole picture change. When Pan Tianshou painted, he often used some big twists and turns, trying to make the pulse run the longest route on a limited picture. In this orchid, the whole orchid leaf is on the rise, but it is not monotonous and straight, but has twists and turns, which not only shows the smart posture of the orchid leaf swaying in the wind, but also wraps the qi in the picture and enhances its integrity.