In the teaching of Chinese painting, the training of basic pen and ink skills also includes the training of Chinese painting modeling. The two cannot be separated. The cultural attributes of plum blossoms, orchids, bamboos and chrysanthemums and the artistic expression of the brush and ink structure have gradually been elevated to a very high stylized level. As mentioned earlier, "form" is the result of the development of Chinese culture to a certain height. The theme of plum, orchid, bamboo and chrysanthemum is the most typical formula in Chinese paintings. It is a representative representation of the final expression of pen and ink that matured with the development of literati's freehand brushwork. Therefore, strengthening the training of plum, orchid, bamboo and chrysanthemum, especially the strengthening of "orchid and bamboo" training, is a shortcut to the training of Chinese painting skills and the most representative subject of basic training of Chinese painting. Historical experience has proved that the training and research of plum, orchid, bamboo and chrysanthemum, It is one of the important methods to solve the rich connotation and "one stroke shape" of Chinese painting.
Historically, the painting method of plum, orchid, bamboo and chrysanthemum must be mastered by all those who paint Chinese paintings. Even landscape and figure painters can paint plum, orchid, bamboo and chrysanthemum. For example, Huang Gongwang, Wu Zhen, Ni Zan and Wang Meng, the "Four Masters of the Yuan Dynasty", are all very skilled in painting plums, orchids, bamboos and chrysanthemums. Among them, Ni Zan's bamboo paintings are very relaxed and elegant, while Wu Zhen's bamboo branches are very close. Later, Shen Zhou, Qiu Ying, Tang Yin, and Wen Zhengming of the "Four Wu Clan" all had extremely strong martial arts. Wen Zhengming's "Orchid and Bamboo" is full of literary style and can be regarded as a master of this kind of subject. This shows that Chinese painters have attached great importance to the training of plum blossoms, orchids, bamboos and chrysanthemums since ancient times. Especially after the rise of literati painting, such themes have been further developed. Pan Tianshou had a deep and thorough understanding of traditional Chinese culture, so when he was in a difficult situation in teaching Chinese painting, he placed great emphasis on the training of plum, orchid, bamboo and chrysanthemum.
The purpose of training Chinese painters on plum, orchid, bamboo and chrysanthemum is not to become a specialized painter of plum, orchid, bamboo and chrysanthemum. The four themes of plum, orchid, bamboo and chrysanthemum basically cover the basic structural forms of the brush and ink types required for Chinese painting, and their brush and ink techniques can also represent various painting methods.
Painting orchids is the most difficult in Chinese painting, followed by bamboo. Li Kuchan often said, "One lifetime of orchid, half lifetime of bamboo." In fact, in Chinese paintings, the simpler the objects, the more difficult it is to paint them with charm. At the same time, simpler objects often become the best objects for training in basic Chinese painting skills. The key is to learn the quality connotation of each stroke and the combination of text structure.
Orchid and bamboo training is not simply a requirement to be able to draw the subject of orchid and bamboo, but it is a way to deeply understand the relationship between space and white in the combination of Chinese brush and ink, so that students can persist in orchid and bamboo training. The purpose is to master the art of brush and ink. One level. How can you tell that you have passed the basic skills of pen and ink? If you ask for a brush, the "rising, running, and closing" of the brushwork are all done very well. Even if you draw a bamboo leaf or an orchid leaf, you need to have the "rising, rowing, and closing" of the brushwork. process. In the creation of orchid and bamboo, we not only look at the quality of a certain stroke in isolation, but also look at the overall structure and general trend of the stroke. However, the quality of a stroke is the most important, and it is related to the quality of the work. "I like to draw orchids, but I am angry to draw bamboos." Writing about orchids and bamboos is a favorite of literati and also popular with ordinary people. It is a perfect place to relax and relax. The painter's allegorical meaning is in the orchid and bamboo, and the meaning is separated from the pen and ink. Therefore, the important task of the pen and ink can be seen from the difficulty of "one generation of orchid, half of the lifetime of bamboo". Take the orchid that is temporarily in trouble as an example. Orchid is hidden in the mountains and is not exposed, and flowers The development is quaint and pleasant, and is also called secluded. It is a herb, but it is different. It can be divided into spring orchid and cymbidium. Its leaves are long and strong, with a soft and steel-like shape. Its flowers are small, so the leaves are mainly used in paintings. Painting orchid leaves has become a technique for writing orchids. The main content of the orchid painting is the orchid leaves. To paint an orchid, one stroke forms a leaf, and each stroke takes shape. The interweaving of orchid leaves is also the cross combination of strokes. In order to avoid the confusion and disorder of interlacing, smart Chinese painters found the intersecting rules in the interlacing of long leaves and created the method of writing. The basic formula of orchid is the basic brush and ink structure of crossed phoenix eyes, broken phoenix eyes and crucian carp head, and then these structures are added to form a more complex picture. In terms of specific requirements, the requirements for starting and ending the strokes of Jiefengyan and Pofengyan are different, and there are many changes, which is why they are difficult. Especially in the process of superposition, every superposition is difficult. This is an issue that requires special attention during training.
The brushwork structure of an orchid may be simpler than that of bamboo, but it is more difficult. You can also add two auxiliary strokes on both sides of the broken phoenix eye structure, namely short orchid leaves. The auxiliary pen can be added or not. For example, drawing a broken phoenix eye, adding a crucian carp head next to it, and then adding an auxiliary stroke on both sides is enough. You can borrow "auxiliary pens"; if you draw a lot, you can also borrow and use them from each other. The auxiliary pens play a regulating role in creation. The above is the rough brush and ink structure of the orchid leaf. It is relatively simple, but the difficulty lies in the drawing method of the orchid leaf. The length, thickness changes, square and circle changes of the orchid leaves, the direction of starting and closing the pen, the tip and baldness of the pen closing, etc. cannot be the same.
Another difficulty lies in dealing with the empty space of orchid leaves and orchids.
There are so many blank spaces. Three crossed orchid leaves can form more than six blank spaces. No other painting material can achieve such rich spatial separation. How do you make it feel rich with so much white space? Pan Tianshou often said: Take a piece of rice paper and use the simplest pen and ink to cut out the most blanks, and the shapes and sizes of these blanks should be different. This requirement may seem simple, but it is actually very difficult to achieve. It requires a lifetime of careful study and practice by the painter. Strengthening the basic skills training of "Lanzhu" is the most effective way to approach this goal.
When drawing orchid leaves, the more difficult thing is to close the front. It must be strong and have the momentum to go out, and attention must be paid to the difference in shape between leaves. The requirements for the starting, moving and closing of the three transactions are different. When drawing orchid leaves, no matter how fast or slow the strokes are, you must be able to retain them. How do you check the quality of lines? If there is no movement after the stroke is started and the stroke passes flatly, the lines left behind will often not be very good. Because all traces of the strokes are parallel to the main direction of the lines, if the sense of strength is lost. The traces left by the brush on rice paper are rotating, and the rotation is not even or disordered. During the process of writing, the wrist and brush change with different directions. The main purpose of doing this is to enhance the thickness and complex changes of the lines, whether they are thickness, size, wet or dry, all of them are required to be varied, in order to increase the richness and expressiveness of the picture.
Drawing orchid leaf lines emphasizes the use of calligraphy brushes, and can also include the texture of rattan or woody lines. It requires that the direction, strength, and elasticity of the lines are varied. This kind of Changes can be solved through training in painting orchid leaves and orchids. Because the relationship between orchid leaves and pen and ink is relatively close, Wen Zhengming lengthened the orchid leaves, which feels very soft, beautiful and elegant. When it comes to Zhu Da and Xu Wei, their orchid leaves have become thicker and more rigid. Most of the orchid leaves painted by Zhu Da are relatively short and thick, not as thin as those painted by Wen Zhengming. After the Ming and Qing Dynasties, the reason for the increase in changes in orchid painting techniques was that calligraphy and epigraphy were added to the painting, which increased the changes in dryness, wetness, and shades of the orchid lines. When Wu Changshuo painted orchids, greater changes took place: first, the changes in tools. He used wool brushes to paint, and there were more dry brushes. He did not emphasize the changes in the thickness of the orchid leaves, but emphasized the turning of the brushwork; second, the pen and ink used in his orchid painting. It is more freehand, that is, the brushwork and the meaning of the brushwork are strengthened, but the shape and form of the orchids are not emphasized.
Through the analysis of orchid painting techniques by painters of all ages, it is intended to illustrate that no matter what subject we paint in the future, we should enhance the richness of brushwork and the meaning of the painting, just like orchid and bamboo training, and strengthen the meaning and theme of the picture. The choice of brush for painting orchid and bamboo is also very particular. To start training orchid and bamboo, it is best to use an orchid and bamboo pen to draw. Hard hair or mixed hair such as "white cloud" can be used. Hard hair, because it is strong, makes it easier to control the writing style. The orchid bamboo pen is a little longer than the ordinary pen barrel because it needs to give full play to its swing range. Therefore, when we hold the pen, we can hold it slightly upward and not at the lower end. The range of painting sway at the lower end of the hand is small, and the dynamics of the lines are easily limited. After holding the pen, the front and back end are flat, and the arm is mainly used to drive the wrist when writing. This kind of power is the greatest. If the arm is not moving but the hand is moving, the line will be unstable and the strength will be weakened. Keep the forearm as stable as possible.
When painting orchids, you should pay attention to the basic characteristics of orchids. The leaves should be firm and the keys should be elegant, which determines the way of using the pen. Chinese painting follows the concept of one-stroke modeling. The first is to use lines, first draw the orchid leaves; the second is the structure of pen and ink, the combined shape and momentum of crossed phoenix eyes, broken phoenix eyes, and crucian carp heads, including the three stages of starting, moving and closing with the pen. It is best not to sit down when painting orchids. Sitting down will not allow you to draw freely and your strength will be limited. Pay attention to your standing posture. The writing is strong and flexible, the forearm is flat at the end, the upper arm is connected to the forearm, and the forearm is connected to the wrist. Occasionally, there is a twisting movement of the pen. There should also be changes in the closing strokes. It is required that the three strokes of Phoenix Eyes have different beginnings, rows and closings, so as to achieve the aesthetic requirements of contrast and change.
When painting orchids, the main focus is on the leaves, but the flowers cannot be ignored either. The structure of the orchid is also broken, and the same applies to the pen. Pay attention to the hidden edge. There are also procedures for dotting flowers. Each painter has his or her own characteristics, but the basic rules are the same. How to draw a heart depends on the needs of the picture. It can be complex or simple. You can write the word "bu" or "heart" in cursive script. To practice writing, you need to work hard on the basic structure, and you must train for several hours every day. If you persist for decades, there will definitely be results.
Bamboo writing is one of the most exquisite categories of Chinese painting in terms of the form and structure of brush and ink. The structure of the brush and ink is different because of bamboo, the brush strokes show the skill, and the branches and leaves are logical.
The rise of ink bamboo is very early. Zhang Tuigong's "Ink Bamboo Ji" says: "The ink bamboo originated from Emperor Ming, and was later passed down to Xiao Yue. He was proud of watching the shadow of bamboo, so he wrote about Mo Jun." It is also said that Mrs. Li of Western Shu in the Five Dynasties reflected the moonlight night. The windows are painted with bamboo shadows. The growth and structural characteristics of bamboo are completely different from those of other plants. Its shape is neither grass nor wood, neither vine nor vine. Its branches and leaves are strong, and its festivals are soaring. When writing about bamboo, it is more important to its spiritual meaning. Our forefathers of literati and painters used their extremely high talents to observe and befriend bamboos, place their meanings on bamboos, place their feelings on brushes and ink, pursue their spirit, and describe their shapes and shadows. Finally, we achieved an art that best combines the object, the heart, and the form of bamboo. The structure of language.
In the Qing Dynasty, "Biography of Flowers in the Mustard Garden" compiled by Wang Gai and others, the "Bamboo Manual" and "Qing Zaitang's Brief Introduction to Painting Bamboo" can be used as references for writing about bamboo. There are two ways to draw bamboo in Chinese painting: one is the method of double hooking with lines, which is mostly used in fine brush painting and freehand painting, which is called "drawing bamboo"; the other is the method of painting with lines and boneless, mainly ink. , called "writing bamboo", also called "ink bamboo". The elements of bamboo writing include "standing pole", "joining joints", "writing branches" and "leaving leaves". It is said to be simple, but the difficulty lies in the shape of each stroke. Each stroke contains structure and luck, showing the spirit of Mr. Mo. "Qing Zaitang's Brief Introduction to Drawing Bamboo" says: "To draw bamboo, you must first set up the pole." So, our bamboo practice should also start with standing up the pole. A bamboo pole is made into a section with each stroke. If you do it step by step, the pole will stand upright. There are many varieties of bamboo. In the past, most of the bamboos used in paintings were bamboos with thin stems and prominent joints, that is, the nodes were more obvious. The length of the nodes was longer in the middle and shorter at the roots and tips. The starting point for writing a pole has changed in ancient and modern times. In the past, it was drawn from top to bottom. Since the Ming and Qing Dynasties, it has been more common to write from bottom to top. It is appropriate to gain momentum. The strokes are drawn flat, both sides are rounded, and the whole pole is left empty. The strokes are continuous. The intention and momentum run through, and the joints can be bent or wrong. "Bend the joints but not the pole." It is important not to form a bamboo pole into a uniform arc line, otherwise it will lose its natural dynamics, become stiff and inelastic, and lose the hardness and softness of bamboo; it will also lose its physical properties and the meaning of painting. This serious disease is common among people who practice bamboo, and it is really not advisable. When it comes to bamboo writing techniques, you should hold the pen straight, hold the upper end of the penholder with your fingers, and use the length of the penholder to increase the range of strokes and give full play to the freedom, strength and elasticity of the bamboo pole. The writers who wrote about bamboo each have their own specialties: Wu Zhen's poles are round, thick and strong; Shi Tao is both hard and soft, dancing in the wind and rain; Zheng Banqiao is straight and straight, with a sunny posture in the sky, which can't help the wind and rain. When writing about bamboo poles, the center of the pen is round and straight, but due to the rising and closing strokes, the center line of the strokes is elongated into an "S" shape, which gives a bamboo pole a dynamic elasticity. Connected jointly, the bamboo pole has muscles and bones. With this essential method, most of the poles will be made. Other requirements and taboos are detailed in the painting manual and painting theory, so I won’t go into details.
Whenever painting bamboo, the overall effect of the painting, like orchid, is mainly based on the expression of leaves. Therefore, you must draw bamboo leaves well. First of all, you cannot draw bamboo leaves like willow leaves or reed leaves. When writing bamboo leaves, the writing style is like one stroke in regular script, so it is called "skimming leaves". When writing the leaves, the ink should be full and full, and you should rely on your arms and wrists, and do not use your fingers to pull. Enter the pen to hide the edge, press the leaf belly out, and then lift the pen at the same time. Retract the pen and return it to the original starting point. One bamboo leaf can be completed, and then the pen is placed on the second leaf. In terms of brushwork, you also need to appreciate the strong feeling of bamboo leaves. The length of bamboo can vary according to people's styles. Painting orchid and bamboo emphasizes the use of the pen by the center. Otherwise it would be difficult to draw that kind of strength and toughness. Once you draw to a certain level, there will be changes. When painting orchids and phoenix eyes, the three strokes should not come out from the same point but converge at one point. Bamboo leaves have a core point, and the starting strokes pass through the core point. Generally, a group of bamboo leaves cannot be directly connected to this core point. . The first stroke is the growth of the bamboo leaves, which determines the main trend. It closes and then returns to the original starting point. The second stroke starts from the secondary point. After the second stroke closes, it returns to the original starting point in time, in sequence. Until the combination of this group of leaves is completed, this is the unit text structure of a group of leaves. And so on.
Because the leaves have many unit structure combinations, a branch of bamboo, the bamboo leaves in pieces are arranged according to the growth of the bamboo branches and the dynamics of wind or rain, and the unit structures are arranged according to the unequal "pin" character. If you don't follow this, you will be in chaos and there will be no rules. The same goes for Zuan San Ju Wu who paints leaves. The pen and ink must have a unit structure, and then combine it into a larger structure. The randomness of Chinese painting is based on strict norms.
The bamboo leaves must be written firmly and not bent with the pen. The shape of the bamboo leaves is mainly strong. When drawing a group of bamboo leaves, draw back and then return to the starting point, continuously reciprocating, and the strokes are continuous and continuous. The movement in the air is like writing cursive script, which is the principle of "one-stroke writing" and "one-stroke painting". This problem will take three to five years to be resolved. As for the relationship between the overlapping and scattered bamboo leaves, it may be studied at the same time.
There are two ways to adjust: one is to dip the pen in water first, scrape off the excess water, and then dip it in heavy ink; the other is to wash the pen, first dip it in thick ink, and then put the pen tip in The water surface looks like a "dragonfly dotting the water", forming changes in the shades of ink.
Plum blossoms, orchids, bamboos and chrysanthemums are four themes with different personalities. From the perspective of pen and ink, they can represent many pen and ink patterns in Chinese paintings. For example, orchids are herbaceous plants with tall leaves that change in thickness. Once you have drawn the orchid leaves, you can draw lines such as other grasses, reeds, or people's clothes. Bamboo is a form that is neither wood nor grass, with tall and straight bamboo joints and sharp leaves. , so it is also typical, such as bamboo poles, bamboo branches, crisp, tough, straight and powerful lines, which are common in paintings of figures, landscapes, flowers and birds. Trees, flowers and plants with a structure similar to bamboo leaves can be expressed according to the painting method of bamboo leaf structure; mastering the techniques of chrysanthemum hookwork, dotted flowers and dotted leaves, the expression of peonies, roses and other flowers can be solved; plums are woody, After mastering the painting method of plum blossoms, there is basically no problem in the expression of other woody flowers. Their branches, crossing and other rules are all the same. Therefore, plum blossoms, orchids, bamboos and chrysanthemums are four very representative themes. Through training, we will benefit in terms of painting skills, cultural accomplishment, and personality improvement.
During the training process, we must be good at summarizing the brush and ink rules of bamboo writing in the past dynasties. The concept of "unity of form and theory" before the Yuan Dynasty guided people to observe, understand and express objects. Literati painting emerged. From the "Four Yuan Schools" of the Yuan Dynasty to Xu Wei and Zhu Da, the relationship between form and reason changed, and more The interest of many literati. In order to express the exaggerated and deformed state, the number of images with abstract elements increases. In his article on the foundation of Chinese painting, Pan Tianshou believes that freehand painting still needs to take into account both form and spirit. He pointed out that Wu Changshuo painted Qi rather than form, but he did not deviate from form in essence. It was just that the forms he painted were higher and more difficult. The difficulty lay in being reasonable while also emphasizing essence, Qi and spirit. Wu Changshuo just puts writing of Qi and Spirit first.
In essence, Wu Changshuo’s so-called "drawing Qi but not form" also means that the momentum of the pen cannot be interrupted, just like the Qi cannot be interrupted when writing cursive script. If the rod and the breath are broken, the whole picture will be loose and the shape will be lost. Therefore, when we face the works of Lanzhu masters such as Xu Xi, Wen Yuke, Xu Wei, Shi Tao, Zhu Da and Wu Changshuo, we need to pay special attention to the inner relationship between form and spirit in the works, whose aesthetic connotations are endless. "Bamboo in the Eyes" allows us to experience the various states of bamboo in nature, which is the foundation for our creation of style features. The painting spirit does not paint the form, and the painting intention does not paint the form, but there must be tangible basis and the principle of natural life in the work.
In general, the study of plum, orchid, bamboo and chrysanthemum programs has a direct effect on the training of basic Chinese painting skills, but it is also the most difficult. The difficulty lies in the fact that behind the practice of techniques, we also need to continue to deepen and understand the Tao behind the techniques. This is a continuous and repeated process, and there will be new gains every time. Through the research and practice of the brush and ink patterns and aesthetic connotations in plum, orchid, bamboo and chrysanthemum paintings, we can obtain "personality" and "artistic style" in the process of practicing "skills", "qi" and "meaning", and progress from skills to The Tao is repeatedly promoted from Tao to skill, leading to the enlightenment of the highest realm of national culture and art. The author agrees with Tang Dai's point of view in "Pictures of Things Happening" that "the writing must be old and the realm must be new". Of course, it is more in line with the modern development of Chinese culture and art to "put pen to paper and turn the ancient into something new, and the realm is lofty and ever-changing".