For example, modern
The original ecological freehand brushwork landscape painting is a new painting school in the development of modern landscape painting, and it is a new landscape painting style advocated by the famous painter and painting theorist Yuan Zhenxi Yang Muqing. It takes rough and bold as the emotional appeal, dry pen and dry pen as the keynote, follows the composition principle of traditional landscape painting, and adopts the method of stacking layer by layer and dyeing layer by layer, forming a style of "vigorous, elegant, concise, simple and mixed with ink". Attachment: Introduction to the Creation and Techniques of Original Ecological Freehand Landscape Painting
Large freehand brushwork and small freehand brushwork
The so-called small freehand brushwork is more inclined to use ink painting to write the reality of objects, which is similar to the tradition of ink painting flowers and birds in Yuan Dynasty. The so-called freehand brushwork, more inclined to use ink painting to express the painter's subjective feelings, inherited the tradition of ink painting of literati in Song and Yuan Dynasties. Modern people admire the artistic interest of expressionism, not the freehand brushwork style. It is this subjective artistic interest that gave birth to the rough brush ink painting in the field of Chinese painting, which is today's so-called ink freehand brushwork technique. This kind of painting style is technically embodied in the simple expression of objects with calligraphy lines and overlapping pens. In painting, attention is paid to the calligraphy interest of lines and the variability of ink color, and interest is the first. With the rise of large freehand brushwork, the style of small freehand brushwork is also growing. Compared with Song and Yuan Dynasties, Xiao's freehand figure painting in Ming and Qing Dynasties pays more attention to the ease and brushwork. The brushwork of freehand brushwork has been summarized by painters of all ages, among which the most important is the "four essentials" of "meaning, strength, rhyme and interest".
mood of a artistic work
In other words, do it intentionally before writing. When a painter is writing, he should move his wrist with his heart, drive pen and ink with specific emotions and concepts, and make it image according to his meaning, which is expressed by images. The meaning of the pen is the general purpose of using the pen, and the unintentional pen is a dead pen. The reason why the art created by painters in past dynasties is so wonderful is mainly because painters have melted their passion and interest in pen and ink skills.
The power of strokes in calligraphy or painting
It is the sense of strength of the pen and an important factor in the aesthetic feeling of form. The strength of writing has two connotations: the first is the strength of skill. The so-called "penetrating the back of the paper" and "the pen can lift the tripod" is a manifestation of the skill of lifting the pen. There are "old" and "tender" theories to show the writing skills. It takes a long time to hone to achieve superb skills. The so-called "learning ability, corresponding to the heart and hand; When the fire comes, there will be no board, carving and knot. " An experienced painter, even with soft lines, can be both rigid and flexible, hiding needles in cotton wool and full of inner strength. For example, Mo Lian, painted by Li Kuchan, a contemporary painter, is incisive and unrestrained. The red plums in Zhu Xuanxian are extremely warm, unrestrained, quaint, tolerant and magnificent. Zhang Lucheng's Camel is deep, determined, sad, detached, persistent and warm. And beginners, no matter how hard they try, are still immature and powerless, so writing is a long-term effort. The second is the strength. It belongs to the skill of using a pen. As long as you master the methods and rules of using a pen, you can do it. The way to make strength by luck is to have a strong intention before writing, concentrate on it, then guide the spirit with intention, guide the whole body's energy from the arm to the wrist, from the wrist to the finger, and then apply the force to the pen end with the finger, so that the force at the pen end can be naturally revealed. Don't look arrogant and angry.
Pen rhyme
The so-called pen rhyme has two meanings: charm and rhythm. Charm means that the unity and harmony of the picture can be realized through the changes of the pen's weight, reality, rigidity, Fiona Fang, Ji Xu and frustration. Just like music, it has a tone and a theme. Rhythm is to use a pen with a sense of movement and rhythm. Like calligraphy, it pays attention to the rhythm of lines, such as "the horizontal method is like a bird falling", "the curve is like a galloping rein", "light as a cloud" and "heavy as a falling stone".
Interest
Writing interest and natural interest have two meanings. Only when the pen is interesting can the viewer be pleasing to the eye and enjoy the beauty, so the fun of using the pen is the key to make the painting beautiful in form. The interest in using a pen lies in skillfully handling the relationship between familiarity, dexterity and softness in using a pen. Practice makes perfect, and beauty is beauty, but it will be a matter of technology and market. That's why the pen is expensive when it is ripe, and it will come back to life when it is mature. "Painting is born and familiar" is the only commercial interest. It is not easy to be clever and wonderful with a pen, but be wary of becoming a mere formality. Therefore, using a pen is expensive in Gu Zhuo, from skilled to clumsy, simple and open-minded, full of vitality. The interest in using a pen stems from an unintentional use of a pen. The so-called "good pen and good ink, accidental" is an epiphany and a sudden inspiration. Seeking natural interest in writing is of course related to the artist's talent, and more importantly, it depends on his usual knowledge, cultivation and long-term efforts. As an important form of Chinese painting, ink freehand brushwork has oriental charm and modern significance with its free vitality and visual impact and the application of unique tools and materials. However, at present, Chinese paintings in art exhibitions at all levels seem to be difficult to find magnificent, simple and unrestrained freehand brushwork.
The originator of freehand brushwork can be traced back to Wang Qia in the Tang Dynasty. Liang Kai in Song Dynasty made a breakthrough contribution. Xu Wei of Ming Dynasty pushed freehand brushwork to the extreme. He gave full play to the expressive force of pen and ink on raw rice paper, and then pushed ink freehand brushwork to the highest level where he could strongly express his inner feelings, which had a far-reaching impact on later generations. Over the next 400 years, many unique freehand brushwork masters emerged, such as Badashanren, Shi Tao, Huang Shen, Ren Yi, Wu Changshuo, Qi Baishi, Zhang Daqian, Huang and Fu Baoshi. , created countless treasures of freehand brushwork in ink and wash, and left a glorious page in the history of China fine arts. Due to the strong admiration and bold practice of literati in past dynasties, "freehand brushwork" not only exists as a style of Chinese painting, but also becomes a universal artistic concept of Chinese painting. Regrettably, however, this elegant art form, which has a long history and rich cultural heritage and has been created by China's intellectual elite for thousands of years, has gradually faded out in the gardens of contemporary Chinese painting, and it is even hard to see it again. Let's unfold the picture scroll of Chinese painting in recent decades. It is not difficult to find that the style of landscape painting, flower-and-bird painting, especially figure painting is sliding in the direction of realistic sketch. The so-called "freehand brushwork", which is deliberately complicated, pretentious and ingenious, is full of our exhibition halls, markets and major media. Individual works and painters are excluded from the so-called mainstream under the slogan of "carrying forward the spirit of realism", and they are full of national spirit. Sketch freehand brushwork, which has become a common practice, is getting farther and farther away from the national tradition, but getting closer and closer to the west, which makes the core language of Chinese painting "pen and ink" become only a means to shape the body and lose its independent aesthetic value. Chinese painting is artificially suppressed on the narrow road of westernization, pattern and production.
Realistic sketch freehand brushwork, as a form of Chinese painting, is understandable. The problem is, when this kind of form is too numerous and excessive and becomes a trend, people get bored. There is nothing wrong with carrying forward the spirit of realism, but if realism is fixed in a realistic technique, the diversity of artistic creation is excluded, and even realism is vulgarized and superficially interpreted and modeled, which not only violates the broad inclusiveness of realism, but also falls far short of today's policy of "letting a hundred flowers blossom" and the strategic concept of building an independent and innovative society.
The 5,000-year history of China's national art has always been the aesthetic spirit of the atmosphere. From Longmen Grottoes, Huo Qubing Stone Carvings, Dunhuang Mogao Grottoes to Yongle Palace murals, we can all deeply understand the national spirit and the expressive techniques with great generalization. Ink freehand brushwork is the inheritance of this spirit, which shows the national style of China in a unique form. It can be said that the freehand brushwork of ink painting is the concentrated expression and concentration of national artistic spirit. It was only after the Ming Dynasty that the wind of archaizing prevailed, and literati painting unilaterally pursued the interest of pen and ink, divorced from real life, which made freehand brushwork fall into a stale style. Under the social and cultural background of "Western learning spreading to the East" at the beginning of last century, a group of painting elites, represented by Xu Beihong, strongly advocated transforming Chinese painting with western "rigorous and scientific" modeling, and believed that only western classical realistic painting was the best way to save and transform Chinese painting. Moreover, in 1950s, under the background of all-round "Sovietization", Che Shakov's sketch teaching system was vigorously promoted in China. With the artistic idea of imitating nature and sketching directly, the painter combined western sketch with China's pen and ink, and carried out a large-scale and lasting grafting practice on Chinese painting. It should be said that this move swept away the weakness of painting circles since the late Qing Dynasty, effectively expanded the artistic language of Chinese painting, especially played a great role in promoting the development of ink figure painting, and formed a set of realistic teaching, creative norms and large-scale creative groups. However, in the great development process of Chinese painting based on realistic sketch, its disadvantages are becoming more and more obvious. It is found that due to excessive dependence on scientific modeling, the national context has been greatly destroyed and their excellent cultural traditions are being lost. Chinese painting has gone further and further away from the correct track of the core of China traditional culture and lost the confidence of national culture. For a long time, we have overemphasized the western way of thinking and technical training in teaching and creation, and emphasized the in-depth description of the physical structure of objects and the relationship between light and shade, which drowned out the academic nature of Chinese painting that emphasizes artistic conception, expression and lyricism. The values of western art unconsciously affect our spirit and behavior. Our technical language and aesthetic consciousness with pen and ink as the core are undoubtedly marginalized, and the national cultural spirit is deteriorating day by day. Some people say that China has not had its own culture for more than a century from modern times to now. Although this statement is alarmist, during this period, there was indeed a fault in traditional culture, and traditional ink freehand brushwork did lose half of the country.
The thinking characteristic of China people is "image" thinking. The main characteristics of ink freehand brushwork painting are to pay attention to image modeling, to pay attention to the charm of pen and ink, to express the painter's inner feelings and to pursue "vivid charm" as the highest goal. Specifically, the traditional freehand brushwork of ink painting focuses on three aspects. First, the big pattern, atmosphere and realm highlight the grasp of the overall charm of the picture, which is more abstract and general than the utilitarian "institutional painting". The second is to emphasize the writing of painting with calligraphy. Calligraphy is the highest embodiment of China's art, and the so-called traditional foundation of Chinese painting is largely embodied in calligraphy. Thirdly, it emphasizes the painter's subjective consciousness and pays attention to the expression of national interests and attitudes, which embodies the cultural and spiritual connotation of the painter's subjective feelings. On the contrary, the freehand brushwork of ink painting depends on solid modeling ability, and its "meaning" is also based on rational painting, which requires painters to have a keen grasp of things, a high degree of generalization and appropriate performance. On the relationship between "form and spirit" and "subjective and objective", the theory of Chinese painting has long been incisive. From Gu Kaizhi's "Writing God in Form" to Zhang Yun's "Learning from Foreign Teachers" and Qi Baishi's famous saying "Beauty lies between similarity and dissimilarity", it not only shows the general law of artistic creation, but also has a distinctive national style. These "outlook on form and spirit", which advocates "spirit likeness" and "artistic conception" and pays attention to painting emotion and tolerance, provide infinite possibilities for the development of modern ink and wash freehand brushwork, and deserve to be re-recognized and carefully grasped. On the other hand, our decades-long creative practice of "realistic sketch" and "China's brush and ink", as well as the present situation of Chinese painting, are undoubtedly behind the West and lost themselves. In this way, we have not reached the essence of western classical painting, but also lost the brush and ink method and profound cultural connotation of Chinese painting.
As we know, passive and reclusive literati have drawn pen and ink games that are addicted to brushwork. But too much emphasis on the physical structure and sketch relationship of the object will also ruin the prospect of Chinese painting. Some people accuse Xu Beihong of being more and more fashionable in carving and dressing, which is actually unfair. Xu Beihong has a clear national position. He strongly advocated the introduction of western realistic sketches into Chinese painting, with the aim of reviving Chinese painting-"introduction" is only a means, and "revival" is the purpose. Xu Beihong said in "On the Improvement of Chinese Painting" in his early years: "Western paintings can be taken into account." Later, he said many times: "As for foreign art, I don't object, but I can't destroy my own nature. That is to carry forward the real China art." He thought: "Realism is enough to cure the disease of vanity and has gradually stabilized. If this style continues for another 20 years, the foundation of new art will be solid, and various factions will stand up and bloom brilliant flowers. " He also said: "realism is too tense, and it will be boring if you watch it for a long time." All these reflect Xu Beihong's open mind and strong desire to revive national art (as for Xu Beihong's own painting practice, if he can't show the freehand brushwork of Chinese painting, it is another matter). If we fully understand Xu Beihong's theory, we will find that we have obviously misread his "classics". The "realism" advocated by Xu Beihong is undoubtedly a good prescription to treat the "vanity" of Chinese painting at that time. The author thinks that Chinese painting should return to the traditional cultural spirit of China and the spirit of freehand brushwork centered on pen and ink, when the western realistic concept is generally accepted and the modeling ability is mastered.
The lack of noumenon characteristics of Chinese painting and the marginalization of China's cultural spirit have aroused the worries of more and more people of insight, but they have not paid enough attention to art education and national art exhibitions. The enrollment and teaching of Chinese painting major still take western aesthetic concepts and modeling techniques as the main reference, which fundamentally leads to the misguided Chinese painting. Official art exhibitions at all levels are still based on realism, which objectively encourages the trend of westernization, modeling and production. Under the interaction of the short-sightedness of the organizers and the speculation of artists, a realistic upsurge characterized by "selling coolies" is in full swing. A considerable number of Chinese paintings blindly advocate complexity, diversity, fullness and fineness, and enthusiastically pursue texture effects and new technologies and techniques to cover up the author's lack of knowledge and kung fu cultivation. What the audience sees is only colorful technical display, but they can't see the painter's true feelings, which makes Chinese painting more and more artisan, similar, rigid and numb. In the long run, the realists themselves will be alienated and strangled under the banner of promoting realism. Regrettably, the decision-makers are still intoxicated with the various Chinese paintings under renovation, and regard "Kung Fu" as "Kung Fu" and glitz as prosperity; Some artists, under the temptation of interests or fashion, try their best to try to figure out the taste of the judges, try their best to meet the market demand, and produce repeatedly like products. A short, flat, fast and suitable creative model has quietly formed.
In this way, Chinese painting has been bound by a very narrow artistic concept for decades, clinging to "description" and clinging to piling up and pretense. These seemingly serious but empty works seriously ignore the leading role of human emotions in artistic creation and the exploration of national art. On the other hand, some so-called "freehand brushwork" in the form of "Mei Zhu Lan Ju" that seems familiar and empty is popular in the Chinese painting market. Most of these works are at a low level and have little academic value. The proliferation of all kinds of fake and shoddy works under the traditional guise not only ruined the academic atmosphere of Chinese painting, but also drowned the truly valuable innovative works in the sea of Jiang Yang with inferior pen and ink games, which is also an important internal factor for many China painters to avoid the literati's freehand brushwork and join the academic production army. At the same time, because the freehand brushwork of ink painting needs the painter's learning and talent cultivation (it needs the painter's long-term and arduous accumulation of programming language and rich cultivation of humanistic knowledge, and it often takes decades of accumulation efforts, which is not only late in maturity, but also difficult for predecessors to surpass its paradigm), it is regarded as a fear of the road by many China painters in today's social environment where the pace of life is accelerating and cultural utilitarianism is increasingly strong. All these have seriously hindered artistic innovation, stifled academic life and aggravated the crisis of freehand brushwork. These are all related to the impetuous atmosphere of society and the loss of cultural pursuit.
In fact, in contemporary times, the freehand brushwork of ink and wash still has unparalleled charm. It is unforgettable because it is an art dominated by black and white and has its profound philosophical connotation. The color concept of China's ink painting is fundamentally influenced by Taoism, which regards "nothing" as an all-encompassing "infinite realm", regards the realm of pursuing "nothing" as a great realm, and thinks that there are extremely rich color changes at the black and white poles. The freehand brushwork of ink painting "melts" the colorful world into the world of ink painting, full of mystery and reverie. Secondly, due to the transparency and blending of ink and wash, coupled with the uncertainty of the wonderful infiltration of raw rice paper and the magical uniqueness that can't be met but can't be sought, Mo Yun painted in ink and wash often brings people an unexpected pleasure, which fully embodies the beauty of isomorphism with the world rhythm pursued by China painters. Ink freehand brushwork has become the ultimate goal of modern painting, expressing the richest and most profound artistic conception with highly concise and refined artistic language. In fact, ink freehand brushwork has already entered the "modern" art form because of its charm, rhythm, melody structure, black, white and gray scheduling, imagery of modeling, plane sense of screen space and freehand brushwork. As the product of the development of Chinese painting to a certain height, ink freehand brushwork still has a long way to go, whether in the continuation of its own history or in the universality of painting. It is important that the development of Chinese painting should have its own academic independence. Painters should maintain their inner freedom and independent personality, and strengthen their sense of social responsibility and aesthetic pursuit; Art educators should reflect on the neglect of traditional techniques and traditional cultural spirit in Chinese painting education, get out of the misunderstanding of Chinese painting education, take the dissemination of national culture as their responsibility, and rebuild the subjective consciousness of China's painting.
The brush-and-ink formula of Chinese painting is the result of long-term practice by painters of past dynasties, and it is an important gene of China traditional painting. It is rooted in China's long-standing national culture and artistic spirit, and fully embodies the unique taste and national style of formal beauty of Chinese painting. In this sense, respecting the value and significance of pen and ink means respecting the national position and artistic essence of Chinese painting. Montaigne, a French thinker, said, "The most important thing in the world is to know yourself." In the development of Chinese painting, we need to know ourselves step by step and realize our self-awareness. The freehand brushwork of ink painting is the sum of the painter's unique life experience, personality and cultural accomplishment, and the painter must always trace back to the source in the tradition of Chinese painting. Inheriting tradition means inheriting the cultural spirit and aesthetic consciousness formed by the Chinese nation for thousands of years, such as "harmony between man and nature", "vivid charm", "taking the spirit from the shape", "vivid portrayal", "from the source of experience" and "unlike each other" and so on. Secondly, China painters should stick to the accumulated skills and knowledge, and pay attention to the use of the symbolic language of "pen and ink". As for "painting with books", because our times, concepts and knowledge structure are very different from those of the ancients, we can only require that we emphasize "the meaning of books" and "the meaning of painting" in essence, not just the brush itself. Only in this way can it be conducive to the development of modern Chinese painting. At the same time, a painter should have an independent personality and profound humanistic quality. Dong Qichang in the Ming Dynasty said: "Read thousands of books, take Wan Li Road, get rid of the dust and turbidity in your chest, and naturally camp in the hills and valleys." Modern Pan Tianshou further said: "Ancient painters were good at cultivating lofty and broad-minded spirit, pursuing spiritual tranquility, clarity, freedom and independence, but refused to be tired of powerful people and arrogant between Shan Ye and water, so as to fully cultivate personality." Art is the product of the times, but it should go beyond the times. Therefore, a painter must have a noble personality, not be persistent, not follow the trend, not be fettered by current politics and the market too much, have a keen observation and deep thinking on society and life, and have a deep understanding of the natural connotation, so as to maintain a moderate "transcendence" of society. Chinese painting emphasizes "nationalization", which is not the same as "retro". As a modern China painter, his way of thinking observation should be pioneering-he should have a firm stand on China and a broad world vision. On the premise of retaining the most basic characteristics of Chinese painting, ink freehand brushwork should draw nutrition from modern art, draw lessons from the western modeling concept of "plane composition" and pay attention to the application of this modern creative method and modeling concept of "picture composition"; Starting from the artistic features of China's pen-and-ink structure, this paper discusses the transcendence of "pen-and-ink-centered" formal language over "modeling-centered" formal language, and the relationship between traditional pen-and-ink and modern structure, so as to re-understand the connotation of "setting aside the old" in Chinese painting, integrate pen-and-ink structure, observe and analyze objects according to the laws and characteristics of pen-and-ink structure, cultivate the habit of summarizing objects with pen-and-ink structure, and re-improve the understanding of pen-and-ink structure.
Re-recognize and actively explore the aesthetic value of China's traditional painting, and deeply explore the contemporary significance of freehand brushwork spirit, so as to inherit and carry forward the excellent and elegant freehand brushwork art of ink and wash, and open up new bright prospects for China painting in the 2 1 century.