Through the discussion of various pen and ink techniques, Mr. Lu finally broke through to a new level of expression in his works: hook cloud, hook water, big blank space, ink block and so on; The special technique of "latecomers don't refuse" is a successful pioneering work of its unique style. The method of hooking water has existed since ancient times. Ma Yuan, a master of landscape painting in Song Dynasty, wrote twelve volumes of Water Map. However, it is Mr. Wang who really combines ink painting with modern landscape painting. He is good at depicting the surging and endless trend of rivers, lakes and seas to the fullest, whether it is rapids, rapids or whirlpool splashing; Still surging river, full of twists and turns, its pen and ink are powerful, and its lines are changeable and vivid.
Mr. Lu created two new techniques in landscape painting, one is "blank space" and the other is "ink block". The so-called "blank space" is to leave white marks with ink and wash, which are mostly used to express clouds in Mr. Lu's works, and can also be regarded as springs, mountain paths and waves. Because the blank space should be compared with the ink color, Mr. Lu created the method of "ink block", which was piled up into blocks with thick ink.
Gouyun method
Mr. Lu writes freely; The smooth flying adds to the expressive spirit of the picture, and it is also full of flying momentum. Moreover, for the yin and yang sides of the cloud, plus the thick and thin pen and ink, the layers are distinct.
Block cloud method
Block with ink, layer by layer, or hook with lines; Or write a review of the situation, count white as black, repeat the cycle, leave blank just right, very natural! What's even more exciting is the combination of hook cloud and ink accumulation. Ink accumulation is used in front of the rock, and the line is hooked behind the rock. The movement is clear, the machines and tools are bright and full of weather. summary
Lu is a rare master of landscape painting in contemporary China. With his profound skill, profound talent and extraordinary creativity, he created a unique artistic style of contemporary landscape painting and climbed another peak of landscape painting art.
His landscape painting creation has great influence in the world. He and Li Keran are called "Northern Li". However, from the perspective of traditional pen and ink, his achievements are obviously above Li Zhi.
In his early years, Lu studied painting, poetry, and then studied with him.
Lu Shanshui started from the orthodox Four Kings School, and then traced back to the Song and Yuan Dynasties. His copy works 20 years ago were regarded as genuine by Feng Chaoran. I also visited Wang Shigu, Wang, Dai and other original works of Ming and Qing Dynasties. These pro-books have profound skills and elegant style. In his view, the works of the four kings, in all fairness, still have the value of existence, and there are many laws left over from the Song and Yuan Dynasties, which were handed down by the four kings. He did not blindly worship famous artists in the history of painting, but chose the best. He believes that Shi Tao's clumsy pen and ink, novel and ingenious small composition, have something extraordinary, but its breadth, no matter how far-fetched and embarrassing the commercial position, has not reached the realm of freedom and balance. He learned from Wu Hufan not only because of his fame, but also because he was a leader in his artistic career.
Reading Lu's landscape paintings often gives people a fresh and meaningful feeling. It has an extraordinary aesthetic taste, and there is a lingering spirit echoing in it, emitting a flowing spirit. Myopia has a unique and charming sight from a distance. In particular, the original style, magical pen and ink, spiritual charm and high-grade art with literati breath have a fascinating aesthetic feeling.
Lu has always regarded traditional literati painting as the highest criterion of creation, but this natural carving is by no means a pen-and-ink game for ordinary literati. His paintings are based on superb and solid pen and ink skills, with the broad feelings of sadness in his chest as the horizon and the persistent pursuit of art as the basic point. His paintings actually come from life, but they are not just images in natural life, but an objective generalization and refinement. His paintings have no artificial elements, but have management knowledge; Self-restraint without self-pity, but full of vitality, makes people feel fresh, meaningful and energetic. His landscape painting is an art with a strong sense of the times, which has reached a new sublimation of the artistic realm of landscape painting. His paintings, no matter from which angle, have quite high aesthetic value.
Lu's landscape painting creation can be divided into three periods: before, during and after. From 1950s to early 1970s; 70-80' s; The later period began in the 1990s. However, there is a gradual process during the period, and sometimes each period cannot be completely separated.
The early works showed meticulous aesthetic feeling and flowing charm, leaving more brushwork of the ancients, especially the legacy of Tang Yin and Wang Meng; The mid-term works are vigorous, bold and simple, with distinctive personality and unique style. The later works appear sloppy and barren, mainly because of bad mood, illness and the influence of commodity economy. I want to seek change in my later years, but I can't get what I want. But in any case, the evolution of Lu's painting style is from meticulous painting to simplicity, and simplicity has a refined and changeable realm. His paintings are both rich and ethereal, with emptiness in the rich and truth in the ethereal. This ethereal, real and illusory realm actually presents the most profound meaning of cosmic life to people. It has its own aura outside the chemical industry, and it is a perfect combination of a painful and extraordinary life perception and a profound and unpredictable cosmic realm.
Lu has his own unique views on how to innovate China landscape painting. In his view, the emergence of landscape painting as a painting method is a milestone in Chinese painting. Since then, the author has only made improvements and repairs within his scope, or surprised the composition, or became more mature in pen and ink, otherwise it is impossible to talk about the innovation of Chinese painting. He once said: You can draw a picture with cleverness, but you can't really draw a good picture without traditional skills. But in any case, pen and ink are the primary conditions for the innovation of Chinese painting. Needless to say, Lu's landscape paintings are more unique in form and composition. Especially the strange changes of Naba Mountain, Shushui River and Xiajiang River, through his exploration of various pen and ink techniques, his creation finally broke through to a new level of expression. Especially when he was about 70 years old, his landscape painting had some painting techniques, such as gouyun, blank space and ink block, which were rare in traditional expression techniques. These new expressions are not only the symbol of his landscape painting reform, but also an important turning point in forming his unique style. His paintings are good at brushwork, brushwork meets brushwork, and the rhythm of brushwork is very attractive. However, his skin color is different from that of Wu Hufan. He emphasized highlighting lines in cyan coloring, absorbing lines drawn by Dunhuang and Tang Dynasty, and then adding Zhao Mengfu and Qian Shunju.
It is worth noting that Lu's outstanding innovation in pen and ink techniques is his Cloud and Water. Let's talk about drawing clouds first.
Yunshui
1948, Mr. Lu crossed the Three Gorges on a raft, and the rapids met along the way, and the water echoed and surged. In the meantime, because of their different structures, the upper and lower pearl pools were hit by stormy waves, playing tricks on their situation and surviving natural disasters. Since then, Lu has constantly explored and improved, and began to use lines as semi-arcs, which belong to positive and negative phases and are connected into lines, and the lines merge, gather and disperse, and change; Some paintings spin and overflow, leaving blank space to break them; Sometimes, it's simply mixing nets with towels, or making waves for change.
It is worth mentioning that it would be even better if the clouds and water painted by Lu appeared in one painting at the same time. Because of the different ways of expression, the cloud is an arc with a circle and the water is an arc with a flat; Clouds are vast, curved and simple; The current twists and turns, or rushes or swallows, so the lines are complicated. In addition, the water is flat, the cloud is three-dimensional, the water is swirling, and the pen is complex and thin; Clouds are mixed, pens are simple; Therefore, cloud and water are planted, and it is judged that cloud and water are not confused, but echo each other and set each other off. These wonderful creative techniques of clouds and water have formed the dynamic trend of his pictures, which makes his pictures fresh as a whole and constitutes the dynamic beauty of his paintings with a special aesthetic concept, which is really rare among ancient and modern painters. No wonder Mr. Qi Gong wrote a poem praising him: The water in Shu is clear and the mountains are green, but who knows that pedestrians are in danger? Yesterday, he put a picture on the pillow and listened to the sound of the waves all night. People are often shocked by the rising trend, and some people say that its source is the natural revelation of the nature of the land itself. In fact, the reason lies in the dense scale of the mountains and rivers it draws. Unless it is large, empty, white and ingenious, it is impossible to make it light. The root cause is the compassion in Mr. Lu's heart. ..
Mr. Xie praised him: during the Tang and Song Dynasties, he was an expert in painting water, but the lack of books in history, that is, an expert during the Tang and Song Dynasties, was not enough for me.
Understanding Lu's artistic originality is of unspeakable positive significance for us to further identify his works and grasp his personality style.
authenticate
There are many forgeries of Lu, which are often seen in galleries and auction houses. The forgers are mainly his disciples, relatives or some so-called believers, especially those from Shanghai and Hangzhou. A close look at landscape painting can be grasped mainly from the charm of the pattern. Generally speaking, the charm is vivid, the style is noble, the color is bright, and it is seamless, flowing and free from vulgarity, which can generally be regarded as an original. In addition, we can also use Mr. Wang's words about identifying calligraphy and painting to identify Lu's forgeries, which is more distinguishable. Forgery experts pay most attention to pen and ink, silk, inscriptions, seals and so on. , and can imitate Xiao Wei in outline layout and brush strokes, which is easy to sell. But small places, such as moss, leaves and slopes, are difficult to cover everything. Every time I focus on this, it's easy to get his feelings. Because Lu's life was full of disasters, his temperament was simple and stubborn, which was reflected in his paintings. He will be earnest and practical, and will never be careless.
Structure, inscription and other aspects to identify the authenticity of Lu landscape painting, can be distinguished from the above aspects.
structure
The works of painters and painters are carefully conceived and reflected in the picture. Each tiny part has its own intention, unique habits and ideas, and at the same time, it also shows personal style, reflecting the skill characteristics and artistic level of the painter and calligrapher.
Anyone who has seen Lu's paintings knows that he never writes a small draft, nor does he have to make a draft first with a bad pen or light ink.
However, some large-scale works have a sense of looseness, which is closely related to his artistic personality and creative habits. The average forger doesn't know this, and it is hard to use a pen, so it is inevitable to look at each pen in imitation. If you don't look at the picture, it will inevitably become superficial, either because the gas bureau is cramped, the pen is soft, and the pen and ink are dull, or it is false, mean and rigid, and has no artistic conception.
inscription
To identify Lu's inscriptions, we must first understand his calligraphy personality and his academic origin.
In order to let readers have a more comprehensive understanding of Lu's calligraphy, we might as well record a confession about Linchi's calligraphy in On Learning Painting: My calligraphy is as good as painting. /kloc-started posting at the age of 0/4. He first came to Longmen, and among the 20 products, Wei Lingzang,, and stone. After Zhang Menglong, Zhu Junshan and other historic sites. After the age of 30, I studied Long Ting for many years. Later, I gave up the temporary post and read it instead. I especially like Yang Ningshi and Song Sijia's posts, trying to find out how to write, pointing to my stomach and remembering comforting words in my mind. I have a surplus and have been copying books, so I have accumulated a lot of paper.
It is not difficult to see from history that Lu's calligraphy has two characteristics: one is to learn from others; The second is to innovate. He also said that writing is the best training method for drawing pens. To learn painting, you should learn from books. Good handwriting can not only increase the aesthetic feeling of the picture, but also help a lot when using the dotted line. The difference between a master painter and an ordinary painter is that the master's personality style has changed significantly in his life, and he has his own profound and unique painting ideas, which are beyond the reach of ordinary painters. Mr. Lu Shaoyan left countless works for future generations in his life, among which the number of fine works was amazing; At the same time, he left hundreds of thousands of words of written works, which provided effective help for us to study his art. Based on personal experience, this paper makes some analysis on his composition, pen and ink, style changes and so on in the early and late period, in order to teach people.
The organization and structure of an article
Composition, that is, the process of dealing with mountains and peaks, and the creation of landscape painting, mountains and peaks are the key. Because trees are born on rocks, roads and springs are winding and looming because of rocks. Considering the knowledge of the ancients and his own observation of the real landscape, he realized that the vein of the mountain is like a winding dragon, and creating a landscape painting is part of it. The peaks are continuous, and the potential is like a dragon. To show the extension of mountains and rivers under the control of the general trend, he found that stones, whether regular or irregular, should be painted on all sides, which is called' winding'. If so, the overlapping stones will become peaks, and it will be easy to go around.
This is a very important discovery for me. Because of this discovery, when he painted the peak, he could stretch freely according to the needs of the situation. Of course, the ancients felt this consciously or unconsciously, because in ancient landscapes, there are many examples in which stacked stones can be turned into peaks and hills, but it does not seem that painted stones can be painted on all sides and turned around. This discovery of Lu is obviously of far-reaching significance to his landscape painting creation.
Lu's creative experience not only comes from his study of landscape situations by observing real landscapes and sketching, but also comes from his exploration of pen and ink forms. In this respect, Lu Dui has a unique research and his unique views.
Lu used the contrast between reality and reality to highlight the theme of the picture, and used pen and ink to compose himself. He wanted to show the traces of the brush strokes themselves. Therefore, blank space is almost walking in the gaps of all kinds of handwriting in the whole picture-because if there is no blank space around the handwriting and there is no blank space below, it is difficult to clearly exist the traces of the pen and ink itself (although blank space or ink color can also be used to set off the handwriting, but the effect of setting off is not as obvious as blank space). Therefore, Lu's landscape painting seems to be based on white and black. This white one refers to paper, and the black one refers to pen and ink. Black is not only carried in the body by white, but also used to mobilize white. If he finds that the air mass in the picture is too loose, he tightens the air mass with pen and ink. If he finds that the gas is too tight, he will use pen and ink to channel it. This is to use black to mobilize white.
Lu pays attention to imposing manner in composition. He first asked for a big picture, that is, to highlight the theme, and then asked for a tendency to paint. The so-called tendentiousness is to ask the whole picture to fall to one side. This tendency is produced by the cooperation of many parts. The so-called openness leads to closure, and there must be some tendency between openness and closure, that is, seeking the same tendency in mutual response. Big opening and big closing include small opening and small closing, which means that small potential should obey the general trend. Taking advantage of the established situation, the big place landed, but the small place could not be put down. As small as a part, it should be important, and even the smallest thing should serve this trend. The next stroke, we should gain its potential, not weaken it. Make sure that the pen and the pen have a landing, that the pen and the pen can be seen, and that the pen and the pen are both useful and can stand scrutiny. Every time a part affects the whole situation, it is decided on a potential. In fact, this is to accumulate momentum through pens and pens, so as to obtain its momentum everywhere, thus forming a general trend. As he said in "Stacking Method", it is one of the three tricks to discuss composition: sometimes it is intentionally layered or even stacked several times in succession, so that the picture can be three-dimensional and at the same time accumulate strength to obtain its momentum. Just between the overlaps, there should be some changes, otherwise it will be easy to board the ship. This method of gaining power is actually seeking change in neatness. It is precisely because Lu asked pen and ink to borrow momentum, borrow momentum everywhere, and seek change from neatness, so in many of his landscape paintings, peaks are intentionally stacked to borrow momentum, and almost all the peaks are tilted in one direction, thus forming an overwhelming momentum. This is the outstanding feature of Lushan water painting.
The construction potential of the two aspects analyzed above can also be called the two stages before and after. The former can be called layout, even if the handwriting is in place; The latter can be called fortune, that is, when the potential is in place, the handwriting will produce force, which will make the potential effectively act. Lu's early landscape paintings, that is, he paid attention to the layout of calligraphy in order to gain momentum, but it can be seen that although the calligraphy in his early works was generally in place, the intensity was not enough, and the calligraphy did not greatly draw the overall momentum. Although the pen is dense, the momentum is not very strong, but there is a sense of implication. Later landscape paintings tend to have a good fortune, and the simple and dense handwriting sometimes meets, while the momentum is very prominent with simplicity.
Pen and ink-writing
Lu's theory of using pen is urgent, slow and appropriate. It sometimes vibrates, sometimes understates, and sometimes leisurely. It's all an article. Sometimes I roll up my sleeves and scream. Writing is like a storm, and it is completed in an instant. If you don't put it in the first place and want to fall, the actual situation changes and you can't speculate. This is a combination of pen change and creative mood, handy. In the practice stage, in order to change the pen, he asked: ① the pen should be vertical, the minister should be down, and the vertical pen should be used alternately; (2) the two are used alternately; (3) move the middle finger, because the middle finger is closest to the pen tip, and a slight movement will cause subtle changes between stippling; (4) Use the rhythm of the pen, move around, and fly with a few strokes between a few dignified and steady strokes, making it uneven. Lu emphasized the change of using the pen, which is due to the law of using the pen itself and the need to express different objects. So he said: peaks, rocks, houses, bridges and the like are static things, but they are painted steadily. Clouds, water, etc. It should be drawn smoothly. Grass trees move when there is wind, and they are quiet when there is no wind. Painting snow scenes should be quiet, and painting strong winds and heavy rains should move. Because of the different objects, the painting method is different. Mountains are still, because the flow of clouds and air is conducive to seeing; The rapids are moving, the rapids are moving. As the rocks stand tall, it is beneficial to watch their movements. Some pens are calm and dignified, penetrating the back of the paper, and have an unshakable trend, which belongs to static aspects, such as drawing rocks. And painting clouds and water, flying smoothly with a pen, is in sharp contrast with the pen and ink of rocks, making the movers move more and the static more. But on the other hand, there is movement in silence, and there is stillness in movement. Because of the flow of clouds and gas, the mountain peaks seem to be running; The rapids wander because of the obstruction and suffocation of rocks.
Lu talked about using ink, thinking that using a pen is good, and ink will come naturally. He believes that the so-called' multicolored ink', if the pen is not good, there will be no wonderful colors. The key is to use a pen, and ink is born from a pen. The pen is not dry and the ink is not rich. Considering the effect of using pen and ink, it is actually necessary to highlight the role of pen in using ink. One is that wet ink (ink with more water) should be used quickly, wet ink should be lifted more, and dry pen should be pressed more, so as to make the best use of the situation. Here, it is advocated that wet pens should be used quickly and lifted more, so that they can be seen and avoid the pasting of handwriting caused by too much ink. The second is to write evenly and have a kind of concentration in your heart. Regarding the average kung fu of writing, Lu explained that the hair of the brush should be scattered, not scattered; And said that communication is different from diffusion, although diffusion is still gathering. In addition, he also explained that the tight knot is the brushwork. Loose and taboo are not loose and tight, but tight and sick, and the sin between pens is knot; There is neither emotion nor connection between pens, and each pen is responsible for itself, so it is loose and pathological; If you go with the flow and feel the same, you won't be nervous if you don't fight with each other. Mutual development and mutual restraint, and the trend goes down, although the gas veins are interlinked.
Lu's view of using ink is based on using pen, or it can be called the carrier of using ink; In specific applications, ink is based on composition and is the blueprint of the frame, so as to arrange the shade of the whole picture frame. Judging from the whole pen and ink framework of Lushan's water painting, it is indeed based on coarseness, from coarseness to lightness. He often asks to show a few thick and spicy brushstrokes on the screen as the vivid head of a painting, or it can be called the skeleton of the painting. Under these spicy brushstrokes, he generally asked that there should be no other pen and ink to pave the way-sometimes there will be shades after splashing ink, and of course there will be shades of overlap and penetration, but he asked that the shades of pen and ink should never be completely covered by light ink, but a part of spicy head should be exposed. In addition, after drawing these spicy strokes, don't cover them with light ink-at least not all of them. Only in this way, these thick strokes are transparent (because there is no other pen and ink below, so they can penetrate into the back of the paper), and they are spicy (because there is no other pen and ink above, so they don't look boring), so they can remind the spirit of the whole painting.
Actually, the key is the pen. In other words, the greasy ink is mainly caused by knotting with a pen. Tight and sick knots, from pen to pen. In other words, the pens should be spread out, not too tight between pens, and not messy between pens. It must go with the flow, have the same feelings, and not fight with each other, although it is not close.
So is painting boring only related to improper use of pens, but not how to use ink? Lu pointed out that using ink is illegal and greasy. The method of using ink, the ink added in the first layer must be different from the shade of the ink in the second layer. Thick ink and light ink, light ink and thick ink, or dry before wet, or wet before dry, so there are many levels, but I don't think there are many. With each additional layer, the pen can be disassembled. Very harmonious and clear, so as not to be bored.
Lu's emphasis on pen and ink is obviously focused on distinctiveness and prominence. Of course, he believes that this is not only a question of skill, but also related to the painter's character cultivation. Therefore, he advocates reading more and writing more, the polluter asks for it, and the cleaner asks for it, so that the pen and ink can be refined, flying and changing, washing away evil spirits and attracting the spirit. In other words, people who use their pens in disorder and aimlessness should purify their qi and make their pen and ink concise, concise and clear; Those who are cautious and lack charm in pen and ink should escape anger and make pen and ink change slightly. There is also a degree problem involved here. Pen and ink are too messy, too miscellaneous and too greasy. On the other hand, pen and ink are too clean, not messy, too miscellaneous and too lifeless.
The same mountain type, because of the change of pen and ink, can change into many different faces. This kind of magic seems simple, but it is not easy to achieve change. Every face should become pure and essential. On the one hand, it is required to be pure and not mixed, just like every famous wine, it should be pure and mellow, and it should not be doped with other impurities; On the other hand, pen and ink are required to have the power to support bones. In front of me, I compared composition to skeleton and pen and ink to clothes, just to emphasize the position and shelf function of composition. This is the role of composition before pen and ink are realized. In addition, the composition should have the function of pen and ink, which is formed by the potential ecology and cannot be separated from the support of pen and ink. Therefore, when considering composition before writing, the position of composition is the main role for the painter. At this time, the painter can take the pen and ink to see the composition, and regard the composition as stripping the skeleton of clothes (pen and ink); When writing, we mainly examine pen and ink, and at the same time consider the function of pen and ink to realize the composition, which requires pen and ink to support the composition. Of course, we should consider the skeletal characteristics of pen and ink itself. If clothes are used as an analogy, a person should look beautiful in clothes. First of all, he or she should have a good figure. Second, the clothes and fabrics he (she) wants to wear should have good texture and workmanship (properly placed to highlight his (her) figure), and the clothes themselves should have good bone strength. For people with the same body shape, it is extremely important to show the beauty of the body shape, and there is no doubt that the clothes themselves have suitable bone strength display. This is why painting with the same composition and different pen and ink quality will also make a big difference.
The function of composition is different from that of pen and ink. In addition to the same composition, the pen and ink have changed, that is, the composition is summarized as simple, and the pen and ink are interpreted as complex, or vice versa, that is, the pen and ink are summarized as simple and the composition is interpreted as complex.
style
As mentioned above, Lu's early landscape paintings pay attention to the detailed changes of pen and ink. Because of his careful changes in pen and ink, the painter's spirit of using pen and ink, as well as the performance of his pen and ink itself, are generally convergent (thus implicit) rather than unrestrained (thus, as he himself said, he has not yet reached the realm of calm and happiness). He was calm and happy at that time. As mentioned above, he controlled it after using the pen twice. From the composition point of view, although the appearance of some mountains has changed greatly throughout the country, in fact, the internal structure has not changed much. Although he also strives for innovation in composition, he has not reached the right level in creating the overall momentum because of little change in local structure. As far as the face change of the whole painting is concerned, because it is mainly devoted to Sri Lanka, there is indeed an attraction in the atmosphere of the whole painting. I thought this was the charm of his pen and ink.
Lu's famous painting methods of cloud water, ink block and blank space, the former he painted in the early and late stages, but the former paid attention to the needs of local ink charm, while the latter was purely based on the needs of the overall temperament. Ink block and blank painting were created in his later period, which was obviously considered from the overall momentum in painting. For the overall momentum and charm, we must be concise and prominent in front of pen and ink. As for the decoration of the face, it doesn't matter to him.