On the development of flower-and-bird painting vocabulary
Liu Xinchun (Da Chun)/Wen
In 1950s and 1960s, two famous flower and bird masters, Pan Tianshou and Guo Weiqu, appeared in China painting circle. Their theory and practice have guided and influenced a large number of flower-and-bird painters and played an inestimable role in the development of modern flower-and-bird painting. Mr. Guo Weiqu's artistic ideas of "flowers and birds landscape", "meticulous freehand brushwork" and "heavy color splashing ink" are to combine several expression techniques of Chinese painting, and integrate sketching, coloring, sketching, boneless, smudging, stippling and splashing ink into one. Not only to fill, sketch, emphasize color to express details, but also to show potential by splashing ink on cloth; It is not only the finishing touch, but also the overall momentum, showing a beautiful, lively, fresh and natural style. At that time, Mr. Pan Tianshou created novels and made remarkable achievements in the creation of small landscape paintings. In particular, Pan Tianshou's artistic ideas and thoughts when listening to Tian Ge's paintings had a great influence on my paintings at that time. After studying art for more than 40 years, I have been pursuing a dull, peaceful, quiet and beautiful artistic realm, exploring and breaking the independent pattern of landscape, flowers and birds and figure painting languages. And combine them to form a panoramic language composition, reflecting the regularity of artistic language structure, which is also a problem I have been thinking about for decades.
Point and line are the basic language of all modeling, and also the origin of Chinese painting art vocabulary. From the Jin, Southern and Northern Dynasties to the Sui and Tang Dynasties, painters and theorists in previous dynasties had wonderful expositions on the art of painting and calligraphy, leaving tens of thousands of paintings and calligraphy works. As the language of the Chinese nation, Chinese characters are quite stable in form. Calligraphers of past dynasties let nature look up to the weather of heaven and earth, overlook the changes of all things, observe the rhythm of all things, and give life to words and strokes, thus dancing on the basis of the structure of words and strokes, resulting in the beauty and appreciation of the rhythm of life. For example, points and lines are rigid, smooth, implicit, swift, elegant, vigorous, rough, accurate and free and easy; The harmony, symmetry, contrast, balance, length, compactness and sometimes even lazy or uneven beauty of the shelf structure give people spiritual enjoyment. This understanding of the rhyme beauty of dots and lines has a great influence on the development of painting. The development of Chinese painting in Tang Dynasty tends to be mature, and many famous flower-and-bird painters, such as Huang Quan and Xu Shen, appeared. The exquisite brushwork, quiet thinking, exquisite outline and light-colored gradation in yellow form a rich and beautiful painting style, which is called "Huang Jia Fu Gui" by the world. Xu Xishan painted rivers and lakes with flowers, wild bamboos, mountain birds, gardens, fruits and vegetables, stems and seedlings, insects and fish. The pedant has created the method of "ink dropping", which means "ink dropping is the case, the mottled color is right, and the trace color is not hidden." This painting method of "dropping ink" and "seeing pen" is obviously different from the method of sketching with fine pen and then filling in color. Because of its strength and god, it is more vivid, so the deceased called it "Xu Xiye Yi".
Song Dynasty is a very important stage in the history of flower-and-bird painting in China. In the early years of the Northern Song Dynasty, the painting style of Huang and his son laid a rich and gorgeous tone, which was most respected by the Royal Academy of Painting. "Xu Xiye Yi" was inherited by Xu Chongsi, and gained and lost a little between ink and color. He directly used five-color ink to write flowers, creating a "boneless painting method", which was passed down from Zhao Chang's sketch and injected fresh vitality into the development of flower-and-bird painting. Later, Cui Bai, Evonne, Li Di, etc. Combined to form the overall situation of flower-and-bird painting, which directly affected Qian Xuan, Wang Yuan, Chen Lin and Zhang Zhong in the Yuan Dynasty. The painting styles of Wang Yuan, Chen Lin and Zhang Zhong among the above four people reflect the course of flower-and-bird painting in Yuan Dynasty from meticulous painting to ink painting. Qian Xuan pursues the ancient law, and his character can not be tolerated by Song people. Although it may be out of date, after a hundred years, there is an admirable elegance. Zhao Mengfu, Huang and others in Yuan Dynasty all had this kind of character, while Bian Jingzhao, Huang and others in Ming Dynasty were the representatives of institutional painting school.
After Wen Tong and Su Shi in Song Dynasty, the creation of literati painting forms such as Mo Zhu and Mo Mei created a new world of artistic language of ancient flower-and-bird painting in China, which promoted the development of flower-and-bird painting after Song Dynasty. Here I will focus on the language composition of small landscape painting and literati painting.
Flower-and-bird painting developed from Tang Dynasty to Ming Dynasty. Some flower-and-bird painters and landscape painters painted small landscape paintings (later generations sometimes classified them as landscape series and sometimes as flower-and-bird series), which is worth mentioning. These paintings have both the language of landscape painting and landscape painting; There are both the language of flower-and-bird painting and the language of flower-and-bird painting. Because these paintings are not the relationship between people and mountains and rivers, but the relationship between birds and mountains, streams, ditches, grass, flowers and so on; Through the skillful management of the painter, there are both mountains and rivers and the spirit of flowers and birds. Or lush, or quiet and profound, or elegant and beautiful, or passionate, dignified and natural. For example, Huang Quan's Bird Collection Snow Bamboo Map, Huang Jucai's Mountain Spine Bailing Map, Bamboo Stone Golden Pigeon Map, Cui Bai's Double Happiness Map, Evonne's Ruihe Map, Liang Shi's Lu Ting Snow Map, Zhao Lingqi's Orange Map, Li Di's Fengying Pheasant Map, etc. Leng Xiang's poem, Zhang's eagle pine, Zhang Yanpu's thorn bamboo bird, Li Yan's double hook bamboo, his flowers and birds in four seasons, Yuanyang's duck in Liu Tang.
The Yuan Dynasty has a very special position in the history of China painting, and it is an era when China's painting changed from realism to artistry. In this era, under the influence of Wang Wei and Su Shi's aesthetic thoughts, literati painting tends to be mature, with the unity of subjectivity and objectivity. Painting is no longer a portrait of an object, but a carrier to express will and mood, emphasizing the interest of pen and ink. What should be pointed out here is that the Yuan Dynasty basically formed a pattern of replacing silk with paper. Compared with silk, the performance of paper can better see the change of pen and ink, so it is not an object, but pen and ink has become the center of the painter's attention, and pen and ink can better convey the change of the painter's subjective interest than objects. Painting is like writing a book. At that time, painters had good literature and calligraphy, so painting with calligraphy became a natural trend. With the in-depth development of literati painting, a number of accomplished painters emerged in the Qing Dynasty.
Looking at the development of China's painting vocabulary from Tang Dynasty to Qing Dynasty, is there such a law? Whether it is various painting methods of landscape painting, various line drawing of figure painting, or various ink forms such as double hook and spot dyeing of flower-and-bird painting, it is not a single point or line to describe the mechanism and form of natural form, but the painter's re-creation, which is a vocabulary that integrates the painter's thoughts and feelings, cultural accomplishment and wonderful understanding of nature. Every word is no longer a simple symbol, but a living body with bones and flesh that integrates strength, qi and spirit. Different painters have different words when expressing the same image. Painters use all kinds of words with rhythm of life to express the natural world skillfully, and get an artistic form with both form and spirit and vivid charm, full of natural charm, vitality and magnificent masculinity. The history of painting for more than 2,000 years has collected tens of millions of changeable words, and these tens of millions of living words have evolved from the origin of pen and ink, the combination of bit by bit painting and various natural phenomena, which is consistent with the idea of "one painting" in Shi Tao's Painting Quotations. In the chapter "One Painting" of Shi Tao's Painting Quotations, he said: "Too ancient, too simple, too simple and scattered, and legal. Where the law is, it is based on a painting. " "One painting" is the same as "Tao" in Laozi and "Qi" in Yijing, so "one painter is the root of all people and all things". In this way, it is connected with everything in the world. He not only has a vibrant form of all things in the world, but also has an endless spirit. Not only that, but also refers to "people's hearts" and "seeing God and hiding people". As the most spiritual person in all things, especially the painter, the development of mind is very important. Everything is intentional, but his mind is not open. It's for chaos. When his mind is open, everything will pass and everything will be clear.
Since the 20th century, painters have paid more and more attention to the role of pen and ink language, and there have been masters with distinctive styles, such as Huang, Qi Baishi, Pan Tianshou, Li Keran and Lu. Their pen and ink language has been used incisively and vividly, and each has formed a very individual language structure. Some focus on "lines", paying attention to lines with pens, while others focus on "points", which have expanded the language of Mo Yun and produced good artistic effects. 265,438+The beginning of the 20th century is the spring of the century and the era when the sun rises. Everything is revived, and everyone is happy. China's flower-and-bird painting is also developing rapidly, and it is no longer a single origami painting. Facing the vibrant, changeable, criss-crossing, lush and dense tropical rain forest, and the mountains, flowers and wild flowers in the ever-changing valleys in the north, how to change the pen and ink language of Chinese painting, form new painting vocabulary, and organize their own language structure according to the artistic law and aesthetic consciousness of Chinese painting, I think flower-and-bird painting creation needs four conditions: first, to understand the operation law of the universe, the growth law of all natural things and its endless internal essence. Second, to capture the "one painting" in HarmonyOS's system, that is to say, the painter must have strong ability and skills to control pen and ink, and his painting method is adept at freedom, such as "knowing the cow by skillful hands". Thirdly, the cultural connotation of "one point and one line" in painting is in the same strain as "one point and one line" in calligraphy and should be bookish. Fourth, according to the artistic law of Chinese painting management, pay attention to the position of painting eyes (birds), simplify the complex picture, make it simple and varied, and make the picture achieve a refreshing, vivid, calm and heavy artistic effect.