The so-called "ink interest" is the change through the integration of ink and wash. On white paper, with a brush, with black and white poles and different shades of black, the complex and colorful world is represented. Ink painting not only achieved the effect of black and white objects, but also got rid of the fetters of color and shape and reached a new height in spatial understanding. As a solid color, ink is a real existence in visual expression and psychological feeling, while white paper without brush strokes is a virtual space, which provides the possibility of management for black. The two complement each other, that is, the so-called "black hours count white" and "knowing white and keeping black".
When painting, I try my best to dive and swim in the fresh and delicate natural atmosphere, and integrate the complex relationship between rich and overlapping natural States into the moist vitality between brush strokes and pen and ink, the carefree travel experience between splashing and dripping, and the rich and unrestrained impression between burning and accumulation. In the Tang Dynasty, Zhang Yanyuan said in "Famous Paintings of Past Dynasties": "The husband's yin and yang are steamed with pottery, and everything is intertwined. Metaphysics dies, and God works alone. The vegetation is glorious, not waiting for Lu Dancai; Clouds are flying, don't wait for lead powder to turn white. The mountain leaves no green, and the phoenix leaves no color. Therefore, it is proud to transport ink and use five colors. If you are interested in five colors, the image will be good. " In my creation, my pen and ink will change randomly according to different interests and concerns. The overlapping relationship between complex structural features and natural features can be transformed into the living atmosphere in painting through the melting and casting of the soul, and the traditional pen and ink form and character can also be reasonably implanted into painting through the painter's own understanding. It is precisely because of the practical process of pen and ink acting on Xuan paper that we have accumulated rich experience. With pen and ink, black and things are integrated, heavy ink is not turbid, light ink is not thin, and ink is added layer by layer. The heavier the ink, the brighter the painting, the lighter the ink, the more elegant the painting and the more colorful the painting. Therefore, literati painting has a special liking for ink painting.
The so-called "interest" means that ink painting borrows black and white, which makes the painter avoid identifying objects and shaping real images in his creation, so as to concentrate on expressing the meaning outside the painting by borrowing objects. Literati painting has always paid attention to "keeping the shape as it is" and "living outside the image", but it is not sought after by traces. Shi Tao put forward in "Bitter Melon and Monk Painting Quotations, Pen and Ink Articles": "Ink splashes pens with spirit, and pens transport ink with spirit. Murphy can't be cultivated, and the pen can't be killed ... He can cultivate but can't understand that the spirit of the God of Life is ink without a pen, and the spirit that the God of Life can cultivate is a pen without ink. " As can be seen from this passage, it is much more important to express life and spirit than to simply carry pen and ink. If the painter does not pay attention to moral cultivation, he can't achieve the clever effect of using ink; If a painter doesn't pay attention to observing life, there is no charm in using a pen. Only by carefully observing and experiencing life, and integrating the beauty of nature with the source of self-mind, can painters create works with the concept of "harmony between man and nature".
Therefore, when painting, ancient literati painters focused on pursuing the interest of pen and ink and the abstract expression contained in pen and ink. In other words, through abstract pen and ink, the painter shows not the external image world, but the artist's inner ideal world and feelings. For example, Badashan people, whether painting birds, fish, flowers or landscapes, show their inner world and artistic value orientation even if their themes are different. Badashanren's paintings are mainly freehand brushwork in ink and wash, with strange and exaggerated images, especially those birds, who curl their legs and shrink their necks, or perch on one foot, hanging on one foot, cowering on the dead branches and residual loads, looking bullied but unwilling to yield, sad, angry, generous and stubborn. When he writes with pen and ink, he is concise, cherishes ink like gold, overcompensates if he has more, is infatuated if he has less, is proud and full of interest, is rich and round, escapes from the cave and integrates his feelings and interests into the painting. Ni Zan, a literati painter in the Yuan Dynasty, said that his painting ambition was out of shape, only expressing his personal escape.
The so-called "literary interest" means that literati painting must reflect the literary spirit. Literati painting is an art combining literature and painting, which requires both literature and painting. Throughout the history of painting in China, no scholar can paint both poems and essays. They have accumulated skills and honed their poetry and calligraphy all their lives, such as Ni Zan, Shen Zhou, Tang Bohu and Dong Qichang. Almost all China literati follow such a development law-from entertaining themselves to entertaining others, most literati painters don't make a living by selling paintings. In their spare time, they hold pens, spread out paper, draw a few strokes, express their feelings and send them to reason, which is really enjoyable. Draw more, draw better. In addition, literati painting is essentially a literary image, full of wisdom and poetry, and more and more people naturally like it.
For wise men and people with lofty ideals, the process of entertaining themselves is actually a process of persisting in learning and exploring, constantly enriching their spiritual world, constantly improving their knowledge and quality, and constantly seeking breakthroughs and innovations. Foolishly think that talent and temperament are the first to determine an artist, while innate talent will be displayed by temperament in the future, and technology is far behind. How many people have honed their skills, and in the end they are subtle craftsmen, but without divine light, it is difficult to be called everyone. Divinity comes from literariness, philosophy and interest.
Isn't the subtle influence of ink and wash on Xuan paper exactly the infiltration of literati and painters' mood bit by bit? In the meantime, there is always a wonderful scene, simple and elegant, with the ability to express feelings. This is also like writing an essay or filling in a poem, which requires the creator to accumulate knowledge for many years. That's what the so-called "Kung Fu is beyond poetry" means. The essence of literati painting is culture, and it is the inheritance of Chinese culture that melts into one's own blood bit by bit.
The so-called "small interest" is an impromptu work that is very concise from the image to the pen and ink. It is generally called a short sketch, which is relative to a large-scale and thematic work. Small paintings are small in scale, usually within one foot or several feet; The content is simple, requiring conciseness, generalization and simplicity, and seeing the big from the small; Full of interest, giving people a beautiful, natural, comfortable, light, emotional, simple and quiet aesthetic enjoyment. In the art of Chinese painting, small paintings show unique artistic characteristics.
Looking back at history, a large number of fine works of art left by our ancestors are small-scale masterpieces, such as Wang Wei's Snow Stream Map, Li Tang's Cattle Grazing Map, Zhao Meng's Autumn Color Map, Ni Zan's Autumn Wind Map, Dong Qichang's Autumn Eight Scenes and so on. Therefore, regardless of the size of the ruler, art can be described as follows: "A distant painting can write a thousand miles of scenery." In addition, it doesn't take much time to create small paintings, and it's convenient to brush them off after meals. But small-scale paintings can be small, and the device must not be small. "Be a mustard seed, thousands of miles away." Although most of the small paintings are improvised, they are all made by the painter after in-depth observation of everything in society and nature, and then after careful thinking, they produce a feeling and express a simple feeling. Small-scale painting can also best reflect the achievements of a painter's pen and ink. The pen and ink of Chinese painting is aesthetic in nature, pursuing the beauty of artistic expression, emotion and calligraphy, especially the pen and ink of small-scale painting.
It can be said that the main way for Chinese painting to enter the homes of ordinary people is small-scale painting, so small-scale painting is a popular form. A few bluegrass trees, a few bamboo leaves and a small scene, with few images and concise pen and ink, are thought-provoking, pleasing to the eye and full of interest, giving people beautiful enjoyment.