● Brilliant, studious, honest and upright. Are the four basic conditions for me to judge a painter.
● Fair, harmonious, profound and natural. It is my aesthetic pursuit and my gradually mature aesthetic system.
● Learn from each other's strengths and double-cultivate "technique" and "Tao". It is my teaching method and my learning method.
● The teaching of Chinese painting, especially dogs, kittens, plum blossoms, peonies, prawns, etc., mostly avoids stagnation in a single "technique" level. Bind people's thoughts and hands and mislead people's children. The correct teaching method should be heuristic "opening the door of wisdom", not limited to a certain school, guided by the law of great art, paying attention to the analysis of language and form, paying attention to the dual cultivation of "skill" and "Tao", and paying attention to the synchronization of thought and times. By analogy, in a real sense, Chinese painting has entered a mysterious and profound hall.
● Chinese painting is more resilient than kung fu, regardless of day and year, than class hours, and more than "wasting 3,000 papers". No matter how smart a person is, it is difficult to enter a room without a thousand paintings.
● When we do local copying, we have to solve two problems: first, the structural relationship between objects and images; The second is the structural relationship between pen and ink. These two relations are the language of Chinese painting.
● The method of using ink is to wash the brush first, and then dip the nib in thick ink. After you put pen to paper, you should use it immediately and finish painting. Learn to adjust the front, color and ink of paper.
● "Skill" and "writing" are always the life of Chinese painting.
● Sketching is not just "collecting wind", but the affinity between spirit and flesh.
● The writing brush cannot be used as a mop. When using a pen, you must use force, twists and turns, and harmony. Don't draw freehand lines. As long as the brush falls on the paper, it has to be shaped and interesting. Without these three things, "walking with God" is impossible.
● Chinese painting pays attention to writing, that is, there is "synesthesia" between the last stroke and the next stroke. The turning point of pen and ink is related to structure.
● Great freehand brushwork also needs to be delicate, and the shape of the dotted line is more demanding. Be bold, decisive and in place.
Unique brushwork can create a relatively independent visual space.
The brushwork of traditional Chinese painting is like that of old Niu Gengdi, which turns out the bottom soil and is calm and powerful. Points and lines should penetrate the back of the paper, be firm and incisive, and the pen can carry the tripod. Pay attention to the shape and quality of points and lines.
● Use the pen, dry but not dry, wet but not stagnant, fast but not slow. The so-called calligraphy pen is the same. The weight of Ji Xu, lifting it, wet and dry, melts a thousand strokes in one stroke, and so does this Chinese painting "one stroke".
● Whether using color or ink, as long as it is a freehand painting, there must be the words "dry and wet shades".
● The eight pen and ink relationships of separation and combination are: rubbing and dyeing, dry and wet shading.
● The pen must have lift. Smooth things are handsome, but floating; Mao's things are old and thick. You can't just be upset, you have to compare.
● Without contrast, there is no picture.
● Use a pen to be: hairy but not scattered, dry but not dry, wet but not rotten, fast but not slippery, slow but not stagnant.
● Every stroke of Chinese painting should be left blank. It does not pay attention to the three-dimensional sense, light, and the "thickness" of the space in the heart.
Sharp, round, neat and healthy are the four virtues of writing brush, and they are also the four functions of writing brush. Take only one, and you will be weak. When used together, it's wonderful.
When a pen falls on a piece of paper, even horizontally or a little, there is a relationship of starting, bearing, turning and closing, which is a "perfect form" of life.
● Although a dead pen is used, the force is sent to the end. Be tangible and sexual.
● The single line is the outline and the double line is the structure. The outline serves the structure. Don't draw the outline too long. Don't draw the outline first, then fill it in. To draw from the inside out, "fill the stuffing first, then fill the foreskin", draw from the inside out, and finally tick the line.
● The line of Chinese painting is a living line, which is vivid. Draw with the meaning of life, which is advanced.
● Shi Tao's "A Pen" is from thick to light, from dry to wet, and its breath is connected.
Slim is a problem. Slim will make you weak. No matter how fine it is, it must be powerful. No matter how good it is, there must be lift.
● Curves can produce beauty. Seeking straightness in music is the dialectical aesthetics of Chinese painting.
● Landscape painting must be painted at least three times, that is, it is thick and transparent. The use of color is wonderful, and it should be used in conjunction with the tune.
● Use for reference. I only borrow your mirror, but I look at myself. You can learn from it, but don't lose yourself.
● You should set up a "core" (major) as soon as possible, take the core as the center, take cognition as the radius, delineate your own learning scope, and strive to make this core grow continuously.
● You should set a "point" (life) as soon as possible, with the point as the support and the profession as the lever, and strive to make this point constantly firm and increase, and at the same time extend your professional lever.
● You should establish a "style" (aesthetic orientation) as soon as possible, take "style" as a beacon, take reference and speculation as a way, gradually learn and deepen, constantly revise, and strive to make this "style" mature.
China painters rely on self-cultivation. Literati painting is "nurtured", "played", not "made".
There are two concepts of shape, one is the shape of an object, and the other is the shape of a point and a line.
● "Pen and ink" will have a sense of rhythm only in the process of "jumping". Similarity is "flat" and going far is "flower". Beauty is also in the step.
● Mud should not be thick and dirty. The beauty of pen and ink lies in the word "kneading", which is distinct in shade and dryness, just like the circle of a clever woman, so unless it is "kneading", it is also called "kneading noodles".
● Meaning, form, reality, shadow and meaning can be called painting.
● Anything that doesn't fit the picture, no matter what it is, no matter how good it is, is redundant.
Jiao Mo saved the painting, so he had to do it.
● Soup stock is "ventilated" and there is no way out.
● Creation, the most valuable thing is the publicity of personality. Character is based on * * *.
● Creation is an unrepeatable artistic labor.
A true master of Chinese painting must have natural talent and persistent efforts, which is an all-round cultivation of "skill" and "Tao". The combination of the two can enter the ideal high position.