The mist in the air left white clothes on the walls of those villages, but made those hillsides faint blue. Every tree standing on the hillside is motionless, looking relaxed, but also somewhat aloof.
This situation is familiar. Is it Min Nangong's Wonder of Xiaoxiang, Huang's Fuchun Shan Jutu, or the Fishing Village Autumn Collection? Just a little less cold and a little more moist. The ancient people's concern for lonely and cold places mostly came from an expression of life will and a self-sufficient spiritual character. And when we put ourselves in nature, we are more likely to discover and discover many subtle and beautiful things in nature that we don't care about on weekdays.
..... Those trees on the hillside are swaying gently in the breeze. All their space in the picture is not too much, but it is conspicuous. While carefully sketching their shapes and expressions, I tried my best to understand their mood and realm: standing on a high place, I can breathe freely, I can see a lot, I can see far away-but I also have to bear loneliness and cold, as well as the waves of the Millennium that come with getting colder and colder.
I like to use some words to record my feelings after finishing a work. Some of these words come from nature, some from pictures and some from the process of painting. The above passage is taken from the morning of the Millennium1998123x123cm.
For the word "landscape", we used to have two understandings, one is the landscape existing in nature, and the other is the landscape of Chinese painting. The understanding of traditional Chinese painting landscape generally starts with the most basic moves, such as learning to draw rocks and trees. At first, the understanding of natural landscape was based on the attitude of learning and sketching, and there was an expectation to find some objective basis for the ancients to draw landscapes.
Later, I read in Fan Kuan that he was strong and energetic; I am studying Xiurunhuazi in Ju Ran; In Ni Zan, Red Man and Mei Qing, I experienced tranquility, cleanliness, quietness and peace. Feel happy, witty, painful, lonely and crazy at Shitao Eighth National Congress; From this, I know that traditional landscape painting is not just some painting actions, but we put ourselves in nature, experience and understand with our spirit, and melt into the world of pen and ink. The scenery in our paintings comes from nature and also from the painter's heart.
The surprises and touches brought by the natural landscape are more about the lush life, the magic of nature, the grandeur, grandeur, quietness and ethereality of the scene. Traveling around the mountains is purely spiritual happiness and relief. Facing the natural landscape, I often feel the helplessness and powerlessness of pen and ink. We can't expect to reflect the richness of Taihang and the beauty of Wuyi with pen and ink. Although the landscape in the pen can not be separated from the material form of natural landscape, we should grasp and show the spiritual form of natural landscape in the myriad weather.
The atmosphere of leisure, leisure, tranquility and comfort among the ancient houses in the mountain village, the path, Shan Ye and Laiqi reveals a kind and cordial natural atmosphere. These simple mountain village scenery, in addition to a breath of life and the rhythm of nature, is also filled with a sense of safe passage of time through historical vicissitudes and a sense of affinity between man and nature. As the choice of painting themes and objects, I can feel that they are a living existence, both situational and picturesque. For landscape painting, context and painting meaning are very important.
The first two paragraphs in the annotation quoted at the beginning are the records of the scene, strictly speaking, recording a natural plot. The natural plot echoes some expectation or emotion in our hearts and then presents it through painting language such as pen and ink color, so there is a picture situation. Natural plots exist objectively, such as the trees on the hillside of a quiet village where the night is hazy, but the mood varies from person to person, which is generally related to people's mind, character and mood. The so-called artistic conception produced by the blending of scenes refers to people's feelings about an objective plot in nature under different mood conditions. We can also write poems and even take photos to record these feelings. As a painting, when we talk about artistic conception, we often don't pay much attention to another important plot-I call it the plot of painting, which includes the form, color, composition and techniques belonging to the painting language, such as the geometric combination of white walls and black tiles, and the faint blue contour line on the hillside. Compared with the natural plot, the plot of painting is more subjective.
"Living in a house" is a common natural plot in traditional landscape painting. Although it is idealistic, it is always objective and well-founded in the picture, and the black and white color of pen and ink lines fully reflects the subjectivity of the painting plot. The situation of landscape painting is based on our mood, temperament and temperament. In the process of painting, we have a good perception of the natural plot and always keep a good feeling of the painting plot, which is indispensable for us to grasp the spirit through nature and art.
The plot of painting can't be expressed in words or language, but it can be intuitively felt on the screen. I think this is what we always care about when drawing. Although in the above-mentioned landscape painting situation, the factors of artistic conception have been included, but there, the plot of the painting is interpreted in a state of presentation, but in fact, in the process of painting, "artistic conception" is some very specific formal expressions and technical operations.
It is an important feature of the form and even the content of Chinese painting to emphasize the use of pen in calligraphy and call "painting" "writing". "Writing" includes many aspects, such as the way of writing, the shape of lines, the mentality of writing and the emotional state presented, and the difference between them is the difference of writing. The different choices and performances of brushwork reflect the painter's different understanding and control ability of "writing". From the morphological point of view, it is the trace produced by different strokes, strength, speed, direction and water and ink content on paper. From the process, it is the touch of pen and paper experienced by different degrees of mental and emotional input when using a pen. In freehand brushwork, every time you use a pen, in meticulous painting, you can see the changes and vividness in the application of techniques such as accumulation, dyeing, folding, washing and wiping. The brushwork from "writing" can be regarded as one of the main indicators of "painting".
Shape and color are the natural existence of objective things, and also the important content of transforming natural plot into painting plot in the process of painting. The emergence of "painting meaning" depends on our dependence and subjective expression on the objectivity of shape and color. Here, the higher the degree of objective dependence, the less vivid it is, and the higher the degree of subjective expression, the more vivid it is.
In my works, the brushwork presents a more rational state, simple, simple and heavy modeling. I hope to control them within a certain range, so as to present serenity, simplicity, serenity, serenity-the brushwork like Qin Zhuan and Han Li-which is similar to my mind and the situation I hope to create on the screen. The contrast between the roof and the wall of the old house, as well as the lines formed by their scattered spaces with the surrounding environment, provide me with possible opportunities and conditions for the simplification and flattening of modeling treatment and space division, while the use of color is neither "following the class" nor what you see is what you get, only subject to the grasp of the artistic conception, visual effect and inner feelings of the picture.
The "situation" and "painting" in the landscape are very simple, full of imagination and creative romance.
..... We often get a kind of secular happiness through this simplicity and romance, and draw a sacred place for the soul.
It is neither near nor far from us. (Xia Qing 1999 67×67cm)