Over the years, I have drawn many freehand brushwork figures, most of which are dissatisfied and occasionally satisfied. After a long time, I have some ideas.
Zhou Jingxin's tutor often asked us when we were undergraduates and postgraduates, "Have you passed the model association?" How to pass the model pass? How's it going? I've been torturing myself.
Few painters who paint freehand figures say that they have never "dealt with models". Of course, the "dealing" here is not communication, but a contest with the model with pen, ink and heart. There have been many competitions and many years. Of course, the results of the contest have lost and won, and even after the contest, there are not a few people who don't know whether to win or lose. Among them, the taste, like fish drinking water, is self-aware.
The first time I "met" the model, I showed eagerness, whim and slashing, and I felt something in my heart, but I hated the pen and ink in my hand. I told it to face east but west, and told it to face north but south. It's totally unreasonable. What you draw is far from what you want to show at first. The result is doomed to failure, but after all, I still have courage. The picture feels fresh, the process is exciting, and the result is bad. However, the process of tasting freehand figure painting is so exciting that I can't stop and keep going.
Knowing the vivid model, there is a gap in achieving the expected effect on rice paper. This gap is multifaceted. Drawing and thinking, drawing and thinking, we know that the gap lies in pen and ink, modeling, style, feeling, emotion and so on. But the process of sketching is often awkward, and there are too many ideas before drawing. In the process of painting, I often forget to think or have no time to think. What style? I regret it after painting. The more you draw, the longer you draw. Just add more slowly, and it will be easier. I can also think about it, not letting the painting rush at me, but actively controlling the picture.
When painting, you will know that pen and ink can be complex, simple, moist, dry, vertical, round, delicate and erosive, thick and thin. The feeling is universal, and there are thousands of ways to do it. There are many foreign ministers, but the core is invisible. I also know that only one or two are suitable for me. I know all these things, but I don't necessarily know all of them. I just understand a lot. In the meantime, I have to accept the guidance of Teacher Zhou many times.
Modeling is even more difficult. I have used pen and ink for many years and have a deep understanding. There are good and evil in form, good is not necessarily good, and evil is not necessarily impossible; There are also real and virtual shapes, real flaws and virtual doorways; Modeling has elegance and vulgarity, elegance and refinement, vulgarity and vulgarity; The form has work and writing, and it is easy to write, and it is difficult to rhyme; There are also childish and lovely shapes, humorous, absurd, ancient and ignorant, naive and exquisite, and so on. Form is also a myriad of worlds. I went in, often lost, and often cornered. Repeated wandering, mostly in vain. After years of hard work, I finally understood a thing or two after listening to the teacher's essentials. Although the form is infinite, it is also ubiquitous. It can be elusive, understandable, written and shaped, and finally the one that suits you can survive. The modelling of the ancients and other people's modelling may not be completely appropriate. It will be much more convenient to know yourself, find out the truth of your interest, and then grasp the modeling and pen and ink.
I've been thinking about model clearance, which is sad, followed by pen and ink clearance, and …. There are many barriers, and confidence is the key. Every sketch has a harvest, and only when you realize it can you gain something. Good heart and hands are getting clearer and clearer.
Zen has three realms: when not participating in Zen, "seeing mountains is mountains, and seeing water is water"; After the introduction, "seeing mountains is not mountains, and seeing water is not water"; After enlightenment, "see mountains as mountains, see water as water". Isn't that what freehand brushwork figures and sketches do? ! I don't know if I am in the stage of "seeing mountains and seeing water as water" or "seeing mountains and seeing water as water is not water". In short, I hope I can "see the mountains, the water and the water" as soon as possible. Of course, it's hard to find it only from models. Source: Phoenix Net
Write all the way
The scenery in my hometown was my initial impulse to learn painting. There are ancient trees, clear streams, grasslands, beaches and bamboo gardens. I have been herding cattle there from the age of five or six to junior high school, and I have stayed there for a long time, thinking or not thinking, dreaming or thinking. My thoughts are always associated with these scenes, which touch my soul. I wanted to say it, but I forgot to say it, and there are no words to describe it. But so far, I haven't drawn a picture of my family, and I always feel that my means can't be expressed, or the existing means are not satisfactory. Because the mountains and rivers here are not just physical objects.
The same is true of Huangshan, 70 kilometers away from my hometown. It's close, and I have many opportunities to go, but I refused them all. Just because Huangshan has a sacred place in my heart, I have to take a hasty look and express my fear and regret. This dilemma is coming to an end. The unit organized a teacher to sketch for the centenary celebration, and the excitement and timidity were intertwined, in vain. Sitting in the corner of Huangshan Mountain sketching, my heart seems very nervous, and I can't stop writing for a long time.
The real scene of Huangshan Mountain is more shocking than TV, pictures, paintings and imagination in the past. It is majestic, charming, subtle, straightforward and hazy ... I have thought about it, but I haven't thought about it. There are countless painters who painted Huangshan in the past dynasties, and thousands of works can only show one side of Huangshan, and it is impossible to do the whole picture. Some are light, some are resolutely carved by Jianjiang, some are wanton with huge stones, some are majestic, and so on. The paintings of Huangshan Mountain are colorful, but they are still not true. I dare not look at the more magnificent Huangshan Mountain, but when I sketch, it coincides with the scorching sun, and it is difficult to see the clouds of Huangshan Mountain. The feeling of mountains is particularly strong, so I want to show another Huangshan Mountain. Use a dry, clumsy and thirsty pen to express the feeling of the mountain. I sketched Huangshan twice, first living in Lion Peak and then in Yuping, one north and one south, and the north of South America is magnificent. I stayed for five days each, with March in between. Living in and painting Lion Peak, I feel that there is a natural boulder in front of Huangshan Mountain, which may be related to the selection of scenery when I sketch. The beauty that ordinary people can see is a sea of people, and it is impossible to sketch. So, I find another quiet place, and most of it is near the mountain peak. The mountain peak comes from behind, big, thick and muddy, which makes me unable to write for a long time and unable to start. At this time, historical works and experiences are a bit out of reach. Lion Peak occupies the whole picture, and the vertical and horizontal stones in the picture are cracked and swept with a dry pen. There are also different forms of strange pines that just break the monotony of a boulder. Turquoise and brush strokes are all sunny, and with a feminine mountain spring, the picture will not be too monotonous. Stone method does not pay attention to the overlapping method of the first three and the last five, but lays it flat to strengthen its vitality. The pine forest stands halfway up the mountain, which is actually a virtual scene. I think it's a pleasure to draw from eight to twelve in one breath in the hot sun. The pen contains true feelings and draws the Huangshan Mountain that was truly felt at that time. In Lion Peak, I have painted Looking at Liangshan, Cool Wind and Looking Up at Lion Peak. I have written about the Lion Peak in my heart from many angles, each with its own satisfaction or deficiency. I'm glad I have my own method, but sometimes I lose my roughness. Sometimes the ancient laws of Huangshan or other people's laws will always appear from time to time, so I can't be purely consistent.
The most famous scenery in Yuping is Yingkesong, Tiandu Peak and Lotus Peak, but Tiandu Peak and Lotus Peak will not be described in detail. Welcome pine is a well-known star tree, of course, it will not be let go. It is enthusiasm to start writing, but it is too late to put pen to paper. This tree is so familiar that it is deeply rooted in people's hearts. Drawing such a well-known and well-known tree will inevitably be difficult and too vulgar to fall down. Various forms of welcome pine, such as image photos, Chinese paintings, prints, iron paintings and paper-cuts, are placed in thousands of households, and their shapes are too secular, so it is really difficult to draw a well-known "vulgar shape". There are many such "popular shapes", such as China Panda, which can be seen in quilts, teacups, textbooks and many other daily necessities and living environments. But most of them are just cute on the panda prototype. As soon as Kung Fu Panda was published in Hollywood, I felt that the common shapes of pandas had made a breakthrough, not only cute, but also humorous ... Therefore, it is actually more meaningful to explore familiar shapes. Although this modeling has become a fixed trend, I have my perspective, my judgment and my shaping. If you think so, you should draw the "vulgar" shape of the welcome pine first, because the shape of the welcome pine you have seen before is indirect or has been changed many times. What you saw with your own eyes for the first time, first straighten your mind and see with your own eyes sincerely. Maybe you will draw it in the future, and you will draw another kind of welcoming pine, but at this time, respecting it and drawing it is the first priority. Welcome pine grows in the southern foothills of Yuping Peak, and it is not an exaggeration to describe it as Tianjun. Although a huge branch has been carbonized, it does not damage its prestige. Its majestic posture is indeed the best in the world. The shape of the welcoming pine described by the painter is a painting shape and a recreated shape, which is no different from the painting shapes of ordinary plants and trees. Only the painter's understanding, interpretation, discovery and pen and ink level are different, and finally it is implemented in the ontology language of Chinese painting. The essence of Chinese painting is the language of pen and ink and the inner charm style of Chinese painting, and the external objects are "beautiful", which shows that the picture does not conform to the inner way of Chinese painting. However, if you look closely at this strange pine tree, you will find that its shape coincides with the truth of Chinese painting in many ways. Such as asymmetric beauty, looseness and tightness, collection and release, moderate density and so on, are also in line with the highest principles of Taoism and nature. No wonder ordinary people like it, and it is reasonable. So I wrote it carefully. After painting, I still hang it at home, just like many families hang paintings of welcoming pines, but this is my sketch, which is still different. In Yuping, I also painted a lot of works, such as Tiandufeng Roy, which also gained and lost. After painting, I sighed: Huangshan has thousands of faces, and it is a great pleasure to get one or two.
After coming down from Huangshan Mountain, I sketched in Lishui, Xuyi and Changshu successively with my tutor. If the scenery of this place is compared with Huangshan Mountain, it can be said that it has fallen from fairyland to earth. First, sketch in Lishui during the wheat harvest. Lishui is dominated by plains, with some short mountains covered with high and low trees and grass. At first glance, I am at a loss, let alone sketching. It can be said that there is no scenery to write about (in my opinion), but Zhou Jingxin, the concept instructor, lives everywhere and writes when he sees the scenery. It's all written by Teacher Zhou. It's open and closed in an orderly way and full of charm. I also crustily skin of head spread out the easel and began to sketch. This scene in Lishui is so different from that in Huangshan. Huangshan Mountain has a dangerous scenery, and Lishui is a typical water town in the south of the Yangtze River. So I picked up my pen and began to examine it carefully. Slowly, I can also experience some beautiful scenery here. A small piece of land is actually very rich. Although the scenery is pushed away, there is no lack of layering. First, the ridges are winding and divided into different shapes according to the situation. It can be seen that there are many people and few places. Every small piece of land should be planted with things, and there are many varieties of things, including harvested and uncut wheat; Harvesting neatly, harvesting irregularly), the vegetable types are pepper, loofah, caviar melon, eggplant, sugarcane seedlings, and rice seedlings just planted. The lower part is a winding and narrow ditch, with uneven aquatic plants growing in the ditch, and the land that has just been plowed by wheat ... I don't know if I have a closer look, but I feel that there are many hierarchies, and its richness even exceeds. However, there are dozens of different structural levels in the south of the Yangtze River in front of Lishui. After analyzing and drawing the scene, the scalp is no longer numb, and it is gradually interesting. After the wheat harvest, I still write Jiangnan with a thirsty pen, but this scene also has some shadows of my hometown. Although I dare not paint my hometown, painting Lishui Right is an exercise of painting my hometown, which also includes emotional injection into my hometown. I also painted in Lishui for a few days. With the experience of Lishui sketching, I won't be so afraid when I get to Xuyi.
The scenery of Xuyi is roughly the same as Lishui, mainly plain fields with hills in the middle. However, the hills in Xuyi are not as dense and green as Lishui, and a little deserted, especially the hills along Banta Village. Weeds that are not so lush and comprehensive are not scattered all over the mountains and mottled. The longest eye is that there are round oval stones of different sizes everywhere on the mountain, which are black in color, several meters in diameter and as small as football. The mountain felt a little ferocious, and I accidentally fell down somewhere. It takes six months. The mountain feels strange, but it is much more convenient to draw than Lishui. This sense of poverty coincides with my dry ink pen. Some trees were planted artificially halfway up the mountain, but not all of them lived, most of them died, and only a few small clusters grew better. Therefore, although artificial afforestation has also been cut down by nature, there are still some terraces with different rules on the slope, and some dry crops, such as peanuts, corn, soybeans and mung beans, have been planted. It takes less time to draw a stroke after you see it clearly. The essence and ultimate goal of Chinese painting is nature. Even if man-made things are put in the picture, no matter how well they are painted, there is always an unspeakable taste. Natural landscape modeling and naturally formed trees and weeds are so appropriate, pleasing to the eye and satisfying. Chinese painting is not good, it must be uncomfortable to look at, but I feel dissatisfied. Naturally, there are problems in some places. The purpose of sketching is to learn from nature and get close to it. It is natural to talk about Taoism, but if you often sketch from the outside, you will naturally feel the beauty of nature. No matter how advanced the artificial shape is, it can't compare with the ingenuity of nature. Of course, I am not pure naturalism, and I am not just naturalism, but I mean, the mystery of nature is far better than what is in the old paper pile. The way of nature is endless. The ancients only realized one or two of thousands of ways of nature, which is enough to form four monks in Yuan Sijia, Song Sijia. However, the ancients did not exhaust the way of nature, and Qian Qian still waited for contemporary and future generations to know it and feel it. Of course, the way of nature is not obvious at a glance, but hidden behind mountains and rivers, hidden in all things, and so is the way of pen and ink. This is the reason why the ancients read thousands of books and followed Wan Li Road. The scene of Xuyi is both elegant in southern Jiangsu, northern Jiangsu and southeastern Anhui. It is quite rewarding to read and describe it carefully.
The most unique place in Changshu is that other noodles are different from other places, thin and long, and the soup is clear. It's called Longxu Noodles, and the scenery is equally elegant. Happiness Temple in Yushan is a small Suzhou garden, which looks more quiet than Suzhou garden, probably because one is hidden in the deep mountains and the other is hidden in the downtown area. Kofukuji is a thousand-year-old temple, with pavilions, rockeries, pools and tree corridors, which have reached the builder's mind. It is said that during the Cultural Revolution, the troops stationed in the temple escaped the fate of being demolished. Several monks in the temple seem to be practicing well, elegant and clear. This kind of scenery is so exquisite and elegant that my dry pen and rough ink are all at a loss. Drawing from the periphery, the temple gate is separated from the mountain by a water. Although there are artificially paved intersections in front of the temple, the hillside on the roadside is still somewhat natural, especially the cypress trees in front of the temple have different shapes, and the miscellaneous trees on the hillside also have their own postures. All right, use these as eyes and let the temples serve as a foil. Don't haggle over every brick, stone and rafter, draw the direction and general outline of the temple with empty hooks. I got a word "static" and a word "empty" intentionally or unintentionally. After all, I want to express an empty word. Dense trees and branches show the emptiness at the entrance to the temple. Of course, it's just a heart painting. The incense in the temple is still quite prosperous, and there are an endless stream of good men and women. But of course these earthly colors can't enter my picture. Changshu has been raining for several days, but it is also suitable for seeing the scenery. In the rain and fog, the scenery is blurred. At this time, the expressive force of painting seems to give way to the words of the Southern Dynasties. In short, the meaning is still unfinished. Of course, sometimes painting is difficult to express, and only by playing with it in your heart can you linger for a long time.
Sketch does have a lot of beauty. See the scenery like a person, a person has one side, a scene is so different. Every time I think about how to solve problems with pen and ink, although there are bitterness and sweetness, there are pains in setbacks and joys in victories. Qian Shan, on the other hand, is constantly facing the vast waters of Qian Shan, and the world at the end of the pen is also changing with the landscape. Jingyong is endless, and the length of pen and ink is endless. The key is often very small, and its spiritual realm will be very new. Perhaps in the eyes of others, my hometown is as ordinary as other places, but in my own heart, it is completely different. I don't know when I can draw an authentic painting with the fragrance of grass and earth. "The road is long, Xiu Yuan is Xi, and Xiu Yuan is Xi, and I will search up and down"! . Source: China Online Art Network
Shu 20 13.7.25 Pukou
Drifting and drifting
"Idle" means that the pen moves freely on the paper, and "floating" means relaxing and being independent of things. Of course, this is my personal understanding of "line", but it is not easy to really do this.
Lines are the earliest and simplest way for people to express themselves to the outside world. No matter how many years have passed, the vivid and concise lines of the original murals and rock paintings all over the world will move the audience, because the concise lines express the environment, world and life of the ancestors, which is the original and powerful expressive force of the lines. After thousands of years of cultural immersion in China, thread has become more and more unfathomable, and the process of this change is indispensable to the factors of tools and materials, that is, the use of brush. Dongpo, Su Song once said that "the soft pen is wonderful", while Mi Fei, a contemporary of the same dynasty, emphasized "the eight sides of the pen", thinking that the brush can make the shape of the line endless, and the culture injected into the line is the key to the richness of the line.
It is unknown how the lines of primitive rock paintings evolved from generation to generation into various forms of lines later. However, with clear written records, we can still get a general understanding of the context of the connotation changes of the middle line in China's traditional figure painting. Confucius sighed during his weekly visit: "Yao and Shun's capacity is stubborn and has the shape of good and evil, so they use precepts to promote abolition." I think the murals that Confucius saw have something to do with the pictures of Lingyan Pavilion and emperors of past dynasties painted by Yan in the Tang Dynasty more than a thousand years later. Although it is impossible to guess what kind of murals Confucius saw in the Ming Tang of the Zhou Dynasty, we can learn the core language of murals from Dunhuang and other dynasties. It's just that the temperament endowed by lines in murals of different dynasties is quite different. Han was simple and honest, romantic and elegant in Wei and Jin Dynasties, graceful and graceful in Tang Dynasty, varied in lines in Song Dynasty, rough and magnificent in yuan line style, and by the end of Qing Dynasty, lines became more and more sophisticated. Murals are like this, and the lines on paper and silk books are more diverse and colorful. If it can be seen from Water of a Grass that China's lines have traces of Indian in the Western Regions, then "Five Dynasties is the wind" is a flower naturally growing in China. There are many origins that make Gu Kaizhi flowing, such as Cao's "Cao clothes falling into the water", Wu Daozi's "Five Dynasties prevailing", Yan's great demeanor, Zhang Xuanhe's palace style, Zhou Wenju's "war pen", Gu's tenderness, Li's elegance, Chen Laolian's spirit lotus and so on. The various forms of expression of lines in China's traditional figure paintings are indeed diverse, with the same historical origin, the influence of foreign styles, the nourishment of religion, the influence of traditional Confucian culture in China, the difference of painters' talents and the influence of China's calligraphy. It should be an indisputable fact that the thread, which was originally used by ancestors all over the world, is the most flourishing and bears the most fruits in China. Of course, some busybodies later summed up China's "eighteen strokes" of various lines, which was not bad. However, if you think that the shapes of lines are these 18 styles, you can't just rely on 18 strokes to describe the world in your mind and eyes, then it is a big mistake. If China has eighteen kinds of martial arts and eighteen kinds of weapons, the real solution to his opponent may be a hoe or a rope. Of course, it is better to have a gun. The situation of eighteen strokes should be the same. The beauty of this magnificent flower of traditional lines lies not only in the form of lines, but also in the painter's heart. The painter's heart is also the epitome of the temperament of the times. No matter how generous the Ming people are, it is difficult to draw a line as grand as the Tang people. Of course, although the Tang people are magnificent, they can't draw the romance of the Jin people. In short, you can draw your true temperament, your true self, and you can draw the soul of the times. Putting on airs can only be futile. In understanding, reading, doing things, thinking, thinking and hands, it is not easy to draw the line between true nature and true self, which is blocked by Qian Shan. Source: Sina.com.