Experience in Chinese painting creation;
In the field of painting with various ideas and styles, it is easy for a young man to get lost in his own painting. Therefore, I have carefully studied the history of painting, especially that of China, and gained a lot of enlightenment from it. I firmly believe that there are three inseparable points in my life's artistic pursuit, namely "nationality", "tradition" and "innovation". The more a work of art embodies its nationality, the stronger its vitality. At the same time, "nationality" and "tradition" are the source of the work, and "innovation" gives it new vitality. Chinese painting is a wonderful flower in the world painting art, with a long history of development, forming its own unique and complete artistic system, unique painting materials, aesthetic taste and painting philosophy. Under the influence of western painting thought, there are too many disputes about the fate of Chinese painting. Some people say that "Chinese painting will be eliminated by the times" and "Chinese painting should give up pen and ink" and so on. As a young Chinese painting lover, I want to say that Chinese painting will not be eliminated by the times, on the contrary, it will glow with greater vitality. I have always believed that compared with other paintings, Chinese painting is not only the art of painting, but also a synthesis of art, which integrates literature, especially poetry, calligraphy and seal cutting. Chinese painting is not only a form, but also an idea, which combines the philosophical thoughts of Confucianism, Buddhism and Taoism, especially the influence of Taoism, pursues the realm of "harmony between man and nature" and explores the natural and refined picture expression; Chinese painting is not only the expression of technique, but also the expression of the painter's moral thought. The so-called "low character, can't use ink", "calligraphy and painting are lofty, emphasizing character first" and so on, in addition to emphasizing that painting is earlier than and exceeds any kind of painting. Therefore, Chinese painting needs more demanding painters. I have been working hard with such a request and will never give up.
I like to draw tigers because they give me a sense of integrity and inviolability. In my eyes, the tiger is a gentleman. I once wrote with emotion, "I often paint the tiger as a gentleman, not for its tenderness and loveliness, but for its fortitude;" Not for cruelty, but for majesty; Not for gaudiness, but for elegance. Wei Ran Yan Zheng, wealth is not obscene, poverty is unshakable, power is unyielding, and integrity is wavering. Aim high, live in groups, be independent and fearless, see the trend clearly, see the threat clearly, and do not change its degree. Howling can be earth-shattering, and silence can still shock the world. Cultivate the meaning of heaven and earth and keep the ambition of a swan. Pen and ink are not kings, but lofty sentiments are full of gentlemen. This is what I want. "My basic principle of exploring tiger painting has always been" painting artistic tigers, not natural tigers; "Draw a spirit tiger, not a meat tiger." In order to do this, I personified the tiger. I regard tigers as heroes, generals, soldiers, etc. Of course, in addition to the spirit of "inspiring the mountains", there should also be a "chivalrous and soft-hearted" side. I even regard the tiger as the pride of plum, the tranquility of orchid, the high knot of bamboo, the firmness of chrysanthemum, and the meaning of pine, which rises from the ground and goes straight to Lingyun. When conceiving and creating, these spirits are always concentrated in the heart and condensed in the pen. I have made some explorations in the technique of expression. First, I learned how to draw a tiger with freehand brushwork and pursue the charm of brushwork. Later, represented by landscape painting, the tiger felt pale and heavy with dry pen, which was different from many painters' pursuit of delicate and furry fur. The structure of the tiger is properly deformed, and the texture of the rock is also applied, which looks like a tiger and a stone. This adds some perseverance and strength to the tiger.
I draw a tiger as my endorsement to express my own feelings. I carved a seal, which said "Cry to show my will". I hope the tiger in the painting is "the wind of a gentleman" and "the spirit of a hero", which can not help infecting me, conquering the viewers and inspiring people.
Experience of Chinese painting creation II:
Painting is generally not difficult. As long as you master the basic skills, you can draw. It's hard to draw beautifully. If you want to draw beautifully, you should work hard in ten aspects:
First, vivid charm is the most important principle of painting, said Sheikh, a famous painting and calligraphy critic in the Northern and Southern Dynasties. "There are six ways to draw, one is vivid, the other is to use a pen for bone, the third is pictographic, the fourth is to color with the class, the fifth is to operate the position, and the sixth is to move the mold to write." As the first of the six laws, vivid expression shows its importance. Zhang Yanyuan said in the Tang Dynasty: "His paintings are hard to find outside the shape, and they are also different from the layman's way. Today's paintings are similar in shape but lifeless in charm. If you ask for their paintings with charm, the middle is similar. " It means that as long as the painting has charm, the shape and pen and ink are similar. The so-called vivid charm means that the works and the images portrayed in the works have vivid charm and appear full of vitality. I summed up that figure painting should pay attention to expression, especially eyes and posture, landscape painting should pay attention to momentum, and flower-and-bird painting should pay attention to charm, elegance and beauty, which is referred to as state, momentum and taste for short.
The second is to pay attention to statutes, painting skills, including two meanings, one is skill, and the other is composition. Most people's knowledge is limited to skills and ignore statutes. Statutes refer to some basic rules that should be observed in painting. The reason why they are called written laws is that they are as serious and important as laws, and they are by no means dispensable. As far as aesthetic feeling is concerned, they are more important than skill. The most important thing is the composition of the picture, that is, the business position that Sheikh said. The so-called business position refers to the layout of the whole picture, where the main landscape painting is, where the auxiliary landscape painting is, where the scenery painting is, and how various scenes are coordinated. The ancients summarized many patterns, such as half-sided, medium-sized, diagonal, I-shaped, S-shaped, Z-shaped and C-shaped layouts. What I am most afraid of is that the picture layout is improper and chaotic, and it is even more taboo to look at the sky above and the ground below, and there is no room for drawing paper.
Third, we must have an ancient meaning. The reason why the ancient meaning is emphasized is not only related to the aesthetic level, but also reflects the charm of Chinese painting, which clearly distinguishes the traditional freehand brushwork style in China from the realistic style in the West.
Fourth, using pen strength is one of the important contents of Sheikh's six laws. The so-called bone strength pen refers to the strength of the lines drawn by the pen, and there are as many as 18 lines in Chinese painting. In landscape painting, iron line painting and reed-bending painting are the most powerful. These two lines are mostly used to paint rocks and trees, while Yousimiao and Lan Ye are mostly used to paint mounds. Its bone strength is much worse.
Fifth, the brushwork is exquisite. Chinese painting can be divided into coarse brushwork and fine brushwork. The thick brushwork is bold and broad, and the fine brushwork is handsome and gentle. Therefore, the general development trend of Chinese painting is more and more exquisite. In landscape painting, the difference is mainly in the method of wrinkling, such as big and small axes splitting wrinkles, big and small rice wrinkles and so on. , which belongs to the categories of rough strokes, sesame patterns and pockmarks. However, ink painting and boneless painting are more delicate, so ink painting color ink painting has become the favorite of literati painters, meaning to pursue delicacy and vividness.
Sixth, smudge nature, which is one of the skills to test the foundation of ink painters. Painting rocks can be divided into yin and yang, and both sides are smudged with ink to show the yin side and the yang side. Clouds and water bodies are also the focus and difficulty of painting. Ink smudge dyeing mostly adopts mixed ink method, accumulated ink method and separate dyeing method. Ink mixing method is to soak the pen in clear water or light ink first, and then dip the pen tip with a little thick ink to get a natural effect of different shades at one time. The rule of ink accumulation is to dye the head with light ink first, and then dye it with thick ink for two or three times. The dyeing method is mainly used for cooked rice paper. Dye the paper with thick ink first, and then smudge it with clear water. The most important thing in smudge dyeing is to properly control the ink concentration, and the transition between shade and shade should leave no trace naturally. Usually, paper should be sprayed wet before dyeing.
Seventh, simplicity and complexity are appropriate, and mountains and rocks are painted at as many levels as possible, giving people the feeling of overlapping mountains and valleys. Of course, a single-stage mountain is ok, but it is not as magnificent as a multi-stage mountain. Therefore, the ancients loved to paint with vertical axes, so that mountains of three to six levels could be set, which looked tall and majestic. Of course, it is also good to use a simple style. If you want to keep it simple, it's also interesting. The whole picture of fishing alone in Hanjiang River is a boat, fishing with an old man, which is very poetic and romantic. Usually, it is better to paint mountains and rivers in the northern style, while the southern style paints Jiangnan customs with simplicity.
Eighth, the artistic conception is profound. What is artistic conception is the artist's ideological realm, that is, poetic and romantic. The former refers to the author's ambition and integrity in his works, while the latter refers to his romantic temperament and interest, poetic and romantic talents Su Dongpo and Tang Bohu. Because of their romantic personality, they can make the artistic conception profound and romantic.
Ninth, the inscription is interesting. Although the inscription and postscript are simple and make the finishing point, the content of the inscription and postscript should be carefully selected, consistent with the content of the picture, and have charm. It's best to use poetry as a quatrain, don't write a few words at will, and don't be too long. Calligraphy should be beautiful and generous, and its position should conform to the specifications.
The tenth is character cultivation, which contains three meanings: first, being virtuous, caring and doing good deeds, and stressing moral tree etiquette; The other is about erudition, extensive reading, poor historical materials, learning from others' strengths and learning from others' strengths; The third is to be clear-headed, not impatient and calm, and not indifferent to fame and fortune. It is often said that the cultivation of calligraphy and painting is to cultivate one's noble morality and calm mind. Only in this way can a good painter draw a good picture.
The third experience of Chinese painting creation;
Friends often joke that Chen Zui is engaged in "trafficking in women". Of course, this refers to my creation, because I mainly draw naked women. Well, from the beginning, I talked about the theme. It is very important to choose a relatively stable theme, which is conducive to focusing on the essence. I love this because I have been engaged in nude art research, which is another factor that constitutes the joke of "trafficking in women". Therefore, from perceptual interest to rational cognition, I focus on one point.
A little earlier is the exploration of painting methods, which is closely related to the inheritance of teachers. I studied oil painting, and my tutor stayed in the Soviet Union. From him, I learned to observe and express the subtle relationship between colors, handle the unique composition, and grasp and conceive the sense of form keenly. In my oil paintings, I can clearly see the track of learning from teachers. Later, oil painting, Chinese painting and calligraphy all dabbled at the same time, and with the foundation of academic research, the creative personality gradually emerged. However, in my works by China, there are traces of "origin" in learning western painting. The critic gave me the direction of Chinese painting creation. Some people say it is "literati painting", while others say it is "academic painting". In fact, both of them are right, and it is these two seemingly opposite judgments that show my painstaking pursuit and creative characteristics. If I have to position myself, it should be an academic painting with the spirit of literati painting. Its fundamental is to grasp the spirit of literati painting and make good use of the foundation of college painting.
China's traditional painting is the same origin of calligraphy and painting, emphasizing "writing". The ancients said "writing"-"sketching", "* * *" and "freehand brushwork". Fortunately, I practiced Huai Su, and now I often write about huge weeds. Therefore, when I paint, I concentrate on using pens and lines-lines are the soul of Chinese painting. When the thread is used, the pillar will rise and the spirit will come out. In a sense, I also use weeds to "write" the human body, and capture the natural effects in the incisively and vividly. Combining cursive script with the female body image in the picture, coupled with the shaping of special expression and posture, perhaps this unity of opposites itself will arouse people's unique aesthetic psychology and form an unspeakable meaning. On the other hand, I can't completely rely on "nature". When painting, I am very interested in modeling, composition and even composition, which uses my western painting foundation and even the creative concept of western modern art. Yes, the ancients also had a "business position", but after all, they are two different languages. I'm melting into genes from another system, so it looks fresh, spontaneous, unique and interesting. People who paint often have the experience that what touches people sometimes is not necessarily because of its great theme or huge picture, but more because of the ontological factors of painting. Perhaps it is a regional oil painting with a pen * * *, such as a brush stroke * *, a faint color * * *, such as a transparent * * *, or perhaps it is an arrangement of an action and a prop, which is exciting and even shocking! These may all come from casual or casual. They all ultimately depend on the technical gold content of the work-the skills of capturing natural beauty and the skills of expressing natural beauty, which are often reflected in the difficulty of a certain creation. Fortunately, reciting poems from childhood has also come in handy today. I always use my original poem as the title of my painting. In addition, the font, size, arrangement, printing and location of the inscription need to be carefully considered. Only in this way can we be both emotional and rational, and it is possible to give people a unique feeling. A writer said, "Your painting is very personal. You feel three words: beauty, rhyme and taste. But if I have a crooked nose and squints, I won't choose them. " An art dealer said, "Your beauty is very sexy and strange. It's a pity that you are too fat and your legs are so thick ... "But take a picture. These comments are very true and accurate, and vividly reflect my style orientation.