Qi Baishi, a master of calligraphy and painting, once laughed at himself, saying that he had lived for nearly a hundred years and still could not draw orchids well. This, of course, is the modesty of the master, but it also shows the difficulty for non-literati to draw Zhu Lan. Qi Baishi was born at the grassroots level and was good at creating images between likeness and dissimilarity, but it seemed really difficult to grasp Zhu Lan's cultural taste. ?
Mr. Ling Jianping, a famous contemporary painter, painted Zhu Lan, which is not as embarrassing as Qi Baishi, because his literati interest is exactly the spiritual realm of Zhu Lan. His freehand brushwork of Zhu Lan, just like the rhymes, poems, rhymes and ballads in the Spring and Autumn Period of Dongpo, Su Like, is graceful, bookish and quite free and easy.
? Chinese painting attaches great importance to the writing style of painting, so Zhao Ziang experienced it eight hundred years ago, and calligraphy and painting are in the same strain. Mr. Ling Jianping is very good at impressing Zhu Lan's cultural taste with the brushwork and movements of calligraphy. He is definitely a literati painting with integrity. Ling Jianping is not painting blue bamboo, but writing blue bamboo. Turning orchid leaves sideways is just Wu Dai turning sideways and forwards, fluttering in the wind and fragrant. Mo Yun is better than nature. The bamboo painting center worked hard and took care of each other in setbacks, all at once. Unbiased knot, smooth airflow. It is worthwhile to draw the rigidity, strength, wind, emptiness, emptiness and spirit of bamboo in cursive script.
His mirror-like elegant paintings, whether Cynthia, landscape or other flowers and birds, will spread a light, quiet and slow artistic conception in pen and ink, form an alcoholic feeling and cultivate the spiritual function of body and mind. Looking at paintings is like reading poems, which shows the pursuit of spiritual An Lan by traditional literati paintings. Every mirror image works, in the materialized appearance, melts the wind of a gentleman. Flowers are not flowers, mountains are not mountains, flowers are beautiful feelings, and the artistic conception of Zen in the mountains is indifferent, selfless, quiet and intoxicated, and it is quite refreshing to wander around.
The carefree realm of pen and ink is an artistic proof for the painter to avoid the world of mortals and look for a cool world. It is not difficult for ordinary people to draw flowers and birds with light ink and light color, and it is not difficult to achieve a quiet rhyme, but it is difficult to achieve a state of slow brewing in the process of painting. Li Keran studied painting with Qi Baishi for ten years. Finally, he realized that he learned painting from the master and learned it slowly. In fact, slow is to reach the peak of self-cultivation. In Chinese painting, all the masters and techniques actually hide a kind of slow and extreme cultivation, so Ling Jianping's slow painting is precisely the secret that he can understand nature and learn the law in the combing of time and space. Imagine how an impetuous person can feel the eternity of slow cultivation in the open and far-reaching nature.
Cynthia is in mo Xiang, and the literati is in ya porcelain. Slow work makes fine work, and nature's uncanny workmanship is slowly shaped over hundreds of millions of years. Ling Jianping constructed his artistic realm with lightness, quietness and slowness. He painted the delicate fragrance of freehand brushwork on white porcelain and became a masterpiece of drunken porcelain painting in one fell swoop. His portrait is a cup of tea, and his portrait is a cup of tea, but the people who look at the painting are fortunate enough to taste the faint fragrance of this cup of tea in the flashy world. Masters are so comfortable!