Pan Tianshou
The themes of Pan Tianshou's paintings include eagles, lotuses, pine, four gentlemen, landscapes, figures, etc. Each painting must have a strange situation, seek balance in the structure, and simplify the form. The meaning is far-reaching; water chestnuts grow on the hooked stone; the ink rhyme is dense, heavy, burnt, and light, and the lines show the condensation and strength of the brush.
He is good at freehand paintings of flowers, birds, landscapes, and occasional figures. He is especially good at painting eagles, starlings, fruits and vegetables, pine trees, plum trees, etc. Bold in writing, careful in coloring. The ink and color are crisscrossed, the composition is fresh and green, majestic and interesting. The picture is vivid and fascinating.
Pan Tianshou's finger painting is also unique and his achievements are extremely outstanding. This type of works is large in number and powerful, such as "Qingxia", "Zhuhe", "Xinfang", etc., all of which are "lotus reflecting the sun", dyed with splashed ink and painted with palms. The leaves, drawn with fingertips, have a vivid charm that cannot be achieved by the power of the pen. When Pan Tianshou paints, every stroke he draws must be carefully considered and meticulous. Under the guidance of the thought of "what is constant must change", he draws on the strengths of other schools and creates his own style. His painting materials are ordinary subjects, but the paintings he starts can produce extraordinary artistic appeal. For example, his "A Corner of a Little Dragon", especially the composition of the main body of the picture, the little dragon, is pushed to the corner, implicitly allowing the viewer to first look at the majestic mountains of Lingyan and the brilliant mountain flowers, and then to appreciate the dragon's water. This method is in contrast to those that make the picture "unobstructed". It not only shows the painter's surprising composition ability, but also expresses the painter's inner feelings for ordinary things.
The value of Pan Tianshou's art lies mainly in his bold creative spirit. He often said, "Barren mountains and rocks, quiet grass and idle flowers, although they are not special or ordinary, they can be obtained by those with a wise heart and skillful hands." He is also very good at calligraphy. He studied Zhong and Yan in his early years, and later captured the essence of Wei and Jin steles as well as ancient seal script and Han Dynasty. He is also good at poetry and seal writing. When I paint in my daily life, I am very serious and particular about poetry, inscriptions, postscripts, and seals, and I am never careless. He is also well versed in the history and theory of painting, and is the author of "History of Chinese Painting", "Gu Kaizhi", "Tingtian Pavilion Poems", and "Talks on Silk Screening". There are also "Tingtiange Painting Talk Essays" and so on. Pan Tianshou talks about art. The national character of art. A nation has its own national literature and art, and its own national characteristics. Because literature and art are created by the temperament and wisdom of each nation, combined with the life of the time and place, it is not accidental.
Any country in the world regards its national culture as a great pride to prove the civilization and intelligence of its nation. China is a world-recognized ancient civilization with rich traditional heritage and profound artistic achievements that are rare in the world. As Chinese, we should make great efforts to study, sort out and promote our national heritage, and introduce new achievements in national style from it, otherwise we will really be sorry for our ancestors. Art should be different, don't force it to be the same. The works created by writers of various ethnic groups and regions have different styles, forms, and vigor, which is good. If they are all the same, it is not art but like machine production. Of course, the general principles of art are still the same, but the expressions of different nationalities and different writers are different. Difference is his achievement. ?Oil painting is still relatively young in China. It will take a certain amount of time to solve the problem of nationalization, and we cannot be too hasty. We cannot simply require those who learn oil painting to do some Chinese line drawing as the basis of oil painting to solve the problem of nationalization. The foundation of Chinese painting and the foundation of oil painting each have their own characteristics and strengths. If you don't have any painting skills now, you can still train based on a set of Western basics. We can only explore from it and gradually create a new foundation for Chinese painting. Western painting should still be done on the basis of Western painting without inserting other things. The issue of nationalization is not that simple and easy. We must have a certain foundation in Western painting before we can create and change. Characteristics of Chinese Painting Due to different tools and materials, there are different techniques for using the tools, which results in different forms and appearances on the picture. The highly developed brush and ink techniques in traditional Chinese painting are the result of giving full play to the special properties of special tools and materials.
Western Europe and the East have different regions, different races and skin colors, different lifestyles, temperaments, and customs. Westerners say that there is no ink color in nature, but Chinese paintings use ink color to express objects. Ancient Chinese painted pottery uses ink color to express it; Wu Changshuo often uses ink and red to paint peonies, giving full play to the effectiveness of ink, making the color changes very complex and the contrast intense, reaching a vivid level. China's Peking Opera has national characteristics. When performing "Meeting on a Broken Bridge", the artistic effect of "Meeting on a Broken Bridge" can still be expressed without putting a real bridge on the stage. If the actors use a real escalator on the stage when performing to go upstairs, it will destroy the artistry of the performance. "Sanchakou" performs a night battle. If the lights are turned off, the actors cannot fight and the audience will have nothing to watch. Therefore, several thousand watts of lights must be installed on the stage to give the actors the most heroic space and the audience will enjoy watching. . This is the characteristic of Chinese drama. For example, "Three Sessions" uses singing to express the content of the dialogue. The lyrics are made up by the playwright and are not spoken in daily life. The audience does not feel that such a performance is inconsistent with the truth of life, but feels that it is interesting and artistic. . The person who plays Zhang Fei in Peking Opera has a big painted face, very majestic and rude. Of course, there was no such image in the Three Kingdoms era. This is an artistic exaggeration. In order to play Zhang Fei well, the actor had to put on a colorful face to fully express Zhang Fei's personality. This is the same principle as using form to describe spirit in painting. Qi Baishi said, "The beauty lies between resemblance and dissimilarity." The pursuit of spiritual resemblance rather than superficial resemblance is a characteristic of traditional Chinese art. Ink is the master of the five colors, but it must be matched with white to achieve clarity. Lao Tzu said: "Know the white and guard the black. "In painting, we use brushes to capture energy, ink to capture rhyme, and use burnt, accumulated, and broken to capture thickness. Mi Xiangyang of the Northern Song Dynasty knew this. It is difficult to use ink to change with dry, burnt, moistened, or wet. It must be dry, burnt, and able to bloom. Nourishing, moistening without flooding is the key to using ink. The ink cannot be awakened without water, and the brush cannot be penetrated without movement. When awakening, it is clear and spirited, and when movement is used, it is transformed without stagnation. The two cannot be used to make the color more gorgeous. , not easy to be quaint, ink is easy to be quaint, not easy to be vulgar, using ink to match the color is enough to relieve the difficulty of using color. Ink painting can have appropriate shades, black and white, dry and wet, and a hundred colors, although colorless, is better than colored. Also, the five colors are in it, which is better than blue, yellow, and purple. Light colors are only for purity, and heavy colors are for ancient thickness. Knowing this, you can achieve the ultimate state of color. Although the colors used in Chinese painting are only cyan, ocher, cinnabar, There are not many types of azurite, stone green, etc., and most of them are primary colors, rarely blended, but the color quality is very particular. Compared with similar colors of watercolor, it looks quaint and calm, without the feeling of being gaudy. , the use technique is important, but the color of the color itself is also very different. The layout of the painting attaches great importance to the four characters of sparseness, density, virtuality and reality. If you can be dense or virtual, you can achieve ethereal changes. The scene is outside. Painting things cannot reveal the reality without reality. Without reality, density cannot be achieved. Without density, density cannot be seen. Therefore, the reality can be achieved by painting things with the help of density and density. Also, it must be real but not dull, but see the emptiness, that is, the world's "嫡咝橹?氩?quot;". Void means nothing. There must be something in the emptiness so that it is not empty. This is what people in the world call "empty". When painting things, you can know how to use the real to seek the virtual, and use the virtual to seek the real, that is, you can get the way to change the virtual and the real. The density in flowers is mainly the organization of lines, and there are less things in blocks. Of course, some paintings can also tell the story of fiction and reality. For example, in a picture of orchids and bamboos, when viewed as a whole, several large blank spaces are called voids, while the orchids and bamboos are solid. Partially speaking, the lines used to draw bamboo are either sparse or dense, and the intersection of lines is a matter of density. Finger Painting The transportation of paper and ink in finger painting is very different from that of strokes. This is where the interest of finger painting lies and where its evaluation lies. If you use your fingers as a tool for dazzling and exaggerating, and the paintings you make must be similar to strokes, why bother with finger paintings? Finger painting is suitable for capital letters and simple ancient themes. However, we must pay attention to being simple but not simplistic, and writing without writing, so that we can achieve the mastery of finger painting. Otherwise, it will easily end up being monotonous and sloppy without any subtlety. Finger painting is a side path, and the movement of fingers and ink is unique and unique, so it has not been abandoned since Gaoqie Garden. Zhimo is good at condensing freshness and spiciness, which is difficult to achieve with pen and ink.
History of Painting: After Chinese art was seduced by foreign ideas and styles during the Wei, Jin, Southern and Northern Dynasties, Chinese art itself gained a sound and substantial development force. From the Sui, Tang, Five Dynasties to the Song Dynasty, it continued to develop, and the fate of mixed art gradually turned into a unique national art. Secondly, the emperors of this dynasty also advocated the establishment of painting academies to promote their rapid development. Therefore, this era is the golden age in the history of Chinese art. People at that time had identified literature and painting as consistent events. In the subtle combination, they felt the highest principle of art. Therefore, the paintings of this era are actually a once-in-a-lifetime achievement. Since the Tang and Song Dynasties, our country's paintings have gradually broken away from the mechanical art of history and religion, and deeply entered the realm of expressing one's own spiritual emotions. Gu Kaizhi's achievements in painting theory are truly profound and far-reaching, encompassing everything and every detail. Naturally, the success of his painting theory comes from his attainments in painting. It was also accomplished because of their profound knowledge and profundity in literature and art, and their mutual assistance. It can be said that the great painters from the Jin Dynasty to the present have not been able to step out of his scope. For two thousand years, Buddhism and Chinese painting have lived and developed in close dependence on each other. In the process of transformation of painting and Buddhism, where can we not find traces of the relationship between the two? However, paintings before the Tang Dynasty were tools for Buddhism to preach, while paintings after the Tang Dynasty were materials for Buddhism's enlightenment. After the maritime ban was lifted, traffic between the East and West has found a smooth road. I wonder whether our country's painting will still have any relationship with Buddhism in the future? Chinese painting teaching Chinese painting has its unique tradition and style. Learning Chinese art should be based on Chinese methods. Basic training in Chinese painting requires its own set of methods. You are freshmen who have just entered school. In the first class, the first two points I want to talk about are: 1. You must concentrate on studying painting. Determine to devote your life to art. 2. You must not be biased and learn from the strengths of others. Don’t be satisfied with being like me, focus on creating. Remember: repetition in art equals zero! The learning methods are generally as follows: (1) Engage in training the technical foundation of traditional Chinese painting; (2) Pay attention to the assistance of poetry, calligraphy, epigraphy and stone; (3) Examine the history and theory of painting, and the appreciation of ancient calligraphy and painting; the final focus is on The cultivation of moral character and mind. If you persevere and don't seek quick results, you will naturally achieve success naturally. The foundation is real life. On the one hand, we absorb techniques from the ancients, and on the other hand, we extract the essence from life in nature. When sketching from life, you should write vividly, not deadly. Good works should be better than life.