I don't understand what the former great painters said and the profound painting quotations. Later, through poetry writing, I realized that the mystery of poetry, the magic of poetry and the art of painting are interlinked and interpenetrated. After reading the painter's paintings, I understand that there is a huge space in the painter's heart. In this space, there are many spiritual artistic spirits beating.
At the age of eighty, Master Li Kuchan said that I might become a master in ten years. As a result, ten years later, the master said, I can't be a master in another ten years. The process of master overthrowing and breaking himself is actually the change of spiritual things in the painter's heart and the improvement of spiritual perception.
Master Li Keran has two spare chapters, one is "I don't know my ignorance until I am seventy years old". The other is a "white-haired male student". It seems that the master is very modest. In fact, if you really understand or enter the realm of masters, you will feel that it is a sacred and beautiful place, not a world that ordinary painters can enter. If a painter reaches this state, he enters the realm of God. If you can't enter that realm, you will never understand the true meaning of painting.
Zhang Yingjie, a painter, said that whenever I appreciate the masterpieces of ancient paintings, I always have an illusion in my heart. As long as you close your eyes, it seems that you have entered the world of painting, entered the space where the ancients lived at that time, and had a dialogue with the ancients. I can relax freely, comment on the paintings of the ancients publicly, and then take out my paintings for them to comment on. Perhaps the layman feels absurd, mysterious and secretive, and seems to be talking in his sleep. In fact, it is completely normal for painters to feel this way. With this illusion and feeling, it shows that the painter has reached a high level.
I don't want to comment on Zhang Yingjie's painting art and painting level here. I just want to reveal the artist's inner world through my conversation with Zhang Yingjie.
The painter Zhang Yingjie was inspired by the paintings of the ancients. Only when he reaches the painting space in this special context will he have this illusion and situation. As Li Kuchan said, "Sometimes I draw several paintings in a drunken dream and fantasy state of mind, which looks quite interesting in the future, so I can't draw the same one again. As Huai Su quoted Xu Yao's poem as saying: "Novelty has no rules, and ancient thoughts have no ink. Write two or three lines when you are drunk, but you can't write when you wake up. "
Zhu Dequn, a famous painter studying in France, also had this idea when he read Fan Kuan's Snow Scene and Cold Forest Map in the Northern Song Dynasty. His mind has also entered the artistic conception of painting, and he can have a heart-to-heart talk with Fan Kuan. He commented that the "Snow Scene and Cold Forest Map" was magnificent, far-reaching and touching. Brush and ink are thick and moist, with distinct layers, which can be rubbed and rendered.
I wonder how Fan Kuan felt after listening to Zhu Dequn's comments. When I used to write poems, I would dream about all my poems when I slept at night. Sometimes there are many beautiful pictures in my mind. Not only I, but also Master Su Dongpo of the Song Dynasty had a long talk with Li Bai and Du Fu at night after playing chess with the old monk during the day. Therefore, the feeling or illusion that the painter Zhang Yingjie said is completely true, spiritual and from God.
When chatting with the painter Zhang Yingjie, he spoke his mind. He said that he knew nothing about painting before he was 60. Only after retirement did he begin to understand Chinese painting. I really admire and fear that a painter with profound knowledge and accomplishment like him can say such a thing. He didn't start to understand Chinese painting until he was 60 years old, so it's difficult to position the pretentious painters around me. I can only say that they didn't even enter the threshold of Chinese painting, but still stayed outside the door.
When critics evaluate painters in China, they first evaluate the aesthetic feeling of paintings, and then evaluate the artistic conception of paintings. These are all fine. Judging a painting by feeling is a critic's criterion. But a real critic should not just draw and comment on paintings. In my opinion, we should also go deep into the painter's heart from his initial thoughts. This is the ultimate goal of evaluating a painter and his paintings.
In the past, I have been in a misunderstanding that it is not easy to be a meticulous painter in China. It takes them a year or several years to complete a painting, the model essay "Painting the Feeling of Life". In fact, when I entered the inner world of artist Zhang Yingjie, I suddenly felt the difficulties of freehand brushwork artists and the profundity of using pens to moisten ink, which was not only mysterious and magical, but also a sacred fairy tale feeling. Master Li Kuchan said, "The more you plan ahead, the more confident you will be, the deeper your skills will be, and the more perfect your statutes will be." . If it is too ripe, it will be vulgar, and if it is too ripe, it will have a taste. After painting, it seems that I won't paint. Banqiao put it well,' Painting is born and familiar, and the pen is born and seems unintentional, so you can't write. Almost broken is enough! "
Chinese freehand brushwork, pen did not move, gas has been swallowed. Huang also put forward the theory of "mountain bone rhyme" for China's landscape painting. When Jin Shangyi, an oil painter, visited the works of western classical oil painters in Europe, he said with great emotion: I can't draw. His mood is just like Zhang Yingjie's saying that he can't draw before he is 60. When Zhang Daqian visited Picasso's studio, he found that Picasso was approaching Mei Ju of Qi Baishi with China's rice paper, but he dared not approach Cynthia. He thinks Chinese painting is too broad and profound. Zhang Yingjie said well that the simpler things are, the more complicated they are.
Speaking of this, painter Zhang Yingjie said with emotion: "I firmly believe that one day, when westerners truly understand the essence of China culture, they will definitely kneel down to the culture of China. In fact, speaking of which, Picasso has already knelt down to China's painting art on behalf of western artists.
China's painting is not only a culture and art, but also a realm and a science. Li Keran said that whenever he entered painting, it was like entering a hail of bullets. This kind of feeling, Zhang Yingjie would have experienced.
When it comes to the concept of sketch, the painter Zhang Yingjie also has his own unique understanding. He said that writing is the object of writing with true feelings, and life is the soul and life. Painters in China attach great importance to sketch, and each painter has his own understanding and experience of sketch. For sketch, many people still stay in superficial and conceptual sketch. The true essence of sketch is not understood by many painters. Chinese painting is to present the charm with pen and ink, and the picture is vivid and vivid, thus showing the artistic conception of painting.
What is a pen? What is ink? Zhang Yingjie, a painter, put forward his own unique viewpoint. He thinks that pen is the skeleton and ink is the rhyme. Chinese painting is divided into four characters, namely, "divine quality, wonderful quality, energetic quality and yi pin". This is also the tradition and evaluation standard of Chinese painting that continues to this day. Zhang Xuan, a painter in the Tang Dynasty, divided painters into three categories: gods, wonders and abilities, and each category was divided into three categories. Zhang Xuan's works belong to the first class. He often paints without color or even a brush. Zhang Xuan's works transcend the three categories of god, wonder and energy. Is he boasting or laughing at himself? I dare not talk nonsense. Zhang Xuan was a famous painter in Tang Dynasty. His landscape paintings are mainly ink paintings, not expensive color paintings. Hao Jing said in the book "Calligraphy" that "Zhang Zao is a tree and stone, full of charm and charm, with few pens, outstanding true thoughts, not expensive and gorgeous, and unique." His "cheap and colorful" and "small brush and ink" ink painting method is a major breakthrough in painting techniques. Zhang Xuan left no works in the world. He made great contributions in theory and played an extremely important role in the development of Chinese painting. He put forward the creative method of "nature from the outside to the inside and mind from the inside to the outside", which became an immortal famous saying in painting.
Few people in China can read paintings. What's more, collectors worship blindly and are often blinded by superficial vanity.
A few years ago, Zhang Yingjie and many painters from all over the country went to Guangzhou to attend a pen meeting and painted on the spot. Many painters put various certificates on the table to lure the audience. When the layman saw the certificate on the table, he immediately gathered around and bought 35 1 painting, which sold really fast, but Zhang Yingjie painted quietly, and the price of the painting was about 4,000 yuan per square foot. Rich people don't know which painter's works can be passed down from generation to generation, so they ask people who know how to paint. They saw Zhang Yingjie's painting and said, buy it. It's really a good painting.
Whether you can draw or not, whether you have ink in your stomach or not, the depth of experience does not stop at words, and knowledge will naturally shine at critical times. In the 1980s, Zhang Yingjie saw the original works of Badashanren in Changchun Museum. After careful appreciation, he questioned the painting, and for a time, the museum staff were shocked. Zhang Yingjie said that the bird's eye painted by Badashan people is not like this. Over the years, Zhang Yingjie has read a lot of painting theories and famous paintings. Every time I enter the painter Zhang Yingjie's studio, I seldom see him painting. He is always reading posts or admiring ancient paintings. I think he must have devoted himself to the vision of painting when reading and enjoying this painting. Otherwise he wouldn't be so obsessed.
During the conversation with Zhang Yingjie, he casually showed me his album pages and painting pictures. I read them carefully and then looked back and forth. I really don't want to let go. I won't comment on his ink painting level. When a painter arrives at a clever artistic space, it doesn't matter what he paints, but how he paints is his own business. When we evaluate a painter's standards, we'd better leave their paintings, listen to their voices and follow them into the colorful painting context, so that we can see their pure and transparent hearts and the beautiful and colorful spaces hidden in them. This is what I learned after talking with the painter Zhang Yingjie. According to Zhang Yingjie's painting experience, I wrote these superficial words and asked the painter to criticize and correct me.