The painter's ideology determines his aesthetic ideal, aesthetic concept and aesthetic way. Different times and different concerns about aesthetic objects make aesthetic objects not appear in the same form. The resulting artistic style is a concrete reflection of the organic combination of subject and object in a certain time and space.
"Ancient brush and ink, new form" is the development direction of Chinese painting at present, which is an eternal academic proposition and the only way for the development of Chinese painting. From the uniqueness of art form, we should pay attention to the acquired cultivation of pen and ink, and pay attention to the intake, digestion and integration of new images, so that it has an unprecedented structural form and does not exclude and distinguish it from the essence of ancient pen and ink. This should be the real era of Chinese painting today.
Putting forward "Gucci Brush and Ink" is not to change the present into the ancients, but to obtain the basic blood gene and scientific and flexible expression method of Chinese painting art through decades of research on ancient art forms. Including the thinking method of harmony between man and nature and the development law of pen and ink from sketch to point. This process can't be a little vain and tricky, and it is also full of lofty and hard enlightenment. In short, it is a pleasant burden. The "antiquity" of pen and ink comes from the cultural accumulation of thousands of painters in Qian Qian from ancient times to the present. Taking its "ancient" is actually to convey the pursuit goal of burning fire and establishing a high realm. In an ancient and modern frame of reference, keep your heart open and your feelings open. Establish a healthy and sound Chinese painting ecology from the process of self-knowledge.
The so-called "new shape" is the modeling based on "ancient brush and ink". Through the natural images that have not been involved by the ancients and those that have been involved by the ancients, a comprehensive description and selection are made. Images that have not been described by the ancients require their rationality, and images that have been described by the ancients should realize their classicality. The two are interrelated to form a new morphological system, which contains the morphological space where pen and ink can be converted, and is expressed as much as possible, writing the country with "meaning" and creating the realm with "meaning". Naturally form a new artistic language of Chinese painting.
To sum up, I think today's Chinese painting should have the following connotation characteristics:
1, "harmony": a place that is harmonious, simple and auspicious, with a sense of security in living space, a broad realm and a tourist life. In terms of cultural form, it can extend back and forth and make a natural transition.
2. "Virtue": benevolent people are born with virtue, not for disadvantages, not for alternatives. * * * a knowledge standard of survival with others, don't grandstanding in the form of surprise and absurdity.
3, "clear": no turbidity, bright and clean, see the light in chaos. Not quality, gorgeous and elegant, simple but not rigid, rigid, come and go, as if there is a clear stream of inheritance and development.
4, "positive": high without losing elegance, descending without evil, grand and solemn, taking the middle and not slanting, far and wide, accommodating it, accepting nature, noble and upright, loving adventure and reality.
5, "escape": not flattering, from the appropriate gas, not tired of things, not sad for yourself, get the true spirit of nature, idle but not lazy, quiet and empty, epiphany, ambitious, let go of the rivers and lakes, happy with the situation.
6. "Old": the foundation is still ancient, broad and profound, neither floating nor impetuous, rich and heavy, beautiful and thin, Gu Zhuo delicate, cold and distant, eccentric and lively.
This connotation is a comprehensive requirement for every painter, and it is also a requirement for appreciators. Otherwise, it is not enough to show the contemporary height and long history and culture of a big country. People's understanding of world things has a process, and so does "pen and ink". From ignorance to knowledge, it is a gradual and in-depth process, and understanding "pen and ink" must go through practice.
Chinese painting begins with murals on the wall and then goes to scroll form on silk paper. One is to set up an image with lines, to express the spirit with lines, and to draw all kinds of line traces through animal brushstrokes. Almost all paintings before the Tang Dynasty belong to this category. "Taking the pen as the bone method" in the "Six Laws Theory" refers to mastering the basic brushwork principle by using the method of stroke lines, in which ink is not used, because it was not a painting technique at that time. Emphasizing the "bone method" is a major feature of the pen, which is considered to be the only way to draw the breath of life and the substantive embodiment of the brushwork. People can't stand without bones, and they can't see vitality without standing. So "strengthening its bones" can show its vitality. The so-called vitality and bones are ready, and a vivid image begins.
Mr. Lv Fengzi said in the book "Research on China Painting": "Bone method is also a proper term of Chinese painting; It refers to the brush strokes as the backbone of the image in painting, and at the same time as the basic content of the internal basic form of the image. Because when copying the real image, the author must give the copied image a certain meaning and express his feelings, that is, some feelings for a certain meaning directly come from the copied image, and the author's feelings have been integrated with the brushwork in the process of shaping; Wherever the pen goes, whether it is a long line or a short line, it is a short point, and the pieces spread from one point have become traces of emotional activities. " This passage basically talks about the important position of pen in Chinese painting, from which we can see that the establishment of brushwork is a skill to transform feelings into artistic images. Rather than a "tool" attached to the image form. Zhang Yanyuan said in the Tang Dynasty: "The shape of the spine is all about the pen." This is a fact. The history of using pen is the history of the development and change of Chinese painting. From pen to ink, Chinese painting has formed a formal system. If we leave this system, it can only show our ignorance of China's painting methods.
In Chinese painting, the method of using pen can be divided into two categories: center and winger, as well as counter-attack. In fact, it is the direction of using a pen, which cannot be compared with the two categories of using a pen. Center stroke, the nib always runs in the center of the line impartially, resulting in round and full lines. For example, in calligraphy, there are two kinds of centers: the round pen (wrapping the front) and the Fang Bi (smoothing the front). The front is the seal, and the back is the official. In addition, there are various methods of lifting, pressing and reversing. Can be vivid, freehand brushwork, deep and simple lines. With a pen, the front of the side can be freely expressed, and the front is scattered and gathered. The front is tilted to one side, and the pen tube is tilted. After running, the line thickness varies greatly, and it can form a block surface, mostly for publicity and shaping. Both the center and the winger can be used in the opposite direction, and the change is increased. Coupled with the importance and urgency, the ink is dry and wet, and the layers are added, and the changes in the pen are exhausted. What I have said above is actually the most basic brushwork of China's painting for thousands of years, but few people can face up to this method. First, beginners don't know its connotation; Second, I have learned but can't understand its connotation; What's more, taking a pen as your own inaction is equivalent to using a pen. Even disdain the basic method of using a pen, or stop at the first taste and can't go deep, so there is no difference between good and bad.
In fact, the most basic method is also the highest level method, but it is just a cognitive level. This is the charm of Chinese painting brushwork. With brushwork, there is the use of pen and ink, and the perfect combination of pen and ink.
As mentioned above, the change of the pen, the running form of the pen and the lines of the object are all expressed on the paper with the traces of ink. The change of ink color depends on water, and the amount of water depends on the adsorption of the pen, which is a complete whole. And "using ink" needs to be carried out on the premise of carrying a pen. It is a basic truth that the pen is not transported and the ink is not obvious. How to run a pen shows the changes of various inks. Pen and ink melt in the pen. When the pen is running, the priority of its speed and the weight of the pen are all in accordance with people's wishes. The fluctuation of people's emotions and the familiarity of skills are all revealed in the ink. The formal language of ink is the lines of strokes. The shaping law of Chinese painting lines has become a major feature after thousands of years of accumulation, and history, times, nationalities and individuals are organically unified in the line. No matter what kind of lines are classified as the expression of pen and ink.
Shi Tao's "Painting Quotations" said in pen and ink: "The splash of ink also has spirit, and the movement of ink also has spirit. Murphy can't be cultivated, and his pen is fatal. " Ink-feeding method is developed on the basis of pen. Using ink depends on "nurturing", that is, being well trained. Use a pen to see how familiar you are with life and modeling, otherwise there will be no "spirit" and "spirituality". Ink and pen are inseparable.
At the advanced stage of pen and ink, the charm of art comes out, that is, form is God, and the two are naturally combined through pen and ink, like beautiful music and fluent words, which makes people feel unique pleasure in their hearts. This kind of visual reflection of pen and ink can only be produced after understanding pen and ink and accumulating some experience in appreciating pen and ink. For people who regard pen and ink as strangers, it may be difficult to have such a visual reflection, so people who know pen and ink can only be in pen and ink.
Get pleasure and beauty. The change of the times will produce the pen and ink belonging to that era, which is a very typical phenomenon in the development of Chinese painting pen and ink. Shi Tao's "Pen and ink should follow the times" illustrates this phenomenon and also raises the issue of the times of pen and ink. It is not just pen and ink that has the brand of the times, but the brand of pen and ink exists, which mainly lies in the result of the change and development of the times, and the aesthetic characteristics and requirements at that time prompted the performance of pen and ink to follow. The other is the result of the development and change of pen and ink itself.
Before the Tang Dynasty, pen and ink gave way to color, lines were mostly sketches, and pen and ink were immature. After the Song Dynasty, pen and ink gradually got rid of the subordinate position of modeling, and showed the richness and lyricism of pen and ink through the establishment of various brushwork and ink method. The pen and ink in Song Dynasty is multi-level and rigorous and rational. Rarely put pen to daub at will. Even the freehand brushwork of Liang Shu and Muxi has its rational traces. There must be a reason for writing, which is a major feature of pen and ink in Song Dynasty. There was no habit of cutting corners and wild painters in the Song Dynasty. Painters respect their intentions and pursue a perfect artistic realm. No matter how dense the academy is, how humble the field is, how refined the pen and ink are, and how they are used macroscopically, they all show their broad feelings. The artistic trend of thought of this era has created it. The pen and ink of the times are clearly visible to future generations. For a painter, it is the result of his own creation and the creation of his time. He may not see the obvious characteristics of the times, but he must grasp the creative law of pen and ink, which is the expression of image and embodies the aesthetic characteristics of the times.
After Yuan Dynasty, the image characteristics of pen and ink became more prominent. Almost got rid of the shackles of form, and gained detachment in the pursuit of pen and ink interest. The most typical example is Ni Yunlin. His "escape pen is loose, not seeking similarity, chatting to express the escape in his chest." Become a high-level expression of literati pen and ink. This has had a far-reaching impact. Compared with Song Dynasty painters, Yuan Dynasty painters' pen and ink was a great liberation. The spiritual temperament of form and image is reflected in the traces of pen and ink. The characteristics of this era are mostly the contradiction between Tu Youyou's repressed heart and social reality. I'm afraid it's an important reason that scholar-officials and painters escape from the common customs and customs and are in spiritual opposition with foreign rulers. It can be seen that the brand of time and generation is deep.
The rise of commerce in Ming dynasty and the secular atmosphere had a great influence on pen and ink. The elegance of Wu Pai and the heroic style of Zhejiang School became fashionable in a short time. They inherited the tradition of pen and ink in Song and Yuan Dynasties, re-recognized the pen and ink of the previous generation, and obtained formal satisfaction from imitation. Although the pen and ink are exquisite, they are less original, some are masters of pen and ink, but there is no outstanding pen and ink creativity. It shows the unique aesthetic characteristics of this historical period in Ming Dynasty.
In the late Ming and early Qing dynasties, history seems to be repeating the situation in the late Song and early Yuan dynasties. With the invasion of foreign countries and the disintegration of the Han camp, a group of left-behind painters lost their feelings in the pain of national subjugation, and the fate of individuals and families plunged them into the abyss of despair. The calm and dripping of Badashan people, the depression of Shi Tao, the obscurity of Xi Shi, the profundity of Gong Xian, the coldness of Jianjiang and the expression of pen and ink have all turned into the feelings of life, flowing out naturally and losing pen and ink. There is no need to face the world again. At this time, I have no interest in making painters and painters. Pen and ink are a little soft, dry, moist, light or hearty. Using a pen and ink to express a feeling of life, this era will really play tricks on people!
The retro trend of thought in Qing dynasty, the closed and stable society under the rule of Manchu dynasty, and the development of pen and ink itself. A group of painters imitated their predecessors and studied repeatedly in the circle of pen and ink. The four kings after Dong Qichang were the most representative. Dong Qichang was born in the late Ming Dynasty. His leading idea is to put forward the relative independence of pen and ink in painting. "With the strangeness of the diameter, painting is not as good as landscape, with the exquisiteness of pen and ink, and the rich landscape is not as good as painting." Starting from the form of pen and ink, this paper explores the formal beauty of pen and ink itself and raises it to the same height as mountains and rivers, which is different from the performance of mountains and valleys in Song Dynasty and temperament in Yuan Dynasty. In my opinion, this understanding is the necessity of the development of pen and ink, which has brought two effects: first, it has developed the formal beauty of pen and ink and achieved an exquisite Mo Miao; The second is to move towards formalism and break away from the original spirit. The four kings' paintings were completely developed in this form of pen and ink, which was pushed to a considerable height by the four kings. Its aesthetic value is obvious.
After modern times, pen and ink were influenced by western painting and the intervention of western concepts made the form of pen and ink under the judgment of two cultural backgrounds. One is local, the other is foreign, and the pen and ink has a diversified development trend, and the pen and ink passed down from the previous generation has disintegrated. Modern people treat their predecessors with modern aesthetic vision, pursue the expression language consistent with the general art flow in the world, and carry out drastic pen and ink transformation. Especially after the end of the 20th century, pen and ink were almost put to the final trial. Although the trial result has not yet come to an end, the "pen and ink lawsuit" is in full swing (but only in the circle of paying attention to pen and ink), and the resulting creative trend of thought is involved in a whirlpool in which the production effect replaces pen and ink, which is most obvious in the Ninth National Art Exhibition. This China Art Exhibition has almost become a big exhibition without pen and ink, and the pen and ink expression of the times has almost disappeared. Don't use pen and ink, just use other ideas and production methods. Is the "pen and ink form" so bad that it is the decline of Chinese studies? ! However, extremes meet, which may be a law that art cannot violate. Put forward the modernization of pen and ink. There is a very reasonable saying: "tradition is the fashion of the past, and fashion is the tradition of the future." The popularity of modern pen and ink is a continuation of the tradition of pen and ink after the times. Modern pen and ink must have many conditions to be "modern"-it is the replacement of ideas, retro, formal, foreign and so on. And to accommodate macro thinking. Second, the promotion of national culture and communication with the world should be organically unified; Third, to create a sense of the times of pen and ink, we must meet the basic aesthetic needs of human beings, and anti-human pen and ink are used to ink. Denying the existence and development of pen and ink is a manifestation of nihilism. As the main form of Chinese painting, pen and ink will change with the times, which is inevitable. Artistic creation must have its own personality before it can be called creation. Numerous personalities make up * * *, and so does pen and ink. The advanced stage of pen and ink is full of traces of individuality, which records the emotional rhythm of the painter in the creative process, so pen and ink with individuality is a unique structure, and the dotted line is like a continuous rhythmic note. This lyrical meaning comes from the bottom of my heart and ends in the middle without any trace of carving, which is natural.
The society provides the same ideological space for every painter, but each painter's life experience and life circle are different, intertwined with various contradictions and containing emotions. Entrained in pen and ink, it presents rich connotations and is changeable. Take landscape painting as an example. Before the Yuan Dynasty, pen and ink mostly aimed at expressing objective images. Although they have their own characteristics, they are not conspicuous and obvious, leaving many traces between hills and valleys. In the Yuan Dynasty, the expression of mind and the indulgence of pen and ink showed a strong sense of human nature. Fake things convey feelings, things are hidden between pen and ink, and the weight, thickness and literary field of pen and ink are very personalized, which sincerely expresses the painter's personality orientation and reveals an emotional end point from each stroke. If you don't know this, you can say that you don't understand Yuan painting and the good intentions of the ancients. Ni Zan and Wang Meng in Yuan Dynasty, their pen and ink, one simple, the other simple to the extreme, not colored; Very dense, dense to deep. A pen and ink is loose and elegant, and a pen and ink is round and refined. Both of them have obvious personalities, resulting in two different ways of using pens and different styles. In addition, Huang and Zhenwu are also different in pen and ink.
Their similarity lies only in their seclusion in pen and ink, their unconventional style, and their flattering style.
The individualization of pen and ink is also manifested in the strengthening and pursuit of a certain kind of pen and ink, which is particularly obvious in painters in the late Ming and early Qing dynasties. Shi Tao is good at bold and unrestrained brushwork. He likes to write landscapes. He wrote: "I am annoyed by all kinds of evil ink, and a few soft marks laugh at Beiyuan." Far away, I don't know how to wander around the landscape, and there are countless near ones, only to see the customs in the village, and the immortal dies of mildew … "This is an ode to self-control of pen and ink, and I don't wander from the circle of the ancients and write at will, so Shi Tao's painting style is bold and unrestrained because of pen and ink, often with a dripping feeling, and then with a casual feeling. This is the uniqueness of Shi Tao's pen and ink. Badashanren's pen and ink are calm and natural. This is a pair of contradictions. It is difficult to take your time, and it is also difficult to take your time. One is easy to climb and the other is easy to float. Unified in the works of Badashan people. The personality of Badashan people's pen and ink is affectionate and not exposed, even if there are thousands of rhymes, it is not exposed. The form of figuration and metaphor has been tempered by Badashan people, and the pen and ink have been transformed, emphasizing arrogance and lightly depicting, while the big image is lightly carved. Therefore, the lift, turn and line in the pen are just like nature. Sometimes very rich connotations are written with minimalist pen and ink, which is meaningful and meaningful, showing Badashan people's personalized shaping consciousness and expression consciousness. Nevertheless, in pen and ink, the traditional brushwork and the law of ink painting are followed, and personality is included.
The cause of pen and ink is also because there are many creative castings, colorful, perfect and full of new machines. Just because pen and ink can record the rhythm of life, it is very colorful to dig and mix. Numerous personalized and intensive highlights of life remain in the world through pen and ink. After reading it, later generations lamented the memory of their predecessors, from the taste in pen and ink to the ideological track of the sages. Pen and ink is really a confession of the soul, and a form cannot be penetrated. These souls staged a beautiful drama on the stage of history. The combination of individuality and * * * has been passed down to this day, which proves the irresistibility of aesthetics, the primitiveness of aesthetics, the oriental consciousness of aesthetics and the uniqueness of aesthetics.
The above is not the feeling after careful consideration, just thinking along with the fate, combining experience and imagination, recording some feelings and making some comments. Finally, take poetry as the conclusion:
There is a storm in the painting because of pen and ink.
It's hard to say.
Heaven and earth endow humanity, pen and ink write spirituality.
Why is utilitarian? I can't tell.
It should be academic and well documented.
Knowing the past means knowing the present, and knowing the present means knowing the Ming.
Although it is related to Chinese and foreign bodies, it belongs to the essence of unity.
A toddler in Handan forgot to take a step, but got up anyway.
Sages can learn from the founding of the country and open a new road today.
Use the West to serve China and be conservative.
Pen and ink are eternal things, but don't play the lute for the cow.