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Some people think that painting is very difficult, and they say that they must be born with a genius for painting. I don't think so. I thought that as long as I was interested, found a right path, and was willing to work hard, I would naturally succeed. People in the past said, "Three points of personnel and seven points of heaven", but I absolutely oppose this sentence. I thought that we should say "seven points of personnel and three points of heaven" in reverse; that is, no matter how good your talent is, you can't do it without merit.
The so-called prodigies in the world probably became obscure when they reached adulthood. Why is this? Just because everyone held it, coupled with the favor of their parents, they forgot their form, thought that they could not afford it, and never worked again. If you don't advance, you retreat, this is the natural trend, how do you tell him to succeed? In my personal opinion, to draw, we must first start by copying the names of the ancients, practice the lines well (the same is true for writing, we must first learn double hooks), and then learn to sketch.
Sketching must first understand the physics, observe the state of matter, and experience the situation of things, and must write again and again, until there are no errors. In my imagination, there is no distinction between painting at all, this is true when I first learned, and it is also true when I finally reach the highest state. Although there may be some differences, it is the customs of the region and the difference in tools, which are different in the picture.
Also, from the point of view of color, Western painting is that color and light cannot be separated to use, color to line light, light to color, in order to express the depth and three-dimensionality of the object, more with shadows to set off. Chinese painting is light and color separated to use, when you need to use light, you use light, do not need to use when you skim off, as for the yin and yang to the back all rely on the undulating twists of the line to express, and ink and freehand, but also for China's unique painting method, do not paint shadows.
Ancient Chinese artists have long believed that shadows hinder the beauty of the picture, so the Chinese painting tradition has been divided by the undulating twists and turns of the lines to show the yin and yang back, and color to line the light. This is also like the high white tone in modern portrait art photography, there is no shadow, but there is also a sense of three-dimensional and beauty, and the theory is the same.
Modern Western painting tends to be abstract, and Matisse and Picasso say that they were changed by the influence of Chinese painting. I saw bi's five volumes of Chinese paintings practiced with pen and ink, each about thirty or forty pages, and promised him a new painting of the Spanish shepherd boy god.
That's why I say that Chinese painting and Western painting should not be too far apart. A person can dissolve the strengths of Western painting into Chinese painting, it looks completely the charm of Chinese painting, leaving no trace of the appearance of Western painting, this must have a top genius and very diligent hard work, in order to have this achievement, a little careless, it will enter the magic path.
Chinese painting is often criticized by people who do not understand painting as having no perspective. In fact, why does Chinese painting have no perspective? Its perspective is taken from all aspects of the four directions, and now the abstract painting is not ordinary. As the ancients said, the following few sentences are the principles of full perspective abstraction. He said, "Distant mountains are boundless." Why is the distant mountain without wrinkles? Because people's eyesight can not be achieved, it is equivalent to photography too far, there is a fog layer between the air, naturally can not see the veins on the mountain, of course, there is no need to wrinkle.
"Far from the water without waves" the river is far away, where can you still see the ripples? "Distant people have no eyes" is the same; the distance is far away, of course, the facial features are not clear, this is a natural truth. The so-called perspective is natural, cloudy and rigid.
Photography was not invented before, but Chinese painting has long since invented these principles of photography. Why? For example, if you paint a distant scene, the tone must be light, but also light and faint, vague, this is to use the painting to express the distance; if you say that the painting of the near view of the building and the pavilion, it must be clearly painted, the tone is deep, and it is as if it is in front of you.
Shi Tao also has a unique skill, which he sometimes reverses to blur the near view and draw the long view clearly and realistically. This is equivalent to the focus of the camera, which is more like our eyes looking at the far ahead, and the near place is not clear. This is the "highest" modern scientific physical perspective, and it is remarkable that he can use it in painting and can express it. Therefore, the abstraction of Chinese painting is both physical and contains the element of beauty.
When it comes to taking beauty as the base point, different angles should be used when expressing, and the painter can integrate the composition of beauty from each angle, or from the perspective of the flowing position, generating inspiration from several aspects. Modern people may be able to understand this theory, but the ancients did not understand this truth. Shen Cunzhong, a Song dynasty, criticized Li Cheng's paintings for the corners of the houses.
How is it called a house corner? He said that from the perspective of top to bottom, if you look at the roof, you will not see the eaves, and Li Cheng's paintings are quite unreasonable to see both the roof ridge and the bucket arch. Roughly it seems that this truth seems to be right, think about it carefully and know that it is not right, because the painting is based on beauty, Li Cheng uses the method of bird's eye view, looking down at the roof ridge, and taking the angle of flying and looking up to see the eaves arch, just a momentary impression, the brain is afraid of leaving the roof ridge and the beauty of the eaves and merge into one, so it is drawn, and Chinese architecture, the beauty of the roof ridge, the beauty of the bucket arch are all masterpieces, and the perspective of the pitch can not be used to convey its full picture.
The painter himself is considered to be God, with the privileged ability to create all things. In the painting, if it is to rain, it can rain, and if it wants to come out, it can produce the sun; the creation is in my hands, not driven by all things. If there is a lack of a mountain here, add a mountain peak, where a bunch of rocks should be deleted, a bunch of rocks should be deleted, and if there is a fairy realm in your heart, you can draw a fairy realm. This is what scientists call re-election of nature, which is what the ancients called "pen supplementation and creation of heaven without work."
In short, the painter can create another world in painting, how to paint, how to paint; sometimes to express reality, sometimes can not be too concerned about reality, this trade-off, all depends on their own thoughts.
Why? To put it briefly, to paint something, one should not seek too much image, nor should one deliberately seek to be different. Of course, it is better to ask him to be like him than photography, so why paint it? Therefore, we must get the natural interest of super-things between the image and the dissimilarity, which is considered to be art, which is what the ancients called "taking the gods from the relics", which is equivalent to saying that the new world created under my pen is that the knower will naturally recognize it when he sees it; I will paint it when I see it, and abandon it if it is not beautiful.
When it comes to true beauty, of course, it is not only about the form of things, but also about understanding the charm of things. This can be quoted from two sentences of Wang Ma jie, "There is poetry in the painting, and there is a painting in the poem." Painting is silent poetry, poetry is sound painting.
How can we get to this point? That is to say, it is intended to be written first, and the mind can be expressed on the paper with the pen and ink as soon as the mind touches. Therefore, it is said that "it was formed before it was painted" and "God stays in the buckle of the painting". In modern times, there are many things, which were not available in ancient times, not all of which cannot be painted, as long as you use your inspiration and thoughts, do not change the principle and get its demeanor, paint with ancient meaning and do not fall into the clichés, this is art.
How do I have to master painting? In summary, the first emphasis is on outlining, the second is sketching, and the second is to freehand. Whether you paint flowers and feathers or landscape figures, you must always understand the three things of emotion, reason and state. First of all, we must start to copy and review each work, whether ancient or modern, the eyes are watching the hand, the core is preferred, and everyone has their own strengths, and should be taken, but each person is born with different places, and he should pursue it by himself, and he cannot teach him to stick to the teacher's law, and then intend to create, so that he can become an independent painter. Therefore, the works transmitted by the Tang and Song dynasties should not be inscribed, but can be known to people at a glance that it is someone's work, and watching his pieces can represent him personally.
What does the ancients mean by reading thousands of books and traveling thousands of miles? Because of the breadth of knowledge, it is necessary to observe from the field, not only by books, but also by complementarity. Famous mountains and rivers, familiar in the heart, with hills and ravines in the chest, the next pen naturally has a basis. It takes a lot of experience to get something, as does the landscape, and the other floral figures and animals are the same.
Travel is not only the source of painting materials, but also can peek into the whole picture of everything in the universe and cultivate a broad mind, so it is necessary to travel thousands of miles.
A successful painter, the skill of painting has reached the state of transformation, and there is no fixed way of painting that can restrain him and restrict him. The so-called "looking down on all things" and "doing what the heart wants", if you are skilled at painting, why stick to the rules? But beginners still follow the rules and follow the rules.
The ancients painted figures, most of them fishing, trees, ploughing, reading as the object, this is a symbol of the high life after the return of the scholar and doctor, not to these four ways for a living, posterity does not know this meaning, painted a sad face, there is a great way to rely on this for a living, diligent for profit, there is no spiritual sustenance, is not ridiculous!
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