Recently, the Propaganda Department of the Yunnan Provincial Party Committee of the Communist Party of China coordinated and planned, the Yunnan Provincial Federation of Literary and Art Circles coordinated and guided, and the Yunnan Artists Association sponsored Xu Xiake's Yunnan Journey Footprints Sketching and Creation Activity was held. Yunnan Province has abundant natural and cultural resources, adhering to the aesthetic concept of "each is beautiful, the beauty of the beauty, the beauty of the United States, and the world is the same", we have selected some of the works of painters who do not specialize in landscape to compile and distribute, they are skilled, outstanding in style, elegant in style, and are the leaders in the development of contemporary Chinese painting in China.
In this issue, we have selected some of the sketches of the painter Ren Huizhong, focusing on the freehand figure painting, and the painter's solid sketching skills are worthy of serious study and reference.
—Editor's note
Sketching is first of all to observe the overall feeling of the person, the overall consciousness. In the case of strengthening the sense of wholeness, it is necessary to pay more attention to the overall relationship. I always emphasize that sketching should focus on freehand rather than realism, and not copy life as it is. If you understand the form and content of natural characters and interpret them from this perspective, you will be able to create unexpected and high-class works.
At present, a large number of our sketches in reality are made, not "written" in the real sense. Sketching should be freehand, and the production is not freehand, but mechanical tracing, and freehand works have a strong subjective modeling image.
Chinese painting has a very large traditional gene and strength, which is the ingredient of writing. Many times, our freehand is gone, and we are there to trace and pile up and cut without limits.
We need to shape the object on rice paper in the way of writing, and before we start writing, we must first observe, look at it as a whole, and carefully capture the shape, spirit, meaning and psychological reaction of the object. Don't start by staring at a certain double eyelid, collar, fold and other parts to make a fuss, those are all superficial, you can't grasp the essence of sketching, just draw a bunch of clothes without internal structure, which is difficult to vivid. One of the main reasons for errors is that there is a problem with observation, and there is a problem with understanding.
It is necessary to grasp the whole, do in-depth research on the sketching object, and observe its identity, age, state, space, virtual and real, primary and secondary, shade, dry and wet, all of which must be observed and arranged, so that you know it in your heart. Only when you understand it thoroughly can you have a good sense of writing and create a lyrical meaning.
Therefore, when I say that the work should be biochemical, it is necessary to maintain the good and fresh state of freehand. Sketching is not to say that you add something to the background of your painting to become a work, but after deconstruction and understanding, the pen and ink modeling, with spirit, flavor, and style, can be an important factor in the sketching work. The vigorous demeanor of the painting object requires the refinement and creation of brush and ink to be called a work. Even if there are three or two strokes like this, it is also a work; On the other hand, even if you paint a full picture, it is still not a work if it does not conform to the painting theory. You think that it is better to be able to paint the object more substantially, of course it is better, we go in this direction, we go in the direction of enrichment and vividness, we go in the direction of grasping the demeanor, and then we can flesh out the background to be better, more complete, more perfect. You can't put a person's painting like a wooden stake there, wooden, lifeless. If a freehand work is not endowed with a more advanced language of brush and ink, this kind of work lacks vitality and is not alive.
Therefore, we should remember that we should focus on understanding, and how deep the understanding is, how deep the ideological connotation of the work will be, and how deep the connotation of the pen and ink will be injected into the work. Only by grasping these can the sketches truly become works.
(Text/Ren Huizhong, excerpted from "Ren Huizhong ||.") Studio painter 2019 Autumn Gansu Qingyang Huanxian Mengjiawan Sketch Creation Chronicle )
Work appreciation
Sketch of Yinhe Village, Jindun Township, Heqing, Yunnan Province
Ink on paper
138 cm x 69 cm 2024
Sketch of Yinhe Village, Jindun Township, Heqing, Yunnan Province
Sketch of Yinhe Village, Jindun Township, Heqing, Yunnan Province
Ink on paper
138 cm x 69 cm 2024
Sketch of Yinhe Village, Jindun Township, Heqing, Yunnan Province Part 2
Sketch site photos
Sketch of Yinhe Village, Jindun Township, Heqing, Yunnan Province
Ink on paper
138 cm x 69 cm 2024
Sketch site photos
Portrait of an Old Woman in Lijiang, Yunnan Province
Ink on paper
138cm x 69cm 2024
Portrait of an Old Woman in Lijiang, Yunnan Province Part 1
Sketch site photos
Portrait of an Old Woman in Lijiang, Yunnan Province
Ink on paper
138cm x 69cm 2024
Portrait of an Old Woman in Lijiang, Yunnan Province Part 2
Portrait of an Old Woman in Pojiao Village, Jizushan Town, Binchuan County, Yunnan Province
Ink on paper
138cm x 69cm 2024
Sketch site photos
"Yunnan Lijiang Yulong Naxi Autonomous County Yushui Town Longxi Sketch"
Ink on paper
138 cm x 69 cm 2024
"Yunnan Lijiang Yulong Naxi Autonomous County Yushui Town Longxi Sketch Detail"
"Yunnan Lijiang Yulong Naxi Autonomous County Yushui Town Longxi Sketch Detail"
Sketch of the Ancient Town of Lijiang, Yunnan
Ink on paper
138 cm x 69 cm 2024
Sketch of the Old Town of Lijiang, Yunnan Province
The painter invited the model to inscribe
"Binchuan County Jizu Mountain Temple Front Village Sketch Woman Portrait I"
Ink on paper
138 cm x 69 cm 2024
"Binchuan County Jizu Mountain Temple Front Village Sketch Woman Portrait Part 1"
Sketch site photos
"Binchuan County Jizushan Temple Front Village Sketch Woman Portrait II"
Ink on paper
138 cm x 69 cm 2024
Portrait of a Woman in Front of Jizushan Temple, Binchuan County, Part 2
Sketch site photos
"Portrait of a Woman in Pojiao Village, Jizushan Town, Binchuan County"
Ink on paper
138 cm x 69 cm 2024
Sketch site photos
Sketch of Mutun Village, Caohai Town, Heqing County
Ink on paper
138 cm x 69 cm 2024
Sketch site photos
"Yunnan Binchuan County Jizu Mountain Siqian Village Sketch Part I"
Ink on paper
138 cm x 69 cm 2024
Sketch of Siqian Village, Jizu Mountain, Binchuan County, Yunnan Province
"Yunnan Binchuan County Jizu Mountain Siqian Village Sketch II"
Ink on paper
138 cm x 69 cm 2024
"Portrait of a Swift Girl"
Ink on paper
138 cm x 69 cm 2024
"Sketched Male Statue Local"
Ink on paper
138 cm x 69 cm 2024
Portrait of an Old Woman
Ink on paper
138 cm x 69 cm 2024
Portrait of an Old Woman Detail
Portrait of a Man in Lijiang, Yunnan
Ink on paper
138 cm x 69 cm 2024
Portrait of a man in Lijiang, Yunnan Province
"Mr. Yang Enquan Drawing in the Rain of Black Dragon Pond"
Ink on paper 2024
(Source: Comprehensive 020 Art Observation, Yunnan Landscape)
Artist Profile
Ren Huizhong, born on December 25, 1957, is a native of Laizhou, Shandong Province. He graduated from the Department of Fine Arts of the People's Liberation Army Academy of Fine Arts, majoring in Chinese painting, and the first doctoral course of Chinese painting at the Central Academy of Fine Arts. He is a member of the Chinese Artists Association, a member of the National Art Committee of the China Artists Association, a director of the Chinese Painting Society, the director and professor of the Chinese Painting Teaching and Research Department of the Fine Arts Department of the People's Liberation Army Academy of Arts, and a master's tutor. He is a researcher at the China National Academy of Painting, a researcher at the Painting and Calligraphy Institute of the Central Museum of Culture and History, a researcher at the Chinese Painting Institute of the Chinese Academy of Arts, and the dean of the Figure Painting Institute of the Shaanxi Academy of Chinese Painting, and a special tutor of the School of Arts of Peking University.
His works have participated in the 80s Chinese Painting Exhibition, the first National Chinese Painting Exhibition, the first Chinese Character Painting Exhibition, the first Chinese Flower and Bird Painting Exhibition, the Centennial Chinese Painting Exhibition, the 8th, 9th, 10th, 11th, 12th and 13th National Art Exhibition, and the 2nd, 3rd, 5th, 6th and 7th China Beijing International Art Biennale.