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Teaching Nature || Zhang Litie's Taihang sketches

Teaching Nature || Zhang Litie's Taihang sketches

Artist: Zhang Litie

In May 1983, while studying at Langfang Normal School in Hebei Province, he studied Chinese painting with Mr. Hu Jialiang

In January 1984, his work "Mutual Appeal" participated in the Spring Festival Painting Exhibition of Langfang Normal School

In October 2006, he joined the Gu'an County Lingcang Painting and Calligraphy Research Association and became a director of the Lingcang Painting and Calligraphy Institute

From March to June 2007, he participated in Mr. Zhao Shusong's advanced research class on landscape in Tianjin and graduated

In June 2007, led by Mr. Zhao Shusong and the painter Zhu Chaofan, he went to Huangshan in Anhui, Guoliang Village in Henan, Wang Mangling and other places to sketch

On May 23, 2008, he organized and participated in the Wenchuan Earthquake Relief Charity Sale of Gu'an County's Literary and Art Circles, and all the proceeds from the charity sale of his personal works were donated to the disaster area In June 2008, he joined the Hebei Artists Association

In 2009, his work "Cangyan Double Waterfall" participated in the Hebei Provincial Commemoration of Reform and Opening-up Literary and Art Exhibition

In November 2009, he was awarded the title of "National Second-level Artist" by the Office of the Leading Group for Professional Title Reform of Hebei Province

On October 22, 2011, his work "Deep in the White Clouds" was published in the 935th issue of "Art Newspaper".

In December 2011, Tianjin People's Fine Arts Publishing House published a collection of paintings, "Chinese Contemporary Powerful Masters - Zhang Li Tiejuan"

In August 2012, Gu'an Donghu Painting and Calligraphy Institute was established

On April 28, 2013, two works participated in the Gu'an "Love Ya'an" Disaster Relief Calligraphy and Painting Charity Sale, and all the proceeds were donated to the disaster area

In May 2014, he participated in Mr. Zhao Shusong's Tianjin Jixian Landscape Painting Training Course and went to Taihang Grand Canyon to sketch

In September 2014, his work "Taihang Wind and Bone" was selected for the "Hebei Provincial Art Exhibition to Celebrate the 65th Anniversary of the Founding of the People's Republic of China"

In October 2016, the collaborative work "Red Army Birthday Star - Wang Dingguo" was selected for the "All-Army Art Exhibition to Commemorate the 80th Anniversary of the Victory of the Red Army's Long March" From September 2016 to September 2017, he participated in the Huang Gesheng Landscape Advanced Research Class of the School of Arts of Peking University and graduated

On July 20, 2021, he officially worshipped Mr. Zhang Fuxing as his teacher in Beijing and became a disciple of Mr. Zhang Fuxing

In October 2021, he was hired as a consultant of Gu'an County Artists Association

In June 2022, he was elected as the vice president of the Great Wall Calligraphy and Painting Research Association of Hebei Province

In April 2023, he and painters Wang Shaowu and Huang Zhenya went to Shennan Town, Shunping County, Hebei Province to sketch

In May 2023, he and painters Wang Shaowu and Huang Zhenya went to Wolong Village, Shidu Town, Fangshan, Beijing to sketch

In September 2023, he and painters Wang Shaowu and Huang Zhenya went to Xiayunling, Fangshan, Beijing to sketch

Some of the works are shared

Ink sketching

Text / Zhang Litie

Ink painting is a necessary way and an important means to exercise the painter's ability to observe, generalize, make trade-offs and synthesize. Ink painting on the spot is different from quiet painting in a studio, and is restricted by a variety of objective factors such as venue, material, climate, and time. In order to successfully complete a relatively satisfactory landscape sketch, we should grasp the following points: First, we must carefully select materials and avoid hastily selecting scenes. Due to the excitement of coming into contact with nature, and also due to the tight time for landscape sketching, some painters often can't wait to see the real mountains and rivers, and hurriedly start writing. It is important to know that framing is the essence of sketching, and the framing is not beautiful and the composition is not good. Look as much as you can, and choose the easiest places and scenery to get into the painting. It is also necessary to determine the angle of the viewpoint. Second, it is necessary to conceive ideas. Think about what impresses you about the scene in front of you. What is the main depiction? How to arrange the composition and priorities of the picture? The third is to write steadily. Painting on the spot is the easiest to be impetuous. It is important to know that sketching should be calm and slow down. Specifically, you can start with a charcoal pen, make a rough arrangement of the close-up, medium-, and long-term scenes, and if necessary, you can also sketch out the details of detailed buildings and complex trees. Then use a dry pen to outline and rub with a light ink. The ink sketch nib should not be too watery, otherwise the paper is easy to be blown and cracked, and it should be dry rather than wet, light and heavy. It is also better to be virtual than real, and the brushstrokes may as well be false, leaving room for modification later. In addition, seven points should be used to take the scene of the scene, and three points should be left to play with the method of imagination, shift, and trade-off. Fourth, post-finishing. Ink sketches should not be completed on the spot, just draw the outline of the main scene, the texture of the rocks, and the posture of the trees, and take photos of the details as information if necessary. After returning from sketching, it should be sorted out in the studio in time. In this way, the picture can not only be cold-treated, but also free to play without the influence of the physical object on the spot, and the picture can also be perfected with ink, color and special techniques.

Teaching Nature || Zhang Litie's Taihang sketches

烟雨龙潭湖 48cm×130cm

Teaching Nature || Zhang Litie's Taihang sketches

龙潭湖南峰壑美 48cm×130cm

Teaching Nature || Zhang Litie's Taihang sketches

峡谷幽幽 48cm×130cm

Teaching Nature || Zhang Litie's Taihang sketches

春到杨家台 48cm×130cm

Teaching Nature || Zhang Litie's Taihang sketches

白银坨春色 48cm×130cm

Teaching Nature || Zhang Litie's Taihang sketches

龙潭小景 48cm×130cm

Teaching Nature || Zhang Litie's Taihang sketches

Ame-ryūryūtan Beauty Painting 48cm×130cm

Teaching Nature || Zhang Litie's Taihang sketches

群峰积翠看卧龙 53.5cm×245cm

Teaching Nature || Zhang Litie's Taihang sketches

白求恩巡诊小镇 69cm×69cm

Teaching Nature || Zhang Litie's Taihang sketches

玉树金山好家园 70.5cm×246.5cm

Teaching Nature || Zhang Litie's Taihang sketches

云涌黄花塌 70cm×137.5cm

Teaching Nature || Zhang Litie's Taihang sketches

十渡卧龙两裕口 70cm×137.5cm

Teaching Nature || Zhang Litie's Taihang sketches

霞云岭烟云 70cm×137.5cm

Teaching Nature || Zhang Litie's Taihang sketches

十渡六合村 70cm×137.5cm

Teaching Nature || Zhang Litie's Taihang sketches

卧龙风景独好 70cm×137.5cm

Teaching Nature || Zhang Litie's Taihang sketches

放眼黄花塌 70cm×137.5cm

Teaching Nature || Zhang Litie's Taihang sketches

烟云太行 70cm×137.5cm

Teaching Nature || Zhang Litie's Taihang sketches

蒲洼风景独好 70cm×137.5cm

Teaching Nature || Zhang Litie's Taihang sketches

霞云岭风光 70cm×137.5cm

Teaching Nature || Zhang Litie's Taihang sketches

群峰竞秀 70cm×137.5cm

Teaching Nature || Zhang Litie's Taihang sketches

十渡东太平之夏 70cm×137.5cm

Teaching Nature || Zhang Litie's Taihang sketches

霞云岭 70cm×137.5cm

Teaching Nature || Zhang Litie's Taihang sketches

红色马安 70.5cm×180cm

Teaching Nature || Zhang Litie's Taihang sketches

玉树金山好家园 70cm×238cm

Teaching Nature || Zhang Litie's Taihang sketches

丽日和风太平年 80cm×244.5cm

Teaching Nature || Zhang Litie's Taihang sketches

妩媚春光看卧龙 80cm×246.5cm

Teaching Nature || Zhang Litie's Taihang sketches

Puwa is a good spring breeze 80cm×246.5cm

Teaching Nature || Zhang Litie's Taihang sketches

Taiyuki Omi 70.5cm×180cm

Teaching Nature || Zhang Litie's Taihang sketches

黄花塌下好风光 70cm×137.5cm

【Dot, line, surface and pen and ink】

A landscape painting, like a person. Dots are the characteristic organs of the human body, such as the facial features, fingers, and toes; The thread is the bones, tendons and hair of the person, the thick ones are the bones, the slender ones are the tendons, and the hair is emitted; face, is the muscles of the person; Other clouds and backgrounds are embellished like human clothing. Point, with the pen is the most ruthless, like a point, the pressure is the greatest, why? Because the area of the dot is the smallest, if the dot is not prominent, it will be drowned in the vast sea of the picture. Of course, there are some taps and fades, but they are all dots in easily recognizable places. The line is the trajectory of the point, the longer the line, the more we must pursue rich changes in all aspects of the brush, the line of the brush, and the end of the brush, which is the highlight of the painting, and it is also the stage for the painter to be proud. A single line can show the geometry of the painter's skill. The surface is a platform to display the ink rhyme, whether it is splashing ink, breaking ink or accumulating ink, it is necessary to reflect the texture of the surface through the manufacturing level. Broadly speaking, an object with the characteristics of a point is a point in a painting, an object with the characteristics of a line is a line in a painting, and an object with the characteristics of a surface is a surface in a painting. For example, if there is a persimmon tree on the hillside, the round persimmon is the point, the interspersed orderly branches are the line, and the hillside is the surface. The so-called seeing the pen means that the dots and lines should be wonderful and rich, and can withstand careful and repeated looks, and have the taste of calligraphy. In addition, the use of brushwork should be combined with the depiction of objects, that is, it should be both wonderful and reasonable. If you draw a child's face, use a rough line, although the line is wonderful, it is not properly depicted. The use of ink should echo the brushwork, for example, without the use of side strikes, it is difficult to achieve natural blending. It should also be organically combined with water. The ink is colorful, and it is the water that plays a role in it. Dry painting method or wet painting method, first hook and then dye or first dye and then hook, the taste is very different. Even if you spray the paper wet and then draw it, how dry is the paper? Just like the heat of a chef, the painter's different treatments form different styles.

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Picture and text excerpt from

"Teaching Model of Chinese Higher Art Academies: Selected Landscape Paintings by Zhang Litie"

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