Wang Yue, born in Beijing in 1959, studied under Ai Xin Jueluo at an early age. Pu Zuo graduated from Tianjin Academy of Fine Arts (bachelor's degree) in 1985 and Guangzhou Academy of Fine Arts (master's degree) in 1994. He was a visiting scholar at Tianjin University of Commerce in the United States, and taught part-time at Tianjin Radio, Television and Communication University, and his early works include "Peacock Skirt", "Stilt House", "Keno Girl" and so on. Later works include "Horse to Success", "Looking at the Moon", "Four Seasons Lotus Heron Map", "Clear Sound Map on the Clouds", "Lotus Pond Moon Sleep", "Listening to Rain Under the Leaves", "Basho Black Chicken Map", "Strict Winter Snow Holding Map" and so on.
After nearly two years of exploration by Wang Yue, he has created a unique method of painting on raw rice paper with boneless brushwork, Chinese pigments, heavy color, watercolor, and acrylic paint, and this new painting uses the boneless heavy color method, so that Wang Yue has expanded into a boneless heavy color flower and bird painting that transcends painting species, crosses media quality, and is more diversified after the hard pen heavy color fusion of Chinese and Western fusion.
Boneless is one of the methods of using brushes for Chinese freehand painting, which belongs to a more rigorous method of using pens, much like the pen used for writing calligraphy. The pen contains the ink color left on the raw rice paper in shape like a stroke or ink, without lines. There are also no rich color changes between brushstrokes, only the effect of intensity changes and mutual dyeing. However, this method and effect of using a pen on rice paper is also one of the effects that Western painting materials cannot achieve and make them incomprehensible. This is a unique expression method of Chinese freehand painting, which can exert great expressiveness when expressing the rich texture of animals and birds.
Based on the extremely rich expressiveness of the boneless method of mutual reflection between the brush strokes on rice paper, Wang Yue believes that these Chinese elements should be retained in his works of art, and Western painting elements should be added to develop, broaden and extend this rich expressiveness. Let no brushstroke not only exert its original rich Qinqin effect, but also express the structure, volume, color, light and shadow, texture and other Western painting effects, thereby further strengthening the function of these brush strokes, giving these brush strokes a richer connotation, so that these rich brush strokes that integrate the two genes of Chinese and Western painting flash a new luster.
The establishment of Wang Yue's boneless heavy color painting needs to start from three levels: a. The material level includes paper, pen and pigment; b. The technical aspects include composition, pen, color and technical steps; The spiritual level includes artistic conception, connotation, emotion, aesthetics, etc.
a. Material level:
1. Boneless heavy color painting paper (beautiful habit called media): Boneless heavy color painting is used in Chinese raw rice paper, which is the most important material basis for retaining these Chinese elements, and other media such as canvas and watercolor paper cannot achieve the artistic effect of water halo thick, moist and soft, and hazy. When more delicate depiction is required, the local part of raw rice paper needs to be treated with alum water to make the local rice paper mature. Wang Yue's work "Basho Black Chicken Diagram":
2. Boneless heavy color painting pen: mainly Chinese brush, Chinese brush is divided into two categories: sheep millimeter and wolf millimeter, sheep millimeter soft, more water content, wolf milli hard, less water content, need to be based on different depiction objects, choose different hardness, different sizes of pen. In addition, when drawing small and precise brush strokes, small oil paintings and watercolor pens are also used. When more elaborate depictions are required, the parts of raw rice paper need to be treated with alum water, and then the hard pen is repainted with a water-dipped nib. Wang Yue's work "Early Spring and First Love":
3. Pigments for boneless heavy color paintings: The types of pigments used in boneless heavy color paintings are more complex, and almost all pigments can be used except oil paints. First of all, use Chinese painting pigments, use boneless brushwork, paint the Chinese elements dripping with ink; then use transparent watercolor pigments to shape the Western painting elements of the object's light, backlight, reflection and other colors with brushstrokes; and then use tempera pigments and acrylic pigments to depict details. Wang Yue's work "Golden Autumn Autumn Leaves":
b. Technical level:
1. Composition of boneless heavy color painting: The composition of boneless heavy color painting is based on the principle of Chinese "multi-point perspective" method, supplemented by the "focus perspective" method of Western painting. Multi-point perspective facilitates the artist's production of vertical scrolls and long scrolls, making it possible for the painter to conceive a freer and more flexible composition. Wang Yue's work "Midsummer Spitting":
2. The pen used for boneless heavy color painting: the boneless heavy color is heavy in the boneless, and the boneless weight is in the brushwork, the pen end moves with the movement of the feathers, and the stroke is feathered and real. Therefore, the pen is tangible, and there is color in the shape. The use of the pen for boneless heavy color painting is very exquisite, and there is also a certain degree of difficulty, because to make each brush stroke, not only to vividly depict the shape of the object, but also to show the yin and yang of the object to the back color and texture. Sometimes the sides of the pen should be stained with different colors, one stroke out of the cold and warm colors, such as the feathers of the bird, which requires long-term training. Wang Yue's work "Rain Shelter Under the Leaves":
3. The use of color in boneless heavy color painting: The application and cognition of color in Chinese painting is hazy, and color science was founded by the Twentieth Century German chemist W. Ostwald (1855-1932) and the American painter A. H. Munsell (1855-1918). Introduced to China for only a few decades, color science, along with perspective and art anatomy, has become the basic theory of Western art. The use of color in boneless heavy color painting requires that every brush stroke involved in shaping the object in the picture must meet the requirements of color science, and it must be extremely artistically expressive, and each group of brushstrokes must be able to express the objective characteristics of the object, but also provide visual pleasure and spiritual enjoyment. Wang Yue's work "Bamboo Hugging Warm Map":
4. Techniques and steps of boneless heavy color painting: The technical painting steps of boneless heavy color painting are not limited by a single type of painting, but a painting process of alternating and coordinating multiple paintings and multiple programs. The flowing brushwork of Chinese painting, the mysterious Zhuqin and the rigorous shape and true color of Western painting are integrated in the same picture, you have me, I have you, and created an artistic creation method full of fun and challenges that can take the strengths of each painting and avoid the weaknesses, and can make up for each other across the distinctions of paintings. Wang Yue's work "Peach Blossom Chao Lutu":
c. Spiritual dimension:
1. The artistic conception of boneless heavy color painting: The artistic conception of boneless heavy color painting needs to follow the traditional Chinese method of "yuanshi into painting", poetry is a literary genre that uses highly condensed language to express the author's rich emotions, contains rich imagination, and concentrates on reflecting the subjective and objective state and has a certain rhythm and rhythm. Poetry has a strong sense of picture, condensing the beauty in poetry in the picture, so that painting in poetry and poetry in painting are the ancient artistic wisdom of China, and boneless heavy color painting needs to use this ancient wisdom to give itself new life. Wang Yue's work "Snow Holding snow in a severe winter":
2. The connotation of boneless heavy color painting: The connotation of boneless heavy color painting is a fusion of East and West, which is based on the old Zhuang Taoist thought and the western aesthetic value, and pursues the ideals of freedom and fraternity. Wang Yue's work "Qingyin Tu on the Clouds":
The author of the word "Manjiang Hong" - Wang Yue:
Shi Zhou let go of the nostalgia, looked at the autumn water, the long sky was colorful, and smelled, grunted and crane, ticked the strings and harmony.
The long neon is like a shadow of the water, and the flat boat is like a feather floating cloud river.
Suddenly: Don't know the song on the river? Songs on the clouds?
You need to choose a time, carry the clear stream, invite the clouds, hold up the drink, listen again, the birds sing, the piano is flat.
The clear sound swept the sky, and the turbid color withered and fell into the mud.
Junzi Le: Need to know a few sounds, accompanied by cloud cranes.
3. The emotion of boneless heavy color painting: The emotional expression of boneless heavy color painting is more focused on subjective factors than Western painting, which is easy to release the painter's unique spiritual feelings about objective things, thus bringing a distinct and unique personality to the painting. Wang Yue's work "Lotus Pond Moon Sleep Map":
We can summarize the relationship between the material, technical and spiritual levels in painting as "matter", "energy" and "god", which are mutual conditions and mutual cause and effect. Artistic creation is the process of reaching "god" through "energy", that is, the so-called process of turning decay into magic, this "transformation" is "energy" force, ability includes exquisite skills, profound education and rich emotions, and the art work is the result of sublimation through "energy", any desire not to pay hardships and go straight to the magical flash, is a futile act that violates the law of artistic creation.
In summary, boneless heavy color painting is still being further explored at the material level, technical level and spiritual level, and with the research and practice of boneless landscapes, boneless characters and other themes, boneless heavy color painting will show a more gorgeous picture in the integration of Chinese and Western aesthetic cultural themes and artistic conceptions.