In daily study and work, many people have had the experience of writing papers and are familiar with them. With the help of papers, we can effectively train our ability to use theory and skills to solve practical problems. Do you know how to write a good paper? The following is the paper I collected for you to analyze the artistic characteristics of Huangshan water painting. Welcome to read, I hope you will like it.
abstract:
China landscape painting has experienced thousands of years of development and changes. Huang is a milestone in the history of China's painting and a master of landscape painting. His landscape painting skills are profound, his brushwork is heavy, his artistic conception is far-reaching, his style is elegant, and he has rendered it layer by layer, reaching the highest state of "vigorous and gorgeous" that he pursued all his life, which contains profound cultural connotation and lofty aesthetic value and has a far-reaching impact on later generations.
Key words:
The artistic features of Huang landscape painting are rich and colorful.
A brief introduction to Huang's life
Huang, whose real name is Zhi and whose word is simple, was born in a scholarly family. He inherited his family studies and learned a lot from primary school. This family atmosphere laid a good foundation for his future development in the art field. At the age of six, he studied under Chen Chong's Optics of Flowers and Birds, and then spent 30 years in Shanghai. First he worked in journalism and fine arts, then he turned to education. He used to be a professor at various art schools in Shanghai, 1937, and a professor at the Chinese Painting Research Office of Beiping Art Institute. Beiping period is the mature stage of his landscape painting style. He likes to accumulate ink, splash ink, splash ink and Su Mo. The so-called black, dense and thick.
Huang is a master of painting in China in the 20th century. He is good at landscape painting and a master of modern landscape painting. He is like a mountain peak in modern painting, with rich and broad connotation. His understanding of art is profound and simple. Huang is a painter who learns early and matures late. I began to learn painting at the age of six until my later years. He is diligent and persistent. Before the age of 50, he followed a hundred schools of thought, traced back to the Tang and Song Dynasties, copied the ancients repeatedly, and swept away the imitation atmosphere of his predecessors. He paid great attention to sketching on the spot, and then he visited Huangshan Mountain for nine days, Jiuhua Mountain for five days, Taishan Mountain for four days, and Bashu. After 70, he became a generation of famous craftsmen. Especially after the age of 80, the mountains and rivers he painted were magnificent, dripping with ink and magnificent, which made China's landscape painting rise to a supreme level.
Second, the artistic characteristics of Huangshan water painting
(A) the use of ink color
Huang's landscape paintings are good at using pen and ink. Huang has a five-character formula about using a pen. He said: "The pen should be flat, left, round and heavy, and changed to five words. It can be flat and then round, heavy and then left, flat and left, round and heavy, and then change. " "Flat" is like a cone painting sand, "left" is like a leak, "round" is like a broken hairpin, and "heavy" is like a falling rock. The "change" of strokes is to flexibly use the methods of flat, left, round and heavy according to specific conditions, and make them skillfully and naturally combined.
Regarding the use of ink, Huang also put forward seven words: rough, light, broken, splashed, dyed, burnt and dull. The simplicity, simplicity and infinite charm of ink painting are most suitable for the personality orientation of literati. Huang's use of pen and ink has indeed reached a magical realm. Shi Tao, a painter in the Qing Dynasty, said: "The black ink group is full of ink, and the world in the black ink group is wide." Shi Tao paints with more ink, but Huang paints with more ink. In his later years, his works were full of ink and color. He used water-based ink or mixed ink, usually thick ink, burnt ink and Su Mo. Then he added and added, then he ordered and added, and finally he dyed and dyed, using cyan, stone green, ochre and other colors and light ink. Its use of ink is rare in ancient and modern times. At first, his painting really felt like a piece of lacquer ink. But careful observation shows that the level changes are very rich, which makes his landscape paintings present a magnificent artistic effect as a whole. A piece of black ink often leaves a little blank in the middle, which not only makes the ink rich in color, but also makes the whole picture move. This is what he said: the wonderful function of "a little light connects the whole body", which has traces of pen and ink but seems to have no traces of pen and ink, and has reached a state of virtual reality, virtual reality and thickness. The reason why his landscape paintings are "rich in ink and heavy in color" is inseparable from his unique techniques in the use of ink and wash.
(B) Internal beauty and external beauty
Huang's landscape paintings are among the best in the 20th century because of their uniqueness and creativity, exquisite brushwork and colorful "inner beauty" character. He believes that painting should not pay attention to the beauty of appearance, but should strive for inner enrichment and pursue "inner beauty." He never talks about artistic conception, but only talks about pen and ink, emphasizing the "inner beauty" of pen and ink. He said that "China's paintings only have pen and ink", and Huang's works have reached the realm of complete integration of pen and ink with life. He said that inner beauty is the inner spirit of the work, and it is a virtual place. External beauty refers to the concrete formal beauty in pen and ink and composition. The inner beauty of painting mainly refers to "vivid charm" and "the unity of Tao and art" Intrinsic beauty is an intrinsic beauty of the natural landscape itself, and it is also an intrinsic beauty of the painter's mood. Nature and artistic conception are integrated into one, which becomes a landscape painting and an immortal work with vitality through the painter's pen and ink. Huang Zhi is a landscape painter because he can express his mood well with technology. After a long meditation on ancient paintings, he finally returned to his inner feelings. There is a very strong breath in his pen and ink, which keeps flowing in his pen. His works are moving and vivid in his hand. The whole pen and ink is as natural and smooth as human breath. What's the point?
Huang's landscape paintings have real "inner beauty" and great "philosophy". His chest is full of water, grass and trees in Qian Shan, and he is the embodiment of the universe. Mr. Huang's landscape paintings have lofty artistic conception, just like old wine. With the viewer's in-depth observation of the painting, the more delicious it is, the more mellow it is, as if the whole person has been integrated into it. His painting art has an extraordinary style, and the breath of everything in the world comes to my face. There are warm spring breeze, sunshine and rain, trees with strong vitality, and life in the known world and the unknown world, all of which transcend "Dharma" and "Emotion". Therefore, his works are "colorful" with strong, spectacular and poetic nature.
Third, the influence of Huang's artistic achievements on later generations.
The first factor for the success of Huang art is the strong sense of form created by the extremely complete block structure in landscape painting, followed by the long and short lines and the patchwork texture emphasized, the plane effect of seeking change in simplicity, and the overall concrete and local abstract image processing. Therefore, his artistic achievements had a great and far-reaching impact on China's landscape painting creation. At the same time, he emphasizes the charm of landscape painting and spirit, and wants to show vivid charm in painting, so we should learn from his spirit-grasping and publicizing vitality. We should develop Huang's ability to express essence, spirit and spirit in painting. We should re-examine whether the past ten thousand laws have vitality, rediscover their cultural values, make them more spiritual, restore what Huang abandoned or abandoned, and renew their vitality. Contemporary painters are too eager for quick success and instant benefit to devote their lives to painting. Huang just turned his personal life into painting. To engage in art is to polish and carve life into a piece of jade, and love from the heart, which does not exist under any other conditions. This is also the value of learning from Huang.
References:
Chen Chuanxi. History of China's Painting Aesthetics [M]. Beijing: People's Fine Arts Publishing House, 2002.
[2] Wang Bomin. Huang painting quotations [M]. Shanghai: Shanghai People's Fine Arts Publishing House, 196 1.
[3] Wang Luxiang. Complete works of China famous painter Huang [M]. Shijiazhuang: Hebei Education Press, 2000.
[4] Ye Zi. On Huang's landscape painting art [M]. Hangzhou: Zhejiang People's Fine Arts Publishing House, 2000.
Expanding: Huang's Reference to Painting Quotations
There are five steps to make a landscape painting: first, outline-conception first. Focus on the overall situation, put pen to paper from the big picture, and tick off the general outline of each part. Hook line essay, trap line essay. Holding the pen in your right hand, drawing from inside to outside is a straight pen, and drawing from outside to inside is a reverse pen. )
Second, dot dyeing-dot dyeing is carried out for each part (generally with larger dots), and there is no general yin and yang and ups and downs on the outline. Thick ink dots should be used on the yin side and light ink dots should be used on the yang side; And point out the general leaves, moss, distant trees and so on. , or do a good job in the underlying pen and ink preparation of these images.
Third, the first and second steps are based on the changes and levels of processing. In the second step, the big yin and yang surfaces are clearly superimposed vertically and horizontally, and the veins and textures of the small yin and yang surfaces and objects are separated. (There are also straight strokes and reverse strokes, which must be used in both directions); Muddy, with ink and wash, all parts are integrated with each other and repeated, so that all parts of the image are round and thick, fully showing the sense of texture, quantity, light and shade, and the sense of distance between them.
Wake up-In the case of muddy and dry places, use heavy ink in the main places of several parts of the image, and then outline and dye it to highlight or expand the main spirit of the complete set and part of the image. Sometimes, the role of sobriety is to clarify the boundaries of various parts.
Five, clean up the supplement-a comprehensive grasp, seriously supplement or clean up the images of various parts.
There are five ways to use a pen:
It is flat. In ancient times, it was said that holding a pen must be expensive to hang your wrist and pinch the tube with three fingers, which means that it is flush with the wrist, wrist, elbow and arm, and the whole body's strength is transported to the pen. So is the so-called "painting sand on the spine" in calligraphy.
Clear from beginning to end, pen delivery. Without weakness, it can be said to be plain. It's not solid ... The water has twists and turns, but it won't hurt it. The twists and turns of the pen are even more obvious. The twists and turns are clear from beginning to end. This is called plain.
The second is round. Brush the outline, such as the words are horizontal and straight. From left to right, music and constancy are the same; From right to left, hook straight. Use the front when starting the pen, and then turn the pen back. The sealing method has a beginning and an end, and it will eventually be connected. The official body changed, Cao Zhang turned right, and the two kings closed right, taking the whole circle, that is, the same outline. Calligraphy will never change, never sag or shrink. The so-called "folding hairpin" is also a circle method.
If you use a pen such as a "folding pin", the same is true for a circle. If you give birth to Guijiao in vain, it will be hideous.
Fold the hairpin, brush the lines, and seek grace to remain strong; Round and beautiful, also can't become a mere formality. In terms of strength, graceful, more lost and gentle are not enough to be round.
Stay for three days The pen is reviewed, the tape is reflected up and down, quiet and leisurely. Cover shooter disk
A horse bends its bow and pulls it without sending it; Good at writing, the pen wants to be right, the potential goes against the left first, the pen wants to be left, and the potential goes against the right first. In arithmetic, points are integrated into lines, that is, calligraphy is like a leak.
Arithmetic integrates points into lines, and painting also changes from points to lines, which lies in staying. Expensive brushwork seems to hinder the flow away. If you don't know how to use a pen, you should avoid being too slippery. Floating is negligence, sliding is weakness and ineffectiveness. The pen is expensive and vigorous, and calligraphy and painting are natural.
Four days is heavy. It's neither heavy nor turbid, nor sluggish. Mihuer's pen can carry the tripod, Wang Lutai's Jingangtuo (it should be beside the wooden character, but I can't find it). Points will fall like rocks, and anger will be like crossbows. Gold is the most important, but it is soft; Iron is the most important thing, but take its show.
Use a heavy pen, like "dead vines" or "falling rocks".
The pen method. There are clouds like "dead vines" and "falling rocks". The vines have no branches and leaves, and the stones are towering, as you can imagine. The condition is that web buckling is different from turning stroke; The tiger squatted down in a dignified posture and suddenly jumped to the foot of layered rock. What was its weight? But it is easy to be turbid, and turbidity is confusing; Heavy and thick, thick is stubborn. Make good use of the author, why take it? You know, nothing in the world is as beautiful as gold and iron. When you use an author, you should know that it is as heavy as gold and soft as gold, and as heavy as iron and beautiful as it is.
Five changes. Li Zhuan Shu Yun said, "The point is unchanged, which means that the chess is arranged, and the painting is unchanged, which means that it is calculated." For water and fire, there must be a tendency to look back left and right and echo up and down, which will become natural. Gu Shan is surrounded by ancient water, trees and stones interact, characters tend to be ever-changing, looking at each other and having feelings.
If you want to change the pen, it is "unlimited method."
Mountains have veins, stones have edges and corners, and the hook pen (originally beside the stone) will change; The water stopped, the wood withered, and the pen for tracing shadows changed again. What has not been changed is not limited to the law.
(Part III) There are seven completely different inking methods: First, thick ink; Second, light ink; Third, break the ink; Fourth, accumulate ink; Fifth, splash ink; Sixth, Jiao Mo; Seven, Su Mo.
Jin, Wei, Jin and Six Dynasties, especially thick ink, consistent painting and calligraphy. Dongpo cloud: ink is more expensive than black, but it does not take its light. Light is not black, but real and abandoned. If it is black, but not only black, it is dim. Make it clear and not floating, as delicate as a child's eye.
Good mountains and secluded places are all thick with ink.
Ink is black, so it is called black ink. If used properly, it can be called "bright ink". Every time in the dark place in the painting, dye another layer of ink, or dot it with extremely thick Su Mo. When it is dry, it is extremely dark here. Compared with the white place, it is "bright ink". The clever use of bright ink and the spirit of painting may depend on it and its luminescence.
Wang Wei's ink and wash are all thick ink; Use only clear water, break the ink with water, and break the ink with water.
When the ancients used ink, they must choose fine products, not to borrow the beauty of today, but to spread beauty to the future. The book of Jin and Tang Dynasties, the painting of Song and Yuan Dynasties, has been handed down for hundreds of years, and the ink color is like paint, and the gas depends on it. If you are under the ink, if you see water with strong water, dirt will seep out. In less than a few years, the ink was removed. Store ancient fine ink for a rainy day; Or add a first-class clear glue new ink to study, which is also one of the ways to use thick ink.
With the light ink method, it started with Li Yingqiu's words. Dong Beiyuan is plain and naive, above Bi Hong. The peaks are lingering, the clouds are gloomy, the blue is gloomy, there are salty merchants, Xiqiao Yupu, and the boat beads are hidden. Use light ink as much as possible.
Yuan Shangzhuo (formerly known as Wang Zi) made good use of broken ink, which Ni Yunlin once called broken ink. Wet thick ink with light ink, it is dull; Use thick ink to break light ink, which is fresh and spiritual. Or break the ink, break the outline of the boundary, and make thin moss and fine grass at the boundary, which was used by people in the Southern Song Dynasty. The ultimate method is well prepared.
Ink-breaking method is to break light ink with thick ink on paper, or break thick ink with light ink; The straight pen is penetrated by the horizontal pen, and the horizontal pen is penetrated by the straight pen; They are all made before drying, and by using the natural infiltration of water, not only the sense of yin and yang, weight and thickness of the object are fully obtained; And the ink color is fresh and smart, such as seeing the rain and dew moisten, never doing it but on the paper.
People in the Song and Yuan Dynasties made good use of this method, but the stories of people in the Ming Dynasty were lost, and few people knew it, so it was difficult to gamble. In the Qing Dynasty, Shi Tao repeatedly used this method, such as spreading the floor with light ink, and then painting it with thick strokes and fine grass, in order to get the natural infiltration of ink and wash, so as to see its prosperity and vividness. It is also an example of breaking the light with thick ink. But it is easy to break thick, but difficult to break thick with light. In modern northern China, Mr. Qi Baishi was a flower, bird, grass and insect, and he was unique in breaking ink. However, it is more common to break the light with the thick, and it is rare to break the thick with the light.
Mi Yuanzhang is the most prepared ink accumulation method, which is dense and bright in ink color. Siling tasted the title: "When it rains, the mountains and rivers show clouds." Dong Siwen's Architectural Map of Yun Qi says that Bird has more clouds to accumulate ink to supplement his clouds. For tigers, all clouds are drawn by accumulating ink. Wang Dongzhuang said that "ink painting, ink does not hinder ink; As a boneless method, color does not interfere with color; Natural colors are colored and ink is in ink. " This method of accumulating ink for words.
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