Jin Hongjun, a student in the 1950s, was the first graduate of the Chinese Painting Department of the Central Academy of Fine Arts. At that time, flower-and-bird painting was not valued. I was worried about young students changing careers after graduation, but he said firmly at that time, don't worry, even if I am hungry, I won't change careers. As he said, since then, he has devoted himself to the study, research and creation of meticulous flower-and-bird painting, and he has never stopped for decades. Jin Hongjun is very modest in his studies. He often learns not only from famous old painters in the field of Chinese painting, but also from his contemporaries, thus absorbing the valuable experience of others in many ways, enabling him to fully grasp the essence of traditional heritage and lay a solid foundation. At the same time, he attaches great importance to observing life, diligently sketching and accumulating rich materials, so he can combine inheriting tradition with innovation in his creation. From his works such as Love, Innocence, Colorful, Rain, Morning, Early Spring, Wild Interest in Lutang and Petunia, we can see that he pursues new themes, new artistic conception and explores new techniques in his creation. Such as the combination of double hook and boneless; The combination of flowers and birds and landscapes; The combination of meticulous brushwork and freehand brushwork; Rich changes in colors and unified and harmonious tones. The face of his works is constantly changing. He is exploring his own creative path. I wish him to continue his efforts and look forward to more good works.
Jin Hongjun is not only an accomplished painter, but also an experienced art educator. After graduating from college, I have been engaged in teaching for nearly 30 years. Because I love education, I am sincere, enthusiastic, serious, strict and convincing to my students. Over the years, he has taught many students, trained many talents and accumulated rich experience. Judging from the compilation of this book, it is a summary and generalization of his many years of teaching experience. The content system is comprehensive, the text is concise, the illustrations are detailed and clear at a glance, and the legend also compares right and wrong for beginners, which can solve practical problems. The book not only concentrates on the valuable experience of previous painters, but also has many own experiences and new experiences. I believe that the publication of this book will give practical help to those who study meticulous flower-and-bird painting and play its due role in promoting the prosperity and development of meticulous flower-and-bird painting.
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China's painting heritage is very rich, and painters of past dynasties have accumulated valuable creative experience and pen and ink techniques for us. Only through the process of copying can we deeply understand the skills of predecessors in conception, conception, composition, modeling, pen and color, and understand the unique form and style of Chinese painting through copying, so as to cultivate the aesthetic concept of our nation and continue to advance at the traditional height. Whether to learn from tradition or not is different in creation. Therefore, painters and apprentices throughout the ages regarded copying as an important learning method and basic skill for getting started.
However, copying itself is not the purpose of learning painting. At the same time, it is more important to study life, lay a solid foundation for modeling through sketching, sketching and dictation, and learn to create, so as to digest the tradition learned from copying, transform it into nutrition for your own creation, and further develop your own creation. In the past, some people specialized in copying, followed the ancients all their lives, and lost their creative ability. This road is impossible. Copying methods and methods Copying methods can basically be divided into two types: one is "Copying method", which is mostly used to copy excellent ancient works for exhibitions in museums. The reproduction method requires that the texture, techniques and colors of the materials used are similar to those of the original. To this end, it is generally necessary to "make old" works, and after inking, dye new paper or silk into old colors. Old color tone: previous people used gardenia, Sophora japonica and black tea to soak in water and add cyanine, ochre and ink. , and debug according to the original sound. After painting, the copying method will also "make" some incomplete and bare traces on the screen according to the original work. There are a group of experts who copy ancient paintings in our country. They have rich experience and special technology in this field. We usually copy ancient paintings in order to learn the tradition, and most of them adopt the "reduction method". In order to get close to the original effect, sometimes we can dye the background a little, but it is not required to make the effect of old paintings everywhere.
There are two ways to copy ancient works: face to face and copy. Face to face, the original should be placed in front of you, and the manuscript should be written on white paper with a pencil according to your own vision. Before face-to-face, the pictures must be deeply analyzed and studied; Copying is to sketch the image directly on the manuscript with transparent paper or pencil on the light copying table. The latter method is simple and fast, and is suitable for copying large-scale paintings with complex and accurate images. However, the study and analysis of the original works are often ignored because of greedy imitation, which weakens the training of modeling ability. If possible, do more face-to-face homework and try to memorize part or all of the original work, because doing so is brain-intensive, and the gains are much greater than copying.
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