What is the structure and relationship of Chinese painting?

The beauty of the pen and ink structure of Chinese painting lies in its rich pen and ink spirit, which is reflected through the exquisite beauty of the pen and ink structure. Their interdependence constitutes the core of Chinese painting.

Nowadays, when we talk about the structure of pen and ink, we pay attention to the technique of pen and ink, but ignore its core spirit.

The pen and ink structure of Chinese painting is inseparable from the pen and ink spirit, and the pen and ink spirit of Chinese painting is inseparable from the pen and ink structure. If the structure of pen and ink is compared to "bone, flesh and blood", then the spirit of pen and ink is its "essence, spirit and qi". More popularly speaking, it is to use the metaphor of "living". Without the spirit of pen and ink, the structure of pen and ink is like a "vegetable". Without thought and consciousness, it is not a real "person". Without the structure of pen and ink, the spirit of pen and ink is like the "soul" of a legendary figure, which is invisible, intangible and no longer exists.

Pen and ink structure and pen and ink spirit complement each other and depend on each other. When they carry the painter's thoughts, they are successfully integrated into one, and the painter's feelings are conveyed to the audience. Critics call them "vivid", appraisers call them "incisive" and "straight to the point", and the general public calls them "moving".

The spirit of pen and ink embodies personal taste, as well as people's cultivation and temperament, and is one of the important bases for evaluating calligraphy and painting. The understanding of it should rise to the height of China culture.

As the basic painting language for Chinese painting to express and convey beauty, the structure and spirit of pen and ink have the following five characteristics:

1, flexible structure

The structure of pen and ink is the concrete carrier of the painter's abstract thoughts and feelings and the painter's style characteristics, and the arrangement and combination of pen and pen and ink is the structure.

The structure of pen and ink has great flexibility, starting from a small place-the structure of pen and ink refers to the connection and turning point of pen and ink in the process of inking, dot and dyeing, as well as the correlation of points, lines and surfaces; Focus on the big picture-the pen and ink structure refers to the pen and ink arrangement in the picture management and position layout, including colored ink, opening and closing, blank space, reality, echo, avoidance, inscription and seal. According to his mastery of techniques, personal temperament, self-cultivation and aesthetics, painters can use the perfect, free and flexible combination of large and small viewpoints to completely describe natural images, endow them with spiritual connotations, and construct the overall charm, style and emotion of their works.

So different painters will show us different feelings. For example, when you look at the works of Badashan people, the viewer will never feel prosperous, but sad and angry. On one occasion, a classmate said that what he felt from the works of the Eighth National Congress was obviously "fear". Although it is different from the public, it makes sense to take a closer look. This is the different feelings of art acting on different people.

2. Stable programming

Everyone will have the impulse to express when subjective emotions collide with objective phenomena. Some use words, some use sounds, some use actions, and some use brushes. Only when wise men, artists or people with natural endowments find an objective way to express their feelings, can an elegant art be born after their continuous improvement. People who express themselves with words become writers, people who express themselves with voices become musicians, people who express themselves with actions become dancers, and people who express themselves with brushes become painters.

No matter what kind of art, pay attention to a certain format and statutes. Similarly, the pen and ink structure of Chinese painting has a stable stylization, which is the result of standardization of pen and ink structure after thousands of years of development. Without stylized pen and ink, it is no less than scribbling.

Program is the carrier of pen and ink, which was summed up by painters of all ages. For example, the picture of mustard seed garden has a stable and regular technical beauty, which is similar to the one-stroke style of Taiji biography. Beijing opera is about harmony and nature. Although it is solidified and passed down, it is rooted in Chinese civilization and shows the characteristics of our nation.

The program has a high stability, but it will also develop and change with the change of the object and creator, with a certain extent, and keep moving forward. If it is solidified, it will lose its vitality; However, if the pen-and-ink formula is regarded as a pen-and-ink shackle, it will be completely abandoned or replaced by western painting methods, which will lead to the loss and extinction of the essence of pen-and-ink and Chinese painting.

True beauty never goes out of fashion. After thousands of years of development, the beauty of Chinese painting is eternal and vital. It is not a photographic simulation, but an artistic refinement and sublimation with corresponding relationship under the interaction of subjective and objective factors.

3. Extensive expressive force

Pen and ink are the language of Chinese painting. Painters of past dynasties have accumulated and created rich Chinese painting techniques and experiences in their long-term artistic practice, and formed a set of unique pen and ink expression techniques and styles. It is not only a means for artists to write shapes, but also a channel for artists to express their subjective spirit. Therefore, the level of pen and ink techniques and the layout of pen and ink have become two important signs to evaluate painters and their works.

Pen and ink is both a metaphysical material tool and a metaphysical spiritual and cultural content. Everything in the world can be expressed by pen and ink. Different painters pursue different "meanings", and they may choose different things to describe them. Some express feelings for mountains and rivers, some express feelings for people, and some express feelings for flowers and birds. Even the same thing, different painters describe different images, which also constitutes the broad expressive force of pen and ink.

Ni Zan's lonely and empty programs, with a touch of distant mountains, a few sparse branches and a flat slope, created his depressed and frustrated feelings of intellectuals under the oppression of foreign nationalities in Yuan Zaju, which coincided with the objective image. Xu Wei splashed ink and then echoed it with broken branches. His "sparse" program reflects the loneliness of "throwing around in the wild vines"; Lu painted mountains and rivers and clouds, Huang and Fu Baoshi also painted mountains and rivers and clouds, but they are different. Shandong's landscape is represented by crooked lines, which are smart and beautiful. The yellow landscape, especially the works called "black", is like a messy pile of sticks, giving people the grandeur in the depths of the mountains. Fu Baoshi

4. Rich spiritual connotation

Pen and ink are the flesh and blood of Chinese painting, and also the soul. Both form and spirit are the highest realm and perfect combination of painting expression. Therefore, China painters have always attached great importance to the cultivation of pen and ink, "painting beyond painting". It is the lifelong exploration and pursuit of China painters to seek the effect and artistic conception of pen and ink under the profound pen and ink kung fu.

Therefore, pen and ink, as an artistic language that gives full play to its instrumental characteristics and is very expressive, undertakes two tasks-matter and mind. At the same time, the uncontrollability of the black pen in freehand brushwork painting has produced the particularity of the object and the writing heart, such as the similarity and difference, the lack of painting form in ancient painting, the simple but meaningful brushwork, and the conclusion and goal pursuit of pen and ink language.

The formation and development of the pen and ink language of Chinese painting are deeply nourished by China's traditional culture, philosophy and aesthetic thought, such as the bone-based pen, which is endless and full of twists and turns. It not only makes the brush of one tube broad and implicit, but also depicts the painter's feelings beyond the image, shows his own character and lofty realm, and endows it with more full spiritual connotation.

While emphasizing the spirit of pen and ink in Chinese painting, we should be alert to two extreme behaviors. One is to mistake emotion for spirit, and Chinese painting is a sublimated realm, which embodies a sense of beauty rather than a simple catharsis; Second, the "free will" of pen and ink is mistaken for spirit. Brush, one of the important creative tools of Chinese painting, must be written when used. There is no difference between freehand brushwork and calligraphy. Rigid, dry, light, heavy, virtual and real, "everything turns into a soft finger." Pen and ink without words cannot be called the spirit of pen and ink in Chinese painting.

5. Unlimited development

The development of art lies in innovation, but innovation is not negation, and innovation must be based on inheritance. The excellent artistic tradition of any nation always develops with the development of the times and changes with the changes of the times. "Pen and ink should follow the times" is the best interpretation made by Shi Tao, a painter in Qing Dynasty.

When dealing with the development of pen and ink, we must not be divorced from the nourishment of China traditional culture. With a deep understanding of China's traditional culture and times, he constantly creates masterpieces with the characteristics of the times.

Throughout history, development is inevitable, innovation is always temporary, and only beauty rooted in traditional culture is eternal.

Mr. Pan Tianshou wrote in the residual draft of the painting: "Pen and ink are taken from things, sent from the heart, for the object, the trace of the heart." * * Painters and creators can only find a clear way to grasp the traditional spirit through the expression law of pen and ink structure and the historical law of pen and ink structure, and only through it can they find the meeting point of future development and innovation. Moreover, the spiritual realm, vivid freehand brushwork, natural beauty and style in Chinese painting creation are all related to this, so the pen and ink structure is full of pen and ink spirit, and * * * has become the soul of Chinese painting.