How to learn Chinese painting?

Now there are more and more professional students and amateurs studying Chinese painting, but the teaching level is uneven. How to get started in teaching and how to learn so as not to take detours? With a certain foundation of Chinese painting, how to improve it is the right direction? Maybe this class note can answer your question!

China Academy of Fine Arts, located by the West Lake in Hangzhou, is undoubtedly a sacred place in the hearts of Chinese painting students. In the last century, Chinese painting masters Huang, Pan Tianshou and Wu? Mr. Zhi, Mr. Zhu Lesan and others have all taught in the Department of Traditional Chinese Painting in our college, which is the pillar of China's painting teaching system. They have made outstanding contributions to the history and education of modern calligraphy and painting in China, formed the heyday of Chinese painting in the Chinese Academy of Fine Arts, and established the "New Zhejiang School" throughout the country. Mr Pan Tianshou is even known as one of the "Four Masters of Chinese Painting" in the 20th century.

During his study in Hangzhou National Art College in 1950s (later renamed East China Branch of Central Academy of Fine Arts and Zhejiang Academy of Fine Arts, now called China Academy of Fine Arts), Mr. Zhu had close contacts with Mr. Pan Tianshou and Mr. Wu? Master, third generation Zhu Le, is it Wu? Mr. Zhi's disciple, a famous professor in the Department of Chinese Painting of China Academy of Fine Arts, is an outstanding contemporary flower and bird painter. Long-term cultivation in the front line of Chinese painting teaching, assisting Mr. Lu Yifei to guide graduate students.

Mr. Zhu is a caring person. He carefully recorded the words and deeds of the old gentlemen, compiled a book, and passed on these precious ideas, concepts and technologies to future generations. The sketch notes he recorded in this class are concise, vivid and illustrated, which is of great significance and value to the study, research, inheritance and development of Chinese painting.

"The name of this book is' Disciple Painting Notes'. In fact, it has greatly exceeded the technical scope of Disciples' Rules. The old man taught not only technology, but also ideas and thoughts. There is jurisprudence and philosophy in technique; Teaching includes knowledge and interest; Techniques stress realm and style. In the past, Chinese painting was often regarded as mysterious by laymen. After reading this book, even people who don't know much about traditional painting can follow the path and gradually understand. What is said often involves many aesthetic principles, which is naturally of great benefit to ordinary readers to improve their aesthetic cultivation and appreciation ability. As for the benefits to the painter, there is no need to say more. "

—— Lu, former director of Pan Tianshou Memorial Hall? More drops? /p & gt；

Pan Tianshou of Zhu, Wu? Notes on Zhu Lesan's Painting, Zhejiang People's Fine Arts Publishing House; This book was first published in 1992, and immediately became a best seller in the professional field. Reprinted many times and won the "Special Award of Yu Dafu Literature and Art Award". 20 17 Zhejiang people's fine arts publishing house published a new revised edition. In addition to the speeches of Mr. Pan, Mr. Wu and Mr. Zhu, there are also some speeches by old gentlemen such as Lu, Sha Menghai, Fu Baoshi, Qi Baishi, Huang and Yu.

Pan Tianshou, Wu? Mr. Zhu Lesan was enlightened by Mr. Wu Changshuo, a master of modern floral art in Shanghai, and all of them worshipped Xu Wei and Chen Chun in the Ming Dynasty, Shi Tao and the Eighth National Congress in the early Qing Dynasty. Mr. Zhu Lesan retains the essence of Mr. Chang Shuo more, making his paintings more pure and steady; Wu? Mr. Zhi is known for his cleverness, quick thinking and cleverness. In gradually getting rid of Mr. Wu Changshuo's influence, he tried to taste nature from bold and unrestrained pen and ink, and his brushwork was changeable and unified, which was difficult for others under normal circumstances; Only Heaven abides by the principle of "going its own way" and taking "strengthening muscles and bones" as its general purpose. His pen and ink, no matter how thick or thin, are always reflected in the picture with the momentum of steel and iron and the ability to lift the tripod.

From left: Pan Tianshou, Wu? , Zhu lesan.

Turquoise map of Pan Tianshou

Mr. Pan Tianshou's lines are famous for their steel bars and iron bones. He uses Fang Bi's round pen to make them rotate, which makes the lines rotate powerfully and changefully, making the human body memorable. Every small painting on Mr. Pan Tianshou's screen can show his dismal management and superb skills. His ink lines are even more Gu Zhuo-style, which fully shows the simple realm of neither carving nor cutting.

Wu? Natural and unrestrained water town (inscription by Mr. Sha Menghai on the left)

Wu? Mr. Zhi is quick-thinking, frank and straightforward, emphasizing the natural momentum of natural interest, and his writing style has changed from Wu Changshuo's slow speed to fast speed; The pen line is soft and flexible, extremely tough; The variety of pen and ink is very rich without losing the principle of unity, which is not easy for ordinary people to do.

Zhu Lesan's Nine Fragrances

Mr. Zhu Lesan's painting style inherited Mr. Wu Changshuo's painting style, with more detailed pictures and particular attention to ink and water. His pen and ink lines are gentle and honest, soft and simple, and his writing is neither late nor slow.

Mr. Zhu (right) and his tutor Wu? Mr. Zhi's photo

Notes on Mr Zhu's painting at school.

Mr. Zhu has been engaged in Chinese painting creation, research and teaching for more than 70 years. He is a well-intentioned painter, discussing the communication of life. After reading the words and deeds of the three tutors he carefully recorded, we felt the significance and value of ideological inheritance. What Mr. Zhu has done is not only the work of the recorder, but also the mission of the tutor.

Pan Tianshou by Zhu is written by Wu? Zhu Le Class Three Apprentice Painting Notes Inscription Catalogue.

As can be seen from the catalogue, the contents of this book (pen and ink, composition, painting and calligraphy, poetry and painting, etc. ) are all related to the most basic, core and key knowledge points of Chinese painting.

First, go deep into the core and get to the point.

Taking "pen and ink" as an example, it is the core issue of Chinese painting, and the understanding of the old gentlemen is both general and specific, clear and thorough:

Wu? Mr. Zhi said that the main tool of Chinese painting is pen and ink. However, the combination of pen and ink has become a proper term in China's paintings, which mainly refers to the brush strokes and pen and ink on the screen, as well as the brush strokes and pen and ink interest contained here. For example, the pen and ink quality of a painting actually contains almost all the skills of the author in painting.

The old gentleman said that Chinese painting, especially literati painting, focuses on the artistic conception of the picture, and the expression of artistic conception depends entirely on the pen and ink that make up the picture. The two are interdependent. Just as human soul and body are the unity of two aspects, that is, the relationship between form and god, if it is tangible without god, it is dementia; On the other hand, if the limbs are incomplete, it is difficult to say that they have both form and spirit. From the perspective of painting, there are few general artistic conception and low style, but the pen and ink are original and superb; On the contrary, mediocre pen and ink can rarely express superb artistic conception.

There are many important concepts closely related to pen and ink, which can only be understood but not expressed. Once tempered by the old gentlemen, these concepts are clear:

As we all know, the "six methods" of painting are the first to emphasize verve. Wu? Mr. Zhi said: Qi refers to anger, that is, the endless power of life; Rhyme refers to sentiment, that is, the rhythm of life in various ways. Although it is difficult to refer to reality in a certain picture, it can be perceived and expressed by pen and ink. The pursuit of Chinese painting brush and ink is also the highest standard. Strong analysis, inspiration from the pen, rhyme from the ink, pen-oriented. Because under normal circumstances, ink still appears with a pen, and only the ink at the bottom of the pen can be called a pen with ink.

Second, a few words, sobering.

The teaching of old gentlemen pays attention to setting an example, and what they say is often strategic and concise:

Teacher Pan Tianshou believes that although the level of painting achievement is based on personal quality, correct practice is the key, and we can't do some specious magic tricks, but we should rely on real kung fu. All art has its own track. You can open or extend the track, but you can't derail it.

Although composition is a formal problem in China's paintings, it can't be said to be a pure form in isolation, because it is always associated with concrete images, pen and ink, and affection. ..... The composition should make people feel that there is painting outside the painting, and there is painting in the place where there is no painting, so that the composition can be said to contain artistic conception. There are paintings outside the painting, and the artistic conception is broad. There are paintings without paintings, which means endless. Is this Wu? Mr zhi's explanation of the relationship between composition form and artistic conception.

The "Composition and Picture Analysis" section of the inner page (see the end of the article for more exciting inner pages).

Painting should pay attention to the sense of the times, but not to any popular colors or styles like fashion. As Mr. Wang said, "everyone is big and everyone is small."

Mr. Pan Tianshou said, why do we sometimes see that some paintings are very good in specific techniques, but the overall style is quite different? Because style can only be observed outside the image, leaving the eyes, out of purity, contact with nature, not for charm, but for charm. I don't know what the intention is, make a gesture, ask someone to take care of you, or make a face to attract attention. People have the word "art beggar" or a reference, but the word "style" mentioned above can be understood here.

Third, experience the truth.

The old gentlemen are experienced masters, and the profound painting history, painting theory, painting method and painting tactics have become easy to understand after years of practice and understanding:

Wu? Teacher Zhi said that especially when drawing Cynthia, it is best to hold the pen higher, so that the lines of the brush can be full of gas. Because of the high speed of holding the pen, the writing speed of the pen is slightly faster. In this Wu? Teacher Zhi also reminded that the pen should not be used too fast, too fast, then the pen will slip on the paper and the pen line will inevitably be thin. The predecessors said that the pen should be "left" to avoid being frivolous and shallow.

Wu? Mei opera album

Wu? Mr. Zhi said that the brushwork is rough and the bones are wonderful. Although it looks loose, it is very strong. Mr Wu Changshuo is very good at this. Even though his lines are much whiter, he is still vigorous and powerful, which is related to his calligraphy skills. If the flying white pen lines just float on the paper, only the fluency can't see the power, then the power of the strokes will appear thin.

Mr. Pan Tianshou said, "What is visible in a painting is easy to steal, but what is invisible is difficult to learn". For the word "stealing", it can be understood that it can be imitated in learning, because the visible part of the painting can be observed intuitively and can be simulated and learned from it. As for "invisible things are hard to learn", because that's what keeps its meaning. The so-called "ethereal and ignorant" is not an invisible vacuum. The invisible place mentioned here does not mean the blank place in mechanical painting, but refers to the omnipresent god of painting, which is the soul of painting. This god, this soul, can only be born by itself and cannot be transplanted, so it is called no learning. For example, some painters used to imitate another painter's pen and ink composition, even better than his simulation blueprint in specific techniques, but the charm was still his face, not that person's. Just as human organs can be transplanted, the soul cannot be given and received.

The stones in Mr. Zhu Lesan's two paintings will further understand the importance of water use.

Mr. Zhu Lesan said that sometimes the black gas in painting a stone is not really black, but the painted stone doesn't follow the turning texture of the stone, or it doesn't show the abrupt change of the stone well, and more importantly, it doesn't dare to paint it in vain, so it becomes a pile of black mud. Ink gas and black gas in a painting are different concepts, and ink gas means clear and refreshing, such as looking at ancient books. Black gas is dull and boring at first glance, mostly caused by ink floating on paper. Mr. Zhu Lesan said that Mr. Wu Changshuo only used Jiao Mo when the dark color was not enough. This is a common method.

Fourth, pay attention to comparison and be good at analysis.

Chinese painting is implicit, and students may not be able to see the connection and difference at a glance. At this time, the old gentlemen will analyze the relationship clearly through comparative analysis, which will correct some misunderstandings:

Brush strokes in painting are often divided into center and side. After the rise of literati painting, it attached importance to calligraphy, but tended to exclude the side. In fact, the center is thick, the flanks are thick and steep, and each has its own strengths. As far as we can see, Wu Changshuo's brushwork is centered, while Xugu's brushwork is mostly based on the edge pen, or the edge is straight. In fact, Wu Changshuo is in the middle, and the flank of Xugu is muddy. There is beauty in this richness, and there is no loss in beauty.

Mr. Pan Tianshou instructed us to study the great painters of past dynasties and analyze how they changed and stood out in the traditional pen and ink. For example, in the Yuan Dynasty, Wu used a round pen as the center, so his paintings had a thick and humid feeling. He originated in Dongyuan and was influenced by Ma, Xia and others. However, his pen and ink taste is completely different from theirs.

Xu Wei ink painting grape map part

Xu Wenchang's capital flowers have brought literati painting into a new realm. He painted with pure calligraphy and put it on the painting with writing. His ups and downs are clear, free and easy, without any affectation. It seems that he is galloping between intentional and unintentional, between law and impossibility. In the sense of pen and ink, it is popular and scattered, and it has lost the taste of a writer and become a generation of masters. Xu Wenchang's center and winger have both aura and infinite possibilities. Wu? Mr. Zhi said that when learning books and paintings, we should pay attention not to grass. Because people who don't know much about his paintings are often mistaken for arrogance.

The lotus flower painted by Badashan people is to illustrate the changes of lines and the contrast effect and touching degree with the strokes in the lotus leaf wide pen splashing ink.

The old gentlemen said that Wu Changshuo also learned from Badashan people, but in terms of pen use, Badashan people mainly used the flank, once using ink, without accumulating ink. If they use ink product or color product, it is not eight; You don't need to modify the pen. Once you modify it, all the eight flavors will run away. Badashan people use concise pens, the bottom of which is extremely clear and the realm is particularly high.

Badashan people write with the middle as the center, and paint with many faces as the center, but the brushwork is not thin, but the edges are thick, and they are all square. It's all about using the front end of the pen for a long time. The so-called horizontal front, we should pay attention to the word "front", not to say that the pen is placed horizontally.

Fifth, technology is close to Taoism and full of philosophy.

As can be seen from the previous examples, what the old gentlemen are talking about is nothing more than the basic training and cultivation of Chinese painting, but they are all related to the principle of man-made, which is full of dialectical meaning in understanding, without going to extremes and being harmonious and accessible. Here are two more examples:

Wu? Teacher Zhi said that when painting a quiet and slightly skillful flower, you should pay attention to writing with a pen, not weak, but with backbone. For example, the paintings of Yunnan Tian are extremely delicate and beautiful, and their brushwork is bleak and elegant, so they can be passed down to future generations. If the intentional pen can be quiet and meticulous, it will not float; Meticulous brushwork will not be weak if it can have boldness of vision. If this idea can be used, the painter can say that he has thought more than half about the authenticity of the brush line.

Yunnan day lily map

Mr. Pan Tianshou said that the purpose of running script is to avoid messy handwriting. If your hair is messy, it's hard to find "Qi Li". At the same time, turning the pen is also to make the lines not rigid, but if you blindly pay attention to the little movements on your fingers, it will be counterproductive. Everything should be moderate. The old gentlemen said that if there is any trick in painting, this trick can be regarded as one of them. Tricks can only help real kung fu, and you can't rely entirely on real kung fu. It seems that monosodium glutamate can add flavor to dishes, but it can't replace the dishes themselves, and it can't be added excessively.

Six, plain and vivid, illustrated.

Because it is a lecture record, the speeches of the old gentlemen are mostly played with topics. As can be seen from the previous examples, the old gentlemen are good at metaphor and analogical reasoning, which not only makes students easy to understand, but also makes the language vivid and impressive. Here are a few more examples:

Of course, we can't stand still. On the contrary, we need to absorb the excellent things of all ethnic groups to enhance our viability, but we need to digest them and become nutrients that can be used by us. Just like eating milk and mutton makes the body stronger, this is called digestion and absorption. If you eat beef and mutton, you will become a cow and sheep yourself. Isn't that weird?

Wu? Teacher Zhi said that the change of lines lies in the principle of "twists and turns", which is beautiful. If you fold 40%, it will be a dragon lantern style, and the dragon lantern style lines will be a double cycle, lacking in change. The 30% discount is odd and can be changed. As for reversing the pen and turning the pen, the purpose is to completely eliminate the disadvantages of sweetness and vulgarity.

Gentlemen often tell us how to choose the best method and practice basic kung fu. Because this is related to whether a student's artistic direction and artistic path are appropriate, the so-called "a tiny difference, a thousand miles away" is also. At this time, Wu? Teacher Zhi talked about some recent paintings, only seeking strangeness, lacking kung fu on strangeness, and inevitably becoming a victim of adventure. It seems dangerous enough to jump off a high rock, but you will die without some real kung fu. That's true, but Wu is helpless? Mr. Zhi's eyes keep appearing. Such students will visit their teachers in the future, and there are many people who say "regret it too late". Teacher Wang always encourages everyone and always says that life is "never too old to learn".

Author's business card:

Zhu (1930.5~) was born in Changshu, Jiangsu. 1952 graduated from East China Branch of Central Academy of Fine Arts (now China Academy of Fine Arts) and stayed there to teach until retirement. Professor of China Academy of Fine Arts, postgraduate tutor, member of China Artists Association and executive director of Pan Tianshou Foundation? Vice President of Art Research Association, Honorary Professor of Northwest Normal University, Member of Xiling Printing Society.

Zhu's Xiang

Zhu's Poems of Chengzhai

Inscription: Tianshou Weng paints, strong and good at fighting, and his feelings are contained in reason; ? Teachers draw pictures, are good at touching machines, and get spiritual changes. The reason lies in emotions. There are different styles here, but they all lead to the same goal by different routes, all in the "consistency" of Master Shi Tao.

Mr Zhu's collection of Pan Tianshou's Unfinished Manuscripts is calm, vigorous and unrestrained, which can carry the tripod.

Pan Tianshou Stone Painting Tutorial Manuscripts Collected by Zhu

Attach a wonderful inside page:

Source | Pan Tianshou Memorial Hall Zhejiang People's Fine Arts Publishing House

Editor | Zhang Tongfang