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The significance of sketching

Opinion Liang Wenbo: the meaning of sketching

Shandong Art Museum

November 14, 2019 - Official Account of Shandong Art Museum

Professor Liang Wenbo commented on the works during the workshop of the province's young art talents

On November 3, led by Liu Yanchun, secretary of the Party branch of Shandong Art Museum, and professors Liang Wenbo and Guan Parkxue of the Shandong Academy of Art Under the guidance of the end of the ten-day Guizhou sketching, but also marks the 2019 Shandong Museum of Art masters to introduce the key projects of the province's young art talent training course of all the courses ended successfully.

Every day during the sketching period is unrepeatable, and the natural phenomena and humanistic customs provide unique artistic perspectives and artistic materials for the creation of paintings, so that the artists have a broader creative vision. At the same time, many unknown external environments provide infinite possibilities for sketching and creation by constantly injecting fresh elements. As the instructor of the Chinese painting group, Prof. Liang Wenbo not only demonstrated the painting for the students, but also commented and guided their sketching works one by one, and taught each student precisely, so that they all gained, grew and matured.

Returning from sketching, Prof. Liang Wenbo has gained a new understanding of sketching in Chinese painting, so he has written an article entitled "The Meaning of Sketching" for the benefit of the readers.

The significance of sketching

Wen Liang Wenbo

Sketching should be an important part of traditional Chinese painting, and from the history of Chinese art, most of the classic works that have survived are directly or indirectly related to sketching. If there is no sketching, Zhang Zeduan's "Riverside Scene at Qingming Festival" could not have been so vividly portrayed. If there is no sketching, we look at Wang Ximeng's "Thousand Miles of Mountains and Rivers" can not have a reclining tour of the five mountains in the feeling of immersion.

Leung Man-bo, "One of the Sketches of Jiangnan"

Of course, sketching is very hard, and those who have not experienced it can hardly understand the sweet and bitter taste of it. It is said that when Mr. Wu Guanzhong sketching in Huangshan Mountain, viewing the sea of clouds in front of the mountains, standing feeling too high in the clouds, sit down and can not be seen, only bowing to observe the sketching just right, it is a pity to be on the slopes of the mountain and can not support the easel, is helpless, his wife appeared on the side of the said: I was in front of the stone kneeling, Mr. placed the board on my back, sketching just right, Mr. Wu, despite the pain of the Mrs. suffer, but in the Mrs. insist on insisting on the difficult painting for more than two hours! Under the difficult painting for more than two hours, to be completed, Mr. Wu help up his wife, touching his partner's numbness and swelling of the knees in tears, for many years, this story has become a moving story in the art world, has been passed down to this day. It is said that Mr. Wu Guanzhong always hang this sketch in the living room hall, is considered one of his most representative works. It can be seen how difficult it is to get a good sketching work. I remember once, by chance to see Mr. Yang Songlin hand on the back of the deep frostbite cracks, asked about the reason, he said it was in the snow sketching frozen, and said that painting to forget everything. It can be seen that the art seniors for the art of "forgetfulness", "suffering in the joy" of the spirit of perseverance should always be worthy of our younger generation of deep respect and learning. In China's contemporary art history should also leave a sing-songy and tearful.

Liang Wenbo, "Jiangnan Sketching No.2"

Oil painting sketching requires the expression of a sense of scene. Here and now, this scene, can not be repeated, the painter Manet depicted the same haystack, morning, noon, evening are not the same. But Chinese painting sketching is not so, the painter needs to objective scenery "outside the teacher of creation" and then "in the source of the heart" of the subjective "adapt" a little, into a kind of thick, light, dry, wet, loose, tight and solid brush and ink. The relationship between the ink and brushwork is a matter of tension, looseness, and solidity. After all, the study of Chinese painting has a complete set of program rules and methods, for the first time in the field of Chinese painting, before sketching, first copy some ancient classics, to master a little bit of the traditional painting method is still very necessary. We call it "getting the method" or "not getting the method". How to digest the traditional techniques in sketching, and how much to understand the traditional brush and ink, the discerning eye can naturally see and understand. Of course, in the context of the current East-meets-West cultural convergence, "innovation" banner is not a few, but to see their works, there is always a kind of "sandwich rice" feeling, the lack of oriental painting in the aesthetic flavor. Of course, I have no intention to resist "innovation" here. Innovation is always the driving force of art development, there is no doubt, the key is how to innovate. Here there is a problem of preconceived ideas in learning Chinese painting. That is to say, starting from the foundation of Western painting, using Western observation methods and techniques to paint Chinese paintings and starting from the foundation of Chinese painting, in-depth experience and understanding of Chinese painting modeling methods and laws, and then absorbing Western observation methods to present a different picture. Mr. Li Keran has created a new way of contemporary landscape painting by combining the western scientific observation methods of "light sense" and "light and darkness" on the basis of the profound traditional ink and brushwork, which has a far-reaching influence on the modern Chinese painting of landscape sketching. In his later years, Mr. Huang Binhong was inspired by the Western Impressionist technique of pointillism, and created a set of pointillism landscape method. Mr. Zhang Daqian was also influenced by the Western color splash painting, and created the landscape painting method of splashing ink and color into one, which has a great variety of meteorological features. It is worthwhile to study and research the innovative paths of the above people. However, with the western painting observation method to sketch Chinese painting is obvious, like foreigners painting Chinese painting, there is a kind of "Longjing tea" soaked in Coca-Cola to drink the taste, may be good, but can not be the same with the above everyone.

Liang Wenbo "Jiangnan sketching of five"

Chinese painting sketching and the most afraid of a mature painting method to set "sketching", the chest has a ready-made set of small scenes in the area in the words, not painting sketching, but "show" sketching, playing Their own mature trick, its performance may be good, view one or two can be, but see more will find the problem, with that set of painting method to set Taishan, Mount Huangshan, Mount Huashan are the same, there is no difference, the character of the mountain is the same, which is our traditional painting is the most taboo in the kind of crusted things, painting is too smooth, too smooth, too sweet, the painting is naturally not too high.

Compared with sketching, sketching is more subjective, more refined, form and spirit can be called a higher realm, it can also be said that just sketching a few points of vivid, a few points of specific, not even if it reached the sketching. Qi Baishi said well: if the sketch only focuses on its shape, or writing its God, are biased, he emphasized that you can "sketch and then write", in order to "see the form of God, not by chance can be obtained." Just as we look at shi tao's painting, both like life and not like life.

Leung Man-bo, "Seven Sketches of Jiangnan"

Ancient Chinese painting theory has the proposition of "the eye recognizes and the mind remembers", which emphasizes the problem of the ability to write silently. By specific sketching into the subjective "chest of hills and valleys" "chest of knowledge", which should be written and written sublimation, can be said to be written indicating another realm, another height, it is said that Li Keran early sketching so wonderful, but he himself has been It is said that Li Keran's early sketching so wonderful, but he himself has been haunted, not satisfied, to break free, to his heart toward another height. I understand that Mr. Li is in pursuit of a realm, a state of mind, more simple, more simple, more condensed, this pursuit never ends. "I especially appreciate this famous saying of Zheng Banqiao, because he touched the root of art, which should also be the meaning of our sketching.

Biography of Liang Wenbo

Born in 1956 in Yantai, Shandong Province

Graduated from the Fine Arts Department of the Shandong Academy of Fine Arts in 1983 and stayed there to teach

Member of the Chinese Artists Association, former vice chairman of the Shandong Province Artists Association, director of the Artistic Committee of the Shandong Province Artists Association for Chinese Painting and Character Painting, vice director of the Shandong Province Calligraphy and Painting Academy of Shandong Province, and a member of the Standing Committee of Shandong Province CPPCC, professor and master's supervisor at the Shandong Academy of Fine Arts. Shandong Academy of Fine Arts, professor and master's tutor, researcher of Shandong Literary and Artistic Creation Research Institute

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