What is the connotation of freehand brushwork spirit in Chinese painting?

From ancient times to the present, China's paintings have always been written around a formal problem. In the early days of painting, because of the poor modeling ability, the modeling at that time was simple and naive, specious, and it can also be said that it was "conveying shape with meaning". With the continuous accumulation of painting experience, the function of writing shapes has been greatly improved, and it has entered the stage of "writing shapes with shapes". But with the development of the times, painters are not satisfied with modeling, and gradually realize the importance of "spirit likeness". That is to say, the inner essence, mental outlook and personality characteristics of the object can be expressed in the modeling, so as to truly achieve the purpose of painting.

Gu Kaizhi, a painter of figure painting, first put forward the theory of "writing God with form". Later, it was extended to the field of freehand brushwork in China, and gradually compared with the image modeling concept of "freehand brushwork with gods". It is China's freehand brushwork that gets rid of the limitation of natural form and pursues emotional catharsis with pen and ink as the carrier. The images in the painter's works not only jump out of the limitation of objective image reproduction in a specific time and space, but also avoid being too arbitrary due to the limitation of form. Make the work not only come from life, but also higher than life, with both tangible thoughts and self-emotion, and reach an illusory perfect realm. However, because painters have different perceptions of natural images and different aesthetic tastes, China's freehand brushwork artists pay different attention to the concept of form and spirit. Pay attention to the aesthetic needs of expressing self in the form of borrowing all the way, not only emphasize the authenticity of objective images, but also have subjective awareness of expression, so as to achieve the purpose of expressing spirit with form and paying equal attention to form and spirit, such as paying attention to practical work and writing.

Small freehand brushwork painters not only pay attention to the restriction of form, but also pay attention to the combination of natural spirit and self-mood and emotion, thus achieving a realm of peace and elegance. Great freehand painters emphasize the self-expression of feelings, and the form in natural images is only the carrier of feelings, which cannot be completely attached to the independent aesthetic feeling of objective images. In the painter's works, some details of natural objects can be called out at once or left behind. Image creation has reached the highest level with freehand brushwork.

There have been many incisive expositions on the theory of form and spirit in past dynasties. In the Northern Song Dynasty, Su Shi put forward the view that "painting is similar, seeing children's neighbors". Although it is inevitable to be biased, his view is clear. In Yuan Dynasty, Ni Yunlin's "escape from the pen without seeking the likeness" was an extreme rhetoric of literati painters. Neither clearly defines the relationship between form and spirit. China's freehand brushwork is best described by Qi Baishi. He said, "It's not like deceiving the world. If it's too similar, it's kitsch. The beauty lies in the difference between similarity and dissimilarity". There is a certain distance between similarity and dissimilarity. In the process of painting, the painter actively ignores the inherent essence of crop images, that is, the pursuit of verve. In order to achieve the goal, we must emphasize and exaggerate the characteristics of objects and images, and make necessary generalization, selection and induction of shapes. This process is called "taking shape from god", and this modeling concept is called "image modeling"

2. Bone method is drawn with a pen and a book.

"Writing with a pen" is the second of Sheikh's six laws, and its application of "vivid charm" is the two most important concepts in the six laws. "Bone method" refers to the physical and mental structure of objective images, and "using a pen" refers to the method, skill and artistic expression of using a pen. In the Tang Dynasty, Zhang Yanyuan put forward that "all bone shapes are based on meaning and belong to the pen" in the Six Methods of Painting. It shows that the connotation of "using a pen with backbone" is very rich, which not only expresses the basic structure and charm of an objective object, but also expresses the painter's subjective feelings and artistic creation. In freehand brushwork, pen and ink also have independent aesthetic value, which is manifested in the formal beauty produced by the special method of using pen, and also in the interest of pen and ink.

According to the aesthetic requirements of Chinese painting, Mr. Huang summed up his predecessors' and his own creative experience, and summarized it into five methods: flat, round, staying, emphasizing and changing. He said: "the pen must be flat, such as drawing sand with a cone;" The pen must be round, like a broken hairpin, as soft as gold; Leave a pen, such as a leak; The pen must be heavy, like a stone falling. " The above is a realm pursued by the pen. As for how to master it flexibly in specific operations, we should also know the word "change", leave room for it, and master proper limit. Going too far is also a disadvantage. Huang, Qi Baishi, Pan Tianshou and Li Keran. Pursuing solemn and profound lines and paying attention to the role of parting, I write slowly, but not slowly everywhere. They should be quick. Some painters pursue smooth lines, fast brushstrokes, and feel magnificent and coherent. As for how to do it, it is related to everyone's practical experience and aesthetic taste, and we can't force unity. As for the artistic effects of the pen, such as light, old, flexible, loose, astringent, stiff, round and thick, every word "change" can be summarized and flexibly grasped by experience in practice.

In a word, China's freehand brushwork is characterized by strength. The so-called "strength penetrates the back of the paper" and "strength can carry the tripod" can never be brute force. Mr. Qi Baishi is over 90 years old and his hands are weak, but he can still paint. This is because the old man's years of skill, that is, with little effort, is more than enough with a pen tip. If you don't understand this truth, it's futile to be strong.

China's freehand brushwork originated from calligraphy, and in the Tang Dynasty, it formed the view that calligraphy and painting were of the same origin. Zhang Yanyuan said in "Notes on Famous Paintings of Past Dynasties": "The image of a husband must be in shape, and the shape must be full of backbones. The backbones are similar, all of which are out of intention and belong to pens, so painters are good at writing." After the Yuan Dynasty, China's literati painting reached its peak, and China's freehand painters paid more attention to painting with books. Practice has proved that without the foundation of calligraphy as the basis of brushwork, it is difficult for China's freehand brushwork to reach a perfect artistic realm. In Qing Dynasty, Zhao painted with Weibei's brushwork, while Wu Changshuo painted with brushwork, which is a well-known example in the painting world.

China's freehand brushwork not only plays a key role in exquisite brushwork and Mo Miao's form, but also makes brushwork a factor independent of objects and images to increase its aesthetic value. The painter's subconscious expression in the process of painting with books can directly pour the author's thoughts and feelings, broaden the field of expression and improve the quality of the basic elements of the picture, thus greatly enhancing the artistic charm of the work.

3, the pursuit of artistic conception, love.

China's freehand brushwork, since the Yuan Dynasty, has always put the pursuit of artistic beauty in the first place because of the intervention of literati. The painter's literary accomplishment is directly reflected in his works. "There are paintings in poems and poems in paintings" is not only the distinction between elegance and vulgarity in China's freehand brushwork, but also an important criterion to measure artists' artistic accomplishment.

The creation of artistic conception depends not only on the painter's in-depth study of objective images, but also on the painter's active activities of subjective feelings. This is consistent with Zhang Yun's "learning from nature, learning from nature". You have to teach outside to get a feel for the scenery. Driven by the painter's aesthetic psychological factors, the creative process of "getting the heart from the middle" is brought into play to achieve the purpose of lyricism. As the internal cause of knowledge cultivation, firstly, in terms of personality, China has a tradition of judging people and painting since ancient times. As the saying goes, "personality is not high, you can't put pen to paper" and "personality is painting". The painter's personality cultivation and sentiment taste are the leading factors, and the creation of artistic conception is actually a true portrayal of the quality of his works. Wang Mian painted plum blossoms: "Don't praise the good color, just keep your breath fresh and dry." . Slander one's moral cultivation by virtue of Mei's noble standards. Zheng Banqiao painted bamboo: "Yazhai is lying listening to Zhu Xiao, and it is suspected that it is the suffering of the people." Qi Baishi's work "Frog sounds ten miles out of the mountain spring" does not draw frogs, but only draws a few tadpoles, but the frog sounds ten miles into the ear. If these works abandon the poetic mood, the elegance of style will cease to exist.

China's outstanding freehand brushwork painters, despite their different styles, are all based on the elegance of their works and the pursuit of their styles is based on artistic conception. The lonely and desolate artistic conception and lonely artistic modeling created by Badashan people are integrated with his inner world and become the language to express his inner feelings. Xu Wei's freehand brushwork is the catharsis of his lack of talent and hopeless hero. In these artists' works, things, pen and ink have become the means to express emotions, and "things attached to feelings" and "things entrusted to ambition" have reached the realm of blending things with me. China's pursuit of artistic conception outside painting is one of the important reasons for his thought-provoking. Therefore, it has achieved unique artistic effects that other paintings can't match. This is also the enduring spirit of China's freehand brushwork, and it is also the characteristic that freehand brushwork can fully reflect China's traditional aesthetics. Therefore, China's freehand brushwork has a shining position in the world art forest.