The Artistic Characteristics of Ink and Watercolor Painting

Characteristics of Ink and Watercolor Painting Art

The center of art lies in expression, and art works reflect the artist's heart. So what are the characteristics of the art of ink and watercolor painting?

This article takes the works of Professor Wu Xingkuan as an example to analyze the artistic characteristics of ink and watercolor painting and its special background. In Prof. Wu's works, it can be found that his works have cultural intermingling, combining different artistic styles. In addition, the collision of Eastern and Western cultures is extremely obvious in the works, which gives contemporary ink painting a blood and life.

I. Characteristics and Style of Ink Painting

Prof. Wu Xingkuan was born in the vast prairie, and his love for the prairie and nature laid the foundation for the formation of his artistic style. In his later studies, he was y influenced by the artistry of Western culture, and the process of creation showed the characteristics of Western abstract painting. He used the abstract expression to show his thinking and heart in his paintings, there is no obvious detailed lines, but the use of thick colors and large panels of paintings to show things.

At the same time, the ink and watercolor paintings are also different from traditional Chinese paintings, the paintings do not have the traditional Chinese paintings that kind of shades, intermingling and blending to shape the mood of the way, and there is no intense color and line outlining, the strong colors of large ink and ink to show the abstraction of the West and the roughness of the Chinese paintings, a perfect combination of the two, the innovation of the tradition.

Over the past decades, Wu Xingkuan has also been engaged in the design process, in which he has gained more inspiration for his paintings, and a large number of sculptures and landscapes, so that his artistic vision is not only confined to paintings, but also learns to integrate in the surrounding environment, and combines the independent individuals into an indispensable corner of the work of art.

Two, ink and heavy color creation techniques

Due to the influence of copying the thangka paintings in the early years, Wu Xingkuan in the painting of the colors used in the painting with the characteristics of the obvious thangka paintings, thangka paintings are mostly religious in nature, in terms of color, usually use the red, black, blue, gold and other rich colors, which is also commonly used by Prof. Wu in the painting. These are also the colors that Professor Wu often uses in his paintings. Wu Xingkuan combines industrial materials to create the final product, so that the final effect can not be predicted, and this uncertainty gives people a refreshing feeling.

For the matching of hues, Wu Xingkuan has made good use of the color characteristics of thangka art in his creations, adopting the most primitive three primary colors, red, yellow, and blue, to combine his creations. Red, yellow and blue are combined to show the infinite beauty of the landscape. Through the use of wild colors and rough texture, the paintings are endowed with reflective connotations and grand aesthetics. The use of large areas of monochrome blocks in painting is unique to his work.

Using traditional ink techniques, the paintings show a sense of mellowness and three-dimensionality, and the infinite white space and large area of color give people unlimited reverie, thus extending the boundaries of the works. In traditional Chinese painting, the white space occupies one third or three fifths of the painting, but in Professor Wu's works, there is basically no white space, but the ink and heavy color still occupies one third of the painting, and the remaining two thirds of the painting is filled with grey and white, and with bold strokes, which opens up the horizons of the people.

In many of the ink and watercolor paintings, the brush strokes are not as delicate as traditional brushwork, but more chapped to show the veins and texture of the rocks, which is similar to the Western abstract expressive art, demonstrating the similarity between Chinese and Western paintings, and reflecting the strength of the Chinese chapped art brush strokes, rhythm, and techniques with the collision of modern Western art.

The sky like a dome and flowers like brocade, although it is mainly black and white, interspersed with a few strokes of red and green, but the simple chapped strokes create a large area of color or the desert landscape levels completely show, plus a round of the bright moon, creating a Wang Wei's ? Lonely Smoke in the Desert, Long River Sunset Round? The painting is like a poem, this painting reflects the author's inner melancholy and infinite feelings.

Wu Xingkuan used embellishments to set off the atmosphere of the environment at the time, enhancing its artistic atmosphere and artistic value, to provide a new reference to landscape painting, so that more painters realize that the landscape desert is not the only way to paint.

Another example is the painting "Jiao Shan Zong Rong", in which the red color is used to outline the peony, and then the black and dark green color is used for the peony's branches and green leaves, the clean and sharp strokes and competent painting method make the peony show a sense of loneliness and a sense of bravado in the face of the frost, which is a metaphor for his own inner feelings. For "Jiao Shan Zong Rong", Wu Xingkuan used more blanks on the top and bottom, and the docking between rigid and soft is just right, which not only shows the rigid character of the flower, but also highlights the softness of the flower.

In the process of painting, Wu Xingkuan did not pursue and imitate the traditional Chinese ink painting, but used the traditional ink painting brushwork to create a certain charm and atmosphere. At the same time, he combines western realistic and abstract approaches to show a contradiction between color and brushwork. The bold and powerful . Lines, showing the beauty of the diamond corners, so that the picture adds the rational art of design, highlighting the texture and strength of the work.

Third, the expression of psychological art and emotion in ink and watercolor painting

It has been said that the work of art is a mirror of the artist's heart, and the inner world of the painter can be seen through the painting, a distinctive and objective world. This is fully reflected in German neo-expressionist painting. The full expression of intuition in the painting process is the ultimate expression of German Neo-Expressionism's pursuit of the subjective world, and the direct expression of intuition can reduce the influence of the objective on the subjective in the process of creation, which is similar to the Chinese painting? This is similar to the tradition of Chinese painting, which emphasizes charm over form. This is similar to the tradition of Chinese painting.

For German artists at the time, shortly after the end of World War II, the extreme pursuit of the subjective led to a more distorted and illusory form, as if the figurative did not exist, and the image only needed to convey the painter's inner discomfort. In Professor Wu's ink and watercolor paintings, you can find many paintings with the grassland as the background, showing his deep attachment and praise for the grassland.

This is a special creative background brought about by the environment in which he grew up. The inner emotion of the painter is the most fundamental source of the sensual aspect of the work, while all the external conditions such as materials and techniques are only complementary to the painter's inner self, and are not dominant. The texture is expressed through the painting materials as well as the painter's brushstrokes, and it is the product under the guidance of the painter's spirit.

Line and brushstroke are the most basic composition of texture, texture is not a simple form of artistic expression, but another expression of the inner world, the boldness of the grassland is y embodied in the rough brushstrokes of his painting.

Conclusion

The center of art is expression, and art works reflect the artist's heart. For those who live in the prairie and love the prairie y, the vastness of the prairie laid down his rough painting style, in addition to the long time design and landscape design to add more rational colors in his paintings. Wu Xingkuan's paintings not only bring people unique visual enjoyment, but also inspire people to get everything can be compatible, the perfect combination of rationality and sensibility, is the return to the painting, but also the most effective and direct way to diversify the paintings.

References:

[1]. Xu Xiaogeng,Chen Jing. Muddy brush and ink painting style and simplicity? The Aesthetic Characteristics of Wu Xingkuan's Modern Ink Painting. Art Observation,2003.6

[2]. Zhang Qian. Swimming in the Margins and Seeking New Changes? The Artistic Characteristics of Mongolian Ink Painter Mr. Wu Xingkuan. Literature and Art, 2010.9

[3]. Jia Lumin. Ink and wash in the cracks? Analyzing the beauty of Prof. Wu Xingkuan's modern ink art. Theater and Film Monthly,2011.4