Yuan Xuejun: Sketching in the way of viewing

Chinese landscape painting sketches have a very long history. The "sketching" in traditional paintings was originally referred to as away from the powder and directly observed and depicted the flowers, birds, birds, grass bugs, beasts, etc. Tang Zhiqi in the Ming Dynasty said, "In the past," the characters of painting were vivid, flowers and birds were sketching, and landscapes were sketching. " The characters and landscape sketch are also called "photo" and "teacher creation". In the past century, Chinese paintings have been affected and influenced by Western art. The conceptual terms such as "teacher creation", "photo", and "deity" have rich local cultural connotations. They are gradually concealed due to the introduction of Western artistic realism. The concept of sketch sketches of the ancients' landscape paintings is not exactly the same as the sketch concept of modern art (landscape painting). "Searching for Qifeng Draft", etc., are actually related to sketching. They are required to Youyou Linquan and pursue the spiritual enjoyment of Xiao Ao Mountain Forest. At the same time, they use the method of "consciousness" or "draft draft" to record the natural scene.

Yuan Xuejun Gao Bangshan sketch 45cm × 56cm 2019

The author combined with his own sketch practice and teaching experience for more than 30 years to discover the long -established "teacher creation" spirit, to return and revisit the true meaning of sketching of Chinese landscape painting in the practice of sketching, and explore the meaning of Chinese painting sketch teaching and practice. Essence

1. The reconstruction of the "Tourwide Watch" sketching tour space

Modern landscape painting sketches generally adopt the method of "different scenery" drawing. It focuses on training eye observation ability and solve the shape of the scene. Therefore, in the sketch, the fixed viewpoint is mostly selected, and the natural landscape with the scene is selected, and the structure of the organism of the perspective is mostly to form a picture effect with strong scenery and deep space and showing certain organizational changes. Overall, the way of sketching is mainly derived from Western painting. Regarding this, the famous painter Zhang Ye said very clearly: "In Europe, especially after the Impressionist, the painter's field sketches are considered as of course; after China 'May Fourth', Western painters are introduced in, and Western painters carry the painting boxes carrying boxes. , To sketching, it is also learned by people. However, Chinese painters carry their own stitching drawings and take the "Maza 'sitting on the streets of the hawker. Wind and drizzle -you have to hide under the eaves or boats. "(Zhang Ye's" Innovation of Chinese Painting: Li Keran's Historical Contribution to the Historical of Ink and Mountains and Water ") From this narrative, we can see that Chinese painters sit in the wild all day to sketching the scene, It is mainly the result of the influence of Western painting at the style of Western painting.

Yuan Xuejun Hushan Die Cui 45cm × 69cm 2022

In a clear comparison, the traditional Chinese method of sketching does not emphasize the "viewing scene", but advocates "visual observation and enlightenment", which truly interprets the true meaning of Chinese painting sketches. "You Guan" refers to in -depth observation and feelings, just like Guo Xi's "mountain -shaped step -by -step" and "mountain -shaped face view", which is a unique way to sketching in Chinese landscape painting. Compared to the "Sitting for a long time" of Western sketching, the traditional way of sketching in China can be said to be "observed to Jing, Li Jingyi wrote", it pays more attention to dynamic aesthetic photos, emphasizes in a state of "viewing". Of course, the process of completing the observation of objects does not completely exclude the "big key". Therefore, if Western sketches are more realistic, Chinese painting sketches often write "heart image" and "image"; compared to the scientific spirit behind Western sketches, traditional Chinese sketch contains more "witness", "to the way Grand View Small "philosophical and humanistic values.

Chinese landscape paintings "focus on small views" and the "focus perspective" of Western painting have created a great scene in the field of artistic vision. "Grand View" was originally a painting public case recorded in the Northern Song Dynasty Shen Kuo in "Mengxi Talk". He believes that "the method of landscapes in the metropolis, covering small views, like people watching rockery ears." In fact, the Chinese classical landscape painting space is essentially a dynamic "visual view" pattern of piercing forward, far and near, and far and near. Connotation, which is restricted by Western -style landscape painting in the objective space of the focus perspective and only at the visual feelings, it is very different! As early as during the Southern Dynasties, the painter Wang Wei had pointed out: "The picture is not stopped by the picture, and it is the same as Yi Xiang." Change is unique to Yi Li. "(Budantu's" Q&A Q & A ")) Because of this, Huang Binhong, a master of modern landscape painting, not only emphasizes" the ancients of the ancients, the masters of the teacher ", but also the" section of creation "," seizing the charm of the charm " "". He said: "The ancients of the ancients were created into paintings, and painting seized the creation. The word" seizing 'is the most difficult. Create the world is naturally visible, and it is easy to take it. It can be seen. The painter can take his charm, and it is the real painting. "

"Enlightenment", you must learn to "full and watch" when sketching, observe carefully, analyze and feel the scenery, and be good at discovering the scenery of your heart in "You Guan", find out the typical and characteristics of the region , Reorganize into a hill in my heart. The traditional Chinese landscape paintings are lyrical, and they do not take reproduction of objective objects as the main purpose. Instead, they will use "expressing the qi in the chest" as the final pursuit. The "Middle Heart of Heart" proposed by Zhang Yan in the Tang Dynasty was also a better summary of "enlightenment". Huang Binhong's long -term waves are widely used, and they are full of wandering and witnesses. Its pen and ink are in the concentration of "with a big view". The moment is from the heart, the gods are superior, the heavens and the earth are made, and the heavens and the earth are tailored. Essence "Remember", one is outlined, and the other is to know the mind. The outline of the record refers to the rapid drawing of the local scenes with significant characteristics, as well as the structural characteristics and charm of the scenery. Although the sketching manuscripts are important, it is necessary to retain the scenery and love with "heart", and write "Qiu Yuli in the heart", which is the idea of ​​the heart. For example, the modern painter Lu Yishao, his sketch mainly uses the method of consciousness, and rarely tizes scenery, and does not emphasize the complete and realistic of the mountains and water. Generally, only the ins and outs of the dragon. During the War of Resistance Against Japan, he took refuge into Shu and watched Shuzhong and Xiajiang's beautiful scenery. The creation of landscape paintings, with the unique brushwork of inferiority, puppets, and consensus, creates a "visual viewing" space -like pattern with a very personalized color, full of ups and downs, yin and yang combined cosmic rhythm and philosophy. Based on this, the author believes that in the current landscape painting sketches, the way of sketching is necessary, but it does not constitute a reason to hide the traditional painting pulse. On the contrary, through the practice of sketching, it returns and revives the "swimming essence to swimming essence. The universe, the true meaning of the painting of the eighth eyes "and the" visual enlightenment ", in order to understand and grasp the method of" viewing the small ", reconstruct the method of" all the spiritual imagination, always not owned by the world " The "visual" landscape space and realm should be unquestionable to become the basic goal and pursuit of contemporary landscape painters.

Second, landscape painting sketch practice and teaching

By the early 20th century, the introduction of Western sketching methods brought new thinking patterns, observation methods and creative methods to sketches of Chinese painting. After half a century of teaching practice, the methods of sketching in Chinese and Western landscape paintings have been continuously integrated, complementary, and developed in exploration, forming today's landscape painting sketch teaching model, and achieved many positive results. The sketching practice of landscape painting is a process of testing traditional and development traditional dialectical unity. That is to say, before investing in the practice of sketching, the artist should go through a certain degree of copying training to master the basic legal and expression laws of landscape painting; and the process of sketching is to compare the laws of landscape painting and program in nature. In the dynamic process of "the body and the presence of the body", the observation of the image is observed, the eyes should be thought, and the imagination is wonderful, so as to "correct" and create and develop landscape painting. This kind of situation, as the Qing Dynasty king said: "It is expensive, or expensive, and cannot be wrong. Finally, there is a law. Can't. "(Wang Yu's" The Biography of the Mustard Garden ") can be said that sketching is the Jinliang who has turned from the" law "to" unable to ". Therefore, the importance of sketching is self -evident.

For today's graduate students, the purpose of sketching is to go deep into life, take root in the people, integrate into nature, and express the spiritual appearance of the times. We must grasp the transformation of sketching and creation in their own creations. Because the current sketching consciousness of the West has a greater impact on Chinese landscape painting, and landscape painting has a tendency to completely westernize, students are often easy to ignore the method of Chinese painting sketches. For example, the focus of focusing on Chinese painting will instead allow the picture to lose the flexibility of the Chinese painting composition and restrict the students' grasp and imagination. For another example, many students can only paint according to the manuscript of paintings in the process of creation. If you leave the manuscript, you can't imagine it, and the Chinese painting "Write Hills in the chest", "Writing God", "Permanent and Photo", "Wanting to Want There are outstanding traditions such as "Miao Teng" and "You Guan Wu Ji". In the creation, the work is too realistic, and it is difficult to achieve painting in poems and poems in painting.

Yuan Xuejun Xiaoxiang spring 45cm × 69cm 2021

As for the selection of sketching, when you go to nature and look at it, there will always be a scene that makes you feel refreshed. The selection objects must be rich enough, and the integration of local history, poetry and culture is a very elegant and high -level way to choose a scene. At this time, the sketch works are not only reflecting nature, but also telling stories, truthfulness, and reminiscent of history, and printing ancient and modern. It is true that there are still several key issues in the teaching and practice of landscape painting.

(1) Composition. The composition is a framework of a picture, affecting the overall beauty of the picture and the relationship between each part. Shech included "business position" into one of the six laws, which shows that he attaches great importance to composition. The composition method of traditional Chinese paintings includes panoramic composition, segmentation composition, corner scene composition, diagonal composition, etc., which was originally very alive, endlessly, inexhaustible. Smart painters know how to change on the basis of traditional composition French and innovate, and often create unexpected good works when sketching.

(2) pen and ink. Pen ink is a unique artistic language and expression of Chinese painting, and it is a unique category of Chinese art. The ancients said that "ink divide the five colors" and "ink colorful color", the Tang people even thought that "transporting ink and five colors", Huang Binhong said that "five brushes and seven ink" said. Due to sketching, the far -reality of natural scenery must be expressed, and the degree of fusion of ink and water will be different, so as to form rich ink color changes such as thick ink, light ink, and coke ink. This is also a summary of the problem of Chinese brush and ink. The law is a fixed formula, but the pen and ink can be alive. (3) Color. The three types of traditional Chinese landscape paintings are light, green, and ink, respectively. They are also three different types of coloring methods. The reason why traditional landscape painting is used because the color of Chinese painting sketches cannot be inseparable from the inheritance of traditional landscape painting. Chinese painting has a long history. The color of light, ink, and green landscapes is the crystallization of the wisdom of the Chinese people over the past few years. The "Following Lottery" will be listed as one of the six methods. This method of giving different colors with different types of objects is the theoretical basis of traditional Chinese color. "Following the Lottery" not only respects the objective reality, but also gives the subjective creative space. The coloring technique of this traditional Chinese painting is very important. The application of techniques determines the ultimate appearance of the color. Whether it is layered staining, dyeing, light dyeing, or blooming, baking, and covered. Different effects can provide a variety of choices for landscape painting sketches. The color method of contemporary landscape painting sketches also changes with the innovation of the artist and the progress of the pigment manufacturing industry. The alternation of solid and composite color, the influence of Western color concepts such as warm and cold tones, and contrast colors, the penetration of realistic spirit has put forward more requirements on the color of landscape painting. Affected by contemporary art, the concept of contrasting color is widely used in the field of modern art, and it is increasingly used in design of clothing, architecture, home, home, network, advertising and other designs. From the strong comparison in Matisse's works, to the strong contrast between orange and blue -purple such as Hermes brand window art, and to the weak contrast of Morandi, these works reflect another "another" in ancient Greek art. Simple and quiet. " The use of simple and bright contrasting color gives modern art and even modern life.

Yuan Xuejun Ge Hong alchemy office 45x68cm 2019

It is full of charm, ordinary but not mediocre. This is the greatest significance for the concept of western contrasting color. If the contrasting color can be appropriately used in sketching, it will definitely make the picture less subtle and restrained and soft, and more open and lively and relaxed atmosphere. The author believes that "Shouzheng Innovation" is the concept of sketching for sketching. With the in -depth exchanges of world culture and the further awakening of self -culture, whether for Chinese painting and sketching, for Chinese painting creation, it is both an opportunity and a challenge. Opportunity is that we have rich resources to learn from, and the challenge is whether we can make good use of these resources. The author is constantly trying to draw nutrition from the various color methods described above, and make new attempts to "use color ink, use ink as color", "pen and ink do subtraction, color to add and add". In many sketches in recent years, the author has regarded the color as the main constituent factors of the picture, diluted the role of ink, or used ink as a color to make the picture show a change of hundreds of thousands or even infinite. Huang Binhong summarizes the ink as "five pen and seven ink" with a pen. By the way, the author proposes the "five strokes and hundred colors" concept of color use. , To enrich the color effects of the picture, which is more contemporary significance.

Yuan Xuejun Jiang Yongyou 45cm × 69cm 2022

(4) Create. The sublimation from writing to the creation of the country is a difficult point of sketching. It is necessary to consider the performance of the artistic conception, that is, from the simple writing of the scene to be able to transition and sublimate to the inner creation, it is necessary It is to express the inside with the outside and use objectively to show the subjective. Since the creation of the realm, it must be different from the real scene. Chinese painting sketches emphasize that the creation of the country, that is, the choice of the natural scenery must be selected by the sketch's subjective spirit, after the sketch's subjective refining and processing, and then incorporating the sketch's subjective emotions and subjective consciousness, and then through the unique brush and ink language of the sketch, according to the sketch, the language of the sketch is based on The composition arrangement shows the scene on the screen. This is the creation of Chinese painting and sketching. The creation is more advanced than the kind of sketch that describes the image. Creation is the creation of artistic conception, and artistic conception is the high integration of feelings and scenery. In the process of sketching, only those who have achieved a thorough clearness of the mind and can achieve "understanding the magical power" and "clear the road" can the transformation from writing to the creation of the situation.

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