Deeply interested in traditional Chinese painting. The green rocks on the front are steep and majestic, giving people a sense of vastness and majesty. The flowing water under the plank bridge under the rock is a deep and serene atmosphere; the twisting branches beside the rock are lively and fragrant; the pedestrian bridges are interspersed with them, adding to the interest of searching for the secrets. There is a spring hanging in the middle of the high rock, which is endless and has the elegance of mountain flowing water. On the rocky slopes, there are several thatched cottages shaded by sparse branches, which embodies the romantic and poetic feeling of "there is a home deep in the white clouds". The author uses the traditional lofty method of expression, mixed with modern compositional brushwork, to make the whole picture appear to be steep and steep. Rich, producing the visual impact of "thousands of rocks and ravines running through the eyes". The lines of brush and ink in the whole painting are mixed and uneven; the scratches and stains are dense and dense. In addition, the winding bridges, hanging springs, and cliff trees and mountain houses are arranged in their proper places, with suitable movement and stillness, and appropriate shades. The close-up brushwork should be in line with the times." Shi Tao, one of the four painting monks in the early Qing Dynasty, once said.
Brushwork How to adapt to the times depends on the artistic proposition of the times. As far as the development of today's ink landscape painting is concerned, with the advancement of the times, a variety of creative styles have been formed. Among them, the themes are derived from direct sketching in famous mountains across the country. The creative concept of integrating Huixi's techniques is highly praised by many painters, which brings vitality to the creation of landscape paintings. The painter Zhang Dengtang is galloping in the current painting world with this attitude.
Zhang Dengtang loved painting since he was a child, but his family was poor. , often studying the works of famous artists of the past under a small kerosene lamp. When he was fifteen or sixteen years old, he copied the painting of "Jiang Tian Pavilion" by Yuan Jiang, a great painter of the Qing Dynasty. , he covered a wide range of subjects, including famous artists from the Song and Yuan Dynasties, as well as modern sages. He copied them carefully and diligently explored them. He occasionally painted flower and bird paintings with unique emotions, especially the "shrimp" in his paintings, which are vivid and lifelike. Due to the early death of his father, Zhang Dengtang took on the burden of family life at the age of eighteen or nineteen and went to work in a cultural relics store in Jinan. This gave him the opportunity to see original works by famous artists and enrich himself. He was transferred to the Jinan People's Art Museum and devoted himself to creation. He traced the origin of the Yellow River and the Yangtze River, traveling all over the country. There was a box full of sketching materials. At this time, he could be said to have "searched for all the wonderful peaks to make sketches." Together with his painting friends, he created a series of paintings such as "Yellow River" and "Haihe", which attracted the attention of the painting world, and his painting style became increasingly mature.
It is difficult for any art to be innovative, and traditional Chinese painting is no exception. The landscapes of Chinese painter Zhang Dengtang always give the painting world a sense of otherworldliness, which is rare and rare. There are two ways to create new paintings, one is to create new forms, and the other is to create new ideas. Zhang also belongs to the latter. The mountains and mountains, the same sea and lakes, but Zhang Dengtang's paintings can make people read a different meaning.
In Zhang Dengtang's landscape paintings, many different types of things have obvious characteristics. One of them is, Although the technique does not differ from traditional landscape painting techniques, it undoubtedly incorporates Western techniques; secondly, the observation method is based on the Song Dynasty landscape painter Guo Xi's observation of mountains, which requires "step by step" and "face to face", and also The method must be to observe the changes in the four seasons and morning and evening forms; thirdly, the theme of the work is clear. The landscapes in Zhang Dengtang's paintings are more beautiful than nature, which shows his meticulous observation, deep feelings, and strong ability to select and create landscapes. , even the "one corner" landscape painting is still deep and far-reaching, which is endless.
Like other landscape painters, Zhang Dengtang's creative subjects are very wide, ranging from his hometown of Shandong to Emei in Sichuan and Lijiang in Guangxi. , Huangshan in Anhui and water towns in the south of the Yangtze River are all his subjects. These themes are often painted by painters. Without original ideas, it is difficult for Zhang Dengtang to express the diversity of techniques and changes in brushwork through novel compositions. In contrast to the colors, he strives to express the different structures and shapes of scenery from various places. The tones of his works are green, light red and ink, which are rich and colorful, while retaining large blanks. The virtual and the real complement each other, and the theme is ethereal and prominent.
Liu Daochun of the Song Dynasty commented that good landscape painting is "scanning thousands of miles at a glance and writing all kinds of interesting things at the fingertips". It is necessary to draw the momentum of landscape painting and to show its natural interest. The two are lacking. Nothing is perfect. This requires painters to have a deeper knowledge and understanding of landscapes and master their characteristics and laws, so that they can fully express the shape and quality of landscapes, unify the real mountains and waters with the mountains and rivers in their minds, and make them resemble both landscapes and paintings. Zhang Dengtang's large-scale landscapes, with overlapping peaks and mountains, strange rocks and pines, are extremely majestic and magnificent; while the water town sketches, with their vast sky and vast sky, win with interest. Whether it is the former or the latter, they are both full of poetry and painting.
Landscape paintings lack profound artistic conception and tend to be flat and superficial, even like maps. Zhang Dengtang is good at using the techniques of "three distances" and "coexistence of virtuality and reality" to turn ordinary subjects into deep and cheerful pictures. When commenting on landscape paintings, the most important thing is that "there is poetry in the painting", and Zhang was particularly focused on bringing this point into play when he "imagined" the landscape in his mind. The poetic touch makes his paintings elegant and graceful, without being sweet or vulgar.
Obviously, Zhang Dengtang is a painter who takes an innovative path. His innovation pays equal attention to learning from the past and learning from nature. He worked hard to study the works of famous masters of the past dynasties to improve his expressive ability; at the same time, he actively deepened his studies, observed and experienced from life, and constantly enriched his works, which enabled him to maintain a young artistic life and gain a deep interest in traditional Chinese painting brushes. The green rocks on the front are steep and majestic, giving people a sense of vastness and majesty.
The flowing water under the plank bridge under the rock is a deep and serene atmosphere; the twisting branches beside the rock are lively and fragrant; the pedestrian bridges are interspersed here and there, adding to the interest of searching for the secrets. There is a spring hanging in the middle of the high rock, which is endless and has the elegance of mountain flowing water. On the rocky slopes, there are several thatched cottages shaded by sparse branches, which embodies the romantic and poetic feeling of "there is a home deep in the white clouds". The author uses the traditional lofty method of expression, mixed with modern compositional brushwork, to make the whole picture appear to be steep and steep. Rich, producing the visual impact of "thousands of rocks and ravines running through the eyes". The lines of brush and ink in the whole painting are mixed and uneven; the scratches and stains are dense and dense. Moreover, the curved bridges, suspended springs, and cliff trees and mountain houses are arranged in their proper places, with appropriate movement and stillness, appropriate shades, close-up views, and rough distant views. The pen is powerful and far-reaching, and full of fun. It can be called a very good landscape painting.
The mountains are undulating, the rocks are green, and they are beautiful and elegant. The mountains are tall and exquisite, spectacular yet graceful. The mountains are winding and winding, like Mount Emei, slender and beautiful. The heavy rocks are overlapping with green, majestic, majestic and strange. The mountains are covered with dense shade, dense clouds and mist, and the towering rocks are towering. , the deep valleys and abyss at the foot of the mountain are filled with clouds and mists in spring and summer, and are unpredictable.
.
Detailed, rough in the distance, pen power and full of wit, it can be called a very good landscape painting. The mountains are undulating, the rocks are green, and they are beautiful and elegant. The mountains are tall and exquisite, spectacular yet graceful. The mountains are winding and winding, like Mount Emei, slender and beautiful. The heavy rocks are overlapping with green, majestic, majestic and strange. The mountains are covered with dense shade, dense clouds and mist, and the towering rocks are towering. , the deep valleys and abyss at the foot of the mountain are filled with clouds and mists in spring and summer, and are unpredictable.
The most important thing in landscape painting is "inner beauty". In terms of composition, "variations, large and small, slanted, fat and thin, long and short, pitching and intermittent, uneven and uneven, are the inner beauty." The ancients said: "Calligraphy and painting have the same origin. If you want to understand the painting method, you must first study calligraphy." Use the pen force to penetrate the back of the paper, and the lines are not traced but written. If you use a pen to put the most solid places, you can see the virtual spirit, which is numerous and tireless, which makes people imagine the beauty of bleak management. The use of ink can dry up the autumn wind, moisten the spring rain, and make the charm vivid. The changes of thick ink, light ink, broken ink, accumulated ink, burnt ink, and accumulated ink are endless, hearty and dripping, thick but not stagnant, light but not floating. There is fineness in the coarseness, and there is collection in the middle. It is rough but not vulgar, fine but not greasy, free but not empty, closed but not tight, just right, and has a profound artistic conception.
I think it is very valuable to be able to freely retract and retract freehand landscapes, especially large-scale creations. The value of landscape painting lies in the vast mist, and the value of landscape painting creation lies in the artistic conception, which requires "thinking and scenery together." "Jing" is different from the actual scenery, nor is it equal to the language image. It is "scenery outside the scene", "image outside the image" and "rhyme outside the effect". That is to say, the artistic conception arises from the image but transcends the image. It is the kind of artistic realm that profoundly expresses the vitality of the universe, the reality of the world and the true meaning of life. Traditional Chinese literati and officials often talk about "void", "nothing" and "emptiness", and use art to understand and grasp the mysteries of the universe and the true meaning of life. As a result, many excellent works with artistic conception and aesthetics have been produced, which have become models for later generations to learn and admire. .
In painting, there are those who draw by hand, those who draw with strokes, and those who draw with heart. Those who draw with heart are true paintings. What a painter needs is talent, courage and cultivation, which are beyond the reach of mediocre painters in their lifetime. "The understanding, grasp and creation of artistic conception require profound cultural accomplishment and nourishment from other arts. It cannot be understood and grasped by dogs and cats. Only those who "know" can knock on the door of artistic conception. , step into the hall and appreciate its profound and timeless infinite meaning. "The source of the heart is the furnace, and the end of the pen is the charcoal; forging without roots, the artist must refine the artistic image he creates." Refine it so that it can express endless meanings in limited language. Mr. Shitou uses very vivid metaphors to explain his creative process, such as "the stonemason cuts the stone, the woodcutter chops the firewood", and "the cook woman kneads the dough". He combines the tradition. Integrating with modern times, Ba brush and ink are blended together to create endless meaning in the picture, creating his own unique artistic realm.
"Thoughts and state of mind go together", but "I am there". "The state of me" and "the state of no-self". "With tears in my eyes and asking about the flowers without saying a word, the chaotic reds fly across the Qianqiu", this is the state of me; "Picking chrysanthemums under the eastern fence, leisurely seeing the Nanshan Mountain", this is the state of no-self. China Our ancestors believed that everything in the world was born from the actual but elusive particles of "qi". "When Qi gathers, it will be born, and when Qi disperses, it will die." Understanding this "trance-like" Hongmeng Avenue has become the pursuit of traditional Chinese intellectuals.
The creation of landscape paintings takes the expression of "Tao" as its own responsibility