Master's painting experience.

Mei Xue is not willing to give up in the spring, and the poet has to pay a fee to comment on the chapter.

Mei Xuxun's snow is three points white, but the snow loses a piece of plum fragrance.

Evaluation

I prefer the integrity and character of bamboo among the four gentlemen of Mei Lan, Zhu Ju!

here's what I'm looking for

Spring flowers and autumn fruits, how can I feel in my heart

-I first met Liu Baisu's freehand flower-and-bird paintings

◆ Wen/Ma Fangting, Secretary General of China Calligraphy and Painting Collection and Appraisal Association

I haven't known Mr. Liu Baisu for a long time, but I didn't know much about his paintings and people before. At the end of last year, he came to Beijing for some reason, got together at our place and talked about many things related to painting in a hurry. When I first met him, I was impressed by his frankness and frankness, and he was a typical Shandong man. Later, I began to pay attention to his works, and I was often moved by his simple picture charm. It's really picturesque!

Mr. Liu Baisu has devoted himself to the traditional China painting for decades. However, he is not only guided by tradition, but always incorporates modern painting elements found in the process of sketching. If Liu Baisu regards painting as life, then painting sketch and artistic innovation are the soul of his pen and ink. In his own words, a painter who is not engaged in painting and sketching can't walk out of the barriers of his predecessors and can't keep pace with the times. "Don't let the ancients call it ambition, and don't let today's people call it boundless." This is the voice of Liu Baisu. But to do this depends on more than just big words, it needs to implement concrete steps and efforts, which is by no means ordinary courage and talent. After years of hard work to get the true meaning of art, Liu Baisu was admitted to the advanced class of the Central Academy of Fine Arts in 22. After graduation, he was admitted to the advanced study class of the Central Academy of Fine Arts with excellent results. In this palace of art, he was hungry, worked hard and made remarkable achievements.

Liu Baisu is a perfectionist. He is very strict with himself. He often disposes of unsatisfactory works together with garbage. Even if he has given them to friends, once he finds them, he will get them back with a good one. Someone was surprised to ask him why. He said that his early works had not yet passed the standard, so it was better to discard them in time than to keep them in society. Liu Baisu's attitude towards life is not only a concrete portrayal of art's high responsibility to society, but also his awakening to artistic truth and objective truth in the process of sketching. Perhaps it is for this reason that he has his own persistence in creation and sketching.

Liu baisu was born in linqu, Shandong province, and belongs to the famous Yimeng mountain area. Throughout his art works, most of them are plantains, bamboos, plums, pines, eagles and pomegranates. Although these images are almost ordinary, he has found spirituality for them from his long-term sketches and sublimated them into the heat of life.

I learned from others that in order to paint banana well, Mr. Liu Baisu spends several months every year sketching in Xishuangbanna. He said that the scenery there is very beautiful, with exotic flowers and plants covering overlapping mountains and banana orchards everywhere, which are lush and full of vitality, showing the unique customs of the south all the time. However, the local environment is also unsatisfactory. The air is humid and the rain is constant. It is often that a sketch has just been put to paper, and there will be a sudden rain. In this case, he had to put away the draft and resume painting after the rain. At the same time, when sketching, you should be careful of flying insect bites and poisonous snake attacks. But in order to create the truth of art, he never regarded these difficulties as obstacles to sketching. The works with banana as the object, such as Spring Rain, are created on the basis of sketching.

Life is too short, art is too flawless, and you can't neglect both art and life. Liu Baisu thinks that as a painter, he must go deep into life and engage in a lot of sketching. Because, the works from sketching are not only difficult to repeat and be similar, but also can make people have many associations. Taking banana as an example, how to express it by freehand brushwork can only be realized by painters in sketching. China's traditional painting technique is that the ink is divided into five colors, and the shades are dry and wet. Some people paint plantains in black and white. However, in his sketches, he really realized that there is a long distance between the banana in reality and the banana in art. In reality, the leaves of banana are very dense, so it must be scientifically abridged in the creation. For some dry or incomplete leaves, you can borrow a few pieces from another banana tree. The works created in this way have both artistic perfection and objective truth.

People who are engaged in the creation of Chinese paintings know very well that as freehand flower-and-bird painters, they need to create a state of writing "meaning" when creating. The so-called "freehand brushwork state" is actually an illusion of the painter in the process of painting, and it is a highly free spiritual realm of artistic selflessness.

The word "freehand brushwork" once appeared in the pre-Qin classic "Warring States Policy. Zhao Er". The book says "loyalty can be freehand brushwork". Here, "freehand brushwork" and "character" are linked together, which refers to a kind of character and temperament of people. Later, people gave more connotations to "freehand brushwork", but they were all related to the expression of mentality, emotion and interest. In the creation of traditional Chinese painting, this kind of freehand brushwork is done with pen and ink as the medium. The ancients talked about painting and called the painting of transcendental things "yi pin". In fact, yi pin is the kind of painting that is completely "freehand brushwork". For example, Liu Baisu's works, such as Birthday, Aspiring in the Sky, Celebrating the Year with a Pine Crane, and Rainy Autumn Rain, well reflect the state of freehand brushwork, which can be described as yi pin. As Li Zuoxian's Painting and Calligraphy in the Qing Dynasty commented, "Ink and brush are freehand brushwork, ... driving ink like a cloud, and writing like the wind, ..."

Shi Tao said in "Quotations on Paintings by Bitter Melons and Monks": "Man-made objects are covered with dust. If you work for things, you will suffer. " "I am covered with things, and dust is covered with dust. If you don't work hard, you will have a painting." This is the "freehand brushwork state" in which everything is left to its own devices, so that the artistic imagination is always in a highly free creative position. Mr. Liu Baisu's freedom comes from his accumulation of sketching and his tireless pursuit of national art.

Liu Baisu's pine paintings are different from those of China painters in previous dynasties. How to use China's ink and wash to show the vigor and vitality of the pine is still a topic that painters are still discussing. Pan Tianshou's finger painting of pine trees gives people a sense of momentum, which is definitely not acceptable for contemporary people to extend this road. Traditionally, branches of pine trees are fish scales, and Wu Changshuo, Li Kuchan and others have done their best in this field. All the painters of past dynasties are wise men who came out from inheritance and innovation. It should be said that the predecessors set a good example for contemporary painters. Inspired by the spirit of predecessors, Mr. Liu Baisu's sense of innovation is getting stronger and stronger. After doing a lot of research and analysis on Chinese painting and related traditional culture, he deeply realized that the ultimate pursuit of painting works is the picture effect, not the tools in the creative process. Therefore, he used his self-made brush and his own brushwork to create one painting after another with pine as the object. Once these works came out, they aroused a strong response from the society. People like the "momentum" created in his paintings, and prefer the ink and wash effect presented in his works. After more than ten years of hard work, he seems to have found the true meaning of the image of pine trees, thus surpassing the invisible and tall "fence" set up by predecessors in this field. Mr. Liu Baisu often says that artistic innovation is not empty talk, and it can only be achieved by the painter's long-term cultural exploration and artistic practice. In order to express the image of pine trees, he went to Huangshan many times to sketch, and stayed there for dozens of days, eating instant noodles and drinking mineral water. Through long-term observation and copying of pine trees, he finally found his own technique to express the spiritual feeling of pine trees that has gone through vicissitudes and is towering and tall. With this passion, he showed the image of pine trees in large-scale ink painting, and his spirit and emotion were vividly expressed. It is not difficult to see from his "Yellow Mountain Pine Rhyme", "Rising Sun", "Yellow Mountain Pine Wind" and "the other mountains all appear dwarfs under the sky., once climbing to the top of the peek, one would see" that all the thoughts and feelings nurtured in the process of sketching are really expressed by pine trees. From a closer look, all his works show magnificent, dignified and old-fashioned artistic effects. Looking around, his pictures are luxurious and unrestrained, and the weather is myriad. Looking at its artistic techniques, it seems that it is random to smear and write, but there are rules hidden in the agitation, and it is not lost in romance, which can not but make the viewer greatly sigh.

The artistic features of China's freehand flower-and-bird paintings are the comprehensive embodiment of the painting language and aesthetic needs under the domination of China's traditional culture, and it is an emotional point for painters of past dynasties to express the relationship between man and nature. Mr. Liu Baisu firmly grasped this gist in his creation, so that his works well reflected the aesthetic elements of China's "freehand brushwork" in the expression of pen and ink language and the expression of traditional culture and modern consciousness. He is good at using the characteristics of natural images to express the inseparable feelings between man and nature in an artistic way. Many of Liu Baisu's paintings take plum as the object. From ancient China to today, this kind of works is not uncommon, and each dynasty and generation has its representative figures. Xu Wei, a writer in the Ming Dynasty, once made an incisive interpretation in one of his poems "Painting Plums": "I have never seen the plum blossom spectrum, and I have my own gods; If you don't believe it, try to see thousands of trees, and the east wind will make spring. " From this, we can see how important the image of plum blossom has been in people's minds for thousands of years. Therefore, it is not surprising that such works are numerous. Mr. Liu Baisu knows very well that profound learning is the basis of observing things, which can make people get unusual feelings in ordinary things. The same mountain, water, grass and trees, different educated painters will have different feelings, which will make a world of difference in their paintings. It is difficult to create a true painter by pure painting theory. To make one's art successful, one must seek painting inspiration from other related disciplines. Many of Mr. Liu Baisu's works reach the artistic conception of poetry by himself with the help of objects, so that poetry can be perfectly conveyed. In the end, he shows China's traditional culture and his feelings about life well through pictures, which makes his works doubly heavy and profound.

Traditional China painting is the medium that carries traditional culture. But without profound painting skills, painters can't bear this responsibility. For the truth of art, while studying traditional culture and the painting theory of predecessors, he always spends a lot of time out sketching every year, and through sketching observation, he can understand the different forms of objects in different seasons. In spring, he writes about colorful and ever-changing flowers, and in summer and autumn, he writes about vigorous, tall, graceful and colorful jungles and flowers. In winter, he writes notices that are proud of the wind and snow, and the twists and turns are scattered. A series of works with plum as the theme, such as Spring with Iron Bone and Snow with Iron Bone, were created by him through years of sketching.

The work is based on Gu Mei's real objects, and depicts Gu Mei's various poses with close-up techniques and varied lines of center Jiao Mo. The momentum is strong, the artistic conception is profound, the vigor contains implication, the ethereal spirit is seen in the dense, the trunk is strong, and the branches and flowers are numerous but not chaotic. Mei's image is real and vivid, and her faithful and noble image gives people many reverie. Mr. Liu Baisu likes to draw large-scale notices and red plums, and likes to create that kind of white and red-dotted battle, which highlights people's spirit.

the ultimate in painting is style. Style is the embodiment of a painter's character and temperament. Mr. Liu Baisu embraced life warmly, threw himself at nature with all his body and mind, and appreciated the various kinds of creatures of flowers, trees, birds and birds and their infinite vitality in the storm and frost, thus directly gaining rich feelings in vision and smell, arousing his feelings and thoughts about nature in deep affection, and transforming them into strong artistic language through the creation of his mind. He showed what he saw, heard and felt with vivid and moving pictures, colorful emotions, clear and fresh style and a degree of pen and ink dripping. "Hundreds of clumps of mei calyx, a bunch of dead branches. Ink is moist, and color is fresh. Flying and perching, the movement is like life. Pleasant sex makes love, work and escape, and Si is a wonderful product. " Viewing Mr. Liu Baisu's paintings with this remark by Xu Wei, a painter in the Ming Dynasty, can give us a lot of enlightenment. His paintings, whether huge or full-scale sketches, can make people truly feel his solid traditional skill and wanton artistic light, and feel the richness of pen and ink and the originality of picture composition. Many of his works are giant, with broad pictures, broad bearing, exquisite brushwork, pictographic images of objects, and colored with ink. While reflecting the natural disposition, it also fully displays the painter's personality. It is not difficult to see that Mr. Liu Baisu not only has profound traditional skills, but also pursues modern consciousness. In his works, the sense of the times has become the natural expression of his profound artistic accomplishment and noble spiritual pursuit. He has said many times that only by breaking through the old-fashioned traditional mode and ideological constraints and paying attention to the original skill of natural representation, can the creation of freehand flower-and-bird paintings maintain vigorous vitality with strong lyrical freehand brushwork, and people's desire to return to nature can be realized with a splash of ink.

Therefore, every plant, tree, flower and bird in his works are full of vigor and profound artistic conception. His painting style not only has the characteristics of freehand brushwork considering objects, both form and spirit, but also has the characteristics of paying attention to writing and brushwork. It not only has a strong visual impact, but also reveals a charming charm in the spiritual connotation. All his works are thriving and charming in the sun, overflowing with noble and intoxicating fragrance in the wind and frost, demonstrating graceful dancing in the spring, and sticking to the wanton bloom in the rain and dew. He vividly expresses the inspiration and interest of his inner world with pen and ink by expressing the spirit and borrowing things to convey his inner feelings, thus creating a pleasing and soul-stirring charm and artistic conception on the screen. This is the painter's demonstration of objective things, and it also reflects the painter's noble sentiment.

From Mr. Liu Baisu's freehand brushwork, we can see that he is an artist who is gradually becoming successful. On the basis of China's traditional flower-and-bird painting, he is constantly enriching the era meaning of "freehand brushwork". Mr. Liu Baisu understands that "writing" and "meaning" are two important features of China's flower-and-bird painting. China's philosophy of the unity of heaven and earth is a main thread that China's freehand brushwork has run through for thousands of years, and has formed a unique cultural element of China's flower-and-bird painting. The so-called "meaning" is to establish the moral integrity of the painter's spirit through the selection of flower and bird themes; The so-called "writing" is to explain the stylized traditional theme through personalized pen and ink, so that those repeated cultural symbols can be transformed into artistic images containing the painter's cultural personality.

freehand brushwork flower-and-bird painting in the 2th century began in Zhao Zhiqian, Wu Changshuo, Wang Yiting, etc. Shanghai-style flower-and-bird painting entered the painting with epigraphy, which brought vigorous, simple and vigorous painting style to traditional freehand brushwork flower-and-bird painting, and changed the gentle and charming posture of flower-and-bird painting in the late Qing Dynasty. Chen Shiceng, Qi Baishi, Pan Tianshou, etc. all evolved from Wu Changshuo, thus forming the dominant position of Shanghai School and Beijing School's freehand flower-and-bird painting in the whole country in the 2th century. In 195s, influenced by real life, traditional flower-and-bird painting began to pay attention to the expression of local themes under the inspiration of the new era. The painting styles of Guo Weiqu, Wang Xuetao, etc. added the sense of reality and life to flower-and-bird painting. This is a turning point of freehand brushwork painting from "inheritance" to "new change". After 197s, freehand brushwork flower-and-bird painting turned to the expression of nature and living environment, and colorful and competitive tropical rain forest became the object of human contemplation of natural living environment. Mr. Liu Baisu admires the works of these masters, but he doesn't want to make his painting style become the shadow of all generations. He believes that every painter should also have his own place under the background of China's great culture.