The significance of sketch

Shandong art museum

2019165438+1October 14 Official account of Shandong Art Museum.

Professor Liang commented on his works at the seminar of young artists in the province.

On June 3rd, 165438+ led by the secretary of the Party branch of Shandong Art Museum and under the guidance of Liang He, a professor of Shandong Art Institute, the 10-day sketch in Guizhou ended, which also marked the successful conclusion of all courses of the Shandong Youth Art Talents Seminar, a key project of introducing masters to Shandong Art Museum in 20 19.

Every day during the sketch period can't be copied. Natural Vientiane and humanistic customs provide a unique artistic perspective and artistic material for painting creation, which enables artists to have a broader creative vision. At the same time, many unknown external environments constantly inject fresh elements into sketch creation, providing infinite possibilities. Professor Liang, as the instructor of the Chinese Painting Group, not only demonstrated the paintings for the students, but also commented and guided their sketches one by one, and taught every student accurately, which made them gain something and grow and mature.

After Professor Liang returned from sketching, he had a new understanding of Chinese painting, so he wrote the article "The Significance of Sketching" for readers.

The significance of sketch

Text/beam

Sketch should be an important part of China traditional painting. From the perspective of China's art history, most classic works are directly or indirectly related to sketch. Think about it, if there is no sketch, Zhang Zeduan's "The Riverside Scene at Qingming Festival" is impossible to portray incisively and vividly. If there is no sketch, we can't have the feeling of lying in the five mountains when we look at Wang Ximeng's "A Thousand Miles of Rivers and Mountains".

One of Liang's "Jiangnan Essays"

Of course, sketching is very hard, and it is difficult for people who have never experienced it to understand the bitterness. It is said that when Mr. Wu Guanzhong sketched in Huangshan Mountain, he looked at the sea of clouds in Shan Lan in front of him, and when he stood, he felt that the clouds were too high, but when he sat down, he couldn't see them. He only looked down and sketched, but unfortunately there was no easel on the hillside. Just when he was at his wit's end, his wife appeared and said, "I knelt on the stone in front, and Teacher Wu put the drawing board on my back, just sketching. Although Mr. Wu was distressed by his wife's pain, he still worked hard for more than two hours. " It is said that Mr. Wu Guanzhong has been hanging this sketch in the living room hall, which is considered as one of his most representative works. It can be seen how difficult it is to get a good sketch. I remember once, I happened to see a deep frostbite crack on the back of Mr. Yang's hand. When asked about the reason, he said that it was frozen by sketching in the snow, and he forgot everything when he painted it. It can be seen that the persistent spirit of the art predecessors for "getting carried away" and "having fun in hardships" should always be worthy of our young generation's deep admiration and learning. It should also leave an epic mark on the history of contemporary art in China.

Liang's Second Sketch of Jiangnan

Oil painting needs a sense of existence. This scene cannot be repeated here and now. The painter Manet painted the same haystack, which was different in the morning, noon and night. However, the sketch of Chinese painting is not like this. Painters need to subjectively "adapt" the objective scenery, and then transform it into the relationship between thick, light, dry, wet, elastic and imaginary. After all, learning Chinese painting has a complete set of procedural rules and methods. For people who are new to the field of Chinese painting, it is necessary to copy some ancient classic works, master a little traditional painting, and then sketch. We call it "making the law correct" or "making the law incorrect". People with discerning eyes naturally understand how to digest the traditional techniques in sketch and how to understand the traditional pen and ink. Of course, under the background of the intersection of Chinese and western cultures, there are not a few people who are "innovative" with clear-cut flags, but there is always a feeling of "raw food" in their works, which lacks the charm of oriental painting aesthetics. Of course, I don't mean to contradict "innovation" here. Undoubtedly, innovation will always be the driving force of artistic development. The key is how to innovate. There is a preconceived problem of learning Chinese painting. That is to say, starting from the basis of western painting, drawing Chinese painting with the observation methods and techniques of western painting is different from getting started from the basis of Chinese painting. After deeply understanding and understanding the modeling methods and laws of Chinese painting, the pictures presented by the observation methods of absorbing western painting are different. It is on the basis of profound traditional brush and ink that Mr. Li Keran created a new way of contemporary landscape painting, combining the western scientific observation methods of "light sense" and "light and shade", which had a far-reaching influence on modern Chinese painting. In his later years, Mr. Huang was inspired by western impressionist stippling techniques and created a set of stippling landscape painting methods. What's more, influenced by western splash-ink painting, Mr. Zhang Daqian created splash-ink landscape painting. The innovation path of the above people deserves our in-depth study and research. However, the problems brought by sketching Chinese paintings with the observation method of western paintings are obvious. Like foreigners painting Chinese paintings, there is a taste of "Longjing tea" soaked in Coca-Cola, which may be good, but it is not as good as the people above.

Liang's Five Stories of Jiangnan

Chinese painting is most afraid of setting up "sketching" with a mature painting method. I have a ready-made set in my heart. Not a small scene, but a "show" sketch, playing their own mature tricks. Its performance may be good, one or two pictures are acceptable, but if you look at it more, you will find problems. It is the same to use that painting method to set Mount Tai, Mount Huangshan and Mount Huashan. There is no difference. Mountains are all the same in character.

Compared with sketch, freehand brushwork is more subjective, more exquisite and has both form and spirit, which can be described as a higher realm. It can also be said that the sketch is vivid and concrete, not even freehand brushwork. Qi Baishi put it well: if sketch only focuses on its shape, or freehand brushwork focuses on its spirit, it is biased. He emphasized that "sketching and freehand brushwork" can be done in order to "have both form and spirit, which is not accidental." Just as we look at Shi Tao's paintings, they are both like sketching and not like sketching.

Liang, Seven Stories of Jiangnan

In China's ancient painting theory, there is a proposition of "knowing by eyes and remembering by heart", which emphasizes the problem of dictation ability. The transformation from concrete sketch to subjective "mountains in the chest" and "knowing in the chest" should be the sublimation of writing and dictation, which can be said to show another realm and another height of freehand brushwork. It is said that Li Keran's early sketches are wonderful, but he has always been bitter and dissatisfied. He wants to break free and go to another height that he yearns for. I understand that what the old gentleman pursues is a realm, a realm, a clear mind, simplicity, simplicity and conciseness, and this pursuit will never end. I especially appreciate Zheng Banqiao's famous saying, "Intention first, rules also: those who are interested outside the law turn into machines", because he touches on the essence of art and should also be the meaning of our sketching.

Brief introduction of beam

1956 was born in Yantai City, Shandong Province.

1983 graduated from the Fine Arts Department of Shandong Arts University and stayed as a teacher.

Member of China Artists Association, former vice chairman of Shandong Artists Association, director of Chinese painting and figure painting art committee of Shandong Artists Association, vice president of Shandong CPPCC Painting and Calligraphy Institute, member of Shandong CPPCC Standing Committee, professor of Shandong Art Institute, master tutor, researcher of Shandong Institute of Literary and Artistic Creation.

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