The teacher naturally also learns the formal language of creation.
The ancients were cloudy, and the foreign teachers created the world, and the source of the heart. Ji Yan's works integrate the traditional method of brush and ink into the natural scene, and the brush and ink are in the form of images, which are ever-changing, and the hills and ravines in the chest are leaping on the paper.
Since the Song Dynasty, landscape painting has advocated sketching and taking nature as a teacher. As subtle as possible, as vast as possible. Ji Yan has a lot of experience in sketching scenes, so her works have many exquisite details depicted, which are very wonderful and complex, which is also inherited from the painting style of Song painting.
Ji Yan believes that for a painter, sketching is very necessary, but can not mechanically depict nature, while sketching the scene, to integrate creative thinking into it, that is to say, to guide the scene sketching with legal principles, to have a trade-off in the process of scene sketching, through the scene layout, to complete the creation. If we look closely, it is not difficult to find that Ji Yan's works have both natural images and images required by the picture, and the scene in the painting is not the scene in front of the eyes. As the saying goes, the law is natural, and the heart of the law is the source.
Ji Yan's works are taught by the ancients, inheriting the ancients but not the ancients;Take the method naturally, not be burdened by nature, and know the way of choice. The imagery of the painting is based on the natural scenery to meet the needs of the picture, a mountain and a water, a stone and a cliff, a tree and a house, a real and a virtual, a sparse and a dense, all because of the germination, the weather is thousands, and the meaning is noble. Between the beginning and the end, the heart is comfortable, the brush and ink are sound, the imagery is in class, and the painting is embodied, showing the characteristics of the form and language with great beauty.
In terms of formal language composition, many of Ji Yan's works will more or less present the unity of black and white, the unity of the virtual and the real, the unity of sparseness and density, the unity of movement and stillness, the unity of points and lines, complex in the emptiness and void, the picture presents the Taoist nature of Lao Zhuang's philosophy and the aesthetic pursuit of Zhuang Zen aesthetics.
The ancients: calligraphy and painting have the same origin. Mr. Huang Binhong's pen and ink are loose and flexible, and his painting is rich and rich, which should be due to the cultivation of calligraphy skills. Ji Yan's landscape painting with the pen is vigorous and smart, dense and heavy, and varied, so it can be seen that her profound brush and ink cognition and cultivation, Ji Yan also has a deep understanding of calligraphy, her cognition of traditional brush and ink is deep and high, her brush and ink is meaningful, is intentional, and the cultivation of pen and ink meaning is also an important factor to support the style of painting.
The formal beauty conveyed by Ji Yan's works not only has the stylized Taoism under the traditional principles, but also has the implication of the brush and ink of his personalized language, presenting the painting style of ancient meaning and new imagery.
From the perspective of formal language, Ji Yan's works have many characteristics of formal aesthetics, in other words, Ji Yan has gradually formed her own formal language system and is gradually maturing.
Today, Ji Yan's works are her personal interpretation of comprehensive artistic accomplishment, and it is the interpretation of the aesthetic pursuit of the times and the spirit of the times, and we look forward to more and more wonderful works of Ji Yan.