These two snowy landscapes are the works of modern masters Wu Hufan and Tao Lengyue, respectively, and they look very different from traditional paintings. Wu Hufan imitated Fan Kuan of the Northern Song Dynasty to paint the "Snow Map of Ten Thousand Peaks", and used stone blue to paint the snow mountains. Tao Lengyue's "Seeking Plum Blossoms on a Snowy Night" shows light and shadow changes, in addition to the coldness, there is also a layer of charming halo. The path taken by Wu Hufan belongs to the inheritance of tradition, and the path taken by Tao Lengyue is the integration of China and the West. No matter which path you take, you can see the innovation and changes of modern painters.
According to the history of painting, there were snowy landscapes in the Tang Dynasty, and there were a variety of creative techniques. In the Northern Song Dynasty of the Five Dynasties, the works of snow landscape gradually increased, and the well-known work is Fan Kuan's "Snow Scene Cold Forest". Wu Hufan imitated Fan Kuan's style, and did not deliberately emphasize his signature technique of raindropping, but combined with the Shanghai style of painting to adopt a technique of paying equal attention to color and ink.
Wu Hufan is a painter as well as a collector and connoisseur, and his antique works are more pure. Fan Kuan of the Northern Song Dynasty was nicknamed "King of Points", and Wu Hufan started with color to reinterpret Fan Kuan's brush and ink characteristics, which is refreshing. Antique can also draw new ideas, Wu Hufan is amazing.
With the development of landscape painting in the Ming and Qing dynasties, painters paid more and more attention to brush and ink, and were influenced by the taste of the literati, and preferred to express the rich connotation of natural landscapes with ink. In modern times, with the change of aesthetics, painters began to systematically study the use of color. This "Ten Thousand Peaks Snow Map" therefore has the characteristics of the times, making people feel the moving charm in the icy and snowy landscape world.
Traditional snowscape landscapes, occasionally using stone blue, are dyed against a background that highlights the majestic mountains. What is the reason for rendering snow-capped mountains directly with color?It is also necessary to find clues from Fan Kuan's paintings in the Northern Song Dynasty, and the cold mountains and snow scenes he paints are full of vitality. In the process of imitation, Wu Hufan emphasized the vitality and used color to express the coming of winter to spring.
The raindrops are short and thick, and the three-dimensional sense of the mountain stone is expressed through the ink dots. The dense ink spots are easily blocked by the snow, which affects the three-dimensional sense and sense of space of the mountain rocks. With the help of color, none of this is a problem. Antiquity is the basis of creation, not the whole of creation. To learn the creative spirit of the ancients, we must not be confined to the shackles of the ancients.
Looking at the enchanting moonlight and looking at the cold moon shadow is reminiscent of watercolor paintings. Watercolor paints are translucent and can feel real when used properly. There are similarities between Chinese painting pigments and water colors, and you can use methods such as overlapping colors and water breaking colors to paint subtle and elegant light senses. The night sky in "Seeking Plum Blossoms on a Snowy Night", the bright moon and floating clouds, use blocks to pile up the overall effect, and then use methods such as color stacking to draw the texture. The snow-capped mountains in the night light only emphasize the dark shadows in subtle places, making the moonlight appear brighter and brighter.
The fusion of water color takes into account the changes of dry and wet, and it can be seen that Tao Lengyue is a master of using color. He gave the snow-capped mountains a clean and clear beauty, such snow-capped mountains had never been painted by the ancients. He borrowed the movement of clouds and light to bring the snow-capped mountains to life and look full of unearthly temperament.
Tao Lengyue's "Seeking Plum Blossoms on a Snowy Night" is a landscape of light and shadow, the composition of traditional landscape painting, and the characteristics of brush and ink of traditional landscape painting. Whether landscape painting should respect the objective and true appearance, you will have some insights after watching "Seeking Plum Blossoms on a Snowy Night". The ancients said that being friends with the ancients and taking my heart as the law. The snow-capped mountains under the moonlight retain the style of the ancients and establish a personal style.
The appearance of traditional landscape painting, using light and shadow to make up for the lack of yin and yang changes, has a new style of landscape painting under Tao Lengyue's pen. Many painters in the modern art world have proposed methods for creating new landscape paintings, and the integration of China and the West has become one of the innovative directions.
Many people are troubled by the fact that traditional techniques cannot paint real mountains and rivers, and Western landscape paintings cannot express the charm of literati. When I saw Tao Lengyue's works, I knew that he already had a solution.
He retains the poetic beauty of traditional landscape painting, and the small bridge and flowing water in the painting, combined with the lonely boat trip, are like a poem that stirs up inner ripples.
Painting landscapes and snow scenes, the ancients often pinned their trust on the character of the literati. The two different snow scenes make people see that they can solve the problem of brush and ink technique first, and then consider the artistic conception of qi rhyme, so that it can be a matter of course.
Further reading
The two paintings "Three Visits to the Thatched House" have different creative concepts.
Where does the flowing water float lightly, Pu Xinji's "Smoke and Rain Return to the Boat".
Can you see any difference between the two "Rain and Ji Pictures".
There are sparse and dense, virtual and real, Zhang Geng's two landscape paintings.