Looking at the appearance of the black and thick landscape, you know that this is the work of the modern famous Huang Binhong. These two paintings are based on real-life sketches, depicting a corner of Yangshuo's landscape and a panoramic view of Xiling's landscape respectively. People use "vigorous Huazi" to describe Huang Binhong's style, dignified and ancient charm, flexible and changeable brushwork, and thousands of scenes, which make people immersive. Huang Binhong often uses the ink accumulation method to paint the three-dimensional sense of mountains and rocks through the accumulation of ink color layer by layer. After watching "Yangshuo Landscape", you will find that he also used the method of breaking ink with water, emphasizing the yin and yang texture of mountains and stones.
A good painter doesn't care much about the shape of the landscape. Huang Binhong also has this feature when he sketches real scenes. What he cares about is the undulating veins of the landscape, finding rhythm and rhythm in them, giving his works exuberant vitality. Frankly speaking, the Yangshuo landscapes he paints are really not beautiful, at least not visually beautiful. However, after looking at it for a long time, you will find that the landscape in the painting becomes three-dimensional, and the overall feeling is different.
Complicated but not stuffy, the "stuffy" in it means not breathable, and the so-called "not stuffy" is breathable. The qi in the mountains and rivers is the rhyme of qi. The artistic conception and charm in the painting need to be presented with pen and ink. Looking at the dotted brush marks, there are virtual and real, and under the background of light ink, the layers have changed from clear to hazy. Layered and hazy dreamy, the former is mostly adopted by the north, outlining the mountains and mountains;The latter is often used by southern painters to paint smoke and rain.
Qi Yun ** in two aspects, pen rhyme and ink rhyme, pen and ink harmony and unity can make the air rhyme run through the landscape. The clear and clean beauty formed by the accumulation of ink and the breaking of ink injects a brilliance into the haze. The ink spots in the painting give the landscape a sense of heaviness and make the picture appear more ethereal. Huang Binhong once said, "The meaning of the painter is to be constantly angry." "From the boat to the garden to the dense forest and distant mountains, there seems to be smoke and clouds looming, which is the charm of brush and ink.
Sparse but not empty, better understood. But is it appropriate to understand this "Xiling Landscape"?This painting is created by imitating the technique of Fan Kuan of the Northern Song Dynasty, but the ink spots in the painting are very heavy and the ink color is very thick. Fan Kuan has a nickname called "Point King", and he is a master of using points. Fan Kuan's landscapes are cold and cold, and they look dry and cold. The composition is dense, the brush is dense, and the ink color is heavy, and only the blank space where the clouds and water are located channel the charm in the painting, making the picture look simple and dignified.
This painting embodies the concept of "dots can also be used for dots", where ink dots can be gathered into lines and converged into a flat surface, like a seed falling into the ground and eventually growing into a towering tree. An ink dot is sparse but not empty, and countless ink dots together are complicated but not stuffy. Huang Binhong realized the wonderful method of dotting and painted the masculinity of the Jiangnan landscape.
Complicated but not stuffy, sparse but not empty, illustrates a truth. Painting landscapes doesn't have to really look like natural landscapes, good landscape paintings don't make people feel how much they look like real scenes, but make people feel vivid. In order to emphasize the charm, Huang Binhong used the pen to be full of strength, pressing the power onto the drawing paper, so that the momentum of the mountain sank. In this way, it can be contrasted with the rising qi rhyme, forming a beauty of both rigidity and softness.
Huang Binhong's real scenes are not like real landscapes, and his paintings are mainly based on air rhyme, not seeking to resemble the form. When he saw the charm in the painting, who could say that he was not painting a real landscape?Heavy shape or heavy charm, you can know how to choose after looking at his works.
In the painting, there are mountains and rocks, streams and waterfalls, and garden scenes, and the brush and ink have a charm and charm, and the inner beauty in the painting arises spontaneously. Inner beauty and qi rhyme show the state of mind, if you want to understand Huang Binhong's paintings, it is a good choice to experience from qi rhyme.
Further reading
Lying in the landscape, Dai Benxiao's "Tales of Lakes and Mountains".
Simple and elegant, the fun of painting paper.
Drawing freshness with traditional techniques, Zheng Wuchang's "Watching the Sun from the Sea".
The study in the painting allows you to see the joy of learning.