Autumn and Winter Check-in Challenge Friends who like to paint know that sketching is a direct "dialogue" between the painter and the painting object with his eyes, in order to grasp the first inspiration in his heart, the painter often uses the technique of sketching when sketching, the pen is fast, and it is done with a wave, although the technique is flawed, but the kind of first love like the first, strange and new mutual "gaze", inspired by the waves and sparks in the heart is like "love at first sight", this love is laid out on the painting paper, often the most vivid, the most moving, that is a kind of valuable, Pristine beauty.
In the history of Chinese painting, sketch painting is a beautiful landscape, which has become an important form of expression in the history of Chinese art with its unique business position, subtle brush and ink skills, elegant style and taste, and rich and diverse painting themes.
Although the sketch painting is small, it can see the big in the small, and it conveys the spirit and aesthetic interest of traditional Chinese art within a few minutes, and the artistic expression is no less than that of large-scale painting. The aesthetic characteristics of sketch painting are also a kind of pursuit of humanistic spirit by Shudi painters.
Shi Lu (1919-1982), formerly known as Feng Yaheng, was a native of Renshou County, Sichuan Province, and a contemporary Chinese painter.
Shi Lu has a naughty personality since childhood, rebellious by nature, extremely intelligent, likes to read, and likes to paint. He was often with the folk craftsmen who made decorations, carvings and paintings for the Feng family's compound, and was enlightened by traditional art. His brother Feng Jianwu studied in the art school founded by Wu Changshuo in Shanghai, systematically studied traditional Chinese painting and calligraphy, poetry, and seal carving, and returned to Chengdu, Sichuan Province as a young talent, founded the Oriental Art College, and hired famous teachers in China to teach, where the 15-year-old Shi Lu received a good and systematic education in traditional Chinese painting and Western painting.
Shi Lu is gifted and intelligent, not only has a high level of understanding, but also has a strong ability to learn by himself. Shi Lu later entered the Department of History and Sociology of the College of Liberal Arts of West China Union University, and his literary and historical literacy improved rapidly. In his book "Wild Song and Crying: Remembering Shilu", Mr. Li Shinan recorded in detail a knowledgeable and broad-minded human art spirit who was transformed by the culture he loved, let culture achieve himself, and was not swallowed by culture at all.
Some of the sketches recorded Shi Lu's artistic opinions, which were obviously mostly at that time, occasionally in the heart, and today, it is particularly precious. For example:
In 1962, Shi Lu's "The Theory of Modeling" said: "There are four principles of modeling: one is to take the spirit, the second is to create shape, the third is to change color, and the fourth is to adjust the rhyme." To take the mind is complete, to reason to create the shape is the form, to change the color of the color is beautiful, to the fun of the rhyme is harmonious. If so, it can be said that the gods and things are connected, if so, it can also be said that the meaning is high, the law is high, the meaning is new, the love is beautiful, the reason is in the form, and the fun is endless. Ren Yin late autumn Shi Lu is known in the autumn high air. ”
1962 "Divine Qi is the Superior", ink pen and ink on paper: "The characters are not meticulous, but the spiritual energy." ”
In short, the innovative exploration of Shilu flower and bird painting has its very wise and clear theoretical guidance and approach, which is to respect and follow the artistic tradition and general law of development of Chinese painting, abide by the calligraphy brush, pursue the artistic realm of conciseness and painting outside the painting, combine and seek reference from many parties, and find innovative breakthroughs in the dialectical relationship between "fixed brush" and "changing brush". This idea undoubtedly has a positive guiding significance for the contemporary art world.