Brush and ink is a general term for landscape painting techniques, and many stylistic characteristics can be derived from just two words. Fun means fun. Taste is generated by brush and ink, and brush and ink have changed in thousands of ways because of taste, so that landscape painting is separated from simply depicting scenery and becomes people's spiritual sustenance. For example, this "Xitang Poems" is a work by the Qing Dynasty painter Zhang Geng, and it belongs to the study landscape in terms of subject matter. It just reflects the characteristics of heavy brush and ink and taste, from which we can understand the aesthetic pursuit of Qing Dynasty painters.
Many people feel that Qing Dynasty landscape paintings are mainly antique, borrowing more than creating, and there is no novelty. In fact, whether it is an orthodox painter or a Yeyi painter, the degree of emphasis on momentum and artistic conception far exceeds that of their predecessors. Qing Dynasty painters strived to paint a sense of realism, space and three-dimensionality based on natural landscapes. The vividness of the brush and ink can bring a strong visual impact, and the interest arises spontaneously from the subtle changes of the natural scenery.
In the foreground is a study with simple trees and thatch. People who have watched "The Burrow" will blurt out, "What ugly". Indeed, with the company of mountains and rivers and the shade of ancient trees, this place has become the heart of the literati. In terms of composition, Zhang Geng did not emphasize the mountain, and he put more energy into depicting the realism of the space. There is a detail in the painting that the study is close to the water's edge. When Zhang Geng painted the frame structure of the study, he did not use heavy ink, and the roof of the painting study was gently rubbed with a pen.
He depicts the hazy mist of the early morning in the mountains, revealing the character traits of the characters in a suggestive way. Zhang Geng hopes that not only the beautiful scenery can be displayed, but also the interest in the painting can be seen. He depicts the foreground with a wet brush and light ink, and in the middle of the scene, there is a contrast between the shades of ink. Even if the ink color is light, you will not feel that the space lacks layers. He uses ethereal and moist pictures to create poetic landscape paintings.
Zhang Geng borrowed the expression technique of poetry and painting from the Wumen School of painting, and depicted the study in detail. With the help of ink, the study is like a garden in the mountains, blending with the surrounding mountains and ancient trees. Even a low fence can't stop the release of feelings. The tranquility and tranquility contained in the mountains and rivers have been transformed into the landscape feelings in the hearts of the literati.
Landscapes have natural attributes, while landscape paintings have more subjective feelings of the painter. In the process of moving from objective expression to subjective creation, the work has an interest. Zhang Geng did not adopt the expressive techniques of the Four Kings in the early Qing Dynasty, but tried to get closer to the Yuanren landscape painting style, hoping to make his works appear simple and warm, and not vulgar.
Zhang Geng wrote a book called "Pushan on Painting", which mentioned that "painting and books have the same source, and also the heart of painting". With the help of the discussion of qi rhyme and brushwork in calligraphy, he adjusted the rhythm of brush and ink in landscape painting. He paints waterfront landscapes with a dense brush, with overgrown weeds and spotted moss. If you want to paint such a complex local scene, you can only rise to the challenge. There is also a transition color between the shades of ink, and there is a difference in strength between the dry pen and the wet pen.
Relaxation and freedom coexist with rigorous and precise pen skills, using blank space to drive the rhyme, and using freehand to convey interest, there is this fascinating study landscape.
Zhang Geng put forward a point of view, heavy brushwork is still interesting, not just sloppy. Starting from the sense of realism and painting the charm of the landscape, only then can we move people and transform the painter's personality into a style that everyone likes.
Further reading
Why do you want to stare at the waterfall, Zhang Feng painted "Watching the Waterfall in the Cold Forest".
Why don't you paint a snowstorm and see if there is an answer in this painting.
Hold an umbrella and look at the landscape in the rain.
The forest is far away from the trees, plain and deep, and you will fall in love with the landscape painting at a glance.