-On lujun's Landscape Painting Art

Author: Jin Heting

Lu Jun, a painter friend, is an active painter in the forefront of today's painting world. He is diligent and studious, often sketching, and his creative spirit is very good. Because of his courtesy and hospitality, he has many friends and is called a landscape painter. His road to learning painting has gone through many hardships. On the road of learning painting, I have stepped on countless famous mountains, observed Qifeng in detail and accumulated a lot of experience, thus creating some proud works. His paintings are magnificent and amazing! Deeply loved by readers. I only talk about lujun's painting composition, pen characteristics, color techniques and creative style. Everything else is omitted. All the paintings, similar in form and excellent in form, are top grade. Generally speaking, it is important to seek similarity first and then get similarity. If similarities resonate, sketching is also important. Especially in landscape painting, we should pay attention to its fundamental characteristics, such as painting Mount Tai must be like Mount Tai, highlighting its male; Painting Huangshan must be like Huangshan, highlighting its beauty. This is the focus of landscape painting. Lu Jun, a painter, aspires to landscape and strives for it. For decades, camping in the wind has been the basis of painting, depicting mountains and rivers, creating ideas and accumulating materials. Every landscape painting, first take its potential, then take its appearance, which means innovation. (A) lujun's landscape painting composition As a landscape painter, lujun knows that painting composition is the key to creation. If the composition is not ideal, the work is irreparable anyway. Landscape painting, in particular, should be taken first. Wei's "Painting Method" said: "Whoever paints landscapes wants to write them first. Every inch of the mountain is a tree, and every inch of the horse is a minute. Far people have no eyes, far trees have no trees, far mountains have no stones, and they are as faint as eyebrows; There is no wave in the far water, and the height is consistent with the cloud. " (China Ancient Painting Theory Course Compilation, page 596) The proportion of this formula is clear, and the key is to grasp the sense of proportion and not violate the law. All landscape paintings that show the great rivers and mountains of the motherland should be magnificent and magnificent. If this is done, it is strange to go deep into life and conceive with your heart. I see the composition of Lu Jun's "Mountain Village Scenery" (see attached chart), and the three perspectives are proper limit. For example, what he did for Pingyuan: broad vision, lofty artistic conception, taking advantage of the situation to travel far and wide, and taking advantage of the situation to create momentum. Mountain view, located nearby; Deep in the forest on the left, there is a road that makes the whole picture look very lively. Vision is only a foil, but it is indispensable. Without prospects, potential cannot be displayed, and the relationship between distance and distance is interdependent. By comparing the relationship, the strong attraction of the near is released to the far distance, and from the near to the far. Pingyuan's composition format is near in scenery and far in meaning. For another example, Lu Jun's grasp of the lofty relationship is just right, far-reaching and vague, making it smoke, the scenery unknown, like clouds in the mountains and fog in the sea, and feeling the perfection of painting through the perspective of high luck. Lu Jun's work "Du Ran Tai Dai" (see attached photo) has a clear close-up, middle-range and long-range view, with great momentum and surging water potential. Looking at his landscape paintings, his thinking has changed. He can achieve such achievements mainly because his thinking comes from life and is higher than life. It is not easy for him to achieve such achievements through decades of ups and downs, in-depth thinking and diligent creation. (2) lujun's landscape brush and military brush are vigorous, with strong stone paintings and tall and straight tree paintings, which are landscape bones. Strong bones show the god of mountains and rivers. Anyone who paints mountains should master the painting method and combine dots, lines and planes. The seemingly chaotic method can bring vitality to the picture. Anyone who seems to be connected, but actually has no connection, has no coherent modeling. If you make up the pen twice, the outline prototype will be more prominent. The display pen is powerful, slightly Shu Lang in complexity and skillful in clumsiness. After painting it three times, it will make the mountains and rivers shine. All the lines are vague. Although the method is different, it becomes clearer and clearer after several processes. For example, Lu Jun wrote "All Dyed in Taidai", which uses the method of brushwork, with cracks between rocks and mountains, green mountains and green waters, and lotus leaf brushwork, and the brushwork changes a lot. With dead trees, the picture is more spectacular. Another example is "The Village of Simplicity" written by Lu Jun (see attached figure), in which the method of "pushing by a horse" is used to draw mountains, with different lines and strokes mostly centered and sideways, which complement each other, showing that its brushwork is steady. Lu Jun's brush has bones and flesh. It is his wisdom to know its backbone and make good use of it. Hao Jing of the Five Dynasties wrote in the Book: "Every stroke has four potentials: muscle, flesh, bone and qi. When the pen is broken, the tendons are broken, and the ups and downs become real meat, the bones of life and death are just screaming, and the traces are unbeaten. Therefore, it is known that those who are heavy in ink lose their bodies, those who are light in color lose their bodies, those who die with tendons have no meat, and those who break without tendons have no bones. " (See "China Ancient Painting Theory Course Compilation", p. 606) lujun knew his pen theory and used it in painting. As can be seen from The Simple Village, the houses in the mountain village are painted vertically with a pen. The pen starts from the left, turns to the right, and closes the pen. The pen is slightly heavier and lighter. Melodious tossing and turning, the pen reloaded. The pen is round, which shows its strength. There are many colored stones like circles. We can't see the method of painting here, but we often see that the moss is broken, big or small, and it is better to follow its meaning. Also in a messy way. Give the green hills a soul, give the green waters a life, let them move and calm down, and express the realm of beauty in interaction. For example, his poems "Poems of Tang Dynasty", "Wonders of Thousand Peaks in the Clouds" and "Jiushui in the North of Laoshan Mountain" give viewers a sense of tranquility. All the towering mountains he saw were shrouded in clouds, which made the mountains bathed in clouds and more magnificent, and made the appreciators feel relaxed and feel the beauty of their own mountains and rivers. (3) lujun's landscape painting uses ink and wash. Lu Jun's landscape paintings use ink harmoniously, with distinct shades of dry and wet, each with its own characteristics. In landscape painting, ink painting occupies a very important position. It is also a good art for a painter to describe the natural landscape with the infinite changes of pen and ink, which gives people a sense of beauty. Any landscape painting, "slightly dried with ochre, cyanine and other pigments, is called a' shallow drop' landscape; Mainly ink and wash, slightly wrinkled, and according to opaque colors such as stone green and azurite, it is called' little turquoise' landscape; Only ink lines are used to build outlines, and trees and rocks are represented by stone edges and azurite, which is called' big green' landscape; If a gold thread is hooked along the structure of the mountain on the basis of the big green landscape, it is called' golden landscape'. " (See "How to Draw Landscape Painting"/by Ji Jutian, Shandong Fine Arts Publishing House 1987 Preface) This is the common sense of landscape painting. Lu Jun's landscape paintings, if outlined with ink lines, should be regarded as the most precious ink, and its ink must not be lost. "Ink has six colors, black and white dry shades, and all six colors are full of charm. If black and white are indistinguishable, there will be no shade of yin and yang; Dry and wet, without green and beauty; The shade is constant and there is no convex-concave distance. Where you draw stones and trees, six words are indispensable. " (See Zhai's Selected Works of Sanxi Hall Painted Treasure, page 12/Zhongzhou Ancient Books Publishing House /20 1 1). This shows the importance of ink painting. I have seen Lu Jun's paintings, such as All Dyed in Dais (see attached chart). The background color is light ink, then slightly covered with thicker ink, and then layered and colored after semi-drying, and so on, to achieve satisfactory results. Although they are all ink colors, layered coloring can achieve different effects. "Coloring is to use pen and ink, so it makes up for the lack of pen and ink and shows the beauty of pen and ink. Today, people don't understand this idea. Color is your own color, pen and ink is your own pen and ink, which does not conform to the trend of landscape silk, but it is disgusting to see red and green anger. However, if you don't pay attention to color, you only pay attention to gas. When you gradually wake up on the back of yin and yang, the color will be emitted by qi, not floating or stagnant, and it will be written naturally, so you can't rush into it. " (See "China Ancient Painting Theory" 17 1 page) What is said here is that the color should not be excessive. For the use of color, it is necessary to blend color layer by layer, be clear and soft, and do not rush. It can be seen from the pictures of Lu Jun's "Beautiful Scenery of Mountain Country" and "All Dyed Taidai" that the colors are light and the ink color is distinct, and the rocks are depicted with ochre and outlined with ink. On the basis of ochre dyeing, a light-colored landscape painting with ochre as the main tone is laid, which makes the picture feel dizzy and swollen, and makes the ink colorful and fascinating. This is a bright color. Lu Jun painted landscape paintings, with harmonious colors, even and bright ink, and mixed colors and inks. Only in this way can it be natural and smooth, leaving no traces. In particular, it should be done, "the top of the mountain is different and the head of the tree is unusual." Mountains are clothed with trees, and trees take mountains as their bones. Trees should not be numerous, but should see the beauty of mountains; The mountain must not be chaotic, and the spirit of the tree must be obvious. -what can do this is a landscape painting painted by famous artists. "(See China's Ancient Painting Theory, p. 597. ) This is a famous painting theory in Wang Wei's Landscape Theory in the Tang Dynasty. From the perspective of Lu Jun's landscape paintings, there are less colors and more ink, which are elegant and quiet. For example, in the picture of Dai Jinran, there are many trees in close range, with pavilions; Looking at the mountains from a distance, it is majestic. If harmony is maintained, there must be a transition in the middle. Lu Jun's use of color lies in the use of wide clouds to make the picture seamless and echo back and forth; Blend into one, the color is fresh. Whoever draws has a clear level of essentials. Looking closely at lujun's landscape paintings, the rocks are spectacular and the water is gurgling. Pen is like a dragon, ink is like a cloud, and pen is like the wind. There are only a few strokes, and the mountains and rivers are varied and vivid. Show the mountains, clouds and trees in the village in the picture. When I watch Lu Jun paint, it seems casual, but in fact, the thinking is very clear, especially when painting huge landscapes. His pen is concise, his ink is flamboyant and rich in texture. He described the flying state in the mountains and flowing water in detail, which was full of vitality. For example, Yunyong Qianfengqi, Taidai Jinran, Quiet Shan Lan, etc. These works all show Lu Jun's artistic skills in using ink. (4) Artistic Conception of Lu Jun Landscape Painting Lu Jun's painting style is simple and cordial, with profound artistic conception and fresh scenery. From many of his paintings, I can see his painting skills and his love for nature. Only when his heart is integrated with nature can I feel the beauty of painting, which shows his spiritual world from his artistic creation. Many famous scholars have given high praise to his landscape paintings, which can be congratulated; Some works have been selected into newspapers and periodicals, which is gratifying; Some works collected by museums are commendable. All the paintings are the display of Lu Jun's pen and ink skill and the symbol of his painting art. He has been diligent in pen and ink for decades, and all his works are the glory and pride of his engagement in Danqing art. As far as I know, provincial exhibitions, national exhibitions and trade exhibitions all show his artistic charm. Many peers asked him for paintings, which made it difficult to socialize, but he enjoyed it, which was an affirmation of his landscape paintings. It shows that the success of his painting career is also the pride of landscape painting. Lujun's landscape paintings have a wide range of contents, with a stone bridge fairyland and lush vegetation; Village figures, temples, pavilions, mountains and rivers are integrated, mountains and waters move, paintings are eclectic, vivid and peaceful. As Guo Song Xi said, "Mountains take water as blood, vegetation as hair and smoke as spirit. So the mountains have water, the plants have flowers, and the smoke has clouds, which are beautiful. Water takes mountains as its surface, pavilions as its eyebrows and fishing as its soul. Therefore, the water is wise, the pavilions are bright, and the fishing is desolate. " (China Ancient Painting Theory, p. 638) It can be seen that landscape painting is rich in content, profound in meaning and more charming, which is the beauty of its painting. In a word, Lu Jun paints, respects tradition and studies tradition. The wilderness is seamless and not rigid. Instead, on the basis of learning the tradition, we should daub it honestly and go our own way, regardless of right or wrong, let it comment, stick to ourselves, and the spirit is good. Looking at Lu Jun's landscape paintings, we have made considerable achievements, but there is still a long way to go if we look at them with high standards and strict requirements. The key question is who to compare with? But it is not beautiful, because it is much more beautiful. The painter lujun has made great progress over the years. He was deeply moved and knew the difficulties. There is no end to painting, and the mountains are high and the water is long; The mountains are unfathomable and mysterious. Pines and cypresses are like a sea of clouds, full of vitality; There are many mountains and rivers, and the momentum is divided into yin and yang. Lujun, a painter, can understand his own painting theory and be brave in practice. As long as he redoubles his efforts and persists, his skills will gradually improve, his works will be bright and he will certainly make greater achievements on the road ahead. I'm looking forward to it, and it's not far away.