Riding the wind of rebirth
Chapter 1369 Gongbi
Chapter 1369 Gongbi
"Eh? We just had a preview." Zhou Zhi asked: "Except for some invited people, it has not been officially exhibited to the public yet..."
"This question is not important, not important." Cui Ruzhuo grabbed Zhou Zhi's wrist: "Can you help me spell out the three-foot declaration?"
"Jiuzi said that you want to make a nine-meter-long painting, is it true?!" Mr. Wang only thought they were joking before. Now that Cui Ruzhuo asked about this, he meant to do it.
"I have this idea, but... paper is not easy to get."
It is indeed difficult to do. The maximum size of calligraphy and painting nowadays is basically called "two Zhangs" or "two Zhangs", which measures 367 centimeters by 144 centimeters.
The bigger one is six feet, and the maximum is eight feet. Zhangba is the size of four small pieces of "two feet", which is 600 centimeters by 248 centimeters.
Such large paintings are extremely rare.
As for Cui Ruzhuo's huge work, he wanted to achieve a painting center length of nine meters and a width of 2.8 meters. It also requires two pieces of splicing. With such a large painting center and mounting, it will eventually become 20 meters long and three meters high. The huge production.
There have been similar masterpieces before, such as "So Many Beauties in the Country", which was hung in the reception hall of the Great Hall, collaborated by Guan Shanyue and Fu Baoshi, and inscribed by the chairman himself. It is six meters high and nine meters wide. Make.
This is basically the largest size of Chinese painting.
Therefore, to create such a large-sized paper, skilled craftsmen are required to assemble the largest-sized "Zhang Baxuan".
"How about we discuss this later." Mr. Wang was a little speechless. On other occasions, who would dare to waste his and Lao Qi's time like this?
With the technical power and equipment of the rice paper factory, it is currently impossible to produce handmade rice paper of such a large size. Even if you want to customize it, it is impossible.
Therefore, not only the creation location is required, but also the paper preparation in the early stage and the mounting in the later stage are huge problems.
The painting is a whole, and it also pays attention to the correlation of a "qi ying yingwei". Guan Shanyue and Fu Baoshi also painted on the entire large paper.
What hangs in the reception hall now is a copy completed by two old gentlemen, Sun Shumei and Mi Jingyang, who were sketched and copied by Rong Baozhai two years ago, under the guidance of the older master Dong Shouping.
Of course, you can no longer see this original painting. Because it has been hung for a long time, the original painting has suffered some damage and needs to be repaired. It is now stored.
Later, Song Xuewei imitated the seal and made it old, so that the picture would match the "flavor" it had displayed for thirty years. After getting approval from the leaders, the original work was finally replaced.
"Well, old man, this matter is really related..." Cui Ruzhuo said: "I heard that Shu University restored those calligraphy and paintings this time, and I went to see them. The restoration and framing of those paintings were very impressive. At that time, I just want to say that it would be great if my huge works could be framed by such a master in the future, but I don’t know if this master craftsman will wait until the day when my creation is completed..."
Seeing Zhou Zhi's eyes widen after hearing this, Cui Ruzhuo quickly explained: "What I mean is... I thought at the time that someone with such profound repair and mounting skills must be a very old man, but I didn't expect him to be so young!"
"Look at your elbow..." Qi Lao was also a creator and knew the importance of such a large-scale work to a painter's fame, so he signaled to Zhou Zhi that he would help if he could. In fact, this matter was not difficult for Zhou Zhi, so he smiled and said: "The work of paper piecing is not that big. I just paint neatly on the board wall. After the creation is completed, I will take it off the board wall and frame it again. That's it." Can."
"Then let's take a quick look." Mr. Wang said, "If we agree to the exchange, we can ask a carpenter to make the wall tomorrow, then put on the wall stickers, and finish it as soon as possible."
Zhou Zhi agreed with a smile and finally turned the page of the album.
As soon as he opened the first page, Zhou Zhi couldn't help but exclaimed: "Okay! Excellent!"
Shi Tao's most famous paintings are freehand landscapes, flowers and birds. The so-called "searching all the strange peaks to make drafts" emphasizes "learning from nature".
The landscape compositions in his paintings never adhere to a certain fixed form, but always give people a sense of intimacy and nature, as if the landscapes in the paintings should look like this or that.
The spiritual world and landscape ideals he constructed in the painting can make people truly feel it, whether it is the natural flowing water, the quiet houses on the small bridge, or the ageless pines and old trees, or the leisurely and contented lay people. Xian Da is actually the ink-and-wash blend of Shi Tao's life, upbringing, travels, and insights, as well as his heart and nature. It is the artistic philosophy of Chinese classical landscape painting and a metaphysical spiritual statement.
His landscapes are alive, spiritual and charming. This change is both deliberate and natural. Looking up at it makes the viewer feel as if they are entering the painting. Freehand brushwork pays special attention to connotation. It is often majestic, unrestrained, vigorous, calm and joyful, reaching a state of freedom that can overcome chaos.
The ink painting is both green and moist, and it is thought-provoking. In the hands of Shi Tao, who "prefers to use wet brushes", he often uses both dry and wet brushes, thick and light, through the penetration of ink and the fusion of brush and ink. Coupled with the rich variety of brushwork, it can even reach the state of "writing in one stroke, taking into account both shades and shades".
These are the Shi Taos that I am accustomed to admiring, but the Shi Tao in this album is in another realm.
The reason is that he introduced "gongbi".
For a long period of history, gongbi painting and freehand painting were two unrelated types of painting. In the Song Dynasty, they started with painting dragons, in order to create the scene of dragons appearing and disappearing in the dark wind, rain, and hazy waves. , there was a preliminary attempt to combine meticulous brushwork and freehand brushwork.
During this period, Song Huizong's Xuanhe Painting Academy was used as a model to push the fine brushwork of traditional Chinese painting to its peak.
At the same time, freehand painting has also been favored by some literati for its unique aesthetic attributes and emotional carrier properties. They began to try to integrate various calligraphy styles into paintings casually, and gradually formed the "rules" of freehand painting. Explain , abstract, elegant, natural, full of variety, and at the same time, it must conform to the characteristics and requirements of calligraphy, and its inner spirit and vitality can be expressed through strokes and lines.
"Incorporating calligraphy into painting" and "using poetry to resemble painting" are the two most typical characteristics of "literati painting".
There is no doubt that such requirements and the requirements of gongbi are actually two opposite aesthetic styles. If we use calligraphy as an analogy, freehand brushwork is like running cursive, while gongbi is like seal script. Combining the two will test the artist's ability very much. Skill.
The first page of Shi Tao's album is Crouching Tiger Arhat. In the middle of the picture is a slanting green pine. The trunk of the tree divides the picture into two parts from the lower right to the upper left.
This is the foreground, as well as the distant mountains behind. Shi Tao painted them using wet freehand brushwork, fully displaying his style of using both wet and dry colors.
(End of this chapter)
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