1. Literati painting is an important phenomenon in China's art history, which almost occupied the leading position in painting circles after the Song Dynasty. In the long process of evolution, he realized the objective existence and regularity of Tao, the materiality and adjustability of mind, the unity of nature and heaven, and the perfection embodied in culture, and his philosophical connotation became increasingly rich. Ming Dong Qichang said: "The way of painting, the universe is bigger than the hand, and there is nothing but vitality." Explain that once painting has mastered heaven and earth, it has mastered the freedom of creation! Therefore, "understanding with eyes" and "understanding with heart" have become important methodology of painting creation; In Qing Dynasty, Shi Tao also regarded "one painting" as the most fundamental principle of "Vientiane", and advocated "going deep into the principle of everything and doing his best" to achieve the realm of free creation of "painting at will". Therefore, from a philosophical point of view, the most fundamental connotation of China's literati painting is based on Zhuangzi's "freedom" thought and the aesthetic relationship developed from it. Mr Huo Chunyang has a unique understanding of this ignorance. He said: "Chinese painting pays attention to expressing the subject's cognition and experience of the metaphysical way of the universe and the way of life through objects and the realm of pen and ink." In his view, free creation stems from the need for a "realm" in the "mind", that is, the realm of "no self" to which everything achieved by a person's spirit belongs. This state is eternal, which is Lao Zi's "enlightenment" and Zhuangzi's "fasting" and "forgetting". Throughout Mr. Huo Chunyang's works, his "spiritual hunger" permeates in many nuances, and this ethereal spirit runs through hundreds of flowers and birds painstakingly managed in his works. As the saying goes, "the empty room is white" and "only the Tao gathers empty space". Only the empty space can realize the observation of the Tao and achieve "the heart listens but does not listen, and the spirit listens but does not listen". Mr. Huo's "listening with qi" means that the picture composition is transformed with qi, and the branches and leaves are interspersed behind, thus obtaining the free realm of Lao Zi and Zhuang Zi. So his paintings are simple and good. "Painting is simple and expensive." If it's simple, wash away the dust and slag and you'll be alone. "Why are you lonely? It is also a "new lent". He responded to the things in his eyes and his heart with the mentality of "taking one as the world". His "view" is very special: "there is no way to view nature, not with the eyes, but with the heart, which is deep and has nothing to see, so it can follow nature." "All the principles of" view "are to achieve the most inevitable result through the most natural way, that is, the realm of" no self "or" God ". For "God", it has always been used for evaluation, while Mr. Huo is used for management. He said, "If you don't know, you will be called God." "Awareness" can probably be interpreted as awareness and enlightenment, which means to feel with your heart. But the heart that understands attentively is infinite, and it is an order to "be unaware" of the objects in the picture. This may be the "Tao" pursued by Mr. Huo Chunyang.
2, thin and strong, God is connected.
In the history of painting in China, important painters and representative works are all from literati painters, not pure professional painters. The important reason is that the literati created and mastered culture, which made the height of painting and the height of cultural development parallel. There is an important medium here-calligraphy. The expression and inheritance of culture can not be separated from words, and Chinese characters and cultural content have almost become an important foundation of traditional culture. The calligraphy art developed on the basis of characters makes Chinese characters a form carrier with infinite abstraction and connotation. When literati master Chinese characters, they form a perfect combination of art and culture, Chinese characters and calligraphy, calligraphy and lines, lines and pens, pens and paintings. Therefore, painting art has become an insurmountable creative peak in the hands of scholars all over the world. Line has also become the main theme of literati painters to vent their emotions, shape their images and dance with pen and ink.
Mr. Huo's paintings inherit the modeling principle and expression technique of "line language" to a certain extent, firmly grasp the language system of "pen and ink", go deep into the interior of pen and ink from the cultural point of view, and convey the painter's own understanding of the universe, nature, society and life with pen and ink. Mr. Huo Chunyang summed up the use of pen and said: "The application of bone pen in painting is related to the painter's expressive ability and can also convey affection. The change of priorities between the lines can better show a person's thoughts, emotions and even knowledge. " Therefore, when he changed pens, he paid more attention to the relationship between objects and lines on the screen. His paintings of orchids are often combined with stones, and the delicate, stretching and swaying of orchids are set off by the tall, straight, vigorous and transparent characteristics of stones, which forms a sharp contrast and highlights the character of orchids. He painted orchids around Fiona Fang, both vertically and horizontally. Although there are only a few strokes, both yin and yang should be rigid and flexible, especially the interlude of orchid leaves. If the pen is broken, it means that the pen can't reach it. It looks slow and urgent, and there is a relaxed feeling. In the light and heavy changes of lines, his thoughts and knowledge are conveyed.
In Mr. Huo Chunyang's pen and ink language, pen and ink echo each other. He seems to disapprove of "splashing color" and "splashing ink" and thinks that pen and ink should not be separated. Mr. Huo concentrated his pen on the square inch, which made ink inseparable from the pen. It can be seen that it is controlled by the painter's personal knowledge and skills. As the saying goes, "thin strength can communicate with god" and strength can communicate with rhyme.
As for the use of "ink", Mr. Huo Chunyang said that the ink method is the water method. You should rely on your feelings and experience. He put forward the concept that ink should have volume and thickness. When he used ink, he didn't use the method of flat drawing and drawing. He explored the "rubbing ink method" in practice. What he said "ink should have the concept of volume and thickness" is reflected in "rubbing ink". Through "rubbing", in the superposition of brush and rice paper, the levels and changes of ink and wash are fully displayed. At that time, Huang's predecessors summed up seven methods of using ink, which raised the accumulated ink to a new level and made his works vivid, vigorous and colorful, showing "bright ink" in the thick accumulated ink. Mr. Huo Chunyang's rubbing ink painting method also has his own experience, changing the superposition of lines into repeated rubbing of ink and paper. He painted prunes by thirsty for pens and ink, and properly controlled the strength and speed of using pens. Combining pen and ink organically and replacing color with ink is "ink does not hinder color, and color does not hinder ink". The mastery of pen and ink makes Mr. Huo Chunyang's works unpretentious and achieves twice the result with half the effort, which is also the true nature of the painter. In Mr. Huo's paintings, we can't find the floating, soft, boneless and verve that the ancients abandoned. Every ink on the paper seems to be swimming, breathable, dry but not dry, wet but not floating, relaxed but not frivolous, smart and plain internal force, light and heavy, shiny and full of vitality.
3. Nothing is pure.
Emotion is one of the essential characteristics of literati painting. As a carrier, literati painting has always carried the literati's self-mind and social feelings. They often speak with a pen and express their thoughts as a tool to express their feelings. Just as Sima Qian called The Book of Songs, The Book of Changes, Li Sao and his own works "sages are angry and do it", Wentong once revealed to Su Shi: "I didn't learn Taoism, and I felt uncomfortable and couldn't send it away, so it happened in Zhu Mo." Su Shi painted ancient wood and bamboo stones only to express the spirit of "depression in the chest". When Badashan people wrote his paintings, they said, "More ink and less tears." Thinking of his pen, tears dripping on the paper, his loneliness and helplessness can be seen. The reason why most literati's mentality of "everything is not peaceful" is mostly the word "emotion", which has been tempered in literati paintings for nearly a thousand years and has become the only way for them to express their thoughts and tell their feelings. So more artists turned their spirits to mountains, to Zen, to detachment from the world, and a large number of mountain people and laity appeared. They turned their pursuit of absolute spiritual sustenance into their lifelong ideals and goals, thus deviating from reality.
But "emotion" is not a transcendental concept. As an evaluative reflection of reality, it is embodied in different painters. In Mr. Huo Chunyang's paintings, we seldom see that kind of cynical indifference and depression. His feelings are just like his name: "Chunyang", as warm and peaceful as the sunrise in spring. His love is "quiet" rather than "angry", and it is "environment" rather than "shortage". He said: "Art should first purify itself", "get rid of all selfish distractions and impetuous spirit", and "only by maintaining a pure and simple mentality can we eliminate secular pollution and leave only pure air full of dry Kun". He has been pursuing "a pure heart, born without words". Only by not seeking differences can we calm down and enter a state of "staying or not wanting to stay, and being humiliated". In the minds of scholars of past dynasties, lotus is a symbol of nobility and purity. Its beautiful image of "clear ripple but not demon, muddy but not dirty, straight through, not creeping" has given the painter inexhaustible inspiration. Although there are many lotus flowers in Mr. Huo's works, there are few signs of decline. Because "when Hà Thu became independent, it was shocked to see the charm". He drew a lotus flower and wrote: "The lotus seed is still long, and the wenbird has nothing to do." Write a leisurely scene vividly. He is practicing his ideal of life in his creation, and the cultivation of personality and the forging of healthy mentality have become an important process of his artistic practice. I remember that Mr. Huo wrote in his inscription "Double Clear Picture": "Xing Lai grinds three long inks and writes banana plum blossoms. Even if you are skinny, your quality is not stained with dust. " It shows a scholar's character of being unconventional and doing whatever he wants.
At present, it seems that more painters only talk about emotions, and few people have big emotions. This is not only a manifestation of the lack of traditional culture, but also a manifestation of the lack of understanding of the combination of artistic creation and life accomplishment. From Mr. Huo Chunyang's freehand brushwork, we can see that his understanding of Zhouyi has been integrated into his picture, not only in writing, but also in management. As we all know, Zhouyi shows the order of all things in the universe and is an essential law. Mr. Huo introduced creative emotion into the order of all things, that is, he merged the ego into the ego, manifested himself with the ego, and created his own spiritual and emotional territory from the "enlightenment" of family. This awakening of self-awareness and introverted emotion fall on creation, which is manifested in subjective integration and objectivity, and re-creation with emotion, "a flower and a world, a leaf and a Buddha." In his paintings, the simplest grass and trees are integrated into the painter's own thoughts and feelings by creating the realm. This kind of "creating the environment from the heart" shows the painter's heavy and open-minded personality connotation and personality cultivation.
China people's thinking is characterized by holistic thinking, that is, they perceive all the life in the world with all their senses, and then grasp the most essential things macroscopically in a "round" system. Mr Huo Chunyang's success is due to many factors, such as talent, diligence, cognition, experience and environment. Although indispensable, it depends more on his understanding and understanding of the true connotation of China tradition. He deeply understands the so-called "pearls are small, but they are six in one treasure;" No matter how big the mirror is, the things that come out will be biased. It is believed that only the circle can communicate, only the communication can unite heaven and man, can create one's own perceptual and fluent works, and can make one's art active and flowing. Creation is like this, and so is being a man. Perhaps this is the artistic realm and standard of living advocated by Mr. Huo Chunyang all his life.