Chapter 1371 Meticulous Brushwork
"Huh? We have 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. He grabbed Zhou Zhi's wrist: "Can you help me spell out the three-foot-long painting?"
"Elbow said you want to make a nine-meter-long painting, is it true?!" Mr. Wang had only thought it was They were joking. Since Cui Ruzhuo asked about this, he meant to do it.
“I have this idea, but... paper is not easy to make.”
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.
Going further up is six feet, and up to eight feet. Zhangba is the size of a small four-piece "big two", which is 600 centimeters by 248 centimeters.
Such large paintings are very rare.
The huge work created by Cui Ruzhuo was to be nine meters long and two and a half meters wide. It also had to be spliced into two pieces. With such a large heart and mounting, it would eventually become a long painting. Twenty meters and three meters high.
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 and five meters high. , a large production with a width of nine meters.
This is basically the largest size of Chinese painting.
Of course, this original work can no longer be seen. Because it has been hung for a long time, the original work has suffered some damage and needs to be repaired. It is now stored.
What is now hanging in the reception hall was painted and copied by Rong Baozhai two years ago, Sun Shumei and Mi Jingyang, and was completed under the guidance of the older master Dong Shouping. of replicas.
After that, Song Xuewei imitated the seal and made it old, so that the picture would match the "flavor" it had shown after hanging for thirty years. After getting the approval of the leaders, it finally replaced the original work.
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.
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, in order to create such a large-sized paper, skilled craftsmen are required to piece together the largest-sized "Zhangbaxuan".
So not only the creation location has requirements, but also the paper preparation in the early stage and the mounting in the later stage are all huge problems.
"How about we discuss this later." Mr. Wang was a little speechless. In other circumstances, who would dare to waste the time of himself and Lao Qi like this?
"Well, old man, this matter is really related..." Cui Ruzhuo said: "I heard that Shu University restored those calligraphy and paintings this time. I even went to see the restoration of those paintings. The framing is very good. At that time, I thought it would be great if my large works could also be framed by such a master in the future, but I didn’t know that this master craftsman would 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 it with your elbow..." Qi Lao is also a creator. He knows the importance of such a large-scale work to a painter's fame, so he expressed 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." Yes.”
< br>"Then let's take a look quickly." Mr. Wang said: "If we agree to the exchange, we can ask carpenters to do the wall tomorrow, then put on the wall stickers, and complete it as soon as possible."
Zhou Zhi agreed with a smile, Finally opened the album.
As soon as he opened the first page, Zhou Zhi couldn't help but exclaimed: "Great! Wonderful!"
Shi Tao's most famous paintings are freehand landscapes, flowers and birds, the so-called "searching all the strange peaks to make a draft", the emphasis is on It is a "learning from nature".
The composition of the landscapes in his paintings never adheres to a certain fixed form, but always gives 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 pictures can make people truly feel it, whether it is the natural flowing water, the quiet houses on the small bridge, or the ageless pines. The old trees and the leisurely and contented layman Xian Da are 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 Shi Taos who are accustomed to admiring them carefully, but the Shi Tao in this album is in another realm.
The reason is that he introduced "Gongbi".
For a long period of history, meticulous painting and freehand painting were two unrelated types of painting. In the Song Dynasty, they started with painting dragons, in order to create a dragon in the dark wind and rain, with smoke. The scene where Tao appears and disappears in the mist is a preliminary attempt to combine meticulous brushwork and freehand brushwork.
During this period, with the Xuanhe Painting Academy of Emperor Huizong of the Song Dynasty as a model, the fine brushwork of traditional Chinese painting was pushed 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.
"Integrating 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. The two must be combined together. , will be a great test of the artist’s skills.
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, which Shi Tao painted using wet freehand brushwork, fully displaying his style of using both wet and dry colors.
(End of this chapter)