Studies In The Mogu's Charactertics Of The "Writing Of Idea" In Flower And Bird Paintings

the characteristics of the“writing of idea.”in painting(xieyi xing???)is one of the essential characteristics of Chinese painting.mogu painting means that the characteristics of xieyi has developed to a new stage,and the development and changes of mogu brushwork are closely related to the freehand brushwork of Chinese painting.The form change and freehand evolution of the "bone" of "MoGu" go through the following stages: the disappearance and decline of the line,the consciousness of the point,the point and line of the surface,and the point,line,and surface brushwork,and are used for photography.The evolution of the relationship between the bone line and the color ink is also the process of assimilation of the connotation of the tendons,bones,and flesh,as well as the point,line,and surface.It is also the process of the connotation transformation and extension of the "bone method with a pen" and the reconstruction of the bone method.MoGu "coloring" and "ink method" also went through a historical process of "the characteristics of xieyi " evolution.In this process,the relationship between the arrangement of bone lines and color,ink and color in the picture,and the primary and secondary status occurred Dynamic changes.The lines of the original mogu painting and the coloring are an "infinity" state that is indistinguishable from yin and yang.Compared with flat painting and painting,it is both a refinement and a programmatic development;blooming is a bright and dark color of the physical world.The stylized expression of changes in lightness and weight.The emergence of mogu paintings marks the breakthrough of the system of color-striped overstained bodies,which is also a breakthrough of the bone line with color,but at the same time the outer shape of the shape becomes a potential line;spot dyeing The method further relaxes the restraint of the color on the line,and in the use of the pen,it puts forward new requirements for the use of the pen waist,the pen root,and the large-scale side-by-side application.The freehand drawing method has become a confluence.As far as the mogu ink method is concerned,the ink in the hook-and-dye superimposed body belongs to the color,at most it is a juxtaposition relationship,and the ink has not been "consciously" regarded as a kind of " Color ".Late Tang to Song Dynasty,ink's position in color and ink configuration improved significantly,the artist's use of ink is more conscious,and the use of ink method has obtained a clearer Theoretical summary.The retreat of "Ink of the Thread" vacated the position of "colored ink" and provided a lot of possibilities.When ink and wash ink was previously used to protect the ink,literati xieyi,and courtyard ink as means of masters,The ink method will inevitably be diversified.When the ink and the colors are evenly mixed,the main position of the ink color will be raised again.The waterless method of boneless painting has undergone the free-form evolution from "reconciliation" to "reconciliation" to "concubine"."Reconciliation" refers to the stage of meticulous painting with line-and-fill color.Water is in color and ink.The role played is only a physical "reconciliation" effect;"Chong Rong" refers to the development of mogu painting to the stage of "bumping in water","bumping in powder",and the use of spotting and spotting in the xieyi stage.In the painting,the use of water by the artist is still quite narrow.After the emergence of mogu painting,the water method gradually embarked on the path of exerting initiative,and the stage for its performance became larger and larger.Extensive use has made mogu to the stage of xieyi mogu and "splashing ink" and "color splashing".The improvement of the subjectivity of water has added a sense of fluidity,fluidity and fickleness to the image of Chinese painting.Emphasize the spirit of water At the core,it is still necessary to keep to the bottom of the "stroke" and "stroke force" in the pen and ink system.MoGu paintings have a certain role in stimulating and nourishing literati xieyi paintings,and literati xieyi paintings have a certain nurturing effect on mogu paintings.The free historical evolution of mogu paintings not only expresses the process of the characteristics of xieyi,but also the effect The process of transcendence of form and object,pursuit of mind and poetry.