Video在线视频

同学们好
hello students

我们这节课是训练方法
for this class，we’ll go over the training method

笔墨训练我们将分几讲
we’ll separate into several section

每讲是一节
each section is one lecture

我们这一节是通过
during this section

披麻皴的训练
we’ll take a look at “Pima”

来提高我们用笔用墨
for brush-ink technique improvement

和笔势关系的能力
and ability to relate to gestures

现在我来演示一下
Now let me demonstrate

披麻皴 这个在训练笔墨
Pima is the most basic training section

是最基础的课程
in brush-ink training course

因为它是用简单的直线线条
because it is using simple straight lines

借助山水的
With the form

自然景观的物像
natural landscape

是用用笔和用墨
with brush and ink work

及组织上的这么一种
and such an organization

训练的一个课题
and such organization

我现在来讲一下
Let me talk about it now.

披麻皴的概念
The concept of “Pima”

披麻皴
the Pima technique

它是一个短线直线的
is formed by

一个组织的一个过程
short line organization

它的基本的笔法和形象
Its basic brushwork and image

就是一个很短的一个线条
is a very short line

然后这个线条的力度
Then the strength of this line

包括它那个墨色的变化
including the change in its ink color

以及它那个组织关系
and its organizational relationship

这是披麻皴的典型特征
This is a typical feature of “Pima”

在中国画用笔当中
Among brushes of Chinese painting

披麻皴是训练用笔能力
“Pima” is for brush-work training

和控笔能力的
and brush control

一个最基础的一个训练方法
One of the most basic training methods

用笔 这个画线条
the lines that come from brush

为什么要追求用笔的力度
Why we pursuit the strength of brush

用笔的弹性
the brush flexibility

包括控笔的能力
includes the ability to control brush

和你从容的画线条这个能力
Ability to draw lines with your calm

以及它们那个组织关系
and their organizational relationship

那么现在我们看画面上
So now we look at the picture

这个披麻皴的短线
the short line of “Pima”

有浓淡变化 主次变化
There are shade changes Primary and secondary changes

纵横穿插
Interspersed

每一道用笔没有平行
Neither line is not parallel

长短参差不齐
varying lengths

然后那个主次关系
Then the primary and secondary relationship

那个开合关系
the relationship of folding and unfolding

下面我可以借用一个山石
let’s take a form from mountain

这么一个素材
with this resources

运用披麻皴短线的组织
by organized with “Pima” style

我们来解读一下
let’s analyze this

中国山水画的笔墨结构
the construction of Chinese painting

大概是一个什么概念
is almost like this

首先是勾
first is the hook

这个勾是我们作画的
this hook is the first step

起始的第一步
of our painting

这个勾本身就有节奏感
the hook itself with rhythm

包括长线 短线
it include long line and short lines

这个用线要有弹性
the line needs to be vividly

这个墨色的变化
the variety of ink appearance

随着我们这个笔尖
changing with brush tip

到笔根的墨色变化渐次
from the tip to the bottom of brush

不断的行笔
keep moving

这个墨也逐渐的淡了下来
and the ink could get lighter and lighter

但是皴不是画完所有的画面
but not the entire image

然后再回头再皴
step by step

因为这个墨色需要衔接
because the ink needs to be shift from each other

所以说在重墨和淡墨之间
so we say, between the light ink and dark ink

发生了变化
it’s shifting

要随时施加于皴法
and attach with “Cun”

我们这个皴法
with this type of technique

刚才我们已经在这张演示了
which we just demonstrated

它是一个短线
it’s formed by short lines

直线的一个笔墨组织
and long lines

在这样一个笔墨组织当中
with such organization

我们要追求它的疏密关系
we mainly forced on it intensity relationship

主次关系 浓淡关系
primary and secondary relationship

和干湿的关系
dark and light, dry and wet

那么我们到了具体的这个
then when we meet the actually

借用山水物像的时候
landscape form

这个皴法它的最终目的
the ultimate purpose of “Cun”

有造型的这种功能
include forming and shaping

但它最后的目的
and the final purpose is

它是要完成笔墨的
to accomplish the rhythm

一个节律的
of ink and brush

这么一种审美追求
this aesthetic pursue

那么这种节律感来自哪呢
then where exactly does such rhythm come from

来自我们审美主体的
it could come from our aesthetic subject

对生命的这个
the understanding of the rhythm

节奏的一种理解
of life

所以说
that’s why we say

我们这种节律感的把握
the control of rhythm

是我们线条组织规律的
is the inner needing of

内在的一种要求
the line organization

那么我现在施加它的皴法
now the “Cun” we operating

它这个皴法要和主线的勾
needs to have connection with

要形成一个审美联系
other technique like the hook in aesthetic way

怎么样一个审美联系呢
what exactly aesthetic connection?

它肯定要形成一个主次关系
It must has a primary and secondary relationship

疏密关系
and intensity difference,

参差错落 长短关系
length difference

还有粗细 浓淡
and relationship of size difference

干湿的一些关系
and relationship between dryness and wetness

我开始施加皴法
Now let me demonstrate the “Cun” technique

这浓淡逐渐有变化
the shifting in dark and light

这个线条没有一笔是平行的
neither of these line is paradise

长短粗细也有变化
also with length difference

浓淡具有鲜活的
the color of line is vivid

律动的一种体现
it contains a tension of movement

然后再往前发展
then we keep moving

这个墨色变化是非常重要
the shift of ink is really important

如果单纯的只有用笔的组织
the organization only with brush organization

墨色没有变化的话
but without ink changing

它就像刻印
it gonna be like printing works

那么刻印只有用笔结构
so like printing works only have brush stroke

但是它没有鲜活的
but without vivid ink performance

这个墨色的体现
the appearance of ink color

这个墨色体现
the appearance of ink color

还是一种天然造化
is a expression base on natural

而且浓淡干湿的变化
and the changing between dry and wet

非常过渡自然
should be naturally shifted

我就蘸了一笔墨
from the beginning when add ink on brush

到现在始终在用
I’m still using it

现在用笔
now the brush operating

出线它就是一个淡墨的干笔
it turns into dry stroke

我们有很多干的线条
we have many dry lines

干笔的线条
come out from dry brush stroke

这个时候就出现了
at this moment

有些干笔 淡墨
it shows some dry stroke with light ink

我们要充分的使用
which we need to operate well

一笔作画
with one stroke

笔墨变化无穷
it contains numerous change

有浓 有淡 有干 有湿
with intense, light, dry and wet

有实笔 有虚笔
it got solid hollow stroke

然后我们的线条
And the lines

有疏密关系
with intensity relationship

有长短错落
different position

有纵横穿插
and cross-over construction

那么我们那个笔墨结构
so the brush-ink construction we talked about

完全是在这样一个行文当中
it got thoroughly expressed

得到充分的表达
within such style

表达什么呢
but what we need to express?

表达我们对审美的理解
To express our understanding of aesthetic

表达我们内心
to express our deep inside

对一个美的理解的一个境界
and another level understanding of beauty

这是用笔的
Here is the inner pursue

笔墨结构的一个内在追求
of brush-ink construction

到了这个时候
at this point

笔已经没有水分了
the moisture in brush has run out

我们再蘸点水
keep adding water

蘸水重新调墨
adjust ink with water

要调到笔尖到笔根
from tip all the way to the bottom

墨的渐次变化
the value of ink shifting

然后在这样一个
and after this first layer

第一遍的勾皴的基础之上
after the first layer of “Cun”

我们为了调整笔墨
we adjust the brush

我们还可以施加一些点状
and we can add a little more dots

因为我们现在
Because at this point

那个笔尖比较重
the tip is little heavy

所以说我们可以点点重点
so let’s generate some key point

然后我们那个
then

在调整墨色的过程当中
during the process of ink adjustment

我们觉得整个墨色衔接
we need take a look at the ink connection

哪地方需要再加重
where need to be more intense

或者是再加混沌
or more blurry

还可以继续调整
or need more adjustment

通过披麻皴来实现
through “Pima” technique

我们内心一种表达
this is our inner expression

我们内心要控制
we need control

这些线条的组织
the organization of lines

把我们内心的审美结构
shift our subjective aesthetic

转换成画面的
into image

这就是画面的笔墨结构
this is so-called brush-ink construction

有的地方要收得很紧
some part needs to be intense

墨色衔接要好
ink color needs to be attached with each other

这就是整个披麻皴的
this is the process of

书写的过程
“Pima” technique

那么把握这样一个
so get to know with

由披麻皴组成的
this construction that formed by “Pima”

借助山石为素材的笔墨形式
which used the landscape as subject

这里首先要求
at first

第一要有用笔的功力
it requires brush performance

这个用笔的功力
the performance of brush using

使每一个线条具有弹性
each line has elasticity

有力度 有神采
with strength and emotion

墨色变化要非常的微妙
the changing of ink appearance needs to be subtle

干湿 浓淡 焦 五色俱全
with dry, wet, intense, burn all five changing

然后第三点就是
and the third is

笔墨这些线条的组织关系
the organization of lines

这三点是练习
these are three key point for practicing

用披麻皴来创造一个
by using “Pima” to create

艺术形象的
a art form

三个主要的进行训练的要点
three key point

那么三个要点呢
then why it needs three point?

以笔墨组织为难
for example, the ink-brush organization

因为这是一个需要有审美的
because it requires an aesthetic

内在的一种理解
inner understanding

随着我们对韵律 节奏
with our understanding base on

运动 和谐 秩序
rhythm, order and harmony

这些概念的理解
base on understanding of such concept

对生命本身的
and the life itself

律动关系的理解
understand rhythm relationship

我们这个笔墨的组织
then the organize performance of ink and brush

会越来越好
will get better and better

那么现在演示我们就到这
Let’s finish here