Video在线视频

同学们好
hello everyone

刚才我们做了点评
we just did the critique

那么下一个环节
then in the next section

我们是挑出典型的作品
we’ll pick some typical works

做一些修改
and adjust them a little bit

那么在改的过程当中
then in the process of adjustment

我们同学会得到很多启示
we’ll get a lot new understanding

那么我们把这个课程的点评
then let’s separate our critique

大概还是从三个点来进行
into three section

第一就是这个用笔的质量
the first is the quality of brush work

用笔的质量
and the trace of brush movement

我准备在这一张改动一下
I’m going to fix it in here

看看用笔的质量
to check the quality of brush movement

究竟什么样是用笔
what exactly is the ideal brush movement

有内在的劲力有力度
with inner tension

线条怎么样是算从容
what kind line is idea

线条的质量通过一张
let me demonstrate it

来演示一下
by a small paper

然后第二张
at second paper

我要调整这张的墨色
I’m going to adjust the ink

这个墨色也很重要
the appearance is significance

那我们现在看这张墨色
let’s take a look at here

虽然是淡墨
although it’s light ink

但是淡墨
but the light ink

它的颜色是没有变化的
it could be changed

确实我们要调整一下墨色
indeed I need adjust the ink

看最后的结果应该是如何
and we’ll see later

那么第三张
at the third paper

属于笔墨组织无序
it belong to unorganized

所以有缭乱的感觉
kind of mess around

这种情况有很多
it’s a common situation

因为在组织上是最困难的
because the organization is one of the most hard part

那么像这类也是属于
it also belong to

在组织上有问题的
the problem in organization

就是它完全是平行的排列
since it’s all parallel lines

没有多变的组织
lack of variety

这个组织这个问题
the organization problem

我们还要进一步的探讨
we need keep analyze

因为它这个是比较复杂的
because it’s complicated

一个层面
territory

下面我来改几张画
now let me fix some paintings

这张画看那个力度的用笔
the tension of brush movement in this work

这个我们是一个
it’s a creation of

笔墨形式的创造
brush-ink form

那么创造这种形式
so such form

它最重要的这个元素
the most important element

就是线条
is the line

直线条曲线条
straight line and curve line

和面的这个皴法
and side and the skill of “Cun”

这都是要在用笔上要下功夫
these are all effort required

下什么功夫呢
but effort of what

这个笔出去以后
with one brush movement

要有内在的劲力
it needs inner tension

有力度 有弹性
with intensity and elasticity

那么我们这个
then in here

现在看到这张作品
when we looking at this work

那么这些主要的线条
the main lines

这种线条
these lines

一个是用笔水分过大
either too much moisture

再一个就是他控笔的能力
or lack of brush control

现在还不够成熟
which is not very well developed

他运行的比较慢
it was moved too slow

另外画的时候比较迟疑
and hesitate

这样的画
in this way

它因为这个宣纸是生宣纸
specially because this is “Sheng” Xuan paper

它有晕化的以后
when the paper absorb the moister

那么它就会散发出
it will disperse into

像‘墨猪’（比喻笔画丰肥臃肿而乏胫骨）一样的这种笔痕
a form we call ink pig, which is fat and lack of construction inside

那么我们这个笔
so the brush

为什么要练习呢
why it required effort on it

就因为通过了练习
because with effort and practice

我们有非常熟练的
we can operate it expertly

这个控笔的功夫
with the ability of brush operation

熟练的程度
with proficiency training

可以使和内心协调一致
it coordinate our mind and hand

这是我们这个练习当中
this is an important process

心手相应的这么一个过程
during our training

这是通过练习才能出来的
which is can only be gained during training

现在我来改一改
now let me fix it

都是一些线条的长短粗细
here are lines with different length

线条本身得过关
the quality of line needs certain requirement

你线条不过关
without this line quality

那么我们就没法
we can’t move to

来观看你的线条组织
line organization

那种审美的态势
the tension of estimate

一定要有力度
has to be powerful

稳准狠 有准确性有主动性
has to be specific and positive

主动性就是意在笔先
positive means mind before mind

你想画的那个意
the mind in your painting

它早就存在
it already existed

只是落实到纸面上
before actually put on paper

我们这个笔 随心而走
the mind should follow your move

非常沉重 线条
with very heavy lines

要形成线条 不要没有线
form needs formed by lines, can’t without lines

非常有力量的线条的
lines with inner strength

这种组织
such organization

那么我们加强了
when we enhanced the quality of lines

他用笔的劲力的这种表达
it enhanced the tension of expression

那么它这种柔弱的线条
these wick lines

和虚浮的这个线条
and unsure expression

轻划挑剔的线条就失去了
caused the lose of expression

那么剩下来
so next

就是线条的肯定性 神采
the certainty and spiritual expression

它的笔墨组织非常清晰
this organization is very clear

结构也非常透彻
thorough construction

这才是我们笔墨要表达的
this is what we looking at

那么一个追求
this is what we pursue

所以说线条本身质量不过关
that’s why we say without the quality of line

我们再往下组织笔墨关系
then we will meet problem in the organization part

就有障碍
with trouble

就不够充分
can’t make a thoroughly expression

这是用笔质量的问题
this is problem of brush quality

那么这张是墨色问题
this one is the problem of ink appearance

用笔的质量比刚才那张
just like previous one

要好一些
it’s better

但是它全是用
but it was completed all by

一个墨色的层次来作画
single layer of ink

所以说他那个墨的变化
so we say the ink appearance

它不是一种充满生机的
lack of vivid

那么一个感觉
that type of feeling

那么就跟墨有关系
it has certain relationship with ink

所以说墨是 主要摄取于气
so the ink is require by “Qi”

那我现在调整一下墨色
now lets adjust this ink a little bit

看看能不能解决这个
see if we can fix it

死气沉沉的这个墨色感觉
and get rid of this rigid feeling

这个墨色还是从我们这个笔
the value of ink starts

干净笔蘸墨
from a clean brush

调试 在这个盘子里调
mix ink inside this plate

调出以后
after mix ink and water

这个笔根到笔尖的变化
the changing from tip to bottom

一定要有变化
needs certain ink movement

这个没有变化我们的墨色
without this movement

画出来也就没有变化了
the painting will lack of changing

然后再画
and next

前面还可以加更重的墨色
we can add more heavy ink in front

这样的话我们就可以
in this way we can

顺着这个运笔的流程
follow this process

这个墨色也就出来了
and the ink appearance comes out

调整墨色
adjust ink appearance

这个墨色不完全是浓淡问题
it’s not a question only about intensity

还有干湿
and wetness

那么我现在就调整了墨色
then we mix ink

那么最后的结果
at the end

把它的墨色层次给它拉开
it separate different ink layers

然后干湿的变化
and wetness difference

那里头强调一下
let me emphasis again

这就是墨色的这个
this interesting method

神妙的用法
of ink using

所以说那个我们笔墨
so we say two basic element

两个最基本的要素
in brush-ink using

一个是用笔 一个是用墨
one is the operation of bush, another is operation of ink

这两个是一个基本的条件
these two are the basic performance condition

我们没有这个功力
without these abilities

你就没有办法实现
you can’t achieve

更加充分
a more thorough

更加的能够准确的
and more precise expression

表达你复杂的审美心理
to express complex aesthetic psychology

那么笔墨组织应该是最难的
so the organization is the hardest part

笔墨组织不完全是一个
brush-ink organization isn’t absolutely

笔墨功夫的问题了
a question that about the effort of brush-ink training

我们的用笔的功夫
the effort of brush training

和用墨的功夫
and ink training

我们如果有了认识以后
after we get understanding of it

笔墨结构的组织
doesn’t mean

未见得做得很好
we can organize construction perfectly

有很多功底很强的
with long term training

但是就在笔墨的组织上
but lack of experience of

缺少审美的这个体验
brush-ink aesthetic

所以说这个往往技术很好
so we say, some time with great skill

变成了一个工匠
it could change a person into craftsman

变成了匠人
became craftsman

这样的人比较多
there are so many of such people

所以说那个我们的同学
so we say, our students

总会困惑这个线条
always feel confuse about line

应该怎么组织为好
how to organize them

像这位同学这个组织
like this one

组织成这样
with this organization

还是对审美的组织态势的
it still kind of blurry

应该什么样是美
that what is ideal

这个还是不是很清楚
and what is ideal organization if brush-ink

当然这堂课
indeed in this course

它可能解决不了全部问题
it can’t explain all questions

尤其是审美心理
especially phycology problems

就是自我心理建构的问题
which is question about our mental building

它是一个一生的问题
it’s a question for whole life

不是几堂课就能解决的
inside of few classes could resolve

但是趋向应该是这样
but the tendency should be like this way

所以说我们现在要
that’s why we need start from now

我来改一张
let me fix another one

调整一下这个笔墨结构
adjust this construction

如果这个现在这个调整
if we adjust it now

是按照我的对审美的理解
it’s mostly based on our aesthetic understanding

来调整这个笔墨组织
to adjust it

因为我觉得它这个线条之间
since I’m considering between these lines

没有什么联系
it lack of connection

它既没有主次
or subject-object relation

又缺乏疏密
or intensity difference

然后也缺少浓淡的变化
no value changing

也缺少纵横穿插的
no layer changing

这么一个变化
with this changing

那么就显得非常缭乱
it looks very messy

那我们那个大千世界
when we look around in reality

是这么缭乱吗
does it look so messy

我们处处会发现
we’ll find

那种虚实相生的美
there is different type of beauty

发现疏密的美
the beauty of different intensity

发现主次的美
beauty of primary and secondary

发现有无的美
the beauty of nihility

还有刚柔的美
and the beauty between solid and soft

这都是我们可以体验到的
this is all we can experience

可能是我们这个同学
maybe our students

平时不太关注
seldom notice about

这个审美的要素
the elements of aesthetic

我们先在再来演示一下
let me demonstrate it

看通过调整
let’s see through adjustment

能不能把这个无序的线条
whether we can fix these unordered lines

调整的略微有序
with certain sequence

首先我要把它
first we need

比较局促的线条松散开
loose these intense lines

因为它这个疏密无度
since the density is disordered

就显得比较乱
it looks kind of mess

然后松紧
then the intensity

松紧控制得也不好
it’s not well control in intensity

该紧的没有紧起来
the part that should be intense isn’t tight enough

我先把它该紧的要紧一下
let me tight it a little bit

所谓的紧
the so-called tight

就是借用物象的结构
is use the construction of object

它结构清晰了就紧
when the construction is clear it becomes tight

如果某一处画得比较模糊
if you draw some part blurry

它就松
it lost the tension in it

解决它的疏密问题
resolving the problem of intensity

它的线条的方向也不统一
the direction of line will join together

方向应该以一个为主
it should face to a same direction

要有主次关系
with primary and secondary relationship

那么作为一个
so as

众多线条的一个
an order of such many lines

统一的秩序的一个整理
with certain order

那么把那个缭乱的
organizing these disordered line

方向各异的
with all different type

不同的方向
different direction

不同的力量的倾向性
and different tendency lines

统一在一起
together

这就是笔墨的势态组织
is the so-called brush-ink tendency organization