Video在线视频

同学们
fellows

我们经过一周的训练
through a week training

我们出了很多作品
we got many works

在作品当中
in these works

我挑出几个典型的案例
let me pick some typical paintings

第一是这一部分
the first part is

是用笔的问题
problem about brush movement

中间是用墨问题
second is about ink

这一套是用笔的组织关系
here is about brush organization

还有一些比较经典的
and some classical works

我们完成
we can complete

比较好的一些作品
some better works

那我们还得是从头来
we still need start from the very beginning

首先它是控笔能力的问题
first it’s still about brush control

我们上一讲讲的披麻
in precious course we talked about “Pima” style

那么这一讲是牛毛
in this section is “Niumao” style

发生了丰富的变化
with many changes

它是曲动用笔
we draw it by curve lines

那我们曲动得如何呢
but how to make this curve brush movement

我们这边有的同学
some of our students

是这么练习的
practiced in this way

已经练习很好
it’s pretty good

表达得很毛涩
fluffy and raw feeling

但是到实战
but when actually create a painting

有的同学这个用笔
the way of brush operation

他表达出来的
the form he created

不是松毛的形象
isn’t that fluffy and relax

有点中锋
it’s kind of like center style

有的像披麻又不像
some are like “Pima”, some are not

那么这个控笔的能力
the ability of brush control

按照我们的要求
is based on our requirement

它就比较硬朗也长线
with tough straight lines

像这都是比较长线
like here is all long lines

画得有点像蚯蚓
kind of like earthworm shape

就没有这种松毛的感觉了
is lack of this fluffy feeling

这都属于在控笔上
it’s all belong to brush control problems

你的视觉表达力
the performance of visual expression

是不是准确能不能到位
whether it’s thoroughly expressed

你想表达的东西
the object you want to express

但你实际上出现的东西
but the actually form

是不是对位
isn’t exactly matched with each other

另外像这一种线条
besides like this type of line

也比较虚弱
is weak

线条一定要有力度
lines need to have tension

要有弹性要肯定
and elasticity

像这种比较虚弱的用笔
like these weak brush lines

我们还得需要加强
we need more practice

如果我们
if we

这个笔形没控制好
didn’t control the shape well

想表达这种状态的用笔
then the expression this type of brush movement

那么不成熟
will be uncertain

那么自然会形成
and unnatural situation will occur

这样表现力不充分的
then your mind will not be thoroughly expressed

这么一个牛毛
this “Niumao” style practice

像这种用笔都会比较软弱
is weak

也不是很松毛
and not loose enough

那么用笔是这样
it should be like this

我们到用墨的时候
when we use ink

很多同学在用笔上
many students do it very well in brush control

把控能力很强了很松毛
and texture control

线条曲动也很好
with many curve lines

那么又出现一个问题
but now it comes with another question

就是墨色问题
which is ink appearance problem

虽然用笔是很好
although the stroke is pretty good

但是墨色问题
but the appearance of ink color

始终是控制在这么一个
is still around

很清淡的层面上
a level of light and grey ink

缺少浓淡干湿的变化
lack of light and dry changes

这又是特别焦黑
and some part is too dark

没有笔墨的充分的表达
lack of thorough expression

那么我们看旁边的这个组织
Then we take a look at this organization next to it

这个组织都是比较平均的
This organization is relatively average

线条空隙也都平均没有疏密
gaps between lines are also average without sparseness

长短主次
the relationship of primary and secondary

像这个方向都是横七竖八
directions are all messed around

这都属于
it all belong to

在组织关系出很多问题
problems in line organization

所以说
so

它就不能协调在一起
they cannot be coordinated

我们好的作品
in great works

我们可以看到了
we can see

用笔的表现力很充分
The brush expression is very thorough and certain

墨色我们可以看到也很漂亮
Ink color is clean and beautiful

浓淡干湿都非常精彩
great texture expressed

然后组织关系也很好
and well organized

那没有好的组织态势
without tendency and organization

是什么样
what it can be

就比较松散
it will be loose

我们看的也不是很美
and not beautiful

是很平均
too much average placed

这就是我们这堂课
this is some beautiful works

成效比较好的同学的作业
during this course

牛毛皴的点评
the critique for “Niumao” Cun style

我们就先到这儿
let’s stop here for now

下面有没有同学
is there any questions

有问题可提的
from our students

老师 中国画的学习
Mr. Han, in Chinese painting study

是不是一种程式化的学习
Is it kind of like a stylized study?

你这问题很好
good question

中国画学习有很大程式性
Chinese painting learning is very modular

这个程式性有利有弊
This type of training has advantages and disadvantages

它的最大的利
Its greatest benefit and advantage

就是方便与传承
is convenience and inheritance

中国的绘画能传到今天
Chinese painting until today

就是因为有程式
Is just because it certain modular

学起来有统一有共同的标准
we got certain stander to learn from

比如说气韵生动
for instance, the pursue of vividness

这一个绘画的
this highest stander

最高的一个标准一个准绳
in Chinese painting

然后用笔有要求用墨有要求
and other requirement of brush and ink operation

这个牛毛皴 是一个比较规范
this “Niumao” Cun style is one of classic stander

然后披麻皴是那样
and so as “Pima” style

将来我们还要练习斧劈皴
in the next we’ll study “Fupi” style

它完全都不一样
it’s completely different

出枝是鹿角枝
“deer horn” tree style

然后往下去是蟹爪
and “crab claw” style

这其实都是程式
they all stander forms

这程式有什么好处呢
but what is the advantage of it

方法比较连贯统一
the study way will be united

然后品评有标准
and we have certain rules for critique

有标准
with stander

它不会发生很大的偏差
it won’t make big mistake

你要按照这个方法
practice and train

这个程式去训练
with this method

短期内已经达到很高的水平
we can gain high level in short time

这就是程式的好处
that is the benefit of it

程式也有坏处
but of course there is disadvantage

什么事物都有相对的一面
Everything has relative side

程式最大的坏处
The biggest disadvantage of such method

就是你有了这样一个定式
Is with such training

和审美的心理定式
and aesthetic psychological formula

那么你在今后的创作当中
in future art making

会影响你的个性的宣泄
it can affect your personality development

因为你认为牛毛皴
Because you think cow hair style

是这样的好
is good in this way

势态关系是这样的好
The organization and brush movement should
be in this way which is good

已经变成了定式了
Then it became a stereotype

你心里头有一个理想了
you have a idea form in your mind

这个理想的王国
this ideal form

就是在这
like this one

我们能看得到的
we can see

古人还有那样一个
The ancients artists still have

经典的绘画
classic paintings

我们可以欣赏到
that we can appreciate

所以说这种程式的
So this certain formula

形成的定式
Formed the shape of aesthetic of Chinese painting

已经完全的
It has completely

在我们的心灵当中
occupied our mind

就形成了一种范式
turns into a certain formula

包括我们的文化范式
including our culture form

比如说儒释道给予我们这个
For example, Confucianism and Buddhism gives us this

从一个粗民
from a normal civilization

变成一个有修养的人
to a well-educated person

也是一个区域文化的范式
is also a paradigm of regional culture

我们就变成一个
we will become a

中国人的范式
typical Chinese person

他不是英国人
he is not a English people

英国人有英国教育
English people have English education

那也是范式
that is another type system

所以说这个范式
so we say this formula or system

对一个人的成长
for individual growth

在前期阶段包括中期阶段
In the early stage, including the mid-stage

让你形成一个
could let you become

很有水准的一个思想家
A very good thinker

和艺术创作者
and an artist

没有这个范式
if without this formula and system

那你人类就得从粗民
the process from primitive being

从生下来
to well educated civilization individual

就从原始开始一点点磨
could take many years

磨到有文化
until culture is well developed

那得几千年几万年
would be hundreds of years

所以说程式
so we say this formula

能缩短我们人生里程
can shorten our life mileage

把我们的体验
thousands of years of experience

几千年的体验
and even longer

甚至上万年的体验
We can achieve it in the short times

我们在短期就能实现
to certain level

能达到一定高度
but when achieve that level

可是达到一定高度
if achieve that level

就没有路可走了
there is no way to move forward

同学们这个时候
at this time

就需要破程式了
we need break the formula

你任何东西没有的用不着破
when there is no rules you don’t need to break anything

所以说我们指的是要破
the break we talking about is

是破程式
to break the formula that already existed, already be learned

我们是先有了一个文化心理
first we need to have a culture phycology

先有一个自己能力一个水准
with certain skill and technique

然后再破除
then break it

这个破除就是
this break

你的所有的创造行为
is about all your creative behaviors

要关注你的内心
you need force on your inner mind

关注你内心的直觉
force on your inner instinct

当然你要这个直觉
but indeed this instinct

和所有的人都不一样
is unique and different in everyone

那么你要做一个顽强的表达
for instance, when you need a strong expression

那这种表达
then this type of expression

就和程式的东西就有差别了
has difference between formula or previous training

就不再是程式了
then there is no more formula

这个你提的问题
the question you asked

应该是这样一个辩证关系
should be a dialectical relationship

还有哪位同学有问题
any other questions?

请问老师什么是势态
What is tendency and gesture

皴法有势态吗
is there also gesture in Cun technique

你请坐 来
please take a seat

两条线以上才能有关系
there is tendency and gesture only above two lines

一条线有第二条线
the first and second line

和它产生关系才能产生势
and tension was created between them

那么这一条线
this line

要说它有势的倾向
is there any actual gesture between them

有没有 也有
it could be with tension or without

比如我一条斜线
for instance, a slash line

给人的感觉
the feeling of it

它就有倾向性的力
it has tension inside

这在视觉语言上
in visual language

就可以这么理解
we can understand it in that way

但中国绘画
but in Chinese painting

它这个皴法和用线
the Cun technique and method of line operation

一般情况下
in common situation

有了一 一生二的时候
two after one and more after two

这个运动就更加强烈了
this movement becomes even more intense

那么为什么我说
so we say

这个没有势态呢
does it have or have not tendency between them

因为它们之间都平行关系
since their paralleled relation

平行关系就静止了
when they are paralleled they stop move

所以说我们的皴笔
so we say the Cun technique

是不能平行的
it can’t be paralleled

线也不能完全一边长
and the length of line can’t be the same

长与短才能有个
the contrast between different line

强烈的一个视觉刺激
made strong visual estimate

然后松与紧 疏与密
and then the density change

纵横穿插
cross over construction

纵横穿插角度这是90度
angle in 90 degree

45度
45 degree

有的很多都是很小的角度
and many others are small angles

它容易协调
they can cooperate very well with each other

这就是视觉力本身
this is the power of visual itself

要体现出来的东西
and what we after

我们这个好的线条皴法
the Cun technique we studied

就是一个好的势态组织
is a tendency construction

如果我们线条
if the lines

这个组织比较纷乱
become mess

那么我们这个势态
then the tendency

就比较纷乱
will turn to messy

因为它这个力量方向不一样
because the direction of tension is different

它的视觉倾向力不一样
the visual direction of also different

倾向力不一样
and as same as tendency

那么像这样倾向力都一样
so as other tension in painting

但它没有疏密
without density difference

和长短松紧这个变化
and length changing

它这个视觉张力也不够
the visual tension will become very weak

also relax

像这个统一
like this united one

虽然没有一条线是平行的
although none of these lines are paralleled

但是通过长短干湿浓淡
but through intensity and wetness changing

然后疏密组织让它有主有次
and construction movement

让它完整地协调在一起
cooperate them together very well

我们感觉
we didn’t feel

它不是有很多纷乱的线条
they are very messy

和不同方向性的力
with so many different directions

不和谐的存在
or other disharmonic elements

那么这都是和谐
this is all harmonic

我们挑出好的作品
the good works we picked

都是和谐的作品
are all harmonic works

所以说视觉力
the visual tension

是应该创造整个画面
should be an important way

气韵生动最重要的一个手段
in creating vivid art form

所以说
so

我们用笔的组织非常重要
the construction of brush is very important

它决定了能否气韵能否生动
it determined the vividness

能否协调统一
and whether it can be well cooperated

这就是势态的
that’s what we’ll study

要研究的主要内容
in tendency