Video在线视频

同学们好
hello fellows

刚才我们做了点评
We just made a comment

那么下面 我拿几张
for the next

就是具有典型意义的
we’ll pick some typical works

在用笔有问题的
with brush using problems

用墨 包括笔势关系
including tension problems

基本上普遍存在问题
which is very usual

这样的一个画作呢
like this one

做一下修改
let’s fix it a little bit

看看调整以后呢
and we’ll see what we can gain

同学们有什么收获
after it

我拿出几个典范来
let me pick a few works

像这样的一个牛毛皴
like this one “Niumao”

其实他用笔的功力很好
In fact, his skill is very good.

肯定是在披麻皴的练习上
It must be on the practice of “Pima” style

他有很好的功夫
paid a lot effort

提升的很快
and improved very quick

但在牛毛皴
but in “Niumao” style section

我们要创造松毛的视觉效果
we need create a fluffy effect

他这个 一个是有点过长
lines are either too long

再一个就是他的硬度太强
or too tough

这个牛毛皴呢
in the technique of “Niumao” style

好象是有松毛的感觉了
it needs to create a effect of fluffy

但他这个线条的呈现
But the presentation of his line

还不够充分
it’s enough

一会儿我要改改这张
let me adjust this one

那么第三张就很明显
then the third is obvious

有用淡墨来作画了
by using light ink

但是他的淡墨就是一个层次
but the light ink is only one layer

所以说他没有充分的
so we say he didn’t

运用墨的变化
fully work with ink

来表达笔墨形象
to express this brush-ink form

所以说这个我要改一改
so we say we’ll see

看看通过调整
after adjust it a little bit

能不能达到更鲜活
whether it can be more vivid

这位同学练的这个
in this students work

就比较典型了
is even more typical

线条组织无序比较缭乱
lines are disorderly placed

我们可以在他的这张画
we can discuss

探讨一下
in his work

牛毛皴呢
the “Niumao” technique

线条组织究竟应该怎样为好
What kind of line organization is an ideal one

那么像这一张
like this one

其实在松毛的创作上
during individual art making

具有了一定的成果
Has a certain result

只是我们认为
but we think

他这个线条还不够充分
His line is not well expressed

他这个基本笔法
the basic of brush movement in here

出线一定要很松动很毛涩
The brush movement must be very loose and very frizzy

而且得有线条
And have lines

现在我们这张画呢
in this painting

只有浓淡干湿的墨
Only dark and dry ink

但是线条的呈现非常的虚弱
But the lines are very weak

所以说这就等于用笔没有
So this is equivalent to no brush movement

用墨胜于用笔了
Using ink is better than using brush

那么我们还得强调用笔
therefor we have to emphasize the use of brush

牛毛皴是一个什么样的线
What kind of line is the “Niumao” Cun

一定要把那线条拉开
Be sure to pull the line apart

不一定很粗也不一定很长
Not necessarily very thick and not necessarily long

牛毛皴和解索皴
“Niumao” and “Jiesuo” style

都是这种性质
are belong to this character

都是弯弯曲曲的一种用笔
which is curvy way of brush movement

它弯弯曲曲的用笔啊
the curvy brush movement

它就比披麻皴
just like “Pima” style

就松毛松动了很多
is even more fluffy

这是一种表现力
this is one type of expression

我们的毛笔呀
with the brush

不仅能表达一个短线
it can be used for short line express

披麻皴那样的表现力
just like “Pima”

我们还能表达松毛的
and we can also make “fluffy” appearance

牛毛皴和解索皴
like “Niumao” and “Jiesuo” style

同时呢 我们还能表达
at the same time, we still can express

斧劈柴痕那种水墨淋漓
the texture that mixed with “Fupi” Cun style

方正爽直的斧劈皴
“Fupi” style is sharp and straight

那么这个斧劈皴
so this “Fupi”

和牛毛皴和披麻皴呢
“Niumao” and “Pima” style

这个三种皴法
these three type of Cun technique

表达的性状就完全不同
The traits expressed are completely different

那么这张画
in this painting

就是牛毛皴的用笔的不充分
the “Niumao” style part is not well expressed

我们现在让它再充分一些
let’s complete it a little bit more

看看最后有什么结果
see what can come out

可以中侧结合
it can be worked with center and side style together

包括勾也是中侧结合
and including hock brush movement

一定要呈现线条
but make sure to present lines

这个线条是牛毛皴线条
this is line in “Niumao” style

这一点不要含糊
it has to be clear

不要太长
not too long

这个侧锋用笔
use it in side way

要比中锋用笔更毛涩
Be more fluffy than the center style

所以可以中侧的结合使用
so it can be used with both side and center style

我们来加强线条的力度
let’s enhance the strength of line

那么肯定会有改观
it can be better

加强了线条形象表达
with enhanced expression

这是松毛的
here is fluffy

曲动的线条的表达
and curvy expression

然后呢它那个画面
then the image

那种精气神就出现了
shows out its spirit

要不然的话
otherwise

我们没有用笔的表达
without brush movement

只有用墨的变化
only with ink changing

这还不足以
it’s not enough

这个艺术形象有那种骨力
the strength of this art form

所以说呢
so

中国这个绘画在南齐谢赫
Xie He in South Qi dynasty

就说绘画有几个
in painting

比较重要的几个方面
there are couple of important points

那么第一方面呢
the first

就是气韵生动
is vividness (Qi)

就是我们的绘画
which means in painting

最后形成的形象要气韵生动
the art form has to be vividly

那么第二点就是骨法用笔
the second is method of brush using needs to be strong

我们现在这个没有骨法用笔
without strong construction in brush movement

那么这个画面的形象
the art form comes out from painting

就非常柔弱无骨
will turn out to be weak

所以说线条呢 也非常重要
that’s why line is so important

这是线条问题
this is the problem of line

那么这个就是墨色问题了
Then this is the problem of ink

我们再调整一下这张画
Let's adjust this picture again

通过笔墨的变化
through brush-ink changing

能达到什么程度
what level can we achieve

皴笔不一定很多
maybe not too many brush stroke

长短纵横疏密变化摆的很好
Long and short vertical and horizontal changes are very good

能三笔解决的这个问题
if this problem can be solved in three strokes

就不用十笔
then we not gonna take ten strokes

而且我们这个披麻皴
and the “Piam”

也不是很僵化
isn’t very rigid

不是每一笔都是这样
not every stroke

有一些很短 就弯曲一下
some can be short and curvy

这就可以了
that will be enough

不一定那么僵化
not that strict

所以说这个笔墨不能刻板
so we say brush-ink can’t be rigid

这墨一定要画完
draw until the very last ink

不要总是去调
don’t keep mix or add

因为我们这个笔蘸墨
because the tip

从笔尖到笔根
from tip to the bottom

它是有墨色变化的
it has different shade of ink

所以说画完了以后逐渐
So after the painting is finished

它这个墨色就淡了
the color of ink gets gradually lighter

好
OK

我们调整了一下墨色
I’m mixing ink

那么变成什么样呢
until when

充满生机
until it gets vivid

是通过墨色来调整的
by mixing ink

除了我们线条的用笔
besides the brush work

所以说这个我们的第二元素
the second point

这个墨色的变化
is the change of ink

是非常重要的
which is very important

它是创造气韵
It is An important means of life

生命感的一个重要手段
in creating charm

没有这个墨色呢
without this ink color

我们就感觉很刻板
it feels very rigid

所以说我们这个画面
so we say this image

笔墨形式要达到气韵生动
needs vividness

那个气韵就跟墨有关
this vividness interact with ink

除了笔与笔互相之间的
without relationship between each brush

连带关系
the connection

那个墨起到很大的作用
ink plays an important role in Chinese painting

如果我们有墨
with ink

我们的每一个笔
each brush strokes

就像刻印缺少生机的感觉
Just like the imprint of lack of vitality

缺少那个氤氲的气氛
Lack of that Shrouded atmosphere

所以说
therefor

这就是墨色的表达
This is the expression of the ink

笔势关系是一个难办的事
The gesture relationship is a difficult thing to do

我们有的同学
some of our students

就这样这么一个练习
in this practice

有若干张
in several paintings

可是这几张都不理想
these works are not very ideal

他就无从表达几个线条
he’s not sure about the composition

应该怎么摆放为好呢
where to place these lines

这个是我们学习笔墨
in brush-ink study

同学 每个人都应该
it’s the problem everyone needs to resolve

遇到的一个问题
when we meet a problem

是非常苦恼的一个问题
it’s such a headache

笔墨组织的好与坏
it always about organization

与你的主体建构有关
and relate to your subject construction

你对这个不同因素的理解
Your understanding of this different factor

然后能够有机协调在一起的
Coordinate these elements organically

这种理解 和你用一种形式
With such understanding you could use a form

来创造这种组织
To create such an organization

有没有这些更多的经验
Did you gain any experience?

或者是看到欣赏
Or appreciate the way it organized

别人在组合这样一个
When other people are combining such

这个形式的时候
art form

有没有收获有没有感受
Is there any achievement？

在不断地提高
and keep improve

你驾驭多种线条的
when you can control a variety of lines

组织它的节奏感
Organize its sense of rhythm

它的运动性 节奏感
its rhythm

它的韵律
its movement

这都是我们组织线条的
This is all about subjective understanding

这个主观的把握
in organization of lines

那么组织如何为好呢
So what is a better organization?

我们在练披麻皴
when we are practicing “Pima” Cun style

和牛毛皴的时候
and “Niumao” style

也经常的做了一些演示
I also did some demonstrates

在这里我再演示一下
I will demonstrate it here.

这个看看能不能解读清楚
Can you see this clearly?

我分解讲一下
Let me analyze it

假如说我们这个同学
if we say

会经常出现这样的两个线条
These two lines will appear frequently

比如说在这一带
for example in here

这一个和这个线条
this one and that one

假如说我们这个线条
in this line

是这么一个方向的话
with this direction

是矛盾的对抗
It is a contradiction

我们是要创造这种对抗
that’s exactly what we need

但这个线条协调起来
But when coordinate this line together

就非常艰难了
is very hard

所以说我们在皴法的时候
So when we are defying the law of Cun stroke

是不是有必要
Is it necessary to

在纵横穿插的时候
do such angel When interspersed

有这么大角度
When making interspersed line organization

和这么大的矛盾
and such contrast

要假如说我们这一个线条
for instance a line

以这个倾向力为主
that mainly moving in this tendency

我们这个倾向力为辅
then we are supplemented by another tendency

那么再小一点和再细一点
and add it smaller and finer

这都好办 这都容易协调
It’s all easy to handle, it’s easy to coordinate

那么你觉得还是很难协调
if you still think it is difficult to coordinate

那怎么办
then what

那就应该角度再小一点
Then it should be smaller angle

我们那个皴法经常是这样
it happens a lot in Cun technique practice

这叫纵横穿插
this is called cross over

角度小了 我们就看这个
with smaller angle, let’s take a look at this

这个矛盾是最小的
this is the smallest contrast

这个 这个的矛盾是最大的
this one is the biggest contrast

所以说这个同学
so

如果两笔上去
with two strokes

就创造这么大的矛盾
it can create such a big conflict

那么他得画多少线条
then how many more lines

才能把这个矛盾消解掉呢
Can this contradiction be eliminated?

这个想协调这个就比较艰难
It’s hard to coordinate this

所以说我们练披麻的时候
that’s why in Pima practice

就练这个 用直线
Practice this with a straight line

用直线练这个各种角度
by straight lines

你看这个都是角度
take a look at this angle

这个它容易协调
This is easy to coordinate

这没有平行线
Here has no parallel lines

但这都有角度都容易协调
But it’s easy to coordinate from all angles

如果出现一个这样线条
if this type of line shows up

它就绝对不协调了
It is absolutely uncoordinated

它马上就失去了平衡
it lost its balance

那么我们再把这个线条
Then we put this line

含在这个里头
inside here again

我们得需要很多线条来辅助
We need a lot of lines to assist

它才能完成这个有机的组织
To complete this organic organization

那么这个牛毛皴呢
this “Niumao” Cun style

比披麻皴呢更复杂
is even more complicate than “Pima” style

它曲动用笔
the curvy brush movement

所以说
so

没有披麻皴的这个功底
without training of Pima technique

这个组织的功底
this training foundation

组织牛毛皴就很麻烦
the organization will be very headache

那么我们这个牛毛皴
when we work with the “Niumao” Cun style

这个还得创造矛盾
we need to create more problems

但还不能太大
but no too much

长短 长短还不是平行
not parallel lines

有角度
with angles

然后还有疏密
and density changes

这两个线密 这个疏 疏朗
These two lines are dense and sparse

然后这是三条线我们摆放
Then this is the three lines we placed

这个势态关系就很好了
This situation is very good

如果再 这个矛盾又大了
if even more, the confliction will be even more

它是这两个纵横这个
there is cross over

那么这里有交叉
the cross over here

那么这个四条线呢
between these four lines

你不觉得它很突兀
you don’t think it’s very unexpected

矛盾不是很大
The contradiction is not very big

还能协调在一起
But also can be coordinated

那么我们再加
then we add more

这是不是还协调
Is this still well coordinated?

但是就是不能平行
Please do not make parallel lines

疏疏密密 长长短短
sparse and dense, long and short lines

纵横穿插 主次变化
Vertical and horizontal insertions

然后有的结点比较严谨
Then some of the nodes are more rigorous

有的地方就比较松散
Some parts are loose

这个就是笔墨皴的有效组织
This is an effective organization of brush and ink

所以说这个组织一定要考虑
So this organization must be well considered

它那个主次关系
the primary and secondary relationship

长短关系
Length relationship

疏密变化的关系
And relationship between density and change

虚实的关系
The relationship between void and solid

这个松紧的关系
Loose vs tight

都是相对关系的既对立
they are all opposites and related between each other

你不对立就是两条线的平行
without opposite, it’ll turn into two parallel lines

这是两条线的平行
here are two parallel lines

这就是相同
this is related

我们的和谐不是相同因素的
the harmony inside is not the by

在一起的协调
Coordinate with same factors together

是不同因素的在一起的协调
it is to coordinate with different factors together

这是皴法的要领
this is key point of Cun technique

那么想达到一个非常好的
to achieve a very good

有效的
an effective

既有变化又能协调有机的
organization or construction that well combined with changes

统一在一起的
all together

这么一个笔墨的一个组织
such brush-ink constriction

那么不仅要练笔和墨的功力
it requires both brush-ink training

同时呢还得增加修养
At the same time, you have to increase your self-cultivation

就是我们内在的心理建构
which is our inner psychological construction

对美的深刻的理解
and deeper understanding of beauty

这才能解决这个势态关系
This will solve this situational relationship