Video在线视频

同学们
Fellows

我们现在开始点评
now let’s start critique

经过了一周的笔墨训练
after a week brush-ink training

出现了这么多的画面
with such images

当然这不是全部
but of course this is not all

我们这次点评从三个方面
We have three comments in this review

首先从用笔方面
first we start from brush

用墨方面 笔势关系
ink and the relationship between ink and brush

再加上比较优秀的作品
plus some fine examples

四个方面来展示我们作业
this four aspects to showcase our homework

然后我们要探讨一些问题
Then we have to explore some issues

那么第一个问题
so the first question is

我要探讨就是中国画的笔墨
what we need to analyze is brush and ink

不是黑白调的
not black and white value

不是为了完成物像的
it’s not for image forming

这个物理的结构
or use the construction

来画一些黑白调子
to create shade value

它应该是线条
it should be lines

线条的组织
a construction formed by lines

它的线条组织呢
its organization

是有律动关系的
has rhythm relationship

是有节奏感的
within rhythm sensation

而且本身它有劲力
and itself has tension in it

它自身有美感
its own sense of beauty

所以一谈到笔墨的结构关系
so when we talk about the ink-brush relationship

那么我们那个笔墨的线条
then the importance of

就非常重要
the value of line pop up

所以说这就是我们必须要
that’s why we have to

练用笔 用墨的这么一个教学
show the training of brush-ink method

那么我们要是
without the intensity

如果没有笔墨的劲力
and tension of brush movement

那我们就用笔
the quality of brush trace

就比较臃肿 软弱
will be cumbersome and weak

也没有神采
and lack of spirit

那我们初期
at the beginning stage

都会出现这个阶段
it always shows up

每个同学尤其是零起点的
especially for students without foundation training

基本上一开始对毛笔的使用
Basically, the use of the brush at the beginning

他的把控能力都是比较弱的
control ability is relatively weak

所以说这都是最开始
so at the beginning point

容易犯的毛病
it’s the common mistake

那么今后随着他的练习
Then with more practice in the future

那么他们会越画越好
it would get better

这都是笔墨的毛病
these’re all mistakes

它不会呈现一个
it won’t show a

很有力度的线条
strong quality line

线条的这个浓淡的变化
the intensity of line value

包括它的布局
including its composition

也就是笔势的关系
which is its brush relationship

也不是很清楚
it’s not that clear

那么发展到这种程度
then at this point

基本上算是有进展了
basically it got development

有了一定的线条
with some lines

可是 但是线条就是在干湿
but the quality of these lines

线条上的形象上
still quite weak at dryness

还是比较虚弱
and form changing

不是那么扎实
not that solid

那么像这样的线条
so lines like this

都是只会画直线
are all straight lines

这个线也曲不了
not curve

这说明我们把控的能力
this means our control ability is not enough

还没达到一定的水平
not good enough yet

线条的力度 劲力也不够
the strength and tension isn’t enough

然后线条的组织更谈不上
and don’t even talk about lines organization

基本上就是在完成
basically it’s full filling

一个物理结构的凸凹面
a physical surface

所以说
so

还没有达到线条的律动
it lacks of the inner line rhythm

那么有了线条的基础
with the line foundation

我们会出现这样一个问题
another problem occurred

就是墨色的衔接
which is ink attachment

我们这个勾很重
the hock is very heavy

那我们看那个皴
then we take a look at “Cun”

虽然用的是淡墨
even we are using light ink

其实这张画就是两层墨色
actually there is two layers in this ink

一个是勾的重墨线
one is dark line of out shape

一个是皴的淡墨线
another one is light ink of “Cun”

这个淡墨线画了这么多笔
with so many brush movement

几乎都是在一个灰度上
it almost on a same shade value

它没有一个生发的效果
without tension movement

没有一个渐次的变化
nor value shifting

这都属于没有墨色变化的
this all called lack of ink changing

这个就是更焦黑
here is the “burned ink”

这个出笔到最后结束
to the very end brush movement

那么这么多的线条
with such lines

墨色一点没有变化
there is no value changing

这就是我们为什么要追求
this is why we need pursue

墨色变化的道理
the changing of ink

那么用笔 用墨
then the method of ink and brush using

这是我们笔墨训练的
is part of

两大的关键点
our brush-ink training

那么第三个关键点
the third key point

就是笔墨的组织
is the brush-ink organization

线条的组织好与坏
the successful of brush-ink organization

这是一个审美要求
is an aesthetic pursue

我们现在初期的
at the beginning stage

有了一定的线条的基础
with certain line training

也懂了墨色的变化
and understanding of ink changing

进入到笔墨的组织的时候
when enter the organization point

我们就会出现这样
we will find

零乱的效果
a mess appearance

这个线横七竖八
lines cross each other

哪个方向都有
to all direction

这个这么多的线条毫无秩序
this unorganized line appearance

这都属于组织关系的问题
it belongs to organization problem

那么在我们完成课题
then in our processing

这个阶段中
of this course

我们有很多同学非常认真
many students are very earnest

他们画了大量的笔墨稿
they finished large mount of ink sketches

也有完成非常好的
some are very nice

那么我把完成比较好的画面
then we high light some pretty ones

都提出来了
let’s pick them out

要讲用笔的力度
the strength of brush using

用笔的劲力
the tension of brush movement

用墨的浓淡 干湿
the dryness and wetness

笔墨的组织这都非常精彩
and organization are spectacular

这是完成非常好的同学
these are great works

像这种同学这个水平
at this level

在这样的一个课程训练之后
after this course training

他们可以
they could

有一个很强的控笔能力
gain a strong brush operating ability

假如说他们今后不去画披麻皴
if we not gonna do any “Pima” Cun

画任何一种
or any other

他们对于笔的控制
type of Cun

或者是创造一种皴法
which is re-created

他们对笔的控制
the control of brush operation

都能达到出神入化的水平
could be perfect

他那个笔能随心所应
their brush movement could follow their mind

然后达到笔随心应
with mind following

获得更加自觉的表达
they can express more freely

披麻皴的点评
the crit of “Pima” cun

我们基本上通过三个层面
normally we through three stages

然后和优秀作品的鉴赏
and works critiques

这个点评就到这
our critique stop at here

那么下一阶段
at next stage

我们想看看同学们
we want to see

还有什么疑惑
if students have more questions and confusions

不太懂 有问题要提的
feel free to drop the question

我们进行一下互动
let’s do the Q&A section

同学们 谁有问题可以提了
any questions

老师 我想请问一下
Teacher I want to ask

皴法是在塑造体积吗
is Cun forming the volume

你这个问题很根本
it’s a fundamental question

你请坐 来我来说
please take a seat, let me address it

我刚才在指这张作品的时候
when I point that work

就已经在渗透这个问题
it actually already involved your question

中国画的这个笔墨的形式
the form of brush-ink in Chinese painting

不是为了表达物像
not for image expression

它不是为了模仿物像
nor shape imitation

这是一个根本的问题
this is a fundamental question

那么如果我们要模仿物像
when we imitation a shape

我们那个笔墨
our brush-ink movement

就变成了为造型服务
became part of forming process

所以说我们的笔墨
so we say our brush-ink operation

要超越客观属性
needs beyond objective attribute

我们要上升到什么呢
but where exactly is the ideal level

上升到笔墨的
the ideal aesthetic of brush-ink

本身的自律的美
the beauty of its rhythm

它的自律的美在哪
but where is its self beauty

刚才我说了
just like what I said

第一个是线条自身美
the very first is the beauty of line itself

线条有力度 有劲力
with strength and tension

墨色 墨色能生发气韵
the appearance of ink

笔墨关系能体现一个人的
could reflect personal

对这个宇宙生命精神的
understanding of universe spirit

那种体验的大美
the experience of beauty

所以说
that’s why we say

中国画和西画差别在这
the difference between eastern and western painting

所以它旨趣肯定
so the interest of such painting

不是在状物
isn’t about shape forming

在模仿客观的物像
or image imitation

它是要借用客观
it needs to work with objective experience

要记住这一句话 要借用
remember this, work with

我是拿你这个客观物像
I’m borrowing or using the form of this object

作为媒材 作为素材
as media and recourse

那我要表达的
what I’m expressing is

不是你客观对象本身
is not the object itself

所以说这个中国画有句
so we say in Chinese painting

就是妙在似与不似之间
the pretty is between similarity and unlikeness

似就是借这个物像
similarity is using the form of this object

你看是石头
what you staring at stone

但是其实画的不是石头
but what you actually drawing is not stone

他画的是内在心理结构
it should be your inner mind construction

这个心理结构能够和
this mental construction would

大自然的本身的
match with the rhythm of

生命的规律相吻合
natural itself

那就是
which means

我们这绘画就是变成了一个
our painting became an activity

体道的一个活动
of individual meditation

这就是中国绘画
this is why Chinese painting

是不是在完成你说那个
isn’t exact an art that

这个客观物像
always about object form

还是要完成什么
or shape imitation

中国画要完成这个
consideration

同学们还谁有问题
any other questions

请问老师笔墨关系是指什么
Mr Han, what is brush-ink relationship

你请坐
please take seat

笔墨关系也是中国画
this relationship is also

经常要提到的问题
what always mentioned in Chinese painting

那个笔和墨
that brush and ink

它俩是没有截然分开的
isn’t completely separated

但它俩是两个层面的问题
it’s the question of two different level

画论上讲笔为帅
in the brush-ink theory

墨是在笔痕的基础之上
ink is above the foundation of ink trace

充满了很多的血肉关系
with interleaved relationship

那么这个血肉关系的这个墨气
then this combination also bring a different

又带来了一种气感
appearance of ink

叫生命之气
we call it the life of ink

这个生命之气是创造
the process of life appearance building

我们这个笔墨的运律感
with such brush-ink movement

和活力的
and tension

一个很关键一个因素
is the key point

所以说这个笔墨要能生气
so we say the brush-ink appearance needs vividness

跟墨有关系
and interact with ink

但是我们那墨
if the ink

要没有骨笔在这支撑
without frame supporting inside

那么就等于
then it’s like

我们那个血肉没有骨架
our body without skeleton inside

我们那个笔骨
the construction of brush work

笔骨之间的这个疏密的关系
and the intensity between them

靠笔骨来确定
all determine by the construction inside

所以说它们是这样一个
so we say

交融的关系
this combinative relationship

这个笔墨的关系应该是这样
should be like this