Research On Huang Binhong's Landscape Painting "Five Brushes And Seven Ink"

This article mainly analyzes Huang Binhong's "five strokes and seven inks" and rises to the exploration and study of his aesthetic thoughts.Huang Binhong systematically summarized and summarized the ancients' experience in the use of pen and ink,and put forward the �five-pen and seven-ink� theory in his later years."Wubi" means "flat,round,stay,heavy,change," and "seven inks" means "dense ink method,light ink method,ink-breaking method,ink-drop method,ink-printing method,coke-ink method,and house-ink method." His unique landscape painting style was created by exquisite brushwork and his aesthetic ideas.The ink and ink language he developed was based on the inheritance of traditional Chinese culture,thus further developing and developing the strong and powerful performance of landscape painting.As for force,it can be said that Mr.Huang Binhong was the most important position and role of brush and ink among Chinese painters in the last century.He said: "The spirit of Chinese painting is based on the entire brushwork." It can be seen that with "strokes are bones and ink muscles," the art style of "smoothness" can be presented.Regarding the use of pens,he advocated that the paintings and paintings were of the same origin: "Mostly painting is like a book,and Chinese painting uses pen and ink.All come from calligraphy." "Drawing is similar to calligraphy." It can be seen that Huang Binhong performed painting on the basis of calligraphy pens,which led to insights such as �using books for painting� and �using paintings for writing�.To draw a pen,there must be "a wave of twists and turns",which comes from his in-depth study of calligraphy and practical experience of Chinese painting art creation.He also used water as a technique in Chinese paintings.Huang Binhong's painting and ink painting and his concept of painting achieved his artistic achievements under the influence of his philosophical and aesthetic thoughts.Through long-term hardships and dedication to art,he has gradually formed a style of painting that focuses on "internal America" and "thorough and generous" in the deep and broad national spirit.This article is a comprehensive and systematic analysis and discussion of Mr.Huang Binhong's writing and aesthetic thoughts.This article has three parts: the introduction,the text,and the conclusion.The text has four chapters.The first chapter is to expound the development of Huang Binhong's "five strokes and seven inks" theory.This chapter mainly deals with the formation process of Huang Binhong's ancient teacher,teacher's creation,revolutionary tradition and the introduction of "five strokes and seven inks".The second chapter explains Huang Binhong's "five strokes and seven inks",and summarizes the development of brushwork and ink method and analyzes it with his creative practice.The third chapter shows that Huang Binhong's painting aesthetic thoughts come from Lao Tzu and Zhuang Zi.His paintings are indifferent to his appearance,pay attention to internality,advocating "internal beauty." He has skillfully applied the pen and the seven inks of the Golden Stone Painting and Calligraphy to the creation of paintings,and tirelessly pursued the imagery of �smooth and nourishing� landscape painting.The fourth chapter summarizes Huang Binhong's influence of the �five-pen and seven-mouse� theory and the aesthetic ideology of painting on the influence of the contemporary art artists Li Ke-ran and Zhang Jian on the road to art.It will play a guiding role for the artistic development of Chinese landscape painting in the future.Based on the concrete examples,this article,based on the study of Huang Binhong's "Wubi and Qimo" theory,seeks to further enrich and improve the true connotation of Huang Binhong's painting art through his in-depth analysis of his painting aesthetic thoughts.This is because Huang Binhong is in theory.Research and practical experience have erected a new aesthetic standard for the development of Chinese ink painting.In short,Huang Binhong has always insisted on the development of Chinese landscape painting through the use of ink and brush on the road of artistic practice,insisting on the pursuit of transcendence from inside the national culture,developing the value spirit of the literati painting,and associating the style of painting and national identity pursued throughout his life.The combination of art practice and national cultural spirit is a lesson we need to learn from.