"Since I talked about the accumulation of 5,000 years of China, I would also like to talk about my understanding of Chinese painting by the way. ”

Qin Huai extended the above topic a little.

In a class, more or less a little concept.

In this way, the content of the lecture is rich enough.

began to talk about professional artistic concepts, Qin Huai's painting style changed from a serious face to a sudden dance.

The familiar painting style is online, and I can see the strange deeds under the podium, this is the most handsome moment for Qin Huai's little brother.

Guo Heyang, a Song dynasty man, once talked about landscape painting, and he said that the most supreme realm of landscape painting is that it can be viewed, can be traveled, and can be lived.

In the same way, figure painting and flower and bird painting can be talked about and shared together.

As Su Dongpo said: The breeze on the river, the bright moon in the mountains are the endless hidden by the creator, and I am compatible with all living beings. ”

Qin Huai talked about the depths, and couldn't help but throw out all kinds of theories and allusions, which can be called like a river, and at the same time, the painting style is becoming more and more amazing.

However, the students in the audience looked confused.

This is the normal style of painting in a theory class.

If you don't experience it firsthand, you will only feel empty and boring.

Qin Huai groaned slightly.

"I don't know if you have seen the Ming Dynasty landscape painting 'Qiulin Reading Map' presented by the British Museum with 3D technology?"

Qin Huai suddenly remembered a video that he had encountered by chance.

pity

He didn't prepare for the class in advance, otherwise he could let the students feel what is called Chinese landscape painting.

If you can find that video, you can vividly explain Guo Heyang's theory of landscape painting.

"Little brother Qin Huai, I've seen that video, and I've saved it. ”

Hearing Qin Huai's sigh, a female student got up from her seat excitedly.

"Come to the podium and put it on the projector. ”

Qin Huai hurriedly beckoned.

A few minutes later.

The British Museum's 3D display of the 'Autumn Forest Reading Map' slowly unfolds.

A scroll of classical diagrams, slowly spreading.

The elegant brush and ink outline an ancient tree with lush foliage.

A hundred years of vitality is on paper.

The camera slowly shuttles through the forest,

I saw that what fell in front of me was an autumn forest, the autumn forest was born around the water, and there were a few red maples in the forest.

A flock of wild ducks flew over the water, and the fallen leaves fell down.

A scholar settled at the water's edge, a woodcutter chopped wood in the mountains, an old man fished by the water's edge, and a fat mandarin fish was caught off the water's surface.

Every scene seems to be moving, and everyone seems to be living in a picture.

There is charm everywhere in the picture axis, the tree seems to be a real tree, and the people are really living

The students in the audience tasted silently, and suddenly gave birth to a vision of 'forming a thatched house near the water in the mountains, serving vegetables by the house, stroking the qin under the Panasonic, roaring the moon by the stream, watching the changes of the four seasons in the mountains, and tasting the unity of nature and man'.

This vision is in line with the concept that Qin Huai just said: 'The best realm of landscape painting is that it can be viewed, swimmed, and lived.' ’

This is the artistic concept that the Chinese family has developed for 2,000 years.

It is no longer limited to a single individual, no longer limited to basic geometric structures, and no longer pays attention to the contrast of light and shadow.

Instead, it is to integrate the spirit and spirit into nature, chase a higher level of Tao, and create an independent space that can be lived in.

Like a god, he creates things with pen and ink and talent.

Surprised.

The best realm of landscape painting is that you can see, swim, and live.

This sentence may be bland when viewed alone.

But watching it with the video, there is a feeling of shock.

It turns out that Chinese painting is like this!

Qin Huai looked around calmly.

Surprised?

There was something even more surprising.

Wait until I tell you.

Qin Huai pondered for a while, and then slowly spoke, his voice was very good, the Adam's apple was rolling, and with his demeanor, this style of painting would even make men shake:

"As we all know, Chinese painting has no three-dimensional composition, no perspective, no subdivision of its angles, and cannot be seen from the degree of solidity"

Qin Huai pointed to the Qiulin reading map on the projector.

The students nodded their heads one after another, with a slight helplessness in their expressions.

It is precisely because Chinese painting does not have a systematic perspective method that it has always been criticized.

Many painters have used this to criticize Chinese painting, saying that the techniques and concepts of Chinese painting are too backward, and only by innovating with Western concepts can Chinese painting be saved!

Although this argument is very infuriating, there has been no reason to refute it.

We really only use scattered perspective!

What kind of unusual rebuttal will Qin Huai's little brother have?

If it can really gain a firm foothold, Chinese painting will not be criticized!

Thinking of this, the students stared at Brown Huai with strong expectations.

"The core concept of Chinese art is 'the unity of man and nature'. In landscape painting, if the painter wants to reach the height of the unity of heaven and man, he must integrate himself into the mountains and rivers and turn himself into a god. So what does God's perspective look like?"

Qin Huai's words exploded like a thunderbolt.

I see—God's perspective is to look down on everything and do whatever he wants?

Qin Huai's little brother's explanation is slightly stronger!

The root of Chinese culture is this, God is not high, people can become gods by making merits.

Therefore, when the ancients painted, they should regard themselves as gods, stand at the height of creation, and create a landscape painting in which capable viewers have the impulse to settle in it by virtue of their talents and patterns.

"In my opinion, Chinese painting is actually like aerial photography, with a bird's-eye view as the subject's perspective, and a close-up view as a head-up and upward gaze.

In fact, in my opinion, isn't it ahead of its time that Chinese painting has tried to turn a flat scroll into a video, into an independent space?"

Qin Huai's words fell, and applause erupted.

They have already entered the Qin Hezhou Cult.

The logic of each theory is so tight that it is so tightly explained.

If you don't join the church now, when?

Qin Huai raised his hand and pressed it, signaling that the students did not need to applaud.

"I've talked about it, do you know how to appreciate Chinese painting now?"

Forehead.

Forehead.

"From the perspective of the mountain god, overlook. ”

A male student stood up, a little emotional.

Today's class refreshed too many inherent cognitions, because this male student couldn't help but tremble in his voice, and his heart was beating very fast.

That's a good answer, but there's a more fitting word – iQue. ”

Qin Huai praised a sentence, and then said two words more concisely.

Fugue

Fugue

It's really apt and profound!

None of the Chinese paintings can be understood with just the eyes.

You have to be fugue to be able to perceive its mysteries.

Just as Shen Fu wrote in the Six Flags of Fusheng: "The concave and convex places of the relaxing earth wall, the small grass of the flower platform is mixed, and the body is squatted to make it in line with the platform." Concentrate on the careful view, take the grass as the forest, the insects and ants as the beast, take the gravel as the mound, and the concave as the gully, wander in it, and be content. Therefore, there is an interest outside the object. ’

The fugue landscape painting can know the magnificence of the rivers and mountains.

The fugue figure paintings can give a glimpse of the philosophical thoughts of the ancestors.

The painting of flowers and birds can tell the spiritual interest of living beings.

"No, let me take care of it"

"For me, Qin Huai's little brother's point of view has somewhat subverted my previous cognition"

Over the past 100 years, due to the influence of innovation, the technical language and aesthetic consciousness of Chinese painting, with brush and ink as the core, have become more and more marginalized, and even have been discontinued.

Chinese painting has been tirelessly pursuing the expressiveness, freehand, nature, rhythm, rhythm, bone method, light and heavy, yin and yang, and obscurity

The theory that "mountaineering is full of love in the mountains, and watching the sea is overflowing in the sea" has been replaced by the Western structure and shadow color.

Over the past 100 years, there have been too many Chinese painters who have not hesitated to destroy the national context in order to cater to the mainstream aesthetics of the West.

Qin Huai is a countercurrent.

Before that, no one had raised the idea of iQue, but as soon as Qin Huai mentioned it, they suddenly realized that their previous troubles suddenly became clear.

It even resonated from the depths of the heart, as if these two words had been hidden in the blood and never disappeared

The word iQue is the essence of it!