Techniques of Flower-and-Bird Painting Creation—from Photography to Creation

Author: Zhang Yuan
Publisher:
Publish Date: 2005-01-01
Features: This book boldly draws inspiration from photographic images, introducing the schematic transformation from the life reality of photography to the artistic reality of painting. Through the contrast between photography and painting, it can be clearly seen how the imagery of painting is extracted and summarized from the imagery of photography, and how the brushwork and colors of painting are derived from the light and shadow of photography. Such painting, while drawing on and utilizing photographic images, is by no means "competing with the camera for credit." The author reawakens the belief in traditional Chinese painting that "life is the sole source of artistic creation" and reminds us of the richer means and techniques available to us, compared to the painters of the Tang and Song dynasties, for "learning from nature and achieving the heart's source." This undoubtedly points the way for the vast majority of painters and those learning to paint—a path that may not be a shortcut to immediate mastery but can be cultivated through perseverance, leading to the authentic and legitimate way of artistic creation.
Zhang Yuan comes from a family with a tradition of painting that dates back to the Tang and Song dynasties. Throughout her artistic career, she has steadfastly practiced the principle of "learning from nature and achieving the heart's source": the shaping of artistic imagery should be refined and summarized from life reality, and the changes in brushwork and color should serve and be subordinate to the shaping of imagery. Only when you use exquisite brushwork to depict vivid imagery can it be considered a work of Chinese painting with a distinctive artistic spirit. In her sketching practice, she employs various methods, and the benefits derived from modern photographic images are among the most important. Zhang Yuan's efforts and explorations in this area have multifaceted significance. Fundamentally, I believe it lies in reawakening the belief in traditional Chinese painting that "life is the sole source of artistic creation" and reminding us of the richer means and techniques available to us, compared to the painters of the Tang and Song dynasties, for "learning from nature and achieving the heart's source." This undoubtedly points the way for the vast majority of painters and those learning to paint—a path that may not be a shortcut to immediate mastery but can be cultivated through perseverance, leading to the authentic and legitimate way of artistic creation.