Painting Techniques of Famous Artists Throughout Chinese History Pointing Scene Method

Author: Compiled by the Press
Publisher:
Publishing Date: 1990-09-01
Features: Qing Jiang Ji said in "Records of Painting" that: "Villages, pavilions, figures, bridges are the eyes of a painting." Although these elements often occupy a small proportion in the composition and brushwork of a landscape painting, they can indicate the vitality of human activities and serve as the "eye of the painting," making them absolutely indispensable when creating landscapes. The Ming artist Han Zhuo elaborated extensively on the physical and human aspects of landscapes in his work "Pure Landscape." He particularly emphasized: "To appreciate the landscapes of the four seasons, one must understand the laws of nature and human affairs." He believed that only by grasping the general principles of nature and human affairs can a painter "create scenes according to the season and unleash their creativity." Therefore, when landscape painters are composing their ideas, the initial selection should focus on the physical and human aspects, and they must avoid mistakenly including irrelevant elements that do not fit the specific artistic conception, as this would contradict the principles of life. However, simply focusing on the initial selection is not enough, because there are many elements that belong to the same season and geographical environment. Thus, Qing Tang Yifeng said in "Analysis of Painting Techniques" that: "When adding details, they should not necessarily be present, nor should they be absent if they can be omitted. For example, a pavilion by a waterfall, a water pavilion to welcome guests, a fence protecting bamboo groves, or railings preventing cliffs—all these are essential elements that enhance the scenery. On the other hand, a fisherman reflected in reeds, a traveler with a whip on his back, an incense burner by a piano, or sparse flowers in a vase—are details that can be omitted. Therefore, unnecessary elements are like defiling a Buddha's head; one must avoid deliberately pleasing others by artificially adding details." Since point elements often serve as the "eye of a landscape painting," it is not advisable to have too many of them. Among the elements that are naturally present according to the laws of nature and human affairs, further selection should be made based on the principles of painting—to ensure that these elements either gather, connect, or complement the overall flow of the landscape. This requires careful consideration of the artistic conception, composition, and brushwork techniques of the entire painting, as Qing Qin Zuyong stated in "A Guide to Painting": "Trees, rocks, figures, buildings, bridges, boats, and all other elements must first be mentally mapped out in the mind, then expressed on the brush, to achieve a harmonious and natural effect, neither rigid nor sticky, with a spirit that transcends rules, free from any trace of stiffness. If one starts to contemplate only after putting pen to paper, or only becomes cautious after arranging the composition, it will lead to neglecting one aspect while focusing on another, resulting in countless flaws. This is all due to a disconnect between the mind and the hand, failing to align with the rhythm." This book selects various point elements painted by masters throughout history and categorizes them into seven major groups: figures, buildings, bridges, boats, animals and plants, and miscellaneous. It provides references for readers, hoping that they can fully absorb the valuable insights and create styles and techniques that match the new era during their creative process.