Freehand brushwork View of Chinese Bonsai Art

China's five thousand years of traditional culture has a long history and has brilliant achievements. in the long-term historical development, the Yangtze River has been formed, leaving countless precious spiritual wealth, which provides a prerequisite for our bonsai art creation.

Bonsai art, as a kind of "silent poetry, three-dimensional painting", is also inextricably linked with our other sister art, and it has different characteristics of sister art, that is, it is a living three-dimensional art.

Chinese culture, after thousands of years of development, has formed a complete artistic system that integrates the unique cultural accomplishment, aesthetic consciousness, mode of thinking, aesthetic thoughts and philosophical concepts of the whole Chinese nation, from Gu Kaizhi's "writing spirit with form". Xie he's "six methods", Zhang Cao's "creation of foreign teachers, the source of the heart", to Qi Baishi's "between resemblance and dissimilarity" and so on. Including a series of creative experiences and theories, such as learning, intention, artistic conception, charm, management, program, style, and so on, these experiences and theories not only accord with the general law of art, but also have distinct Chinese style and Chinese verve. Compared with the culture and art of other countries in the world, there are distinct national styles and national characteristics, and our bonsai art is rooted in the deep cultural soil of the Chinese nation. Here we only make some general descriptions of the characteristics and artistic laws of Chinese bonsai.

Throughout the development of bonsai in China, we have experienced ups and downs, and now we are on the track of recovery. It is closely linked with our social economy, although it is the birthplace, but Japan, which threatens to turn our Chinese "traditional Chinese medicine" into "oriental doctors", has come to the forefront of us and made us ponder. But as long as our people strive to be strong, we are likely to catch up with and surpass Japan, because we have a broad and profound Chinese culture, which Japan cannot match. It can be seen that our philosophy is influenced by Laozhuang's "unity of man and nature" and "mutual growth of yin and yang". Chinese bonsai artists realize that the creation of art is a process in which the artist's subjective and objective are unified. It has formed the aesthetic standard of "writing spirit with form" and artistic theories such as "beyond image" and "feeling with predestination". Our bonsai art not only admits that it comes from the objective world, but also attaches great importance to the subjective role. That is, "from nature, higher than nature". This is something that other countries do not have. As a result, our bonsai art has been greatly developed, and the realistic spirit and romantic spirit, realistic methods and romantic methods have achieved a quite perfect combination. Like us bonsai artists, they have done quite well in this respect. The factors of Chinese painting have been injected into our bonsai creation, guiding our bonsai "freehand brushwork" thinking, which is more in line with our Chinese traditional culture. Like the dynamic bonsai of old Mr. he Yisun in Hubei, and the flood and drought bonsai of old Mr. Xu Xiaobai. Especially the students influenced by Mr. Xu Xiaobai, our master Mr. Zhao Qingquan introduced our characteristic cultural bonsai to the world, which can be said to be an important contribution. Of course, there are many artists who have made outstanding contributions in this regard.

Just like Chinese painting, Chinese painters put forward the principle of "writing spirit with form and spirit with both form and spirit" a long time ago. But they saw a long time ago that "resemblance" does not necessarily mean "likeness". This is the same as our bonsai creation. in order to better convey the spirit, the shape can be flexible. just like our recently deceased master, Mr. Lu Xueming, he pioneered the creation of "Big floating branches" and "falling branches." It goes beyond the imitation and reproduction of specific objects, emphasizing the subjective creative function and the expression of the author's subjective feelings. In short, in a word, we should emphasize "freehand brushwork". It is not only a style of expression of Chinese bonsai, but also began to develop into the mainstream of Chinese bonsai. "freehand brushwork" is a major feature of our Chinese bonsai.

The so-called "freehand brushwork" does not simply depict ambiguous images and ideas, but refers to the sum total of our bonsai producers' profound understanding of the nation, society, the times and nature. It is a kind of consciousness and a kind of spirit. Therefore, it is different from concrete imitation and abstract dissimilarity, but mainly through the image, and beyond the image, express people's feelings, will and inner temperament, and attach importance to the direct expression of human spirit. Freehand Chinese bonsai is both subjective and objective; it is abstract and concrete; it has the factors of reproducing objective objects and expressing subjective feelings; it is bold and meticulous. Performance is naturally the process of our feelings. This kind of combination is so appropriate that it is really "the blending of things and me", which makes man-society-nature become an indivisible whole, and its ideological connotation and aesthetic value go far beyond the natural image of potted plants.

The concept of freehand brushwork makes the bonsai production in China get rid of the limitation of the concept of time and space and pursue the freedom of artistic expression. It emphasizes the macroscopic grasp of the world, which is called "the big view of the small", and advocates observing the world from the perspective of history, overall situation and development. It can transcend the complex time-space relationship and make a general and free description of the complex objective world. In terms of landscape bonsai, thousands of rocks, mountains, mountains, rivers, these natural scenery can be freely combined under the hands of bonsai artists. The bonsai artist can synthesize what he sees, knows and wants into a macro consciousness. "the creation of heaven and earth is tailored with it, the yin and yang is greatly changed, and it is allowed to divide and combine." The works created in this way are neither a simple reappearance of objective things in a specific time and space, nor a random display of subjective arbitrariness, but an artistic realm that transcends the appearance of time and space after the blending of the objective world and subjective feelings. This kind of realm tacitly understands the law of nature, and the scenery it depicts is so real that it can swim and live, but it is an extremely perfect illusory world detached from reality.

Because it does not rigidly adhere to "resemblance" and incomplete "imitation" of nature, but it is conducive to the grasp of the inner charm of things and the transmission of subjective feelings, Chinese bonsai has gained a lot of freedom. there is a good situation of flowers contending, such as Lingnan School, Shanghai School, Yang School, Su School, Sichuan School and Hubei dynamic Bonsai.

Our bonsai art is poetic, which is different from other countries. It advocates implication, talks about qu Zang, defeats more with less, substitutes emptiness for reality, and plans white when black, and so on, which strengthens the expression of our bonsai language and induces the viewer's rich imagination, just like our literati tree. Suren monk is an outstanding representative. That kind of detached artistic conception allows our hearts to be purified again and again. Chinese bonsai art absorbs the quintessence of sister art, which has the charm of Chinese painting, the philosophy of literature, narrative, lyricism, rhythm, uniqueness and decoration of artistic techniques. it has become a kind of comprehensive art with strong integration and large capacity.

The artistic conception creation of Chinese bonsai is first of all the result of a series of internal achievements, such as the producer's feeling of life, image thinking, artistic ideal and so on. at the same time, it must also carry out repeated and highly artistic processing, requiring the producer to work hard and painstaking efforts. Ingenuity, ten years of protection. We have to work hard in this respect, and our attitude should also be extremely serious. As du Fu, a great poet of the Tang Dynasty, said, "you are ingenious and miserable, work hard" and "do not surprise people and die endlessly".

Rich imagination is very important in artistic creation. when reflecting objective things, people not only perceive the image directly felt at that time, but also have a special psychological ability, so that people's purposeful labor becomes possible. One of the tasks of artistic creation is to induce the viewer to enrich the association.

Of course, Chinese bonsai can not exclude the absorption of all excellent cultural and modern artistic factors, and it can become a reliable basis for the development of Chinese bonsai modernization, opposing narcissism, arrogance, arrogance and even working behind closed doors. In history, in the Wei, Jin, Southern and Northern dynasties, Tang Dynasty and Ming and Qing dynasties, Chinese civilization was successively influenced by some countries and ethnic tribes in the Western regions, and absorbed and integrated the excellent culture of other nationalities. in ancient times, it was called "changing Yi into Xia". Now it is called "foreign things serve China". Today, when bonsai technology from all over the world enters China with the help of our opening to the outside world, Chinese bonsai experts are still as bold as their ancestors to study it, examine it, and integrate it, making it a nutrition for the further development of Chinese bonsai. Our Chinese bonsai can be highly appreciated and recognized all over the world.

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