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漫谈写生与技法 Painting from Nature and Techniques 关于写生 About Painting from Nature
常常有人问我：怎样画好水彩画？我思考再三，最后仍是那句老生常谈：多写生罢！这是我多年艺术实践后，重新感悟到的。 Every time when people ask me about how topaint watercolor well, I would think it over and responses: you’d better go outfor painting as much as possible. This is my experience refreshed through yearsof artistic practice.
中国唐代画家张璪曾说：外师造化，中得心源。我想这应该是对写生这一形式最好的诠释了。写生不仅表现了画家独特的视觉美感和思维，也让画家逐步寻找到自己的艺术语言。因此，写生是画家成长的必由之路，是画家形成艺术风格的最佳途径。尤其是水彩画家，更要认识到水彩写生是这个画种的重要特征之一。 Zhang Zao—Chinese painter from Tang Dynasty—saidthat “To learn from the nature outside, to get muse from the heart inside”. Iregard it as the best explanation to paint from the nature. Because it is notonly represent the painter’s visual aesthetic feeling, but also helps thepainter to find his own art words gradually. That’s why we say sketching is theroad a painter must follow, and the best way to form the painter’s style.Especially, it is more important to realize that watercolor sketch is a keyfeature to watercolor painting.
写生是面对实景当场完成作品，面对大自然的千姿百态和鬼斧神工，画家要全身心投入，要迅速捕捉景象特征，抓住感受。每笔下去松了也不行、紧了也不行，松了感觉就苍白了、不实在了。紧了呢？又会让人感到太具体、太呆板，失去了味道。此时你就会苦于眼与手的不相协调，产生很多的苦恼和困惑。那么你唯一的选择是：坚持写生，磨练而又磨练，最终你对水彩艺术所有的疑问就可以得到一个满意的回答。通过写生你可以得到以下两方面的训练: To take a sketch on the spot needs a painterconcentrates on nature’s panorama of action and shape, and catch the sight andfeeling quickly as well. When he starts painting, each stroke should be neithertight nor loose. For being loose will make the picture look pale and unreal,whereas being tight will make the picture look too concrete and sterile toobtain the original taste. At this time, the painter will be tortured by thedisunity between eyes and hands. As a result, a lot of puzzlement will comeout. If you have such a problem, I think your only choice is to keep onpainting from nature, keep on practicing. Then one day you will find asatisfying solution to your problems. I think paint from nature can help youimprove in two ways:
一、驾驭色彩的能力 I. Theability to master colors 当我们接触水彩画时，认识与表达色彩的能力是我们首要解决的课题。在理论上，我们可以通过多方面来了解色彩的有关知识与规律，但是这些来自书本上间接的认识，绝不可以取代你自身的实践。因为艺术本身往往很难完全用文字去表达。真正控制色彩的能力，还是必须从写生中训练出来。比如大家都知道原色与复色的关系，原色与补色的关系等色彩规律，但是要将这些规律具体运用到作品中去却仍是一件很不容易的事情。因为自然界的色彩是变化无穷的，有时对比强烈，有时变化微妙，哪种对比、哪种和谐、哪种颜色具有力量，都是必须要求我们从实践中积累出来的，尤其是那种恰如其分尺度的把握，更是对色彩高度认识的反映。写生实践可以使水彩画技法得到具体的应用，在写生之初，往往人们都对技法略有所知，甚至有人通读了许多相关书籍，但是当你面对大自然，仍会感到困惑和不知所措。原因何在？因为书本的那些间接经验不足以表现变化万千的大自然。古今中外，不知有多少大师同叹，要师之于自然！那么要认识自然、表现自然，就要掌握自然的规律才能够主动地、生动地从自然的表象中整理、提炼它的本质，使我们对艺术的规律有所认识与掌握。 When we get in touch withwatercolor painting, the first problem is to know and represent colors.Theoretically we could know relevant information and principles from manyaspects. But this knowledge is so indirect that we can not replace practicewith. Art is always difficult to be represented by words. The ability to mastercolors should be obtained by sketch. For example, we all know the relationshipbetween primary and tertiary colors as well as between primary andcomplementary colors. But it is still difficult to apply these principles intoworks. Colors in nature are changing constantly--it is sometimes contrary,sometimes subtle. But no matter what kind of contrast or harmony it is, orwhich color is powerful, they are determined by painter himself through hisaccumulation from sketch. So appropriate grasp of colors can show painter’sdeep understanding about colors. The application of watercolortechniques can be improved through paint from nature. At the beginning, peoplealways know ABCs of techniques. Some people even thoroughly read many relevantbooks. In spite of this, one may also feel puzzled in front of nature. Why?Because the indirect experience you read from books cannot represent greatchanges in nature. From ancient to modern, from domestic to abroad, countlessmasters exclaim that we need to learn from nature. In order to know andrepresent nature, we need to master its laws. Only in this way can wepositively and actively classify and extract essence from superficial objects.Then we can study and master these essences at last.
我们都知道色彩的空间透视越远就越冷，或者越远就越灰，还知道近处的对比强，远处的对比弱，更知道受光比背光暖，天光比阴影冷。但是知道之后呢？就应该在大量的写生中将这些规律性的理论，演变成你作品中斑斓的色彩，当你的画技日臻成熟，你就能主动参与这些变化，并且利用他们使自己的颜色更生动，更富表现力，这时你就有了驾驭色彩的能力。 We all know the truth thatperspective is the further the cooler, or the further the grayer. We know thatcloser the objects locate, the stronger the contrast is. We also know thatreceiving light is warmer than backlighting, and skylight is cooler thanshadow. How to deal with these principles? We need to transform them intocolors in the picture. When your art techniques are becoming mature, you willbe involved in the transformation and use them to make the pictures moreexpressive than ever before. At this moment, you will master the skill ofcoloring.
二、表现物象的能力 II. The ability to representimages 法国布丹说：“当场画下来的东西，总是有一种以后在画室里所不可能取得的力量、真实感和笔法的生动性”。这表明了写生的真正内涵。然而当我们面对大自然景物时，往往是非常矛盾的。一方面我们被大自然的美好所迷恋倾倒，另一方面却又不知从何入手加以表现，这正是大多数画家所困惑和思考的问题。通过写生就能够训练你逐步掌握正确的观察方法。“我们要塑造一个形象，就应该知道这个形象是怎样的”吴作人曾这样说，这句普通的话道破了艺术表现的根本。首先是我们画家的眼睛——即观察方法，有人认为写生是训练我们用手的技能，实际上是在训练我们的眼睛，手的表达是通过眼睛传达的信息，那么眼睛看到的是否整体将直接导致手的表现，因此写生是训练我们掌握正确观察方法的首要途径。有了正确的观察方法，才能使人们在纷繁复杂的物象中，抓住要领，通过概括、取舍、夸张，才能够更集中、更典型、更主动的去表达你的感受。这种“主动”的表现与“被动”摹写将产生截然不同的艺术效果。 Boudin from France once said, there is alwaysa kind of irreplaceable, real and vivid spirit in the picture you drew on thespot. It shows the real meaning of paint from nature. But when we face thenature, things may come to be a confusion that many painters will have. For onething, we are overwhelmed with beauty for the nature. For another, we’ve noidea about where to start with. This problem can be solved by painting fromnature, from which we can master the correct way of observation gradually. “Whenwe are going to shape a figure, we should know what it is.” said by Wu Zuoren. Thiscommon statement points out the foundation of art representation. Somebodymisunderstands the purpose of sketch. They think it is used to train painter’shands. On the contrary, it is used to train painter’s eyes. Hands just executethe information that eyes’ received and processed. So whether eyes could seethe whole thing will influence the hands’ performance directly. That’s why werepeat that painting from nature is the primary way of practicing observationskill. Observation skill has many functions: it can help us grasp the essencefrom complicated and disordered images; it can help you to represent feelingsmore concentrated, typical and positively by way of summary, choosing andexaggeration. This positive representation will have totally different effectcompared with negative depiction.
综上所述，不难看出无论是色彩能力的培养与训练，还是观察、表现物象的手段与形式，都离不开踏实的写生实践，只有这样，我们的艺术作品才能够具有生命力，永远立于不败之地。正如梵·高日记中所言“我希望尽可能的多画些习作，因为习作是未来产生绘画作品的种子。”“播种越多，就越渴望丰收”这是艺术之道的真谛。初学者，可以以写生作为学习或色彩训练的目的，也可以把写生当作创作前的准备。但作为成熟的画家，成功的写生本身就是一种创作。常画写生可以破一破画家旧有的套路，刺激一下画家早已麻木的感觉，我们的画家应走出画室的“象牙之塔”奔向大自然那广阔的“十字街头”。 Above all, it is easy to see that bothtraining of color and observation of images need sketching. Only through thiscan our works be guaranteed to be vital and invincible. As Van Gogh said, “Ihope to do more exercise. It is the seed which will produce works in the future”.“The more you plant, the more you are eager about harvest”—that is the truenature for arts. To beginners, paint from nature can be used as exercise forcolor training, or preparation before invention. But to mature painters, apiece of successful sketch is a piece of works itself. Sketching frequentlywill help you get rid of routine and stimulate you as well. Good paintersshould go out of the studio as “Ivory Tower” and run into the nature as a wide “crossroad”.
关于技法 Techniques
似乎行里行外的画家们谈到水彩画，无不谈到“技法”问题，给人们的感觉是技法是水彩画成功的关键，其实这是一种误区。所谓“技法”一般是指创作过程中的技巧与方法。一件成功的作品是作者艺术综合素养的体现，只掌握了一些所谓“技法”是不可能产生高品位作品的。画者以摆弄绘画技巧，并对能向别人显示自己的技巧而感到沾沾自喜，把技法视为创作成功的百宝箱，这委实是件本末倒置的事。另外，就人们所谓的“技法”来讲，往往水彩界的认识也存在一些片面性，传统一点的技法之说，有“干画法”、“湿画法”及“干湿并举法”云云，而且据说水彩画最多只能画三遍，否则将失去水彩画本体语言——透明性。如果说水彩画与其它画种一样能够表现纷繁不同的社会生活的话，那么这种“技法”显然是一种束缚，局限性不言而喻。罗丹说：“真正的艺术是忽视艺术的”。同样真正的技巧是忽视技巧的。对造型艺术本质上的认识，对色彩深层次的理解及相应基础的训练，提高艺术修养才是水彩画创作应着重思考与解决的课题。 It seems that every painters, nomatter trained or untrained, will mention techniques when they refer to arts.So this transits a misunderstanding that techniques are keys to the success ofwatercolor painting. Techniques are the way you create a piece of works. Asuccessful painting is the result of the painter’s comprehensive accomplishments.Only with some techniques could not produce superior works. If a painterflourishes his techniques, swells with pride and regards it as a treasure box,it is like “put the cart before a horse” indeed. Besides, as far as techniquesconcerned, some one-sideness exists in the watercolor world. The traditionaltechniques can be summarized as Dry Drawing, Wet Drawing, Wet and DryDual-drawing etc. It is said that watercolor pictures can only be painted threetimes at most, or it will lose the ontology-based words—the transparencyexactly. If we say that watercolor painting can represent changes in sociallife as the other types of paintings, then this technique of watercolor is akind of constraint. Its limitation is undoubting. Rodin once said that the realart would ignore the art itself. Similarly, the real techniques will neglectthemselves too. What watercolor painting needs to think carefully is to deepenthe understanding on moulding, coloring and relevant basic training, as well asimproving artistic cultivation. 下面我就一些具体写生作品谈一下画面中的基本构成因素的表现。 Next I will talk with examples about the fundamentalelements in pictures.
1、取景与构图 1. Framing and Composition 印象主义画家惠斯勒说过：“大自然中固然包含着一切图画的色彩和形式因素……但是一个艺术家就是要科学地取舍和组织这些因素，这样做，其结果才可能是美好的。”实际上，在写生过程中取景很大程度上已经决定了构图，当然，画家在这样的过程中是要起到能动作用的，绝不能沦陷于对景物的客观描摹。画家要把各种事物主观的去调整、归纳并将其置于相应的位置，以便产生明确、清晰和有力的效果。在构图中最难处理的应该是前景，因为透视现象的产生，前景处理不当就会显得大而空，那么在画面中调整前景面积或者移花接木整合其他景物入画，便显得非常重要了，但这样的主观处理，要求艺术家能够把握艺术组建中形式与内涵的贴切，做到即符合自然规律又不能破坏画面的整体意蕴，否则就会变成杂盘拼凑、无法无章。 The Impressionist Wistler oncesaid: “Nature includes all the colors and form elements…but a professionalartist need to organize and choose these elements scientifically. In this waycould the result be fine.” In fact, composition in painting from nature isdetermined mostly by framing. Of course the painter himself will play a role inthe whole process in order to avoid any objective depiction. Painters need toadjust and classify these images into proper positions to produce clear andimpressive effect. The most difficult thing to handle with in framing isforeground. Because of perspective, weak foreground organization will make thepicture be empty and unreal. So adjusting the area of foreground orsubstituting it for other images seem to be important. But it requires theartist be able to master the appropriation of both form and connotation in theincorporation. That is to say, the painter should obey the natural principlesas well as destroy the meaning of the whole painting, or the picture will turnto be a scratchy, badly organized failure. 2、色与光 2. Color and Light 我常发现许多学生在为调配色彩而大费气力，我会告诉他们水彩画的色彩表现不仅仅是技巧，关键的问题是在于在什么地方、什么时间、怎样的运用这些缤纷的色彩。文艺复兴时期威尼斯画派画家卫洛内看着雨后泥泞的道路说：“我可以用这种色调表现出一位金发少女”。梵·高也说：“没有黄色，没有橙色，就没有蓝色”。何等的精辟、精彩。作品中的色彩效果产生于色与色的关系之中，而不是孤立的去看待色彩的脏与鲜，只有有效的运用色彩，才能使作品令人赏心悦目，同时又具有内在意义。 I always notice that art studentsmake great effort on color scheme. So I tell them that color representation inwatercolor painting doesn’t mean techniques only. The key lies in where, whenand how to use these colors. Wallowney from Venice School in Renaissance couldlook at the muddy road after rain and saying “I can draw a blond girl with thiscolor”. Whereas Van Gogh said: “If there is neither yellow nor orange, therewill be no blue.” How incisive they are! Color effect doesn’t come fromisolated attitude towards dirty or fresh colors, but comes from therelationship among colors. Only by applying colors effectively, we can producebeautiful pictures with rich meanings.
光是水彩画具有特殊美学价值的表现因素，水彩画材料本身也适合表现光，光线的和理运用往往可以使画面获得意想不到的效果，《造船厂》画面中最精彩的部分要算前景大面积船底和投影，所形成暗部中的那一抹光。这抹光使整个暗部有了精气神儿，又呼应了上半部天光的明亮，画面因这束光显得整体而和谐。但光决不是画面表现的全部，有光、无光都可以呈现画面的和谐，例如《静静的小巷》和《阳光下的古巷》是我在不同天气状态下的写生作品，画《阳光下的古巷》时天气阳光明媚，所以画面我是在大的明暗关系中寻找平衡，这里要强调的是暗部绝不是漆黑一团，画面的丰富性往往都是在暗部中得以体现，但是画面所表现出来的对比强烈，绝不是明暗关系中纯粹明度上的差异，更是由繁简关系辅助达到的。《静静小巷》则是一个阴雨天，没有光，于是我着力表现景物的固有色，在固有色笼罩下的整体灰调子中，充分利用线与形的构成和排布，完成画面语言的丰富表达。 For one thing, Light is an elementwhich strengthens watercolor painting’s aesthetic value. For another,watercolor pigment is apt to represent lights. Appropriate management of lightscan cause surprising effects. For example, in the “The Shipyard”, the marvelouspart in the foreground is a hint of light in the shade formed by a large areasof the bottom of the boat and the projection. This beam of light made the wholeshade full of spirit, and chimed with the upper portion’s bright skylight. Thewhole picture seems harmony and unified by it too. However, light is not the onlything that matters the picture. In fact, no matter there’s light or not,painters can represent the harmony in the picture. Taking my two works “TheSilent Alley” and “The Old Alley in the Sunshine” as examples. They were drawnin different whether conditions. “The Old Alley in the Sunshine” was drawn whenit was sunny. So I seek the balance with bigger light and shade relation. But Ishould point out that shade is not dark. A picture’s richness is alwaysrepresented by shade. Strong comparison in the painting is not achieved bycomparing light and shade, but by careful handling of their simple andcomplicated relation. “The Silent Alley” was drawn in a rainy day and there’sless light. So I paid more attention on intrinsic colors, made full use of thecomposition and layout of lines and shapes in the gray hue background. 3、秩序与构成 3. Order and Composition
美国美术史家费尔德曼提出：“我们称谓的美，是任何整体中各个部分之间和谐关系的结果。艺术家的工作就在于把自然界中的秩序运用到作品中去，秩序把瞬间变成了永恒”。自然景物是纷繁复杂的，我们都知道，艺术家要具备能够提炼自然、概括自然的能力。《繁忙的港口》画的是威尼斯水上运输繁忙的场面，场景复杂、物品凌乱，于是我将画面的远景建筑处理成淡淡的大色块以使画面整体协调，中景是我绘画的重点，为了表现繁复的场面，我运用色点和色线以写意的方式进行空间的构成与秩序排布，于是整个画面既保证了统一和谐又将场面的喧闹繁华表现得淋漓尽致。同样，《海滨渔船》一画中，对于船帆的处理也是如此，我并没有仔细的刻画彩旗的数量，因为无论画出多少面旗子，欣赏者看到的都是具体的数字，可我若以色点代替它，就能以一当十，欣赏着看到的就会使是“很多”。“一生二、二生三、三生万物”的道家思想是此类画面表现的真正方法。 The American art historian Feldmansays that the beauty what we called is the result of harmony relationship amongportions of one unity. The artist’s work is to apply natural order in painting.This order turns the moment into the eternity.” We all know that artists shouldhave the ability to extract and summarize the nature. “A Busy Port” describes theimage of busy transportation by boat in Venice. The shoot is complicated and discarded.So I changed the establishing shot into light block tones in order to maintainharmony. And the medium shot is the important part in this painting. I adoptedspots and lines with free style to achieve the cubic composition and order. Sothe whole picture guaranteed unity and represented the natural conditioncompletely as well. Similarly, in the “The FishingVessel near the Seashore”, I handled with the sail in this way too. I didn’t depictthe colorful flags according to its real numbers, because audience wouldn’t beinterested in it. In stead, I used dots to take place of real flags. It camewith the same effect. Taoism thought as “The one gave birth successively to twothings, three things up to ten thousand” is the very method for painting thiskind of image.
人们常说，艺常在、技无穷，“一画之理不明”是在谈绘画的技法，但又容易因囿于“法”而形成障碍。事实上，绘画之法诞生于创造性，真正的画法是根据个人面对自然造物感受的不同而创造出来的。就风景而言，西方人对色彩的敏感、对光的关照，与他们的民族文化、地理、气候等因素有关，地中海的阳光使得威尼斯的水中漂荡的是色彩。而中国的南方水乡就不适合用色彩去表现，黛瓦白墙倒映于水中那就是水墨画，着色就会显得不和谐。再拿人物画来说，西方人的骨骼结构较之东方人更加的立体，人种的区别以及历史的沉淀使得东方人含蓄、柔和，体现了东方人美的特质。西方人则性格自由、个性张扬，表达在画面上则色彩丰富、视觉冲击力强。所以在绘画上，东方人的绘画强调线，曲径通幽；西方人强调空间、立体和色块。依此而言，画法就更应该是观念而不是具体、固定的方法，作品必须产生自己的“法”才会使任何障碍都能从作品上消失。 People always say that the artsexist forever, and techniques varied. “Unclear about the law of one stroke” isreferring to drawing techniques, means that each stroke is limited bytraditions. As a matter of fact, drawing laws come from creation. They arecreated by painter’s personal feelings toward nature. As scenery concerned,westerners’ feeling to color and light is related to culture, geography andclimate etc. For example, in Venice, color is seemed to be floating on thesurface of river because of Mediterranean sunshine. On the contrary, southernvillages along rivers in China are not suitable to be painted with oilpainting. The layers of black tiles on the roof of the white houses aresuitable to watercolor painting. Oil painting will lead such a picture into disharmonizedone. Another example can be raised byportrait painting. Westerner’s skeleton is much more cubic than that of easternpeople. The difference in human species and history results in two differentkinds of people: easterners are implicit and soft; while westerners are freeand individualized. Maybe this can explain why westerner’s pictures arecolorful and impressive. When these characteristics are combined in painting, differencesappear: easterners’ works emphasize on lines, indirect beautifulness, butwesterners’ works emphasize on space, cubic and color. In summary, drawing lawsare concepts more than concrete or fixed ways. As long as independent drawinglaws are formed, obstacles will be got rid of the pictures.
上述所谓技法在绘画中互相渗透、利用，无法独立存在，如此分谈只为述说之方便，况且技法之说，挂一漏万，脱离了具体画面，孤立的去谈笔色与技巧所有的技法就都失去了价值，“无法而法，乃为至法”，依然是技法追求的最高境界。 The above techniques can not beindependent from each other. I talk about them separately because I want tomake my explanation clear. Besides, I am afraid to be fragmentary. But weshould know that isolated discussion on color and techniques is valueless. “Forgreat is law without limitations”, that is the superior condition for pursuingdrawing techniques.
赵云龙 Yunlong Zhao 【作品展示】
【原创】 水彩研究编辑整理，转发请注明出处 |
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