How to put down your painting ideas correctly?

Pursuing the ideological content of painting As a painter, no matter how profound your theoretical accomplishment is, you still have to speak through your works or rely entirely on pictures to impress and infect people. It is successful to arouse the audience's voice. How can I change my mind perfectly in the picture? I think we should first have a correct guiding ideology as the premise, and then love life, practice more, discover, refine and intercept in life. My guiding ideology is to express my true feelings at all times and seize the initial touch in life. Understanding traditional art, but getting rid of its norms, can integrate the strengths of a hundred schools of thought and dare to make bold choices. Pursuing the emotion, meaning and environment of the picture. All unscrupulous means should serve the ideas and artistic effects in painting. As far as my works are concerned, many works are produced in this way: the first impression of collecting wind in the Sichuan-Tibet Plateau is the sky blue. How can it be so blue and deep, as if it were within reach? I want to touch it and hold it in my arms. But it is far away and ethereal, without a trace of texture and taste. It is silent, the moon is clearly visible in the clear sky, and the snow-capped mountains in the distance are like lace inlaid with satin-like blue sky and grass. Being in it, I look a little trance. Is this heaven or earth? Is this the legendary paradise ... It is easier said than done to convey this emotion to the audience in the form of painting. The landscape painters in the same trade are puzzled. When she can show the breath of Sichuan and Tibet with flower-and-bird paintings, I first make the sky blue enough in color, and then make the sky big enough in composition to reach the limit, with low horizon and heavy ink color. Through such disparity and contrast, a strong visual impact is formed. A white snowy mountain is dotted between heaven and earth, with grass and wild flowers as the reference. The moon is an elf in the sky, facing it alone. I reduced the brightness of the moon for the artistic effect of the whole picture. But it still reflects its brightness in the sky. This is my creation "Heaven and Earth". The expert friend read it and said, "This is a new field of flower-and-bird painting, which is a big flower-and-bird painting set off by mountains and rivers." The conception, material and expression of this painting are hard to find in traditional flower-and-bird painting. It is a gift from nature, the result of in-depth life, and the embodiment of a modern thoughtful painter's artistic accomplishment. Mr Jia Pingxi commented: "The Qinghai-Tibet Plateau painted by Ceng Yingchun is very good. Fortunately, there are conditions and feelings, and the proportion of light and shade is correct. Only a few people have the right ratio of light and shade in ancient and modern Chinese paintings. " "Frost Beats Five Nights to Dream Beauty" was painted in the autumn of 1988. My husband and I went to his hometown in southern Liaoning to visit relatives, while sketching and collecting creative materials. One morning, we passed a farmhouse and looked over the courtyard wall. Suddenly I found a few lush dark green branches and leaves in front of the window, holding rouge-like flowers, which was beautiful. The door was locked, because we were all villagers, so we climbed over the wall and went into the yard to watch the research at close range. Several clusters of the whole plant are reclining, with dark green leaves hanging down and rouge flowers hanging their heads, all of which are slightly faded. But it is charming and has a good trend, which is many times more moving than the gaudiness in full bloom. It turned out that they were frosted last night, and the sunshine today or tomorrow will soon make them completely wither and wither. I love and regret them too much, and that kind of sadness makes me unforgettable. At night, I have been thinking about this flower, its beauty and its life, so I whispered, "The rouge on the first floor is dark green, and the wind holds the sun and kisses the moon." When Lu Xiao comes out of the bath again, the frost will hit the dream of Wugeng again. "Audio images have been highlighted, and silent poems are certainly not far away. Before you start writing, you should think clearly about the composition and expression methods, what artistic effects you want to pursue, what you want to keep, what you want to reduce and what you want to add, and use the picture to completely retain and show the wonderful elements that make people tremble. The painter's comprehensive cultivation and taste are the key. A scholar wrote this to my work: "Ceng Yingchun belongs to a rare intellectual painter in China who concentrates on the spirit of Western art.. Every painting is a philosophical discovery. Every painting is a silent poem. She absorbed the essence of China's traditional culture and drew lessons from some expressions of western painting. Her conception is ingenious and profound, full of melancholy, mystery, obscurity and ethereal poetry. Its profound insight, high generalization, extraordinary artistic passion, broad-minded and free-spirited style have attracted countless appreciators, lovers and collectors, forming a de facto new Chinese painting. "Reverse thinking is my instinct. I'm interested in subjects that others don't like. As long as you manage them skillfully and inject your thoughts, you will turn decay into magic. With the satisfaction of the soul, everything will come alive. I drew a broken spider web with bees and flies hanging upside down on the roses. I drew this name "...", this sentence is meaningful and touched me first. " Several storms "in the cold north, in the cracked land that has not been completely thawed, have drilled fresh and full green buds, and the morning sun in early spring obliquely stretches the shadow of that little life." In that desolate field, the hard porcelain has broken into pieces, but this weak life is so tenacious. In the image processing, I intentionally kept the expressive shadows. Teacher Wang Yingchun, a famous female painter, said: "Ceng Yingchun's paintings are unique in terms of expression techniques, techniques and artistic conception. The theme comes entirely from life, not the traditional theme of previous people, the theme that others have done, the needs of market society or auspicious themes; But from the heart, personal experience, true feelings, this is very precious. "Acacia Tonight is a kind of depression, a kind of shackles, even a kind of resentment, a kind of desolation that I have always wanted to express, or a kind of longing, a kind of longing. This idea has been brewing for many years, and finally found this form of content as a medium. A small window was opened in the upper left of the whole dark black picture, and the dark blue night sky emerged from behind several irregular wooden strips, forming a clear crescent moon. I think these strokes are apt, crisp and profound. Indeed, this work was exhibited at home and abroad, regardless of national boundaries, which touched many people and shocked many people's hearts. Chen Chuanxi, a famous art critic, commented on my work: "In Ceng Yingchun's paintings, we can see three points: nationality, times and individuality. Obviously, Ceng Yingchun has done it, which is enough. ..... Ceng Yingchun's paintings are really silent poems. "The distant Qinghe is no exception. Earlier in the northeast, black and white cows were found grazing on the green grass, which was very picturesque, but when I wanted to express it, I thought it was too straightforward and not rich enough. Finally, in Kangba area, my inspiration was perfected. Under the hillside, the river is crystal clear, the banks are covered with wild grass and idle flowers, clusters of low trees, the colors are changeable and elegant, and the cattle and sheep foraging are looming. I combined the feelings of different regions and different time periods, and after refining, I combined this two-dimensional work. The scene is open and full of pastoral atmosphere, which is well received and loved by experts. Reader Mr. Meng Chun said: "The paintings of Spring Festival couplets are a combination of reality and romance, and their styles and temperament reflect each other;" "Artistic conception interacts with life, and form blends with content. Sometimes you see the truth imperceptibly, and sometimes you have a great momentum. Chickens, insects, birds and animals are all in the picture, and they all have feelings. Close to life, beyond reality. Rough at first sight, delicate at second sight, shocked at first sight and sighed deeply. It should be said that Ceng Yingchun is a rare artistic genius in painting. " I have always liked the beauty of tragedy. Tragedy can make people think deeply, purify people's hearts and sublimate people's ordinary realm. I have never followed the crowd blindly, and I am not very good at participating in the most popular things. Even if I participate passively, it is in dim light. So the beauty I see is often behind the prosperity, which is also my temperament. Expert Zhu Zi once commented: "The great painters in ancient and modern Chinese and foreign painting circles must be moved by great events! This big "thing" is nothing more than a distinctive artistic style, or the overall atmosphere is compelling, or the concept is extraordinary, the composition is extraordinary, the shape is powerful and accurate, the color is shocking, and the expression is novel. It is a bullet that pierces the viewer's heart. I was deeply moved when I first saw the paintings of Yingchun. Looking at Yingchun's paintings is like looking at her heart. Her art not only has the above, but also has a more delicate and profound artistic conception, and her understanding of life is thought-provoking. " This latent feeling lasted for seven or eight years before I wrote Dust Land. At the end of that winter, I went to my sister's house alone. There is no one on the road for more than ten miles. The endless fertile fields are covered with snow and the roads become smooth. At noon, the warm sunshine made the frozen dirt road soft and muddy, accompanied by my own steps. There are some small poplars on the road ahead, and many birds land on the branches. However, it is the dead leaves left by the autumn wind. At this time, it shivered in the north wind. When the sun sets, the white sunshine shines through the branches and leaves, and the sky is dark red, so everything I see is in the backlight. The dead leaves continue to shake, and I dare not look any more. I was afraid to witness the moment they left the branch ... and suddenly I thought it should be a poem, a painting. I created this painting many years later, and then my husband and I collaborated on this painting. In the previous history of Chinese painting, no one has painted a bird with a full red tone against the light. Mr. Sun Ke, a famous art theorist, said: "Ceng Yingchun, a female painter, is a very distinctive one in contemporary painting. She can keenly see some phenomena in life and nature and extract thought-provoking works. Some of her paintings break through the usual ways, faces and formal symbols of predecessors and are very creative. Ceng Yingchun is outstanding not only among female painters, but also among male painters. " The encouragement, affirmation and understanding of these artists and scholars have strengthened my determination and confidence to follow my own artistic path firmly. At the same time, it also shows that life is the source of all arts, and painting needs careful consideration.