zài jiājù zhōng wǒ piān'ài yǐzi. Féng dào yī zhāng kàn shàngqù shūfú yòu shìyàng shū bié de yǐzi, wǒ biàn xiǎng bǎ tā qǐng rù jiāzhōng; ruòshì xìng yù yī bǎ gǔ yì yíng rán de lǎo yǐzi jiù gèng xiǎng yǒngyǒu; dāngrán zhèyàng de yǐzi yǐjīng bùshì yòng lái zuò de, ér shì bǎi fàng zài nàlǐ, zuòwéi yī jiàn xī shí pǒ hán shěnměi yìwèi de shēnghuó diāosù, bùshí jiào wǒ gǎnshòu dào guòwǎng xiān rénmen tèyǒu de qíngsù. Zhèyàng, wǒjiā de yǐzi jiù guòshèngle. Kěshì, wǒ de huàshì què cóng wú zuò yǐ.
Among furniture I prefer chairs. Whenever I find a chair that looks comfortable and has a different style, I want to invite it into my home; if I am lucky enough to come across an old chair with an old style, I want to own it; of course, such a chair is no longer used for sitting. , but placed there, as a life sculpture with an aesthetic meaning in the past, it reminds me from time to time to feel the unique feelings of the ancestors in the past. In this way, I have a surplus of chairs in my house. However, my studio has never had a chair.
bù shǎo huàjiā de huàshìyě bù fàng yǐzi, zhè yuán yú zhànzhe zuòhuà de xíguàn. Zhàn zài àn qián, shì yě kěyǐ lóngzhào zhěng fú huà zhǐ, zuò xiàlái què zhǐ néng kàn dào yǎnqián de yī xiǎo kuài dìfāng, bùnéng gùjí quánjú. Zài yǒu, zhànlì zuòhuà shí zé kěyǐ xuán wàn xuán zhǒu, déyǐ línghuó dì shǐyòng zhǒu bù yǔ jiān bù, tóngshí yòng shàng bìlì, zhèyàng zhěnggè shēnxīn zhī lì déyǐ tōngguò shǒubì chuándá dào bǐ shàng. Wǒ xǐhuān zhè zhǒng qīng jǐn shēnxīn dào zhǐ shàng de gǎnjué, bǎ quánbù qínggǎn tóurù dào huà zhōng de gǎnjué. Nǎpà huà yī fú zhǐchǐ xiǎofú, yě yào lìshēn huīháo, yīrèn xīnxìng.
Many painters don't put chairs in their studios because of the habit of standing up to paint. Standing in front of the desk, the field of vision can cover the entire drawing paper, but when sitting down, you can only see a small area in front of you, and cannot take into account the overall situation. In addition, when standing and painting, you can hang your wrists and elbows, you can flexibly use your elbows and shoulders, and use your upper arm strength at the same time, so that the whole body and mind can be transmitted to the pen through the arms. I love the feeling of pouring my heart and soul into the paper, putting all my emotions into the painting. Even if you paint a small picture, you have to stand up and swipe, and be capricious.
xiězì shí, gèng yào zhànzhe.
Stand up when writing.
kěshì, guóhuà yǒu yīgè tèdiǎn, zuòhuà guòchéng zhòng yào tíng xiàlái jǐ cì. Yīnwèi huà zhǐ huì bèi shuǐmò yīn shī, bì xūyào děng huàmiàn liàng gàn hòu cáinéng zài huà; zhè shíhòu wǎngwǎng shì huàjiā zuò xiàlái xiūxí de shíhòu.
However, there is a characteristic of traditional Chinese painting that it has to stop several times during the painting process. Because the painting paper will be soaked with ink, it is necessary to wait for the picture to dry before painting; this is often the time when the painter sits down and rests.
huàshì wú yǐ, wǒ jiù dào lián láng shàng zuò yī zuò.
There are no chairs in the studio, so I will sit on the corridor.
wǒ zhège zhǎng zhǎng de lián láng yīduān tōngzhe huàshì, lìng yīduān liánjiē shūfáng. Liǎng duān quán shì huāmù cōnglóng, lǜ màn chánrào, yīrèn zìrán. Wǒ biàn jiāng jǐ bǎ téngbiān huò mù gòu de kuān zhǎn de dà yǐzi jiù fàng zài zhè mù yè de cùyōng zhōng, qìxí lǐ, lǜ yì jiān, rú zài tiányuán. Wǒ xǐhuān zhèlǐ de sōngchí, suíyì hé suí xìng. Tā hé yìshù de běnzhí xiāngtōng.
My long corridor leads to the studio at one end and the study at the other end. Both ends are full of lush flowers and trees, green vines are entwined, and it is natural. I put a few large rattan or wooden wide chairs in the midst of the leaves, in the breath, and in the greenery, as in the countryside. I love how relaxed, casual and casual it is here. It is connected with the essence of art.
xiàtiān lǐ wǒ zài yǐ miàn shàng pù yīkuài guāng liūliū, liáng zī zī de cǎo xí; rù dōng hòu zé méng shàng jǐ zhāng shòu pí. Wǒ xǐhuān zài yī bǎ quānyǐ shàng pù yī zhāng xuěbái ér péngsōng de miányáng pí, lìng yī bǎ quānyǐ pù shàng nà zhāng cóng nuówēi dài huílái de huī hésè, zōng máo mìshí, róurèn ér fù yú tánxìng de xùnlù pí. Zhè liǎng zhāng pízi de yánsè xiàng pèi xiétiáo yòu gāoyǎ, yǐzhì měiměi chūntiān lái dào chè diào tāmen shí yǒudiǎn bù shědé. Féng dào qīngmíng shíjié, tóudǐng pá mǎn lǜluó de zhú jià shàng, chángcháng guà yī shù jìn zhōng de miànsù “zi tuī yàn”; duānwǔ dàolái, zé shuān yī chuàn huāhuā lǜlǜ de lǎohǔ dā la, zhōngqiū shí chuíxià dà dàxiǎo xiǎo jǐ gè húlu, chūnjié shí zé diào yī zhǎn tiān hòugōng tèzhì de dàhóng bōlizhǐ de yú dēng. Jiérì zǒng shì shǐ shēnghuó shēngqì yíngyíng.
In summer, I spread a smooth, cool straw mat on the chair; in winter, I cover it with a few animal skins. I like to put a snow-white fluffy sheepskin on one armchair, and the taupe, dense, pliable and springy reindeer from Norway on the other armchair. The color matching of these two leathers is harmonious and elegant, so that every spring comes a little reluctance to remove them. During the Qingming Festival, a bunch of Jinzhong's dough sculpture "Zituiyan" is often hung on the bamboo frame covered with green dill; when the Dragon Boat Festival arrives, a bunch of colorful tigers are tied up and hung down during the Mid-Autumn Festival. A gourd, and a fish lantern made of red cellophane specially made by Tianhou Palace during the Spring Festival. Holidays always bring life to life.
yītiáo qībā chǐ zhǎng de lǎo zháiyuàn kān jiā hù yuàn rén zuò de lǎn dèng kào zài qiáng biān, shàngbian bǎizhe jǐ yàng cū lì de lǎo dōngxī, yǒu yīn kè de hàn guàn, yǒu xiàndài táoyì, yěyǒu gānhuā. Wǒ piān'ài gānhuā, yīnwèi tā bù huì diāoxiè.
An old house with a length of seven or eight feet sits on a lazy stool on which the caregiver sits against the wall. There are several rough old things on it, including Chinese pots carved in Chinese, modern pottery, and dried flowers. I prefer dried flowers because they don't wilt.
zài lián láng zhōng hái yǒuyī zhǒng “huó” de dōngxī, hěn měi, shì yángguāng. Tā zǎochén cóng lián láng zuǒbiān——huàshì zhè yīduān dì chuāngzi zhào rù, huánghūn shí zài shūfáng nà yīduān dì chuāngzi shàng yī diǎndiǎn xiāoshī. Lián láng cháo nán zhè yīmiàn yǒu hǎojǐ shàn chuāngzi, yángguāng cóng dōng xiàng xī zǒu guòshí, yī shàn shàn chuān chuāng ér rù, zhǎnxiàn tā měilì ér míngmèi de shēnyǐng, ér cóng měi shàn chuāngzi tànshēn jìnlái de guāngyǐng dū yīn shí'ér biàn. Tā zuìzhōng zài zuì xīduān nà shàn chuāng shàng jíjiāng lí qù shí, mílí yòu duómù, yǒudiǎn yīyī bù shě.
There is also a "living" thing in the corridor, it is beautiful, it is sunshine. It shone in from the window on the left side of the corridor—the studio side—in the morning, and disappeared little by little from the window on the other side of the study in the evening. There are several windows on the south-facing side of the corridor. When the sun passes from east to west, one after another enters through the windows, showing its beautiful and bright figure, and the light and shadow leaning in from each window changes with time. When it was finally about to leave on the westernmost window, it was blurred and dazzling, a little reluctant to part.
wǒ qī yībēi chá, dǎkāi yīnyuè. Zài zhè zhōngjiān jǐn xiǎng cǐ zhōng de yīqiè. Zhí děngdào zhǐ de shuǐmò chàbùduō gànle. Qǐshēn bǎ shēnshang de pífá fàng zài yǐzi shàng, shéncǎi yìyì zǒu jìn huàshì, tí bǐ huīsǎ, yī chěng xìngqíng, ràng xīnzhōng de fēngjǐng chéngxiàn zài zhǐ shàng.
I make a cup of tea and turn on the music. Enjoy everything in between. Wait until the ink on the paper is almost dry. He got up and put his fatigue on the chair, walked into the studio in high spirits, picked up the brush and swayed, showing his temperament and showing the scenery in his heart on the paper.