Traditional freehand brushwork in the current art market, people are familiar with Wu Changshuo, Qi Baishi, Pan Tianshou and other big names; Like a king? , Lai Chusheng, Li Kuchan and other names, the market has been flat. As for some of the small names active in the late Qing Dynasty and the early Republic of China, they can be checked from a variety of dictionaries of people's information, such as Yang Zixiong, Shen Moxian, Shen Yizhai, and so on, it is almost equivalent to no name, no market at all. This phenomenon is worth thinking about in the collection circle.
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Freehand brushwork is mostly literati painting, literati freehand painters are originally "Li Jia", which has two meanings: one refers to the identity of the painter is amateur rather than professional, and the other refers to the painting method used is a game of calligraphy rather than formal. Since Ming and Qing Dynasties, the identity of freehand painters has changed from amateur to professional, but the painting method used is still amateur ink play rather than professional formal techniques. Professional painters, amateur techniques, this is a paradox, it can be established because "it is better to paint by people, not by people." With Chen Shizeng in the "essay on the value of painting" said: "literati painting respect the spirit, not expensive form, so the form is lacking, and the spirit of the beautiful, still can be regarded as literati painting." The so-called "lack of form", that is, refers to the amateurism of painting rather than professional, painting on painting, of course, is not enough to pass down. The so-called "spiritual beauty", that is, refers to character, knowledge, talent, thought, so people on painting, character, thought of the realm of high and open, knowledge, talent cultivation, although the painting is not enough to pass, but it can rely on people and pass down.
Therefore, for freehand painters, the size of the so-called name is mainly based on the level of its painting, but on the high and open of its character and talent. In the case of Wu Changshuo and Wang Yiting, it is true that there are some differences in the level of painting between them, but there is really not much difference between them. Why? It was because Wang's character and talent were far inferior to Wu's. It can be seen that buying freehand brushwork is not so much buying "painting" as buying "people". This is also the reason why many current freehand painters do not invest in improving the "painting" art, but more in "outside the painting" to improve visibility.
However, for the buyer, since he is buying the painting, it is natural to look at the quality of the "painting" itself. The so-called "one point of price, one point of goods", for the painter, that is, "one point of effort, one point of goods". The kind of "freehand brushwork" that does not seek to resemble the form, is sloppy, and is sloppy, as a further exaggeration of the "lack of form", and has lost the support of the "spiritual beauty", which has played a misleading role in the healthy development of the Chinese painting market.
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