Inner Mongolia and Lingle Eastern Han tomb murals
Mural production in our country has a long history. In recent years, with the continuous development of China's archaeological cause, there have been continuous discoveries of grotto murals, temple murals, palace murals, and tomb murals buried underground for thousands of years, which have not only been repaired and protected, but also compiled and printed into giant atlases for reference and reference by the cultural and artistic circles at home and abroad.
Mawangdui Painting (Partial)
The discovery of mawangdui's Western Han Dynasty "Paintings" has made several murals of the so-called "Qi Wei You" in the Chu Ci (Chu Ci) with mythological and story themes confirmed, from which it can be inferred that the content of the murals of the pre-Han Dynasty recorded in the classics has been confirmed. Since then, the murals have continued to develop in the Qin, Han, Wei, Jin, Six Dynasties, Sui, Tang, Song, Yuan, Ming and Qing dynasties. From its contents, it can be seen that the rulers of the historical period of feudal society know how to use various political or religious ideologies to anesthetize and deceive the people in order to achieve the purpose of their political propaganda. However, after all, the murals are from the hands of the working people, and from another aspect, the works also reflect the social life of the working people in different periods, customs, economic forms, artistic goodness and ingenuity, which provides valuable information for the academic community to study the social conditions and artistic development of various historical periods, including the production techniques of murals.
Pan Haozi is the creator of the Dunhuang Grottoes
Folk mural techniques are the creation of painters
Most of the folk artists who have made murals in the past are urban art workshops and rural painters, and when they were fourteen or fifteen years old, they studied with teachers to do child labor, similar to the peking opera industry, paying attention to the relationship between teachers and inheritors, and the rules were extremely strict. In terms of technique, the use of "powder books" and the recitation of "oral tips" preserve a set of "tips" handed down through the generations, which contain some valuable traditional techniques.
Folk painting was a kind of hard industry, and successive feudal rulers regarded them as hard labor. It is said that when cleaning the caves of the Thousand Buddha Caves in Dunhuang, in a small cave that had just housed the next person, a sitting skeleton was found, next to which was placed a small color bowl, a pen, and a small oil lamp. This is obviously a "painter" who painted a life and death in a cave. One can imagine how cruel the oppression and enslavement of the working people by the ruling class in feudal society was!
When I was working at the Institute of National Fine Arts of the Central Academy of Fine Arts, I interviewed seven or eight folk artists engaged in mural painting and collected some information. Because it is a first-hand material, the reliability is relatively large. These materials they dictated include "recipes" and "methods", most of which are technical experiences summarized during the period of feudal and semi-feudal and semi-colonial societies, and must be analyzed and criticized before they can be used when inherited. For example, the "recipe" for painting characters is mostly the method used by painters to describe classical characters, and it is not appropriate to describe modern characters. Another example is the method of blending and manufacturing pigments, which today adopt chemical materials and machine grinding, while folk artists talk about "handicraft" style procedures. However, these traditional techniques are very useful for understanding the properties and blending methods of traditional mural pigments. Because it actually contains some scientific principles and valuable experience, we can still apply it on this basis.
Fragment 1 of the Kyzyl Cave frescoes
The production of frescoed wall surfaces
There are various methods for the production of mural walls, which are divided into: "rough murals", "brush murals" and "mosaic murals". "Brush murals" are further divided into "wetland murals" and "dry land murals". The murals in the existing caves and burial chambers, from the analysis of phenomena, most of them belong to the brushed murals (such as dunhuang Mogao Grottoes Early Tang 220 Caves) and Wendi murals (such as dunhuang Mogao Grottoes Northern Wei Grottoes "Sacrifice to Feed the Tiger" and "Deer King Bunsheng Story" and other shops).
Dunhuang Mogao Caves Cave 220 "Tang Dynasty Medicine Man Seven Buddhas"
Most of the methods used in the existing temple murals in North China are "brush murals", and the materials and methods used are mostly nailed to the walls, and the hammer head is attached to the soil smeared on the wall, so as not to fall. The first layer is first smeared with coarse mud, which is a combination of clay and large grains of sand, and a hemp knife is added to avoid cracks. On the second layer of fine mud, first soak the clay with water, stir it into a thin porridge with a wooden stick, make the slag sink, clear out of the container, then add a hemp knife and fine sand to mix well, smear on the coarse mud, about four centimeters thick, use a trowel (the tool used to wipe the wall) to smooth, with the spray water, smoothing. The mural is then flattened with tools and then whitewashed. White pulp mixing method: pour the self-chalk (also known as Wenxi soil, Beijing commonly known as soil powder) into the basin and soak it with cool water, after half an hour the soil is dissolved, stirred with a wooden stick into porridge, and then add raw soybean milk, the proportion accounts for one-half, with a row of brushes on the wall, the pen force should be even, brush when the bottom layer is not dry, stop slightly, and then use a smear (wall rolling tool) to flatten. After that, brush the alum water, the alum water fork named "limb alum water", the role is to play a solid role in the glue wall, there is a role in setting off the color, so that the color is strong and distinct. Its mixing ratio is actually glue two two, alum one or two plus two pounds of water (the amount of force is roughly proportional, the method is to first open the alum with warm water, take advantage of the temperature and then pour the thin glue into the alum water, stir well, use the pen in turn brush the wall, one stroke after another, do not overlap, because the overlap has the disadvantage of alum unevenness. At this point, the process of making the wall is completed.
Cisheng Temple Northern Song mural Guanyin seated statue
Li Mingzhong, an architect of the Song Dynasty in China, in his book "Building the French Style", has a paragraph about the production of murals, which is copied as follows: "The system of painting the wall, first use coarse mud to cover the finish (translated into modern language is to first put the coarse mud on the hanging hemp fiber), wait for a little drying, and then use the mud to be horizontally grate by a heavy bamboo grate, cover the flat with mud (the above coarse mud is five thick and five centimeters, if the 'arch eye wall' only uses one weight of coarse mud, and the sand mud is pressed three times) to use the medium mud to line, apply sand and mud on the mud, wait for the water to expand and collect, press ten times, and make the mud glossy ( First and sand mud, two pounds of white sand per day, one pound of glue, seven or two for the choice of cleansers with hemp). "The wall preparation method recorded in Li Mingzhong's works is more meticulous, while the method is similar to that popular in North China, and the procedures for leveling are more complicated.
Murals of the Ajanta Caves
The modern Xiang Da described in his book "Miscellaneous Examinations of the Second Cave of Mogao Yulin" that the production of the Dunhuang Thousand Buddha Caves and the Indian A Janta murals is as follows: "The Dunhuang Thousand Buddha Caves (Mogao Caves, Tulin Caves) were first flattened on the inner walls of the cave with mud about half an inch thick; ... The mud is filled with broken wheat grass and hemp tendons as bone marrow. The mud is coated with a layer of lime as thin as an eggshell, and there are also those who are as thin as paper. The color is applied to the dry lime surface, and the mud layer under the lime surface is not penetrated at first. "The grotto murals in A Janta and other places in India, mostly on uneven walls, are coated with a layer of mud made of mud and white powder made of mud cow dung waves of black white powder, which are sometimes mixed with chopping very fine grass and chaff, which is repainted with a layer of lime as thin as an eggshell, and then the painter casts a shadow on it. The Indian mural system is the same as that seen in Kucha, Turpan and Dunhuang in Xinjiang, but the materials used are different from the regional production and slightly different, and are generally different. ”
Dunhuang Mogao Caves Northern Wei 254 Caves South Wall Sacrifice To Feed Tiger Map
The above mural wall preparation method is generally based on mud, because the raw material of soil, especially sandy soil, does not contain alkaline but has stony nature, color, no corrosion, no color. This has been demonstrated by the investigation of murals excavated in various places over the years. As for the white applied to the frescoes, it is chalk instead of lime, and Xiangda is mistaken for lime, which is inaccurate. Calcareous: hot, the color is very easy to change color, chalk soil is stony (many years of white stone, weathered into self-soil), the color is painted, can remain unchanged color. But there is another way, the sand is mixed with a small amount of lime, commonly known as "poor plaster". The color painting does not change color, because the ingredients mixed with sand can slightly eliminate the heat of lime, and can also be used. "Frescoes" are also called "frescoes", and the advantage of this mural is that the picture is strong and durable. When the walls are not very dry after being smoothed (70% or 80% dry), the painter draws with a pen, and the ink and pigment are immediately absorbed by the walls and combined with each other. When dry, the painting and the wall surface are combined and condensed into a whole, making it very strong. Most of the Wei and Jin murals in the Dunhuang Mogao Grottoes were made using this method. For example, Cave 254's "Prince Sa Chen's Sacrifice to Serve the Tiger") and Cave 249's "Hunting Map" are both "wet murals", and after more than a thousand years, the wall color is still very solid. However, the painters who paint this kind of mural need to be skilled, and from the analysis of the existing Wei and Jin mural ruins, most of the painters use brushes or laterite to draw sketches directly on the walls, and then fill in the lines. The "warm mural" of the Dunhuang Mogao Grottoes can be seen from its peeling part and discoloration part, and the traces of its painting program can be seen.
Dunhuang 45 Caves Sheng Tang Mural "Guanyin Sutra Change"
In the Tang Dynasty, this method was very popular, such as the famous Cave 220 of the Early Tang Dynasty (Zhenguan Nineteenth Year) of the Mogao Caves in Dunhuang, and the 112 Caves of the Middle Tang Dynasty and the 45 Caves of the Sheng Tang Dynasty all belong to the "Dry Murals". This method of making mural walls belongs to the methods listed in the Song Dynasty Li Mingzhong's "Building French Style". However, Dunhuang is to dig grottoes on the conglomerate, and the method of nailing wood is not applicable, and can only be directly smeared on the stone wall, and then brushed chalk, dried, engaged in painting.
Mogao Caves Cave 172 Cave South Wall Mural Sheng Tang
The murals developed to the Prosperous Tang Dynasty, the composition of the creation tended to be dense, and the practice of using a brush and red clay to directly sketch on the wall was no longer suitable, and it was necessary to construct a precise manuscript before it could be inked and colored. For example, the large-scale "Pure Land Change in the West" (Cave 172) shows the pavilions and pavilions, the cloisters and buildings, the characters are mixed, the flowers and trees are overgrown, and it is necessary to first construct a detailed manuscript, and then write down, according to the methods of the Southern and Northern Dynasties period, it cannot be adapted.
Painting of the process of fresco creation
The worker creates a sketch on the mural, the "jargon" is called "stall work" (the meaning of spreading out the work), at the beginning, the painted story, such as: "Buddha Bunsen Story", "Hokke Sutra Change", "Pumen Pin", etc., with wood decay (a kind of thin charcoal strips made of thin wicker) directly on the wall, one hand holding a charcoal strip, the other holding a handkerchief, with the painting, with the painter's rich imagination, the character story, the unfolding of one scene after another, after the stall, look at the overall situation, minor modifications, and begin to ink.
Copying the ink painting of the Fahai Temple Mural Source: The mountain woodcutter who painted the painting
"Falling ink" is to hook the line, by the master painter to take on this task, according to the outline of the charcoal line to draw the ink line, in case of the need to modify, in the process of drawing the line correction.
Coloring, the jargon is called "into the work", the painter has a proverb called "one decay, two falls, three into the tube", in modern language, that is, the first step of the draft, the second step of the line, the third step of coloring. In the first stage of coloring, the main draft painter stipulates the layout and tone of the overall composition of the entire wall according to the plot of the picture, and determines the arrangement of the color tone according to the needs of the theme characters and plot. This process is very important, it is the key to determining the overall tone atmosphere of the mural, and the synthesis of the artistic effect of the entire mural.
Mural content is voluminous, the composition is grand, a large mural often requires many people to participate in the painting at the same time, based on this need, the main painter should look at the overall situation, stipulate the color that the subject matter content should be equipped with, and indicate the characters on the national surface to color the "code name" so that the painters who assist in painting can follow. The so-called "code name" is a symbol that represents a color, such as "red" color replaced by the word "worker", green with the word "six", these simplified symbols are to save the time of writing traditional characters. These "code names" are: GongHong, Six Green, Seven Green, Eight Yellow, Nine Purple, Ten Black, One Beige (Beige), Two White Blue, Three Fragrant Colors (Tea Brown), Four Pink (Rose Red), And Five Lotus Lotus (Purple). According to the needs of the status of different characters, the main painter uses code names to indicate the ink lines that have been sentenced, for example, if the clothes of the people in the painting need to be painted blue, they will note a "seven", such as light blue, note "two seven" (that is, slightly shallower meaning), and then light blue, note "three seven" (more shallow meaning). If the dark green note is preceded by a "six" word, then the light note is added to the "two six", then the light note is added to the "three six", the dark red note is noted with the word "Dagong", the positive red note is noted with the word "Gong", the light red note is "Ergong"... and so on. The assistant painter can paint a variety of different colors according to the "code name", so that every part or the tone of each figure will not have to be paid by the teacher, which the painters call "assembly line work".
Painted figure murals of the Ming Dynasty
Folk painting is characterized by bright lines, bright colors, bright and vivid appearance, and rare use of muddy and gray tones, which is related to the geographical environment and appreciation habits. Based on this, the colors used in folk murals are mostly pure colors (that is, red, green and other colors), and "intercolor" occupies a secondary position. Because of this need, more use of flat painting technique, flat coating, in the folds or other textures of the slight baking dyeing, to express the sense of convexity of the object, but this "convex feeling" is different from the light and dark side of oil painting, it is in the heavy "decorative style", as long as the color can clearly set off the effect of the theme, "concave and convex" for Chinese painting is secondary.
After the folds of the clothes are baked and dyed, they are re-outlined once with the "same color" on the line, called "Le", also known as "outline". "Outline" can make the object image more cheerful and prominent, and enhance the appeal of the image.
Stand powder paste gold
In order to enhance the splendid atmosphere of the murals, there is also the process of "pasting gold" and "standing powder". For example, the armor and weapons of the military generals, the jade belts of civilian officials, and the gold ornaments of the Kurama honor guard, the use of "standing powder" and "sticking gold" techniques can increase the magnificent effect.
Ming dynasty murals local
Regarding the painting method of drawing faces of figures, painters call it "open faces". In ancient murals, the face painting mostly uses the "mediation dyeing method", the technique is very deep, the labor-intensive "face", there are seven openings and seven dyeing methods, so that the face has a realistic effect of garden swinging.
The "powder book" is called "score", which is the drawing used by folk artists. The Han and Tang dynasties were already very popular, and painters cherished these "scores". In feudal society, these "powder books" contained content that mostly belonged to the Buddha image measurement, Buddhism and Taoist classic stories. In addition, the yarn lanterns hanging during the Spring Festival in rural areas, the New Year paintings and the "water and land paintings" hung by the Buddhist Daodun sutra shed have "powder copies".
The first draft of this "fine book" is mostly created by master painters, the characters are vivid, the scenery is neat and meticulous, the artistic level is very high, and the apprentices all use the "powder book" as a model for learning.
Dunhuang Mogao Caves Hide Sutra Cave Fa Tu Fan Ben Thorn Hole
The production method of "powder book" is to create a precise drawing, soaring on the tough white linen paper, or sheepskin, along the ink line of the picture, with a needle pierced into a continuous small hole, commonly known as "tie the score", when used, it is stretched on the wall, and then with a small cloth pocket of white powder (or laterite), along the line, the white powder leaks through the needle hole in the wall, after unveiling, the image of the picture suddenly appears on the wall. The jargon is called "leaking score".
Once the outline of the drawing is leaked on the wall, it can be traced according to the powder mark. The northern murals, after wiping, first brush a layer of gray ground, the jargon is called "hanging soap", the gray bottom, the small white dots on the white powder leak are more clear and easy to see, if it is a white wall, then use laterite leak spectrum.
After the spectrum is missed, you can start to ink (i.e. hook lines) and color. Another way to use powder is to use the rubbing method. First use a charcoal strip on the back of the score, outline it according to the line pattern, turn it over and spread it on the wall, rub it the front with a dry cloth towel, and after unveiling, the image of the character is printed on the wall.
In addition, the term "powder book" can also be extended and interpreted as a general painting draft, and it is recorded in the history of painting: Tang Xuanzong ignored the jialing rivers and mountains, sent Wu Daozi and Li Sixun to the local observation, and after returning, Tang Xuanzong asked Wu Daozi about the situation, and Wu Daozi replied, "The subject has no powder book, and he remembers it." ”
A set of powder books can often be used for many years, fathers, sons, teachers, apprentices, as their own wealth, but social life is with the evolution of political economy and changes, the use of "powder book" must also change its content with the changes of the times.
Song Dynasty figure murals
Folk artist's tips
Oral tips are some proverbs that folk painters engage in painting creation and summarize from practical experience, which have been passed down from generation to generation in the folk painting industry and have endured for a long time. Since these "recipes" are produced from artistic practice, they contain some simple scientific nature. Before liberation, China was a semi-feudal and semi-colonial society, and after the invasion of Western bourgeois paintings, some intellectual classes were infected with chongyang ideas, and the "recipes" of native folk painters were often ignored, but some of them were indeed used as references. Transcribe some as follows:
Tips for drawing people:
Row seven sit five plates three halves.
Three noses, five horizontal eyes, a slap covering half of the face.
Pick three heads on one shoulder and carry two faces.
Line seven sit five, one elbow and three fists.
The front is the bow, the back is the arrow, set in one line in the middle.
A nail for the literati, a bow for the warrior.
Face tips
Make the doll laugh, and the corners of the mouth will be upturned.
To make the doll sad, the eyebrows slipped down.
Men paint shoulders, women paint exposed items.
Animal tips
Draw three tiles of a horse and two eggs of a bird.
General objects are like tricks
It is difficult to draw hands, it is difficult to draw horses, and it is difficult to draw trees to insert willows.
Distant people have no eyes, far water has no waves, far mountains have no dustpans, and far trees have no sticks.
Such "oral tips" as above are still circulated among folk painters, but because of their age and age, many of the old painters have made their own ancient works, and these oral tips have gradually been lost.
The murals of Cisheng Temple hold a lotus bodhisattva statue
The mud method
"Mud gold", also known as "gold" or "pan gold", each time it is best to take a hundred pieces of gold leaf, with honey two points, with the hand dipped in gold leaf, and then dipped in a little honey, gradually put into the disk, with the index finger and middle finger rotation, to achieve the gold leaf into gold powder for the degree. Honey can not be poured in at once, first dip less fine grinding, fingers should be forced, keep rotating, wait until the fingers can not move, and then dip a little honey to grind it, until the gold leaf is studied to a very fine degree. If honey is not used, thin glue has the same effect.
The second process: use half a kilogram of shochu (the amount of 100 sheets of gold leaf), inject it three times, pour a little first, grind it with your fingers, and then add the wine when it is extremely delicate, and add the wine three times. After mixing with your fingers, the gold powder slowly precipitates downwards, and the honey ingredients float upwards, so that every hour, rinse with boiling water, and after precipitation, for about two hours, the honey and sewage are slowly poured out and roasted dry by the low heat.
When used, boil the juice of the peeled soap pod (the horn of a plant) with water, and when painting, dip the soap pod water with a pen and mix it in a gold plate, and when the thickness is appropriate, you can sketch on the picture.
Another method is the cement gold method, the process is roughly the same as the honey method, when depicted, it is mixed with thin glue.
Dunhuang Mogao Grottoes Early Tang Cave 57 "Beauty Bodhisattva"
Asphalt method and gold paste method
In order to enhance the palatial atmosphere of the murals, folk painters also created the methods of "sticking gold" and "asphalt powder".
"Asphalt powder" is also known as "standing powder". Its effect is to make the plane "gold" or the color part of the gold, the line is uplifted, so as to show the reflection of the golden light, so that the picture is more golden and brilliant.
"Drainage powder" is to mix the finely ground earthen flour (Wenxi soil) into rice soup and cooked tung oil, mix it with a stick to achieve the desired concentration, pour it into the skin of a pig bladder (made of wine), and connect a copper pipe like the thickness of a brush cap on the mouth, which is connected to several sections that can be made into activities (the mouth of the tube gradually becomes thinner). When used, the painter holds the bladder skin in both hands, so that the powder mud is squeezed out of the picture through the copper tube, along the pre-expanded pattern part, with the squeeze with the book, a strip of fine powder money will protrude out of the picture, 70% or 80% of the dry can be "gold".
Mind Bodhisattva - Cave 71 of Mogao Caves
How do I put gold? For example, the helmet of a warrior is first coated with red oil, and then gold leaf is attached to the red ground. The oil used for applying gold is called "gold glue", which is coated on the helmet or armor part, and when the gold glue is 70% or 80% dry, it can be applied to gold. The device of gold leaf, a layer of thin paper plus a piece of gold leaf, before pasting it in the basin of water (the national gold leaf is thin, easy to be blown apart in the wind), and then flat on the mural, press flat with your hand, and use a brush to sweep on the lining paper on the back of the gold leaf.
Sweep gold. Pour the gold leaf into a bamboo tube, use a dry brush to pound continuously, and after a proper time, the gold leaf will become gold powder. Sprinkle this gold on the undried ground, and then, with the "big coloring" (pen name, sheep millimeter, the nib is rounded, for rendering, so the name big coloring) dry pen, gently sweep, gold powder attached to the picture.
"Sticking gold" is characterized by light, and "sweeping gold" is characterized by soft and elegant gold, with different uses. There are two kinds of paintings, murals and architectural paintings require light, the base is used "gold glue", if it is a scroll painting, "gold paste" and "sweep gold" should be used with thin glue, and the paper is based on oil, which is inappropriate.
There is also a kind of "gold dialing" method, which is used for painted sculptures, clay statues in temples in feudal society, patterns of clothes and clothing, in order to make it golden, the "dialing gold" method is used. In its method, after the clay elephant is molded, the part with the pattern is first pasted with gold leaf, and the color is painted on the gold leaf, which is mixed with "egg green", and when 60% of the dried bamboo "skewers" are "scratched" on the surface, the color that needs to be removed is crossed out, and the golden pattern is exposed.
The front wall of the main room of cave 27 of the Kyzyl Caves smells of the Dharma Heavenly Man
Concave and convex method
The concave and convex method is a new artistic technique transmitted from Central Asia in the Southern and Northern Dynasties, Sui and Tang Dynasties, and we can know from the history of painting that the introduction of this new technique has given a new stimulus to the original painting style and added new topics to the authors of painting theory. Due to the strong three-dimensional sense of "bump method", it can be a sensation.
The special shyness of the "bump method" can render the characters with a three-dimensional sense. The existing murals in Dunhuang Mogao Grottoes, the faces and bodies of the figures, we often find the use of flesh-colored tones of color, according to the physique to dye the yin and yang side, arms, chest, leg muscles bulging, and Western painting methods have a similar feeling, which is the "bump method" embodied in Chinese painting.
(Biography) Chen Yongzhi imitated the Chi Yi monk Shakya out of the mountain map
According to the history of painting, this technique was already popular as far back as the Six Dynasties period, and all parts of southern China. For example, Liang Zhang's monk Painted "Concave and Convex Flowers" at the Yicheng Temple in Jiankang (present-day Nanjing). In the early Tang Dynasty, wei Chi Yi monk also painted murals in the Jinxian Hall of Feng'en Temple in Chang'an (present-day Xi'an), and also used the "concave and convex method" to paint "concave and convex flowers." According to the "Catalogue of Famous Paintings of the Tang Dynasty": "The merit in front of the pagoda of ci'en Temple today, and the concave and convex flower paintings in the middle of a thousand hands and a thousand eyes of great compassion, exquisite shape, can not be named." What does this bump look like? The "Painting Book" uploaded: "With color calm, floating silk. without implication". "Floating silk" should be interpreted as making people "feel that the object is prominent in self-painting" is a three-dimensional tone described.
Dunhuang Mogao Cave Cave 220 Cave Medicine Buddha
As for the "bump method", we have picked up many books and illustrations on Buddhist art. And went to the Dunhuang Mogao Grottoes to see the National Case painted in the backlight of the Buddha elephant; most of them belong to a pattern called "BaoxiangHua" in Buddhist art, which is called "passionflower" by folk artists, and is often used as a decorative pattern in Buddhist art. "Wheels, snails, umbrellas, covers, flowers, pots, fish, and lengths" are known as the "Eight Treasures" in Buddhist art, and the "flowers" in them are the treasure flowers. In the backlight of the Buddha elephant, this pattern is often used to set off the so-called "solemnity" of the Buddha elephant, and its shape is generally similar to the deformation of the big lychee, and the branches and flowers have been exaggerated by the painter to make it "four-style". It is placed in the garden light of the head of the Buddha, and it is wrapped around, so it is called "Baoxiang Flower". It may be that this pattern has been used in the decoration of Buddhist art for a long time, and the painter who painted this pattern has indeed worked hard to stack this flower with various colors, or render it, so that it is rich in three-dimensionality, so it is called "concave and convex flower".
The so-called "stacking halo method" is to use a similar color, divided into different "color scales", along with the texture of the flowers, layer by layer. Because the depth of the "color scale" looks far away, the three-dimensional sense is very strong, so that the audience has a feeling of indentation and protrusion, and the eyes are dazzled, so it can be fascinating.
The "Su-style color paintings" on the wooden beams in the Summer Palace Promenade and other places, and the "baggage" in the middle part (the painter often calls the painting position left in the middle of the painting as the baggage) are circled by different shades of color strips, called "retreat", which is developed from the ancient "bump and bump".
The article was published in Fine Arts Research, No. 01, 1984
This article is transferred from the "Mass Archaeology" WeChat public account