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conception
Intention is the soul of the work of art, and it is the thoughts and feelings that the author wants to express. The level of intention determines the allegorical depth and artistic charm of the painting. If there is no intention and composition, it must be filled with essays, and there is no master in the chest. The composition stands with the "intention", in order to produce a corresponding composition to complete the author's painting intention.
Take the momentum
The composition of landscape painting is first and foremost to take the momentum. The so-called "potential" is a sense of movement of the image. In the ancient theory of landscape painting, it has long been mentioned: "Painting landscapes is large, and it is mainly necessary to gain momentum." Although the mountains are strong, the qi pulse is still continuous, and the trees are strong, although they are different from each other, they are unimpeded. The water is powerful, although strange but unreasonable, that is, ordinary is not mediocre. The hillsides are strong, interlaced but not chaotic. Why? In its sense also. "Excellent landscape paintings always make people feel bold. Some paintings, on the other hand, feel like rockeries or bonsai in the garden, mainly because they do not paint the momentum that a mountain should have. "Potential" is related to the treatment of perspective, and some scenes, through the treatment of perspective, can show its momentum.
Guest-host relationship
A painting should have a theme, to highlight its focus. Do not be fragmented, treated equally, and there is no major fulcrum. The theme in the painting is the Lord, and the foil is the guest. To determine the guest and the host, it is not only necessary to distinguish between the guest and the host, but also to echo each other, and cannot be independent. If there is a guest without a master, it is scattered, and if there is a master and no guest, it is monotonous and tedious. Only if the guest and host arrangements are appropriate, the picture feels comfortable.
Virtual, dense, light and heavy treatment
As far as the object of expression is concerned, in general, the tree is a dense place, and the mountain stone is a sparse place. The tree stone is the real place, and the cloud water is the virtual place. But sometimes the picture needs to, and there are also the processing of the mountain stone as thick and solid, while the tree is treated simply. In general, mountain rocks, buildings, trees are heavy, while clouds are light. But sometimes on the picture of the static things although large but light, moving things although small but heavy, it involves the handling of weight and weight balance, Chinese landscape painting on the weight, the appropriate configuration of size, to achieve a change in the balance of Chinese rod scales, must not take the average of the scale. When considering these aspects of a painting, it is important to say the words virtual and real. In the virtual real processing, the treatment of the four sides and four corners of the picture is extremely important, because it is related to the distant effect of the picture, that is, the first feeling. In general, it should be contraindicated that the picture is parallel to the four edges, and the image is dynamically diagonally shaped. And pay special attention to the taboo on the four sides and four corners of the virtual real treatment is similar, pay attention to the change. The so-called "counting white when black" is this truth. It is like a mountain and a stone, but it is empty when it is covered with cloud smoke. Another example is that the water is empty and empty, and it can be added to the island of the boat, the reflection and other things. What we call virtuality is not not painting, but planning not to paint, and where we do not paint, we still feel that there is a painting. Often paint the virtual place with light ink or dry thick ink, the use of pen should be brief, a few strokes to be enough.
Perspective and light and dark
Landscape painting adopts the scattered perspective method, and the author can observe the scene according to his own creative intention and use the method of moving the viewpoint. That is to say, the viewpoint is gradually moved forward, pushed backward, upward and downward, forward and backward, left to right, from this mountain to that mountain, while looking, while painting, looking at the face, looking forward and backward, the scenery seen, not limited by the field of view, concentrated in a picture. Just as Guo Xi of the Song Dynasty called "mountain shape step by step" and "mountain shape face to face" way of observation. This perspective of moving viewpoints is the traditional perspective of landscape painting- scattered perspective. In practical application, it can not violate the law of focus perspective, a line should be upward, must not be downward, close objects should be large, not small. Otherwise it will feel uncomfortable.
In addition, Western painting emphasizes light, and its light source also comes from a single direction, so it is unified. Landscape painting generally does not emphasize light, and the light source does not necessarily require unity, which can come from many aspects. Most landscape paintings also take a top-down approach to lighting, or are biased towards the top.
Triple stack of two sections with opening and closing
When the ancients mentioned landscape painting, they said that the picture could be treated as "three stacks and two paragraphs". The so-called "three stacks" are "one layer of ground, two layers of trees, and three layers of mountains". The so-called "two paragraphs" refers to "the scenery is below, the mountain is up, the clouds are in the middle, and the two sections are clearly separated." "Three stacks and two sections" is a compositional program in ancient landscape painting, but it is not a law that must be observed, so the painter still has to use it flexibly according to his aesthetic experience of the natural landscape, and cannot be rigid.
The so-called opening and closing, "opening" generally refers to the spread of the scenery. In order to prevent the scenery from opening up chaotically and scattered, it is necessary to gather the scattered points, and then highlight the main body and make it concentrated, which is "integration". In fact, opening is to create contradictions, closing is unifying contradictions, and small openings and closings are contained in large openings and closings. The contradictions are sharply created and well unified, and the more imposing the painting, the stronger the artistic appeal. In short, when considering composition, we must take the situation to avoid flatness and highlight the key points; when actually dealing with it, we must pay attention to complexity, weight, and virtual reality.
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