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Chinese Gongbi painting --- white depicting figures
The painting method of using the line as a means of expression relies on the rigidity and softness of the line itself, thickness, ingenuity, square circle, denseness and other changes to express various objects. At the same time, the lines themselves also have a certain abstract aesthetic effect. White painting is also an independent art in terms of the whole Of China Painting, as a white stroke, the general linear shape does not change much, thin and uniform, leaving room for color application.
note:
White drawing is the name of Chinese painting technique, which refers to the painting method of drawing an image with ink-colored lines without applying color; white drawing is also one of the literary expression techniques, mainly using simple and concise text to describe the image, without heavy rhetorical modification and rendering.
White painting was originally a technique of Chinese painting, which refers to the use of ink lines to outline objects when depicting figures and flowers, without color, called "single-line flat painting" method. It originated from the ancient "white painting".
In literary creation, "white drawing" as a method of expression refers to the use of the most concise pen and ink, without foil, to depict a vivid and vivid image. The mainland's excellent classical novels "Water Margin" and "Romance of the Three Kingdoms" mostly use white painting techniques; Lu Xun's works also have many examples of using white painting techniques.
Chinese Gongbi painting --- example of white painting
Edit/Rain is thick
White painting requires the use of minimalist language to depict the characteristics of the scene and reflect the feelings of the author. For example, the beginning of Lu Xun's "Hometown": "Since it is late winter, when approaching the hometown, the weather is gloomy again, the cold wind blows into the cabin, whining, looking out from the canopy gap, under the pale yellow sky, there are several desolate villages near and far, without some vitality." A few words and a few strokes not only cover the deep winter and obscure wilderness of the hometown, but also reveal the deep sadness contained in the author's heart between the lines.
The white drawing technique is used in narrative, making people feel that the lines are clear and the words are concise and true.
The white depictions in the paintings, such as the "History of Ru Linwai", wrote that Fan Jinzhong held up the newspaper post: "... After reading it again and reading it again, I clapped my hands together, laughed, and said, 'Oh! All right! I've won! Saying, he fell backwards, clenching his teeth and unconscious. The author grasps the movements of the characters and describes the development of the situation in a subtle way.
Using white painting techniques to portray characters, three words and two words can indirectly reveal the appearance, demeanor, and psychological activities of the characters according to the scenery or environment, so that readers can see their people. For example, Kong Yiji in Lu Xun's pen, "is very tall; his face is blue and white, and there are often some scars between his wrinkles; a disheveled gray beard", "although he wears a long shirt, it is dirty and torn, and it seems that he has not been replenished or washed for more than ten years." These descriptions are like using a few ink lines, a few simple strokes, the characteristics are revealed, and the demeanor is conveyed. Like painting, whether it is brush or color ink, whether it is watercolor or oil painting, it can be its own style, each with its own characteristics; the white painting technique in literary creation is not incompatible with other techniques.
In the action description, the use of white painting techniques can make the expression of the characters' inner emotions more accurate and the language condensed. Look at wei Wei's essay "My Teacher": "Only once, his teaching whip seemed to be about to fall, I greeted it with a stone slab, and the teaching whip gently knocked on the edge of the stone slab, and everyone laughed, and he laughed too." Between the lines of this plain and down-to-earth word, Teacher Cai's love for the students is like a trickle, trickling out from the heart of each reader, long and profound.
Depiction techniques - foil / rendering, lining / contrast / foiling, white stroke / brush, virtual reality / dynamic and static Description technique class - foil / rendering, lining / contrast / foil, white stroke / work pen, virtual reality / dynamic and static Poet lyrical speech is inseparable from the scene description, and the scene description method is complex and diverse. From the perspective of scene depiction techniques, generally pay attention to the angle of the author's observation and description (front and side, real writing and virtual writing, moving scene and static scene vista and close-up, all kinds of sounds and tastes, etc.), to grasp and analyze the scenery writing techniques - foil / rendering, setting off / contrast / foil, white painting / work pen, virtual reality / dynamic and static The lyrical speech of poets is inseparable from the description of scenes, and the methods of scene description are complex and diverse. To appreciate from the perspective of scene description techniques, we should generally pay attention to the angle of observation and description of the author (front and side, real and imaginary writing, moving scene and static scene, long-range and close-up, various colors and sounds, etc.), grasp and analyze the expression methods of scene description (foiling and rendering, white drawing and brushwork, contrast and foil, Bixing technique, symbolic technique, etc.), and understand and analyze the rhetorical techniques of describing scenes (metaphor, anthropomorphism, contrast, exaggeration, borrowing, usage, duality, etc.).
Among the terms cited above, the following groups are often confused by candidates in appreciation, and the specific analysis is as follows:
Foil/render
Setting off and rendering the original is a technique of Chinese painting, the former is to use ink or color to set off the outline of the object, so that the characteristics of the object are more prominent; the latter is generally in the need to emphasize the prominence of the place of heavy ink, so that the image in the picture is more prominent. It is now widely used in literary and artistic creation, and it is also two very different depiction techniques that highlight the characteristics of things.
Foil mainly refers to the use of B to support the nail, so that the characteristics of the nail are more distinct and prominent, which is a way of side description. According to the relationship between A and B, the setting is divided into two forms: positive lining and reverse lining; according to the characteristics of the object of A and B, the foil can be specifically divided into the following categories: (1) to flatter people. For example, in the Lefu poem "Mo Shang Sang", the poets used the reactions of "walkers", "teenagers", "hoes" and others to highlight Qin Luoshi's amazing beauty. (2) Holding objects. For example, Wei Yingwu's "Endowed with Twilight Rain to Send Li Ji": "In the light rain of the Chu River, when the Jianye Twilight Clock is over." The desert sails come heavy, and the birds of the underworld go late. The sea gate is deep and invisible, and the pu tree is far away. Sending love is infinite, and the placket is more than loose silk. In addition to the first sentence of the poem, which points out the object of the description of "light rain", the rest is written "rain" by describing other scenes, and the poet successfully uses the artistic technique of holding things, as if to make people feel that the sails, bird feathers, skylines, and trees are all shrouded in drizzle. Another example is Bai Juyi's "Night Snow": "I have been surprised that the pillow is cold, and I see the window again." At night, I know that the snow is heavy, and I hear the sound of bamboo folding. The object described in the poem is night snow, but the poet sets off the snow from the sense of touch (cold pillow), vision (window light), and hearing (the sound of folding bamboo). (3) Entrusting people with things. For example, Liu Zongyuan's "Jiang Xue": "A thousand mountain birds fly to extinction, and ten thousand paths of people disappear." Lonely boat, fishing alone in the snow of the Cold River. The first two sentences of the poem portray the unique personality of the angler and its optimistic and open-minded feelings by setting off the harsh environment in winter. Another example is Bai Juyi's "Pipa Line" depicts the moonlight three times, which sets off the beauty of the piano sound and the desolate and lonely sad mood of the characters.
Rendering in literary creation mainly refers to the depiction of the environment, scene or character behavior, psychology and other details to highlight the image, strengthen the effect of artistic expression, it is mainly from the positive to describe the object. Ru Le Fu poem "Jiangnan Can Pick Lotus": "Jiangnan can pick lotus, lotus leaves He Tiantian, fish play between lotus leaves." Fish play lotus leaf east, fish play lotus leaf west, fish play lotus leaf south, fish play lotus leaf north. ”
The first three sentences of the poem outline a vivid picture of the scenery of Jiangnan. The last four sentences center on the changes in the east, west, south and north positions, and focus on the activities of the fish, which is lively, natural and interesting. The use of compound sentences with slight changes is more reminiscent of the scene of the lotus pickers boating in the lake, singing and corresponding. There is not a word in the poem that directly writes about people, but through the rendering of lotus leaves and fish, such as hearing their sounds, such as seeing their people, such as being present, so that there is a sense of vitality, associated with the joy of the lotus pickers.
Another example is the first paragraph of Du Fu's "Soldier Carriage Line", the author deliberately depicts the farewell scene, thus expressing the people's disgust for war.
Accenting/contrasting/foiling
There is often more than one scene described in the poem, and its status is not juxtaposed. The terms "setting off", "contrasting" and "foiling" reflect the angle and primary relationship of the scene description. In the college entrance examination, the candidate's analysis of the description of the scene is often examined, but the candidates do not understand the difference between the three and are often mixed together.
Contrast and contrast are both comparisons of some things together, thus highlighting the characteristics of another thing. But there are stark differences between the two: the contrast mainly emphasizes the differences between things, and the things listed are juxtaposed, and there is no distinction between primary and secondary. For example, Jiang Kui's "Yangzhou Slow" and Li Bai's "Yue Zhong Lan Gu" and other nostalgic and hanging poems mostly express the sadness or sadness of human beings through the comparison of ancient and modern. The foil is to highlight the characteristics of things, and the things listed have a master and a secondary relationship, not an equal and juxtaposed relationship. For example, in Bai Juyi's poem "Night Snow", the main object described is "night snow", and the poem also describes the cold pillow, bright windows, and the sound of breaking bamboo. Similarities and differences between foiling and foiling techniques: the similarity is that the things listed have a primary and secondary distinction, and they are all to emphasize the characteristics of highlighting the main things. When both list more than one thing, the two techniques can be used in general. But the foil is only a concrete form of foil, which is to use one thing to imply another thing, and the main thing is not necessarily explained; the foil is that both things have to be explained, and the two reflect each other. The foil must use multiple secondary things to highlight the main thing, and the foil can be a one-to-one contrast or a many-to-one contrast. What needs to be added is the similarities and differences between positive and negative contrast, and these two narratives are two specific applications of the foil technique. Positive lining refers to the use of things of the same nature or characteristics to set off. For example, Du Fu's "Absolute Sentence": "The birds of Jiang bi are whiter, and the mountains and blue flowers are burning." This spring has passed again, when is the return to the Year? "Lining "bird white" with "Jiang Bi" and "flower red" with "mountain green", the color and scenery are interesting. Contrast is the use of the opposite side of a thing to set off another thing. This technique is widely used and typical in lyric poetry, and is generally divided into: writing mourning with music scenes and writing music with mourning scenes. The former, such as Ouyang Xiu's "Tasha Xing", borrows the beauty of spring to reflect the lyricist's parting feelings; the latter, such as Li Bai's "Sai Xia Qu" (May Tianshan Snow), uses the harsh environment of the Tianshan Mountains to express the optimistic revolutionary feelings of the Shubian fighters.
White stroke/brush
White sketching is a kind of Chinese painting technique, generally outlined with thick lines of ink lines, without color, transferred to literary creation, that is, with concise pen and ink, without foil, concisely and clearly portraying a vivid and vivid image of a descriptive technique. Poetry written in white painting seems bland and savored, but it is meaningful. For example, Meng Haoran's "Spring Dawn" and Tao Yuanming's "Returning to the Garden and Rural Residence" (little without vulgar rhymes) are all like gold, respectively, the thick lines outline the scene of spring and the scene of the poet's return to the countryside.
The gongbi is to pay attention to the local details of the description of things, and to describe them in detail and with heavy ink and color. For example, Wang Wei's "Waiting for the Storage of Light Is Not Coming": "The heavy door has been opened, sit up and listen to the sound of the car." If you want to smell Qingpei, you will go out of the house to greet you. In the evening, the bell rings in the garden, and the rain passes through the spring city. Self-care, the hall is empty. The poet clings to the word "to be" in the title, describing the various scenes of the poet waiting for the arrival of the guests: opening the door early in the morning to entertain the guests, but fidgeting, sitting and rising. Then he described the auditory illusion, and then through the scene description (the evening bell ringing on the garden, the rain over the spring city), from morning to night, the friend still did not come, but his own sentimentality (empty love). In the poem, the poet expresses the eagerness to see his friend arrive and the sad mood of not arriving.
The combination of virtual reality and dynamic and static and the combination of dynamic and static are the two most commonly used angles for describing scenes in ancient poetry. In the college entrance examination propositions, the analysis of poetry fiction and dynamic and static techniques appears more frequently, and candidates are also easily confused when specifically analyzing. Virtual reality is born in poetry refers to the actual scenery, things, things and imaginary scenes, things, things in the mirror of each other, mutual penetration and transformation, intertwined to express the same kind of thought or emotion of the artistic technique. It can greatly enrich the imagery in the poem, open up the artistic conception of the poem, provide readers with a broad aesthetic space, and enrich people's aesthetic taste. In literary works, "real" and "virtual" are only relative, and the so-called "real" refers to the scenes, objects, and situations that exist in the objective world, including objective, concrete, evidenced, tangible, known, real, and all kinds of "images" that are heard in front of the eyes. "Virtual" refers to virtual scenes, objects, and situations, including subjective and, intangible, unfounded, hypothetical, past, or future scenes, as well as dreams and the world of gods and ghosts. For example, in Liu Yong's "Raining Bells", in addition to the virtual writing of "thinking of going to a thousand miles of smoke and waves, the twilight is heavy and the sky is wide", all the writing is the actual situation in front of the eyes, and the mood of the writer and the sweetheart cannot bear to be separated and have to be separated; the next film mainly describes the idea of life after the other, all of which are fictional. The combination of virtual and real in the whole word vividly expresses the reluctant mood when parting. Another example is Li Bai's "Sleepwalking in Heaven and Leaving Farewell" and "Ancient Wind" (Lotus Mountain in the West) and Li Qingzhao's "Fisherman's Pride and Dream" three immortal poems that reflect the darkness of real society by describing the strange wonderland. In poetry, the relationship between the imaginary scene and the real scene is sometimes opposite to form a sharp contrast to highlight the center. For example, In Jiang Kui's "Yangzhou Slow", he fictionalized the bustling scene of the ten-mile long street in Yangzhou City in the past, and wrote the desolate scene of "exhausting the wheat qingqing" after the war, and the two paintings of one reality and one virtual were facing each other, deeply expressing the sadness of the lyricist's departure. Sometimes it is complementary to form a rendering relationship to highlight the center. For example, Ouyang Xiu's "Tasha Xing", the upper film is actually written, through the scene of early spring to reflect the parting sorrows of pedestrians, the next piece is written in a fictitious way, through the imaginary wife looking at the column and missing the sadness of the pedestrians, to write sorrows, the wife misses the husband, the husband misses the wife.
Motion and stillness are dynamic or static descriptions of scenes and objects in poetry, which often vividly and vividly write out the characteristics of the scene or convey the author's thoughts and emotions through metaphor, anthropomorphism, exaggeration and other rhetorical techniques. Motion and static contrast with each other, constituting a situation and meaning. For example, Wang Wei's "Mountain Residence Autumn Breeze" successfully uses the combination of dynamic and static and virtual reality in the first triptych, depicting a quiet and idyllic pastoral picture for the reader, with paintings in poems and poems in paintings. This paves the way for later authors to express their idea of retreat.
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