Chinese landscape painting has two types of ink painting and color painting: "ink" is often regarded as "color" in the tradition, Tang Zhang Yanyuan said "transport ink and five color tools", and later there are "five ink, six colors", the saying is different, in short, it means that the ink has a thick and dry wet change. There is a pen and ink, there is ink and a pen, calm and happy, brilliant image, is the requirement for a good ink painting. The traditional landscape color can be roughly divided into ink pastel, light color, turquoise, golden blue, boneless and so on. Ink pastels. It refers to ink painting, and a very small number of paintings are painted with light colors. For example, in the Yuan Dynasty, Wang Meng "only used ochre stones to cover the human face and pine skin in the landscape, or only used green and green to dot leaves with moss, or only used ochre stones on the slope side of small stones, etc., in short, the color used was both small and light." This article focuses on the color principles of coloring landscapes.
Author: Chen Dazhang
Name: Splendid Huangshan
Collection of Qingweilou Fine Arts Museum
The color of Chinese landscape painting talks about "color with class". "Class" refers to individual, different specific objects, assigned colors according to the requirements of specific objects. Chinese landscape painting places special emphasis on class and inherent color, for example, Song Guoxi said that "the water color is spring green, summer blue, autumn green, winter black" ("Forest Spring High"), paying little attention to the complex changes in color under light. The color of landscape painting, first of all, to see the difference between the four hours, the twilight and obscurity, the distinction between yin and yang, such as spring "light as a smile", and there is a difference between early spring and late spring. The early spring of "grass color is close but nothing" is naturally different from the grass color of late spring and March.
In the specific processing, we must pay attention to the sum of colors, reflection and correspondence.
The color of the landscape pays attention to the tone. Or take the change in one color, simple and not monotonous; or take the complex color processing complex, or \ take the tone and color, unified tone. This is the sum of color and color. Color and ink gas, harmonious into one, there is ink in the color, color in the ink does not make the pen and ink itself pen and ink, the color is its own color. A new color, floating on paper and ink, will be angry and dazzling. This is the sum of color and ink. With color, we must be able to complement each other and complement each other, "color helps ink light, ink shows color", can not be hindered. "The good painter sees the rise of ink and color in the green and green, and the relationship between the two is interdependent.
Author: Xiao Han
Name: "Cloud Waterfall Show"
"The spring scenery wants its brightness, and wherever the grass slopes and treetops, it must be extremely fresh, and the other places especially want to be dim to show it." The distant mountains of the green landscape should be light ink; The distant mountains of ochre are green; the pure ink landscape is used as a distant mountain; and so on, which is to take its contrast to set off the obscure and borrow the contrast to make fun.
The layout should be echoed, and the color should also be echoed. Green landscapes tend to be green and green at the same time, increasing the effect of femininity and change. However, if the stone green of a hill is easily isolated on top of the pure green, it is necessary to judge the size and position of the color block, plus another piece or several pieces of cyan. Even if it is "a little red in the evergreen bush", it is stamped with a seal, or Zhu Wen, or White Text, or one party, or two or three parties, so that they can take care of each other.
Author: Chen Da
Name: "Qingshan Qionglou Tu"
Clear, thick, bright and frivolous, obscure, sweet
Landscape painting, especially the color of the green landscape, is clear and not frivolous, thick and solemn without obscurity, bright and not sweet, and the party is the ideal effect. To achieve such a desired effect, there are three keys: one has a good ink foundation: one has just the right base color and familiar coloring process; one has the added effort.
Whether it is light or green, it is necessary to have a good ink foundation. The production process of landscape painting is ink first and then color, in addition to the green and green heavy color and color ink, generally ink is the mainstay, supplemented by color. However, the light ink book is different from the green ink book, and the two are different from ink painting. The big green ink whiskers are simple and the bones are cheerful, and the small green is also careful to keep the green status, if it is shallow, it is appropriate to annoy Jane.
Ming Shenhao on coloring: "When operating the pen, you should not think of ink brush color, until the end of the game, the ink rhyme is enough, and the brush color may be good." This statement cannot be applied to the green landscape in general. The large green tree method mostly uses clipped leaves, small green, light daisy, point leaves, and clipped leaves. Leaf clamping method, the pen green should be structured rigorously, each leaf shape should be fat and not thin, so that the color is not covered by ink lines, the pen or light pen is used together, the structure may wish to be omitted, but the more you see the meaning of the omission. Other clouds, water, buildings, etc., should also be commensurate with it.
Therefore, the predecessor said: "The color must be in the ink book, the ink book is not good, so it is set, it is painted." The ink book is insufficient and therefore set, and it is also the class of craftsmen. (Qing, Hua Yilun "Painting Theory"), Qing Shen Zongqian said: "Although the green is extremely heavy, it can not be without its bones" ("Mustard Boat Study Painting Compilation"). No matter how much color is set, how heavy or heavy it is, it is necessary not to "damage the pen and not cover up the ink light". There are bones and pencils, and there is ink light, that is, good ink books.
The substrate should be just right, not insufficient, not excessive. The background color is insufficient, easy to be thin and light; too much, and can not be open-minded. On the mineral color greedy and fast, want to finish at once, will cause uneven and thick, thick pile thick, but see greasy and close to customary. Modern works, see this kind of malady every time.
The color of the landscape cannot be seen in a paving, nor can it be flat. Or follow the situation point of the hook, paint, there is a pen in the color, only not rigid, mixed, or wait for the color to be transparent, to be blended, and then follow the path of the ink pen, with the color of the wrinkles, add line plus dots, add moss, not knotted, not greasy, but more thick, harmonious, do not make people feel "not finished". Pen and ink can be added, color can be added, this kind of kung fu can not be achieved overnight.
Name: Wangxian Pavilion
Color is multi-faceted and depends on the suitability
The color of the landscape has its certain principles and procedures, but it does not have a certain format, the so-called "mountain strange has no direction, do not insist on dispelling". For example, shallow landscapes are dominated by ochre, flower blue, and garcinia, and the three colors are not necessarily all used.
"There are those who set color in yin and void their yang, those who use ink for yin and yang, those who use ink purely for yin and yang, those who use pure yin and yang with green and ink, those who use ochre and ink for yin, those who use ochre and ink for yin, those who use ochre only for small stones and slopes, those who only use ochre as hooks, those who only use ochre as hooks, those who only use ochre on human faces, those who use only green or only green moss to dot leaves, and those who only use green as stains." (Qing, Tang Yifen," "Analysis of Painting Signs")
There are also many changes in the green landscape, there are all-over mountain stones, trees with green, some end from the mountain stone with green and only heavy colors on the bush trees; there are key points with green, the rest is light, and there are green and green embedded with ink or white mountain stones. Brushwork is a little, painting, blowing, haloing, dyeing, staining, and breaking, when not dry, point painting, or broken with ink, or broken with color, or broken with feather water.
In short, we must talk about physics, material interest, painting theory, painting fun, and more experience of real landscapes. The method looks simple, can be used flexibly, and is really a science. Now many landscape paintings, which look gray and misty, have been criticized as "no color", which shows that the use of ink and color is still a topic worth studying, and it is necessary to use the methods of the ancients, learn from Western paintings, take nature as the source, explore new roads, and create new ones.
Editor: Shi Cong
Review: Yang Xiangxiong
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