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I have been making colors with my teachers since I was in my twenties, and so far, I can say that I can use colors as much as I want. But this is not the case. There are more and more varieties of flowers and birds, and although the inherent colors of Chinese painting are good at collocation, they are still not enough to be applied - with the color of the class. Some people say that Chinese painting is rich in symbolism, green dots can be used in ink, orchids can be used in blue, and they feel more artistic. True, but one of the characteristics of Chinese Gongbi flower and bird painting is that it is bright and bright, more beautiful than real. Then, I don't know the color, I am not good at applying color, in the expression method of flowers and birds, it is as if a very important component has been lost, and I wrote a book "Research on the Color of Chinese Painting" on the former, published by chaohua art publishing house and issued by Xinhua Bookstore, it is from this point of view that a simple introduction is made to the researchers of Chinese painting, and here I repeat it differently. However, it must also be noted that when using color, it must be from light to dark, gradually thickened, and should not use a very strong color at once. When using the color, keep it clean, and the color that is slightly contaminated with dirt should be washed away, that is, it should not be used again.
Stone green, stone green, vermilion sand, white powder all need to be used as needed, preferably in a small milk bowl. This small milk bowl is the best used in Western medicine, and when the glue is released after use, it is soaked with boiling water and will not burst. Garcinia cambogia is the best produced in the Kingdom of Cambodia, and the so-called "yellow of true wax" in the Tang Dynasty is this thing.
Magenta, whether German, French, British or Japanese, as long as the colors are bright, there is no foul odor (pungent smell) and no stained bristles (white sheep hao pen, dipped in red yang hao pen, in the water, the bristles still remain white), is the best magenta. Magenta cannot replace rouge, and rouge cannot replace magenta, they have their own advantages.
Here I would like to add to the coloring method, which I was not able to write about when I wrote the book "A Study of Color in Chinese Painting".
Cinnabar: Whether it is coated with cinnabar, or smudged cinnabar, it must first be coated with a thin white powder (no lead powder), wait to dry, and then coated with cinnabar, which is not only easy to flatten, but also easy to stop evenly, easy to cover dye magenta or rouge. The silk is coated with cinnabar, and the back of the silk is also coated with a thin layer of powder, which makes the cinnabar more vivid and dazzling.
Ochre: Paint tree branches on silk, rub and dye with ink, feel just right, often dye ochre, but appear obscure, and then use ink to wake up (make it clearer), often cause traces on silk, not coordinated enough. I saw the framing Song paintings, dying heavy ochre on the trunk on the back of the silk, and not staining the ochre on the front, and I used this method to paint the trunk.
Head green: The head green in the stone green is a heavy cloudy color, and it is not used as a frontal dye. However, the painting of flowers and birds on silk must be used to support the back. I got a lot of methods from the unveiling of Song and Yuan paintings and water and land Buddha Statues. For example, the front is purple, the back is green, the front is stone blue, and the back is also green.
Stone blue: The more delicate the color of stone blue, the more difficult it is to apply thin dyeing. However, the requirements of coloring for it are thin and thick. To paint feathers, some need emerald blue, some need heavy green, and some need a thin layer of green halo. Before there is a stone green, the emerald blue should be smudged with three greens first, the heavy green ones should be smeared with rouge fingers first, and the thin layer should be first blended with ochre ink or flower blue, and then dyed with stone blue. This is by no means something that can be dyed in one fell swoop. On the silk painting, the front is made of stone green, the back must be stone green, and some also support the shallow three greens, so that it plays a role in setting off each other and making the connoisseur bright.
Pink: This is also a way to color flowers and birds to make them more vivid, more lively, and more out of the paper. This is after the dyeing color is completed, but also feel that it is not enough off the paper, some "suffocation" in the picture is not enough to jump out, you must use powder to remind the "smothering" screen. Painting white, pink, yellow, and light green flowers should use the method of lifting powder to make it more open-minded. All petals, especially the front petals, use color to blend out the lightest and lightest parts, and feel that the lightest and lightest parts of this petal are not alive enough, not enough to jump out of the paper, so that the very fine clam powder, from the lightest and lightest edges, to the place where there is not light and not shallow, so that the lightest and lightest edges, more prominently become white, naturally this petal jumps out of the paper. However, when blending the colored part with powder on the edge, the pen should be light, and the pen containing water should be used, so that the part that uses the color will not be affected.
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