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Chinese paintings in ancient times did not have a definite name, generally called Danqing, mainly refers to the scroll paintings painted on silk, paper and framed. Since modern times, in order to distinguish it from foreign paintings such as oil painting (also known as Western painting) imported from the West, it has been called Chinese painting, referred to as "Chinese painting". It is a painting created with brushes, inks and pigments unique to China, in accordance with long-term forms of expression and artistic laws.
According to the materials and expression methods used, Chinese painting can be subdivided into ink painting, heavy color, light dai, gong pen, freehand, white painting, etc.; according to its subject matter, there are figure paintings, landscape paintings, flower and bird paintings, etc. The format of Chinese painting is more diverse, horizontally unfolding long scrolls (also known as hand scrolls), horizontal shawls, vertically unfolding banners, middle halls, foot-sized albums, bucket squares, paintings on the fan surface of folding fans, tuan fans and so on. In terms of ideological content and artistic creation, Chinese painting reflects the social consciousness and aesthetic taste of the Chinese nation, and epitomizes the Chinese's understanding of nature, society and the politics, philosophy, religion, morality, literature and art associated with it.
1. What is Chinese painting?
Chinese painting originally referred to Chinese painting in general, a concept that emerged in modern times to distinguish Western paintings introduced in the late Ming Dynasty. Compared with Western painting, there are obvious differences in the modeling method and expression method. It includes various categories such as scroll paintings, murals, New Year paintings, prints, etc.; Nowadays, as one of the types of Painting in China, it refers to the variety of paintings created in accordance with the long-established tradition with tools and materials such as pen and ink unique to China.
Chinese painting is not a scientific concept that conforms to the taxonomy of art, according to the difference between tool materials, it can be called ink painting or color ink painting, juxtaposed with oil painting, watercolor painting, printmaking, and gouache painting; According to the difference in use, Chinese painting works can be included in murals, comic strips, New Year paintings, and illustrations; According to the difference of the subject matter, it can be included in the figure painting and landscape painting respectively. But after all, with its long history and unique characteristics, it represents the Chinese painting tradition and its renewal in the new era, is the concrete embodiment of thousands of years of Chinese cultural tradition, is self-contained in the field of world art, and is an important part of the Oriental painting department.
2. What are the formal characteristics of Chinese painting techniques?
(1) Free composition layout. According to the needs of the theme, break through the limitations of time and space, such as: "Qingming River Map", "Yangtze River Map", etc., the composition adopts scattered perspective, and the content that is thousands of miles away and several days apart is concentrated in one picture.
(2) The content is summarized and the main body is prominent. The modeling concept of Chinese painting originates from life, and in the process of refining, choosing and processing objects, it is not separated from people's visual experience, nor does it violate the logic of life, and pays attention to transforming natural objects into painting form symbols expressed with brush and ink and line through the management of art.
(3) Mainly line modeling, supplemented by point and surface modeling. The type, quality and image of the object are reflected through the combination of various lines of different weights and thicknesses, as well as the cooperation of different points and surfaces such as size and virtual reality.
3. What is the classification of Chinese painting?
Chinese painting is basically divided into three major disciplines: figure painting, landscape painting, and flower and bird painting. In terms of technique, it can be divided into gongbi painting and freehand painting. Brush strokes include white strokes, pastels, heavy colors, and boneless brushes. Freehand painting includes part-time work with writing, small freehand and large freehand.
4. What is the format of Chinese painting?
The formats are: murals, screens, scrolls, albums, fans, mirror hearts, horizontal drapes and hand scrolls.
5. What kind of brush is used in Chinese painting?
The pen used in Chinese painting is commonly known as a brush, and the millimeters of the pen are soft, hard and concurrent. Soft millimeter pen is mostly sheep millimeter, followed by chicken millimeter. There is a difference between long front, center and short edge, and the long front sheep pen is long and contains more water, which is suitable for showing a variety of ink color changes, but it is not easy to master. The short-edged sheep pen is short, and the pen is easy to thicken. The center of the sheep pen is between the length and short, the length of the edge is moderate, suitable for outlining the pattern rendering coloring. Chickens are softer and harder to master. Hard millimeter pens include wolf millimeter, purple millimeter, badger millimeter and brown millimeter. Solicitation, Zhang. One Bar Three, Two Lu Zero Wu. Three-fold three. Hard millimeter pens are generally strong, strong and sharp, easy to master and use. Among them, the wolf pen and purple pen are more used. It is mostly used for hooking lines, dotting mountain stones, flowers and painting orchids and bamboo. The pen is made of two or more different kinds of millimeters, which are soft and hard, suitable for hooking lines, and also suitable for rendering. For example: "big white cloud" is a combination of sheep and wolves. "Five Purple Five Sheep" is a combination of purple milli and sheep milli.
6. How to choose a brush?
The criteria for selecting a pen are "sharp, qi, round, and healthy". The tip is sharp, and the sharp point is as sharp as ever after dipping in ink; Qi is neatly trimmed, the nib is spread out and flattened, and the brush bristles are all neat; The circle is round and full; Jian is strong and powerful, whether it is to draw a square to draw a circle, the reverse brush, never astringent, after lifting the pen edge convergence sharp as ever.
7. How to protect the brush?
Newly bought pen, the bristles have glue, for a long time do not need to be mothed by insects, you can wash first and then put away. When painting, the pen should not be placed in the water for a long time, and the hair is easy to become soft after a long time immersion, which hinders the strength of the pen. After the brush is used, wash it, straighten the brush, hang it upside down on the pen holder, make the pen head down, and avoid inserting it in the pen holder when it is wet.
Works by Renmei master Xu Zhan
8. What kind of paper is used for Chinese painting?
The paper used in Chinese painting is mainly rice paper, leather paper and silk. Rice paper is divided into three types: raw rice paper, cooked rice paper, and half-raw and half-cooked paper. Good rice paper has the characteristics of cotton, white, fine and uniform, and it must also have the characteristics of "ink fixing pen" (ink finger ink color is moist and colored on the paper, and the fixed pen finger pen marks are clear). Raw rice paper is divided into single propaganda, sandwich propaganda, three layers of sandwich propaganda and so on according to the thickness of the paper. In general, thin paper seeps out faster than thick paper. Half-raw and half-cooked rice paper refers to the infiltration capacity between raw rice paper and cooked rice paper. Rice paper specifications are divided into four feet, five feet, six feet, eight feet, and two sizes. The performance of leather paper is similar to that of raw rice paper, the paper is strong and can withstand repeated rubbing, rubbing, rubbing, rubbing, but it is not easy to leave pen marks, and the color is easy to be gray and dark.
9. What is cooked rice paper?
Cooked rice paper is made of raw rice paper brushed with glue alum water in an appropriate proportion, which does not absorb water, and this paper is used when drawing strokes.
10. What is the silk used in Chinese painting?
Silk is a kind of silk fabric. There are two kinds of silk used in Chinese painting: raw silk and cooked silk. Raw silk properties like raw rice paper, color or ink painting is easy to penetrate. Cooked silk has been glutinous alum water, like cooked rice paper, which feels delicate and moist compared to cooked rice paper. When storing, it should be sealed to prevent leakage of alum and insect moths.
11. Do you use other materials to paint Chinese paintings?
Yuanshu paper, leather paper, Koryo paper, Yunlong paper, etc. can all be used for painting. The performance is similar to that of the public, but it is not easy to "ink" or "fix the pen", and sometimes special effects will appear when these characteristics are used. There are also cotton, non-woven fabrics, chemical fiber cloth, linen, etc., which many painters also use to paint, but the cloth surface has to undergo special treatment.
12. What kind of ink is used in Chinese painting?
Ink has a unique position in Chinese painting, and there are two kinds of ink: solid ink and liquid ink. The traditional ink used in Chinese painting is solid ink, which is divided into three types: oil smoke ink, lacquer smoke ink and pine smoke ink because of the different raw materials used. Oil smoke ink - is made of tung oil and other oils fired into smoke. Its black color is warmer and is used for painting, which is harmonized with other transparent colors. Pine tobacco ink - made of pine tree branches burned smoke, its black is cold, mostly used in calligraphy. Lacquer smoke ink – made from traditional lacquered smoke, its black is fine and shiny, which is also suitable for painting. When choosing, it is better to have a delicate texture and a blue-purple color. The grade of ink is "top, top, tribute, and selection". Liquid ink maintains the characteristics of oil smoke ink, which is now very popular due to its ease of use, but it is better for freehand painting. Among them, "Tianjin calligraphy and painting ink" and Beijing "Yidege ink" are better.
13. How to use the yantai?
Traditional Chinese paintings are generally ground with solid ink blocks on a brick table with water. Yan regardless of the end of the stone, she Yan, but to delicate moisturize the ink, the ink is too thick and easy to hurt the pen; Too delicate and solid, and not easy to ink. Yantai used for a long time, because the ink scale is thick and not easy to wash off, that is, when the ink is smooth, it is necessary to re-"open", you can choose a delicate small tile, first polish on other things, and then gently grind on the stone, grind off the ink rust (that is, the accumulated ink scale), self-ink. If the new stone is too thick, it can also be polished as a method. When the yantai is not in use, it should be covered well, so as not to stain the dust and not to dry easily.
Works by Renmei master Zheng Shanlu
14. What kind of pigments are used in Chinese painting?
The pigments used in Chinese painting are plant pigments (water color) and natural mineral pigments (stone color), as well as chemical synthetic pigments. Plant pigments include flower blue, rouge, garcinia and so on. Mineral pigments include ochre, cinnabar, cinnabar, stone green, stone yellow and so on. Most of the Chinese painting pigments packaged by zinc tubes are chemical synthetic pigments. These are collectively referred to as Chinese painting pigments.
15. What is water color and stone color?
The water color is made from the sap of plants in nature and is in the form of a paste or lump. The stone color is called a "natural mineral pigment" because it is made of natural minerals. Ore is a natural crystal, mostly transparent or translucent, grinding them into a powder for use as pigments, the color is calm and colorful, and it remains unchanged for a long time. The stone color is powdery, and a certain proportion of glue should be adjusted when using.
16. What are the characteristics of Chinese painting pigments?
Water color (plant pigment) is a transparent color, can be mixed with each other, no covering force, color quality is unstable, easy to fade. Stone color (mineral pigment) is an opaque color, can not be reconciled with each other, strong covering force, stable color quality, not easy to fade. Stone and water cannot be reconciled with each other. Here are a few of the most commonly used and most basic pigments for Chinese painting:
(1) Flower blue: dark blue, transparent color of plants. It is made of the branches and leaves of plants such as indigo orchid and large green leaves, and has a tube and a small block. Use after the creamy lumpy anthocyanine is soaked in warm water, but it should not be soaked too much at once, because it is easy to mold and deteriorate in summer.
(2) Garcinia cambogia: lemon yellow, transparent color of plants. Originally made from the sap of the branches of tropical vine branches. The hue is bright, and it is better to have a uniform texture and a pure color.
(3) Rouge: dark red, transparent color of plants. Traditionally made, this pigment is made by frying plants such as safflower, madder, and comfrey. In the Han Dynasty, it was introduced to the mainland from the western region, and the hue was cold and calm.
(4) Akebono: cold red, brighter than carmine. In the early years, it was called "Western magenta" because it was imported from Germany at the end of the Qing Dynasty. It is a chemical synthetic pigment.
(5) Titanium blue: a more distinct dark blue, is a chemical synthetic color, the hue is more stable. If you adjust a little ink color is very close to the flower blue.
(6) Cinnabar: pink orange red, opaque color of mineral color. This red color is difficult to blend in other colors and is produced in mercury (mercury) mines. Powdered form, used after gluing.
(7) Zhu Zhen: orange-red, a translucent color that is brighter than the cinnabar color. The color is more distinct, which is a warm red color that floats in the uppermost layer of the finest texture during the development of the cinnabar color. Because the texture is very fine, it can be used as a transparent pigment after gluing, because it is made of natural ore, the color quality is stable and not easy to fade.
(8) Stone blue: a distinct blue color, an opaque color of mineral color. The raw material is produced in copper ore, commonly known as lapis lazuli. After the stone blue color is made, it can be divided into different shades of blue, such as head blue, second green, three green, and four green. Due to the difference in the thickness of the powder particles, the difference in depth is produced, with the head green being the deepest and the other being the second.
(9) Stone green: cold pink green, opaque color of mineral color. Produced in copper mines, commonly known as malachite. Stone green is also divided into several kinds of head green, two green, three green, four green, etc., and also varies in shade due to the different thickness of the granular powder, with the head green being the deepest, followed by others.
(10) Ochre: light brown, opaque mineral color. The raw material is hematite ore, which can be used as a transparent pigment after fine grinding. It appears with a floral hue and a precipitate after it, which is due to the difference in mineral and plant color textures.
(11) Chemical synthetic pigments: The boxed zinc tube twelve-color Chinese painting pigments sold on the market now are chemical synthetic pigments, which are modeled on the traditional mineral pigments (stone color) and plant colors (water color). Because it is a zinc tube packaging, it does not need to be adjusted when using, which is very convenient to use and the cost is also very low. However, the color of the pigment itself is far less pure and beautiful than that of natural mineral pigments, and the color quality is unstable and easy to fade.
17. Do Chinese paintings still use other pigments and materials?
Many painters use watercolor, gouache, propylene, gold powder, silver powder, mica powder, gold leaf, and silver leaf together with Chinese painting colors to enrich the picture effect. The use of this comprehensive material has brought great promotion and development to the creation of Chinese painting today.
18. What is the method of writing Chinese painting?
Beginners, first of all, to understand the pen, the posture can be correct, to achieve the pen with ink freely, should pay attention to the following points:
(1) Pen straight: The pen is regular and sharp. The bone method is based on the center forward with the pen.
(2) Fingering: The finger pen should be firm and powerful, and it should be flexible and not cling to death.
(3) Palm deficiency: fingers holding the pen, do not hold tightly, the finger should leave the palm, the palm is empty, so that the pen can be transported freely.
(4) Hanging wrist, hanging elbow: refers to a large area of the pen to hang the wrist or hanging elbow, in order to be able to write at will, the force through the overall situation.
19. What is a center forward and a flank pen?
The center of the pen should hold the pen straight, the pen edge is in the middle of the ink line, the strength of the pen should be uniform, the pen edge is perpendicular to the paper, and its effect is round and stable. The flanking edge is on the side of the pen with the pen, the pen edge is on the edge of the ink line, the pen edge and the paper surface form a certain angle, the force is uneven, fast, slow, light, heavy, and its effect is rich in hair and astringency.
20. What is a shunfeng and a counter-edge pen?
Shunfeng: Generally, the operation of the pen edge is consistent with the tilt direction of the pen shaft, and its effect is smooth and straight. Counter-edge: The pen edge is retrograde (that is, contrary to the habitual direction of the pen), and its effect is dry and clumsy.
21. What is a pen for jufeng and scattered front?
Jufeng refers to the pen edges together, forming a single stroke. Scattered edges refer to the spread of the pen edge, which is multi-sharp (also known as "flowering pen"), and its effect is dry and varied.
22. Does the speed of the pen affect the picture effect?
The use of various pen techniques, mainly depends on the effect, of course, does not exclude the special habits of individuals, the speed of the pen depends on the degree of water absorption of the paper and the amount of water contained in the pen. Drawing paper absorbs water fast, and the speed of using the pen is relatively fast, but if the pen contains less or very little water, the speed of the pen is slowed down to varying degrees. If the paper absorbs water slowly, but the pen contains more water, the speed of using the pen should be correspondingly faster, and as the water in the pen decreases, the speed of using the pen gradually slows down.
23. What are the common expression methods of using a pen?
Tick: Shaped with a line. It is one of the main techniques of brushwork and freehand painting. Compared to it, it is used more with brush strokes. At the same time, "hook" is often combined with "dyeing" to express some specific content, such as the face of the character, the hand, and the hook of flowers, etc., and the hook is sometimes combined with the hook, such as the painting method of landscape painting stones, mostly combined with hooking. The hook of the work pen, mainly centered, requires neatness and rigor, similar to the calligraphy in calligraphy. Freehand hooks are more casual and lively. Combining the center with the flank, and sometimes with the scattered front, is similar to calligraphy: it is an auxiliary method that is closely combined with hooks, and both brushwork and freehand are commonly used. It is roughly divided into dot-like wrinkles, facial wrinkles, and linear wrinkles. No matter which method of wrinkles needs to see the pen, the pen should be changed, you can use the center, the flank, you can also use the gathering front and the scattered front, but the effect should not be too bright.
Wipe: The brush stroke is not clear is called rubbing. Rubbing is a continuation of the rubbing process, a supplement to the rubbing, and its purpose is to make the picture effect more thick. The difference between rubbing and rubbing is that one should see the brushstroke, and the other should not see the brushstroke. Rub can not be used alone when painting, and can be used alternately with wrinkles. But in practice, it is often difficult to separate the two procedures.
Point: It is a method of expression of surface modeling, freehand painting is more common, and there is also a method of boneless dot dyeing in the brush painting. The point of the pen and the dye are inseparable, so it is called point dyeing. The dots in freehand paintings are called dot pokes or dot pokes, and the dot method should emphasize the use of pen methods and brush strokes. The freehand point method should start from reality, can hide the front, can show the front; It can be sideways or scattered, either way, you must see the brushstrokes, not ambiguous.
Dyeing: Another way to enhance the effect of the picture. Both Gongbi and Freehand paintings are used, but Gongbi paintings are used more. The dyeing in the brush painting can be divided into two types: hook dyeing and baking dyeing. Baking dyeing is a kind of effect that is done outside the contour of the object, in addition to sub-dyeing, hood dyeing, touch dyeing, etc. The dyeing of freehand painting is generally carried out in combination with wrinkles and dots, such as dyeing and dot dyeing, which is a dyeing method that sees brushstrokes. Its role is the same as that of the pen, and there are two methods: wet dyeing (first applying water to the contaminated place) and dry dyeing.
Works by Renmei master Tian Tian
24. What is the line-based Chinese brush and ink concept?
The expression method of Chinese painting is based on "line" pen and ink, and its material materials are brush, ink and rice paper. This particular tool material is closely related to specific expressions. So much so that "pen and ink" has become an important feature of Chinese painting. The presence or absence of brush and ink has become an important symbol for people to evaluate the merits of Chinese painting. Comparing the line techniques of Chinese and Western painting, although Western painters also use lines to shape images and convey feelings, they focus more on expressing the texture, quantity and space of the image. The role of lines in Chinese painting goes beyond the function of simply shaping the body, and has the role of expressing the author's thoughts and feelings and independent aesthetics.
The rhythmic beauty and rhythmic beauty of Chinese painting lines include two aspects: One is the rhythm and rhythm of each line itself, which is a change produced by the controlled lifting, moving, turning, weight, and rapidity of the lines in the painting process. The other is the change of the length, thickness, simplicity, density, thickness, and virtual reality of various lines to form the rhythmic beauty of the whole painting. The change of ink is developed by the change of the pen, and the pen and ink are combined and complementary when used. Just like the relationship between bone and flesh and blood, they cannot be completely separated. Ink is made of pen, pen is present from ink, and a good Chinese brushwork and ink rhyme are natural.
25. What is the color of Chinese painting?
In terms of color, Chinese painting has its own unique laws and methods, which exclude the constraints of nature and light sources, and generally emphasize the inherent color of objects. In the whole color relationship, white (white paper) and ink are based, supplemented by color. In early Chinese painting, most of them were expressed in heavy colors. For example, a large number of figure paintings and landscape paintings in the Tang and Song dynasties were mostly expressed in heavy colors. Since the Yuan and Ming Dynasties, with the advent of paper, the evolution of ink painting techniques has been brought about. At the same time, the emergence of literati painting forms has gradually developed painting into a face based on ink painting and supplemented by color. Ink is not just a "black" color in Chinese painting, but exists as a "color" that adjusts the relationship between the pictures. There is a theory of "ink divided into five colors" in traditional Chinese painting theory, which is a typical concept of ink as color. The form of color: there are ink paintings expressed purely with ink colors, pastel paintings with color and ink combinations, and heavy color paintings with bright colors and colors. The general color and the use of ink are different, reflecting different styles and faces.
26. What do chinese paintings mean by similar shapes and gods?
"Shape-like" corresponds to "god-like". It refers to the similar relationship between a painting and the external features of natural objects. As the saying goes, draw what looks like anything. The Warring States Situation has the saying that "the form is born of the gods". Qi Fanjian of the Southern Dynasty also had the saying that "if the form exists, the god exists, and the form is destroyed". The form and the god are unified. Although the Southern Dynasty Song Zongbing had the saying that "all fun melts its gods", he still insisted on "writing shapes in shapes" and "coloring colors". Gu Kaizhi of the Eastern Jin Dynasty said more clearly, that is, the so-called "writing God in form". Zou Yigui of the Qing Dynasty said: "There is no one who does not look like a god." All of the above views are to argue that "shape-likeness" is the basis of painting.
"God-like" and "shape-like" also correspond. It refers to the unity of subjectivity and objectivity, from the appearance aesthetic of things to the deepening of imagery. That is to say, in addition to what to paint, we must also pay attention to the inner performance of the spirit. That is, "the use of the form of the gods, the quality of the gods of the form." Yuan Wenyue: "Painting is easy and difficult. The form of the body is also, and the god is also its radiance. The form of a mortal person is often able to learn to paint, and as for the radiance, he is not superior in his chest, and there are those who cannot do it. Chao Yidao, Yang Shen, Li Zhen, and others all elaborated, "Painting is not in vain, it is about to form a god." Therefore, "both form and god" is the conclusive conclusion of Chinese painting art.
27. What is the relationship between the shape and the god in Chinese painting?
When describing the object, the painter should achieve the realm of conveying the gods on the basis of depicting the shape of the object. This is not limited to a simple and truthful description of objects, but contains the process of the painter's understanding of rationality from sensibility, and then from reason to the completeness of artistic expression. It is not a simple reproduction of objects, but a higher generalization than the original objects in life, paying more attention to the expression of spiritual essence, and achieving the transmission of God. This attitude of painting is the basis of the realistic creation method of Chinese painting.
28. What is the "artistic conception" of Chinese painting?
Mr. Li Keyan said: "The artistic conception is the soul of art, the concentration of objective things, coupled with the casting of people's thoughts and feelings, through a high degree of artistic processing to achieve the fusion of scenes, so as to express the artistic realm, the realm of poetry." "There is a lot of content contained in Chinese painting. The theme of a painting, its framing composition, modeling and conveying the spirit, plot arrangement and description, and picture management and processing must all work the word intention. "Meaning" can be said to be the soul of a painting. Chinese painting has always been said to be "painting is a silent poem" and "painting has an artistic conception". A painting is often a harmonious expression of the characteristics of the object and the painter's feelings to produce poetry. The image of the blending of scenes is the image of the poem, and the so-called "intentional image with intention and taste outside the taste is the intriguing artistic image". A painting with deep affection and strong expressiveness can maintain a broad and lasting appeal to people who look at the painting, which is the so-called "artistic conception" of Chinese painting.
29. What does "Yi Craftsman" mean in Chinese painting?
The processing method of expressing the artistic conception is called "yi craftsman", which refers to the artist's expression method and creativity. In art, the word "craftsman" is a highly praised word, such as "ingenuity", "zongshi" and so on. For artists, the level of processing means is related to the level of artistic attainment, and no outstanding artist of the past generations has not worked artisans. The expression of the artistic conception of Chinese painting is first of all the result of a series of intrinsic skills such as the author's life feelings, image thinking, artistic creation and expression methods, etc., and at the same time, it must also be repeatedly highly artistically refined, requiring the author to work hard and produce it to achieve the artistic effect of ingenuity and uniqueness, which is called a high degree of craftsmanship. As Du Fu, a great poet of the Tang Dynasty, said: "The craftsman is in dismal operation" and "the language is not surprising and endless".
30. What are the six laws mentioned in Chinese paintings?
The "Six Laws" were put forward by the Southern Qi Sheikh and were highly valued by painters, critics and connoisseurs of all generations, and are the earliest relatively scientific and systematic guidelines for painting creation and painting criticism in the history of Chinese painting, and their contents are as follows: (1) vivid and vivid; (2) bone method with pens; (3) should be pictographic; (4) color with categories; (5) business position; (6) transmission and model writing. Vivid qi rhyme is the most important of the "Six Laws" and an important criterion for the creation and criticism of painting in the mainland for thousands of years. Good paintings must create a moving image, with ingenious structures, pens, inks and colors. A painting with all this will give people a general impression, that is, in terms of content mood, image shaping, composition, color, etc., giving people a complete and specific feeling. The "vivid rhyme" proposed by sheikh refers to this feeling. The depth of feeling is determined by the depth of the work's revelation of the beauty of life and the perfection of image creation.
"Vivid breath" is the unity of form and God on the picture, and this unity is extremely artistic. Bone brush is a problem with the use of a pen in painting. It is an important technique for using line drawing to express the shape of an object. Tang Zhang Yanyuan said in the "Records of Famous Paintings of Past Dynasties": "The image of the husband must lie in the shape, and the shape must be full of its backbone." The bone qi seems to be in the original intention, but in the pen. "The object pictogram is about the shaping of the image. The so-called "object" is not only the pursuit of the object's external similarity, but more importantly, the recognition of the object's characteristics and inner spirit. Solicitation, Zhang. One Bar Three, Two Lu Zero Wu. Three-fold three. When describing, it is not right if it is only "pictogram" and not a thing. Tang Zhang Yanyuan said, "The bones are similar, and they are all based on intentions. The intention is the source of the heart. Therefore, "yingwu" is not simply painting according to the object, but expressing the spiritual essence of the object on the basis of similarity. Coloring with class is about coloring. "Class" is "the class of all things", and the class referred to here is the category of characteristics, appearance and color presented by the painting object.
For the expression of color, Chinese painting is very chic, paying attention to the inherent color of the object, and then with the object image and the like, it is given a general color expression in the image characteristics. The business position is the layout of the painting, that is, the composition and composition of the painting. The so-called "position" in painting should be "managed". The word "management" has a very deep meaning, and it should be painstakingly organized and arranged according to the structure and pattern of the object. Therefore, it is very important to operate in the expression of painting, and sheikh proposed this "method", which is to summarize the expressive characteristics of Chinese painting in composition. It is precisely because the "position" of the painting is "managed" and carefully organized and arranged with the painter, so Chinese landscape painting can not be limited by the focus perspective, and flexibly and skillfully use scattered perspective to depict the "Yangtze River" or "Huayue Qianxun" on a picture.
Whether it is far-reaching, high-distance or flat-reaching, it can be arranged with the painter. Transposing modeling refers to the problem of copying the excellent works of the ancients and learning from heritage. Zhang Yanyuan, a great theoretician of the Tang Dynasty, believed that this method was "the last thing for painters", which did not mean that this method was insignificant, but that copying was not the purpose of painting, and copying was a means of learning for better creation. When imitating the excellent works of the ancients, we must be serious, so that we can truly learn the essence of the hand when copying the excellent works of the ancients, so as to achieve the purpose of "passing on the mold and writing".
Works by Renmei master Bai Chongran
31. What is the "inscription" of Chinese painting?
Inscriptions occupy an important position in the art of Chinese painting and are an integral part of the composition of Chinese painting. Generally speaking, the text of the inscription before and after the calligraphy, painting, inscription, etc., can be called an inscription. The text written in front of the calligraphy or painting or inscription is called "title", and the text written on the back is called "trek". Inscriptions can be divided into three categories: First, the author's own inscriptions; The second is the inscription of the contemporaneous people; The third is the inscription of posterity; Paintings before the Song Dynasty did not have inscriptions, and even if they did, they only inscribed their names in inconspicuous places such as tree trunks and rocks. This art form developed with the rise of literati painting and eventually became an important art form of traditional Chinese painting.
32. Are there many forms of "inscriptions" in Chinese painting?
The inscription is divided into hidden money and exposed money. There are several commonly used questions: First, the horizontal style, according to the Chinese national customs is generally from right to left, the number of words can be more or less, but each line of words should not be too much, in order to maintain the horizontal form. The second is the vertical type, and the number of lines written should not be too much to maintain the vertical form. The third is the natural formula with uneven heights. The horizontal and vertical styles mentioned above should be aligned, and the end of the word can be jagged and staggered, commonly known as "the head is not the same tail". The natural formula can be freely staggered and more comfortable. But be careful not to write too loosely. In short, no matter which kind of problem, we must pay attention to the content of the inscription and the harmony of the font and picture.
33. What are "long questions" and "poor money"?
Among the inscriptions in Chinese paintings, the inscriptions with more words are called "long titles", and the inscriptions with fewer inscriptions (so few as to write only one name) are called "poor money". The inscription can be two poems or a poem, a few prose notes, or even a long poem, which is determined according to the composition needs of the picture. The inscription itself is a science, and a good inscription in a painting is not only the icing on the cake, but also the point of turning stones into gold. Those who are good at inscriptions do not necessarily have many questions, and a single word can make people feel that "there are paintings in poetry, and there are poems in paintings".
34. Should the inscription be consistent with the style of the painting?
The font of the inscription should be consistent with the style of the painting. For example, freehand paintings use more line writing and cursive writing, and gongbi paintings use more calligraphy and lishu. Of course, this is not absolute, and should be considered as a whole according to the artistic style of the picture.
35. How to use seals in Chinese paintings?
What role does the seal play? In Chinese painting, the seal plays a role in balancing the composition of the picture and enriching the picture effect. A complete Chinese painting, in addition to the inscription, is printed with a seal. As far as seals are concerned, they can be divided into two categories: yang articles (vermilion patterns) and yin articles (white veins). As far as the position of the seal on the screen is concerned, there are also the first seal, the name seal and the angle seal. In a place with two or more seals, the upper seal is generally slightly larger, the lower print is slightly smaller, the upper side is Yang, and the lower side is yin.
36. What is "Danqing"?
Ancient paintings on the mainland often used scarlet, stone green, stone green and other colors, so it was called "Danqing", which was used to describe Chinese painting.
Works by Renmei master Xue Jubo
37. What is Gong Pen Painting?
"Gong pen" is the concept corresponding to "freehand", which is simply to use neat, meticulous and meticulous techniques to depict objects. It can be roughly divided into four categories: gongbi white stroke, gongbi pastel, gongbi heavy color, and boneless gongbi. From the performance content, it can be divided into: landscape, flowers and birds, and characters.
38. What are the characteristics of Gongbi painting?
In the long-term historical development, Gongbi painting has established a set of strict technical system, thus forming a unique style of this painting style, and its characteristics are summarized as follows:
(1) Line modeling is a feature of Chinese painting techniques, and it is also the foundation and backbone of Gongbi painting. The requirements of gong pen painting for lines are neat, delicate and rigorous. In general, the center forward uses more pens.
(2) The color is mainly based on the inherent color, generally the color is bright, calm, bright, elegant, has a unified tone, and has a strong aesthetic interest in Chinese national color.
(3) Decorative and flat sense is especially an indispensable factor in the decorative aspects of brush strokes. From composition, line drawing, coloring to the details of the image, there is a certain sense of flatness and decoration. On the one hand, the decorativeness comes from the traditional stylized method, and on the other hand, the author's aesthetic effect on the image in life is formed by refining, exaggerating, and creating.
39. What is freehand painting?
Freehand painting is to depict scenes with concise brushwork. Freehand paintings are mostly painted on the shengxuan, with longitudinal brush strokes and ink colors flying, which can better reflect the charm of the depicted scenery than the gong strokes, and can also directly express the author's feelings.
Freehand painting is gradually formed in long-term artistic practice, and its Chinese people participate in painting, which plays a positive role in the formation and development of freehand painting. According to legend, Wang Wei of the Tang Dynasty called his paintings "poetry in paintings, paintings in poetry", and he "changed the method of gouge research" and created a broken ink landscape with "light ink and clear brushwork". Dong Qichang honored him as the ancestor of "literati painting". The fifth generation of Xu Xi first wrote the branches and leaves of the flowers in ink color, and then applied a little light color, creating the Xu body "ink falling method". After that, the Song Dynasty Wen Tongxing "Four Gentlemen" painting style, the Ming Dynasty Lin Liangkai "courtyard body" freehand new style, the Ming Dynasty Shen Zhoushan used thick ink light color, Chen Baiyang re-wrote realistic ink pastel, Xu Qingteng was even more wild to survive. After a long period of artistic practice, freehand painting has entered its heyday by the Ming Dynasty. Carried forward by the Eight Congresses, Shi Tao, Wu Changshuo, Qi Baishi, etc., freehand painting is now the most influential and widely spread painting method.
40. What are the characteristics of freehand painting?
Freehand painting advocates god-likeness. Dong Qichang has a saying: "Painting landscapes is the best way to paint freehand ink. Why? The shape of Bishaw, then there is no rhyme; Color variants, there is no brushwork. The Ming Dynasty Xu Wei inscription poem also said: "Do not seek shape like survival rhyme, according to the five fingers of The Five Fingers of The Five Fingers." ”
Freehand painting focuses on the use of ink. For example, Xu Wei painted ink peonies, a reverse of the expression of the dyeing, and wrote it in the ink splash method. Wu Zhen of the Yuan Dynasty on paintings has clouds: "Ink opera works, In addition to the words of The Geshi Doctor, the interest of the moment, and the flow of the husband critics, there is a great outline." Taste Chen Jian Zhai Mo Mei Shiyun: 'Yizu does not seek color, the predecessor of Soma Jiufanggao. 'This true knowledge painter also. ”
Freehand painting emphasizes the individuality of the author. The eight monsters of Yangzhou are famous for their "weirdness", painting informally, scribbling indiscriminately, and using a "chaotic" word to show their rebellious spirit. Zheng Banqiao once confessed: "In modern times, Bai Ding (Min Dao), Qing Xiang (Shi Tao) or Hun Cheng or Qi Zhong, all of them are detached from the ancient Restoration. Recently, Yu Hongxu (Zhiding) painted bamboo, which is quite chaotic and wonderful. A word of chaos, even when the body is responsible, even when the body is responsible. ("Zheng Banqiao Collection, Supplement") Jin Dongxin painting bamboo is also like "chaos", once said: "With scorched ink pole big leaves, leaves are chaotic." ”
Freehand painting is mostly painted with calligraphic brushwork, and the brush used in freehand painting also greatly enriches the form of calligraphy, so most of the freehand painters are calligraphers. For example, Zheng Banqiao is good at calligraphy and painting, blending with each other, writing books with painting methods, creating the "six-and-a-half-minute book" between the books, and using calligraphy brushwork as orchid bamboo, the style is bright and vigorous. Jiang Shiquan, a Qing dynasty, commented: "Banqiao is written like writing orchids, and the ancient shape of BoQi is dancing; Itabashi writes orchids as if writing, showing leaves and vegetables and flowers. ”
Works by Renmei master Xu Wanqing
41. What is the expression of the combination of work and writing?
The expression of the combination of work and writing refers to the application of two different techniques of brushwork and freehand in a painting.
To say that The Old Man Shiraishi is a master of freehand painting cannot summarize his artistic achievements, because the Old Man Shiraishi is still a master of brush strokes. He is good at combining the two techniques of freehand and brushwork, which is fully expressed in one work.
When Shiraishi was about 60 years old, when his eyes were strong, he painted many insects, such as dragonflies, butterflies, grasshoppers, crickets, grasshoppers and so on. When the decay method is successful around the age of 80, he adds flowers to the painting with a large brush stroke. "Maple Leaf Chill" is such a masterpiece. On the ink-colored branches of the swaying ink-colored branches, several pieces of bright red autumn maple, a finely painted brush knows that it is stopping on the red maple, in the strong contrast between red and black, brushwork and freehand, a piece of vibrant autumn light jumps out of the paper.
Qi Baishi once said: "Paintings with large brushes and ink are rarely similar; The painting of slender pen and ink is rare and god-like. This worker often laughs at the past, and those who come have the desire to laugh at the remnants, and they are afraid that the rest will not be seen. "Writing and freehand have their own strengths, and the opposite forms of expression often cause mutual criticism." Qi Baishi combines the workmanship and freehand performance, which is to make use of the strengths of the two, thus opening up a new realm.
42. What is "white drawing"?
White drawing is a painting method that uses lines as a means of expression. Rely on the thickness, rigidity and softness, square circle, cunning, dense and other changes of the line itself 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.
43. What is a subtracted figure painting?
Reduced figure painting is a kind of expression technique of Chinese painting, which was created by Liang Kai in the Southern Song Dynasty. Yuan Xia Wenyan called his figure paintings: "All grass, called subtraction." ”
Liang Kai was a painter during the Southern Song Dynasty. Born and died in a peaceful year. Ningzong Jiatai (1201~1204) was a painting academy to be edicted. Liang Kai has a crazy personality, is drunk and self-amusing, and behaves uninhibited, so he is known as "Liang Crazy". Later, dissatisfied with the shackles of the painting academy, he hung the "golden belt" given to him in the courtyard and left. Liang Kai paints characters, and likes to use the splash ink method to shape the character image with extremely indulgent and concise lines. The main works that have been handed down include: "Splash Ink Immortal Diagram", "Taibai Xing Yin Tu", "Hanshan Pick-up Map" and "Cloth Bag Monk Diagram". Among them, "Budai Monk Diagram" is the most well-known. The work draws eyebrows with neat brushwork and coarse brushwork, which contrasts sharply and harmoniously unifies. The characters are novel in shape, with round heads and a large body, and a smile.
Liang Kai's reduced figure paintings emphasize the vivid demeanor of the characters, and the exaggerated expression of the faces of the characters and the liberties of the clothes are written freely, creating an unprecedented new style of painting. His painting emphasizes "moving its shape and completing its bone", and pursuing the realm of "seeking its painting outside the shape" and "seeking its painting with qi rhyme, then it seems to be in between". Liang Kai's subtraction is also the expression of his indulgent personality.
44. What is the "eighteen strokes" that the ancients talked about?
"Eighteen strokes" are various depictions of lines summarized by the ancients. The object is expressed through the aesthetic effects of the strength, rhythm, rhythm, and momentum of the line to convey the author's emotions. The 18 types of depictions are: gossamer stroke, iron line drawing, mixed stroke, string stroke, willow leaf drawing, horse locust stroke, date core drawing, olive drawing, Cao Yi drawing, Dingtou rattail drawing, earthworm drawing, dry wood drawing, plucked head drawing, folding reed drawing, subtraction stroke, bamboo leaf drawing, war pen water pattern drawing, and flowing water stroke. These depictions can actually be basically divided into two main categories. The first is the center line pen, which requires uniform strength, consistent stroke thickness, and its effect is round and full. Such as iron wire drawing, string drawing, high ancient gossamer drawing. Second, in the process of writing, the pen edge not only has changes of ups and downs and left and right shaking, but also the rhythm of the pen is also different, thus forming a multi-change line. Such as: orchid leaf drawing, willow leaf drawing, cloud flowing water drawing, battle pen drawing, etc. No matter which kind of depiction, it is for the sake of better shaping the image, not for the sake of "depiction".
45. What is the splash ink method?
The splash ink method is the basic technique of using ink for Chinese painting, focusing on the indulgent waving of full pen and ink on raw rice paper to create an artistic image with flying ink.
The ink splash method should be used to choose a large pen, and a large pen soft can absorb a large amount of ink. Splash ink emphasizes the inclusion of various ink color changes in a stroke, it is not difficult to do this, the key is how to inhale different ink colors separately when dipping ink. When dipping ink, you can first dip light ink and then dip thick ink, or you can first dip thick ink and then dip light ink. If the tip is large, half of the tip can be dipped in thick ink and the other half in light ink. Because the pen edge contains different ink colors at the same time, when the pen falls on the paper, it will naturally produce a colorful ink effect.
All Chinese freehand painters are good at using the splash ink method, among which the big freehand painting ink lotus leaf can best reflect the brilliance of splash ink. The 87-year-old man Shiraishi's "Lotus Mandarin Duck Diagram" is written with a large pen at will, splashing ink like pouring, dripping and flowing, and writing the front and back levels of lotus leaves in different ink colors, which makes the viewer feel happy. This is the appeal of splashing ink.
46. What is the "law of wrinkles" and how to classify it?
The wrinkle method is a brushwork used to express the texture of mountain stones and bark. Successive painters have created expressive programs based on the shape of the geological structure of the mountain stone and the epidermal state of the trees. With the transformation of the natural world and the evolution of painting techniques, various methods will continue to evolve.
Before the Tang Dynasty, the mountain stones in landscape paintings were "empty and unobtrusive". By the end of the Tang Dynasty, the Five Dynasties, and the Northern Song Dynasty, there were only mountains and stones, which was a major development of landscape painting. After a long period of observation, experience and accumulation of mountains and stones in the natural world, the predecessors finally summed up the modeling means of expressing the texture, texture and decent relationship of the landscape - hook and wrinkle methods. There are many kinds of traditional piling methods, and the common methods are: long pimple, short pimple, rice dot, big axe splitting, small axe splitting, dragging mud with water wrinkles, cloud head wrinkles, rain dots, folding belts, watercress, watercress, etc. In actual life, the texture of mountain stone is diverse, the texture and style of mountain stone are also rich, and a single method of wrinkles often cannot meet the needs of performance, so several methods are often used in combination.
47. What is the dot method of Chinese painting?
Point is an important form of expression of Chinese landscape painting, and the point method is the basic expression technique of point. In a Chinese painting, the dots in the close-up appear as moss dots; The points of the mid-view appear as small plants, as a form of grass or shrub; The point in the vista is the expression of the tree.
The point can also adjust the atmosphere of the picture, so that the picture is full, resulting in a feeling of lushness. Points can also adjust the structure of the picture to supplement the original virtual and real deficiencies. Fei Hanyuan's "Fei's Painting Style" said: "If there is a disconnect between the pen, the bitterness can be picked up." There are omissions, and moss can make up for them. ”
Dots, like wrinkles, are constantly increasing in style with the mature development of Chinese painting. The dot method has become a stylistic symbol of the representative figures of the genre. For example, one of the characteristics of Dongyuan Landscape is the vertical point of the round pen, Juran is the focus of Jiao Ink, Ni Zhan is the horizontal point of the side pen, and Shen Shitian is the reverse pen dot...
Painters have always paid great attention to the study of points. Among them, Shi Tao's exposition is particularly incisive, he argued: "There are rain, snow, wind and sunny four hours to be appropriate, there are any yin and yang lining points, there are mixed points of water and ink, there are points of mixing with water and ink, there are dots of filigree containing bracts, there are empty and wide dry and tasteless points, there are ink and ink-free flying white like smoke points, there are scorched like lacquer sloppy transparent points, and there are two points that are not willing to break to the scholars: there is no day and no place to split the noodles; There are thousands of rocks and valleys that are clear and pure. Oh, the law has no definite phase, and the qi is into a chapter. ”
There are no less than dozens of points in Chinese painting, mainly including: word points, preposition points, small mixed points, large mixed points, rat foot points, chrysanthemum points, pepper points, plum blossom points, weeping vine points, pine leaf points, algae points, pointed head points, cypress leaf points, algae silk points, sycamore points, tsubaki leaf points, three points, vertical head points, flat head points, broken pen points, upward points, thorn pine points, upward leaf points, scattered tsubaki leaf points, three gathering five points, fir leaf points and so on.
48. What is rendering? What is foiling?
Rendering refers to baking the object image with ink or color, separating the yin and yang to the back, increasing the texture and three-dimensional sense, strengthening the artistic effect, and can also be used as a "color" solution. Yun Shouping of the Qing Dynasty said: "When people talk about painting, they are all easy to set colors, do you know that rendering is extremely difficult, painting until coloring, joining the furnace bonfire, re-exercising, the fire is slightly worse, and the previous achievements are abandoned." ”
The accent is set off by rendering the outer contour of the object in ink or pastel to make it stand out. Such as baking clouds and supporting the moon, as well as painting snow scenes, rain scenes, fog scenes, morning and dusk, flowing water, white flowers and birds and white depiction of figures, etc., generally use the outer cover, surrounding dyeing method.
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