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Chinese landscape painting has two types: ink painting and color painting. "Ink" is also traditionally regarded as "color", Tang Zhang Yanyuan said "transport ink and five color tools", and later there were "five ink, six colors", the theory is different. One says black, thick, wet, dry, light five kinds of ink plus white, called six colors, one said five ink is thick, sue, scorched, retreat, Edd. In short, it is said that the ink has a change of thickness and wetness.
Ink painting, expressed purely in ink color (sometimes in ink and in very light garcinia, flower blue or ochre), is a unique style of Chinese painting, which has been on a par with color painting since the Tang and Song dynasties. Ink method, in the final analysis, there are several kinds of thick, light, broken, accumulation, coke, and su. The use of ink to achieve the effect of five colors of rot, the key is two:
Freehand landscapes
First, "The magic of ink is all out of the pen." ”
There are two meanings here: one is to say that "ink" cannot leave the "pen", "ink" is a record of the operation of the pen, and the non-pen cannot transport ink; the other is to say that there is a pen method in the ink method, and the method of using ink is to use the pen, and the pen is not vain, not stagnant, in order to achieve ink color, that is, thick ink, broken ink, but also to be able to integrate, but also to distinguish, only then there is ink and pen.
2. "With ink there is no other, but in purity." ”
Cleanliness is the only way to be lively. The method of transporting ink is also using water, and it is necessary to achieve purity and life. Experienced painters, after painting a painting, a cup of water is basically still clear, which shows how much water is contained in the pen, the thickness of the ink, are naturally reflected on the paper, so that the control is free, no contrivance.
Freehand landscapes
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. Let's focus on color painting.
(1) Categories of landscape paintings
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."
Shallow landscape
Dai refers to the dark earth red. Shallow landscape is based on the ink hook dyeing point, set up ochre (or ink) as the mainstay, supplemented by flower blue, juice green and other pastel landscape paintings. It is best to paint autumn scenes.
Green landscapes
There are two kinds of green landscapes: small green and large green. Small green is based on ink light color or light color, thin stone blue, stone green; large green is mainly color, ink bone more outline, less pencil.
Golden landscape
The golden landscape is in a large green format, using mud gold to outline the mountain outline, stone pattern, slope foot, sand mouth, color xia, as well as pavilions, palaces and other buildings. There are also golden shrouds, or lemon on the leaves to add color dots (there are also painted with color pen dipped in mud gold, showing the first sun into the sun, with a boneless nature), so that the scenery "shines on the land and bright, and at the same time gets the harmony of all the tones." Generally used for twilight and sunny scenery, snow landscape with mud, more cold and colorful.
Boneless landscape
The boneless method refers to the use of ink lines to depict objects directly in color (or ink, such as the integration of ochre tree trunks, where ink is used for coloring). Legend has it that the Southern Dynasty Liang monk Zhang Xuan created boneless landscapes, and Tang Yangsheng was good at this kind of painting. Ming Dong Qichang, Lan Ying, Qing Wang Yuan Qi and other occasional ones. Boneless landscapes cannot pursue too many layered changes, and require bright and open-mindedness.
In addition, there are two kinds of mineral colors that do not use stone blue and stone green, and are still mainly based on pen and ink rubbing. Landscapes with ochre, juice green, flower blue and other colors, ancient and modern works, used a lot. This kind of color, not "light" and no powder, from the shallow person deep, several times to add, but also can get a bright or deep feeling.
In addition, there are so-called "pure green method", "snail green method", "pure green method" and so on.
(2) Color setting procedures
The color order of the light landscape is generally made of ink bone> ochre color> juice green> flower blue and other dots. Paint a good dark green, to be dried thoroughly, should use ochre color (or ochre ink, ochre yellow, such as mountain stone yang side sometimes use light ochre, sometimes use ochre yellow, there is a sense of brightness) place, such as the branches of the tree, mountain stone, boat car characters, etc., the width according to its yin and yang, concave and convex, shade of the finish, and then to dry, leaves, grass slopes, etc., how much to juice green or flower blue. Sky, water, clouds, and smoke are dyed with ink or ink green and dark green, and finally moss, grass or add hook to juice green.
Light landscape is mainly used is ochre, flower blue, garcinia three colors plus ink, and then used in combination, there can be dark and light ochre, light ink, light yellow, shades of flower blue, dark and light ink green, dark and light juice green (old green, bitter green) and other changes, if you add rouge, vermilion light color, stone green light color, has been "endless".
Green landscapes, especially large green, color levels are more annoying, usually not less than these: ink bone > base color (and from ochre color > juice green, ink blue and other transparent colors) > mineral color (more than two shops) > transparent color blend dyeing> juice green or flower cyan and other hooks, dotted moss grass. The golden landscape is also framed and covered with mud gold. If it is painted on silk or thinner paper, the back needs to be coated with white powder or the corresponding mineral color, so that the front color is more thick and clear.
For the application of mineral color, five points should be paid attention to:
First, it is necessary to lay the "bottom."
It is necessary to apply stone green, cinnabar, vermilion, stone yellow, etc. to the "bottom" of transparent colors such as ochre or juice green, ink green, etc., and stone green is to be laid on stone green. According to records, the ancients had cinnabar as the "bottom" of the stone blue, the more thick it appeared, and it was a unique skill. as follows:
Such as: the positive color is stone green, the base color is ochre, juice green, such as the positive color is stone cyan, the base color is ochre, juice green, flower blue, light ink, ink blue, stone green, cinnabar, such as the positive color is cinnabar, cinnabar, the base color is ochre, rouge, magenta paste.
Among them, there are only ochre as the base, and there are also ochre first, and then on the flower blue, juice green and other colors (the area of flower blue and juice green is smaller than that of ochre; the area of stone green and stone green is smaller than that of flower blue and juice green. In this way, the hierarchy is clear and varied). Mineral pigments, the so-called color of gold and stone, are easy to plate and solid and difficult to distinguish between thick and light. Flower blue, juice green, rouge, etc. are plant pigments, the so-called color of grass and trees. The color of the grass and trees can be used as a base, which can make the positive color lively and easy to divide the thickness. The difference in the background color will have different feelings of cold and warmth.
The base color must be enough, and the purpose of the bottom is to achieve the effect of bright, thick and not greasy after the mineral color is applied. If the background color is insufficient, the mineral color appears to be spiritless, thin, frivolous, and it is difficult to achieve the expected effect. The foot and deficiency of the base color are the key to affecting the intensity of the mineral color, so it is necessary to judge the depth of the base color, otherwise, the fire is slightly worse, and the previous achievements are abandoned.
Second, it is necessary to apply thinly, and the mineral color should be thin and thin, and the number of layers should be gradually added.
One shop is insufficient, after drying, gently cover a layer of light alum water to make it fixed, and add another shop. In this way, the color is uniform, there are no traces, and it is loose and deep. Don't pile it up all at once. Thick piles are inevitably stagnant, and the effect is superficial. Therefore, the ancients said, "All heavy colors must be divided into several layers", "Where the extremely thick green place should be layered, do not be greedy and scattered", the big green should pay special attention to this.
After the mineral color, it is also blended with grass green, flower blue or rouge, magenta and other colors, one is to strengthen the display of yin and yang convexity, clear layers; one can make the color more beautiful and lovely, play a role in coloring.
Third, phase sum, mirror, corresponding.
The color setting of Chinese paintings is about "coloring with classes". "Class" refers to different specific objects, assigned colors according to the requirements of specific objects. Chinese 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" ("Lin Quan Gao Zhi"), and pays 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 a color, simple and not monotonous; or take a complex color processing complex, or take the harmonic 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 spots, and the relationship between the two is interdependent.
"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.
Fourth, 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 an expected 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 kung fu.
Whether it is light or green, it is necessary to have a good ink foundation. The production process of mountain column water painting is based on ink first and then color, except for the heavy color of turquoise and color ink, which is generally based on ink and 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, do not think of ink brush color, until the end of the game, the ink rhyme is enough, brush color may as well." 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 is not possible to lose 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 hook point of the situation, paint, there is a pen in the color, only not rigid, mixed, or wait for the color to penetrate, to be blended, and then follow the path of the ink pen, with the color of the wrinkles, line, dots, moss, 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.
Fifth, there are many ways to set colors, and each should be appropriate
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. Nowadays, 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 styles.
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