Painting characters, and taking the characters as the supreme, must be able to paint the noble temperament of the main characters, the so-called typical of the painter's ideal. The story paintings are all composed of characters, so they are the most deeply involved. To this end, scholars must read more books, be familiar with history, and carefully examine the customs and customs of the past, as well as the buildings, clothes, and utensils of the past, and draw a picture without error. Painting people, don't be interpretive, sages, palaces, hermits, ladies, babies, these departments, or brushwork or freehand can be.
Painting people, don't be for the interpretation of the Tao, the sages, the palace, the hermit, the ladies, the babies, these departments, the work of the pen can be freehand.
Painting characters must first understand some of the art of xiangren, whether Chinese or Western, it is probably a custom to judge the goodness and stupidity and good and evil of others. For example, in the drama, the role of a traitor and thief, as long as he appears on the scene and makes a slight move, without explanation, the audience can see that he is not a good kind. Wouldn't it be easier to learn about the art of xiangren and draw it? For example, painting ancient saints, sages, and gods, painting a shabby and ugly look, painting a tall man, a yishi, a virtuous spirit, and a lady, painting a wild and lascivious face, or painting a long-lived person as a short-lived person, is it not funny?
So I have kept saying that if I can understand some of the art of xiangren and have some basis, it will not be too outrageous. If you want to paint Qu Yuan and Wen Tianxiang, in their appearance, you should show integrity and justice, but you must not paint the appearance of a rich and noble person because he is a doctor and a minister. This is the way the vision leads people to thought, and it is the bone method that the ancients talked about.
In 1935, he made Tennō Scattered Flowers
The most important thing in painting people is spirit. Form refers to the whole body, and spirit is the expression of the heart. In the painting method of traditional Chinese figures, it is not easy to show feelings on the face implicitly, so that people can see the resonance of the heart, which is of course very difficult. However, after working hard, it is natural to succeed. Du Gongbu said: The language is not surprising and endless. Learning to paint should also be practiced like this.
Nepalese girl on paper 54.4×25cm
The back sides of the painting lady are extremely difficult to construct. The silhouette of the side from the forehead to the lower forehead, can not be convex, not concave, not collapsed, not shrunk, these need to be very careful. On the back, she should deliberately convey her graceful attitude between the waist and back.
In 1944, she became a woman with a red breeze
Empty line mother image
In 1951, the Virgin Mary held the statue of Jesus
Statue of the Tang Dynasty Bodhisattva in Mogao Caves
1927 Amazing talent
Self-portrait Yokko
In 1941, he made a flying chart
In 1948, he made a tang dynasty autumn hunting map
In 1950, he made a map of the autumn suburbs of the Tang Dynasty
In 1944, he made a picture of the FanNu Shu
Guanyin diagram
In 1936, he made a picture of the Heavenly Lady Picking Flowers
Imitation of Gu Kai's drunken dance figure
In 1947, he imitated Dunhuang Nanwu Guanyin Bodhisattva
1947 Literary drawing
In 1950, he became a Great Widder
In 1952, he made a retrospective map
In 1945, he made a picture of the Goddess Of Buddha
Statue of a Tang dynasty
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