How to appreciate and evaluate Chinese paintings, where the masters' works are wonderful, and what aspects to start from when appreciating the works are all problems that many people want to understand but are not easy to understand.
"The Biography of Ah Q" is not only a set of highly narrative ink comic strips, but also a vivid and wonderful Chinese painting work. Its highly condensed pen and ink expression of each typical person, typical scene and typical event is a symphony of curves and ink colors.
Interpret the classics and revitalize the classics. In order to show you the beauty of brush and ink, lines and shapes of "A Q Painting Biography" in a more in-depth way, Cheng Shifa Art Museum specially planned the analysis exhibition unit on the basis of the original exhibition. Mainly from the perspective of painting language, the characters, architecture, pen and ink, composition, variation creation, etc. in the whole work have been classified and sorted out and the motif analysis has been made to highlight the ontological interpretation of his painting.
1
Pen and ink is interesting
The ancients said: "Take the breath with the pen, take the rhyme with the ink." "This panoramic composition is full of paintings, but because the pen and ink are changeable and layered, it does not give people a sense of blandness, but is majestic and shocking, and the ink is full of rhyme." It is difficult for a large book to express complex ink content, and the requirements for the author's skill are extremely high. The whole picture is in the form of block surface as the main pen and ink, the expression is clear and the sound and color are condensed, the auxiliary lines are round and dignified and subtle and refined, and each stroke is calm and powerful, but there is no rough habit. Cheng Shifa grasps the pen properly, and through the picture, you can feel the speed and strength of his pen, which is like "cone painting sand, house leakage marks" like the infinite connotation of the line.
Cheng Shifa's pen and ink contrast is strong, and many levels of ink color such as scorched, thick, heavy, light and light are used together, and the dryness and dryness are both dry and moist. This sheet first draws a spider's web with thin lines to form a unique form of picture composition. There are only three people in the painting, and the weight is equal, if it is all expressed in lines at this time, it must seem bland, and the rhythm change is single, Cheng Shifa exerts his talent for pen and ink construction, and the two people on the left side of the picture are written in empty hook light dyeing, with large ups and downs with the pen, and the changes are rich. And the right side only draws one person, with boneless ink to write the lower body pants, the upper body is outlined with changeable lines, not only in the single person there is a contrast of pen and ink changes, but also in the whole also formed a visual center, the surrounding scenery is sketched in stick figures, the matching is appropriate.
In this set of comic strips, Cheng Shifa often uses dry strokes to draw structural lines, and smears large pieces with wet pens, the picture is passionate, giving people a feeling of pain and happiness, and the lines and blocks alternately appear, and the layers are rich. The table and chair bench of this work is quickly smeared with a large piece of light ink, and the ink is very transparent, especially the middle level of ink color is very well controlled, and the doors and windows in the upper left corner with thick ink hook lines form a strong visual contrast, and the space surrounded by the two will transfer the main characters of the picture to the whitest part of the picture in a contrasting way. The whole picture has formed a thick and a light, a line and a side, a dry and wet rhythm, and the pen and ink in Cheng Shifa's hand are like metronomes, harmonizing the rhythm of pen and ink in the picture, which is the result of Cheng Shifa's rational use of dots and lines.
The biggest feature of this album is that the pen and ink are dense and dense, and the pen and ink divide the picture, forming two parts with strong contrast, and the dense place is tight but not forced. The penmanship is thick and dignified, the pen and ink blend, thick and not stagnant, and there is the meaning of the pen outside the pen and the ink outside the ink. Cheng Shifa cleverly uses the structure of the building and the flexible use of pens to make the division natural and interesting. The tiles are mainly rendered in light ink, supplemented by thick ink outline, and almost refuse to make a stroke in the lower right part of the picture, leaving a large area of blank space, and the upper left corner is painted tightly, forming a pen-ink contrast effect of "loose running horses, tight airtight". The main central characters are applied with thick ink, expressed in blocks, and coherent and orderly, and the surrounding minor characters are more expressed in lines, forming a "white and black" picture composition in the local area, which is conducive to highlighting the main body of the character.
The lines in this set of "A Q Painting Biography" have no stereotypical feeling, observe its lines, sometimes like a storm, sometimes like a slow and calm, because it uses a wet pen and Yu Shengxuan to paint, so the pen and ink lines change greatly, not only does not destroy the integrity of the picture, but makes the picture have a large opening and closing pen and ink temperament, the picture is simple and no fire. This sheet is Cheng Shifa's interpretation of a variety of different combinations of lines, a large tree on the right side is almost all outlined with lines, but the parts are distinguished by different combinations, first of all, the leaves, outlined in dense lines with thick ink and fine pens, forming a whole large surface, the trunk is drawn with an empty hook with a small number of structural lines, with a relative frankness of the pen, followed by ochre color blending, not all painted, so that it has a light feeling, the stone path in the painting is written in fine brush light ink, layer by layer, full of spatial sense.
Cheng Shifa's lines are different from the smooth flying wire drawing or gaogu gossamer drawing, his pen and ink lines are of golden stone meaning, and the undulating and turning of the lines are large, thanks to his calligraphy practice, so the image he made does not have a sense of frivolity and slipperiness. He makes good use of the characteristics of Shengxuan's difficulty, and uses the difficult characteristics of paper to make the brush gain resistance in the process of writing, and the dry and wet white changes produced by the priorities of the next pen create a sense of virtual reality of the characters, so that the lines obtain a strong texture. This work is decisive and changeable, only ink color, black and white and rich in layers, see details in boldness, and smooth lines give the characters a sense of vitality and strength. Using the pen to draw the characters and walls with Square Straight as the main, giving people an impression, and the grasshopper outlined by a thin pen under the wall seems to be Ah Q himself, which will be eliminated at any time, more of a pen and ink metaphorical connotation.
The brush method of "A Q Painting Biography" is to use the center and the side forward, and the technique is rich and complete. Thick brush stroke is often very difficult in detail portrayal, the creator's pen and ink portrayal ability is very demanding, and the embodiment of thick brush stroke in detail carving is an important basis for a painter's level. The portrayal of the character image structure in this work is very rigorous and clear and rich, and there are many surprises in several bland portrayals, especially the portrayal of portraits is particularly serious, the size contrast between ink and ink, the blending and infiltration between thick ink and light ink, highly realistic, the expression of mouth shape and eyes reveals the inner activities of the characters, although it is in the static, it seems thoughtful, grasping the inner emotional changes of the characters. A wisp of light smoke is also wonderful, and a few strokes show ease.
2
Operating location
Composition, also known as zhangfa in traditional painting, is the "business position" that the Southern Qi painter and theorist Sheikh summarized and sorted out in his book "Catalogue of Ancient Paintings" as "one of the six laws". The following will focus on the composition characteristics in Cheng Shifa's "A Q Painting Biography" for everyone.
One
Diagonal composition
Chinese painting avoids the equivalent composition of "four flat and eight stable", and mostly uses "scale hammer pressing thousand pounds" to achieve the balance of the picture. "A Q Painting Biography" uses diagonal composition in many works, the diagonal line in this composition has a strong directional effect, can also guide the viewer's observation line of sight, use the corners to echo each other to maintain the balance of the picture, and can make the picture produce dynamic beauty.
Diagonal composition is used more in this set of works, the common real angle to the real angle, the empty angle to the empty angle, resulting in the imbalance of equilibrium, is actually a change of equilibrium, that is, to break the average rigid treatment. Moving one side and sinking the other side makes the picture more empty inspiration, and the high degree of generalization and refinement of things makes people have unlimited associations and unfinished feelings.
Two
Symmetrical composition
Symmetrical composition can give people a sense of beauty, such composition is not bland and scattered and the theme is clear. When the background is symmetrical, placing the subject in the middle can improve the balance of the whole picture. Although this composition lacks dynamics, it can create another quiet, private atmosphere, which can set off the main body image more delicately.
This composition is the classic symmetrical composition in "A Q Painting Biography", the left and right of the work are almost symmetrical, but not completely symmetrical, if it is completely symmetrical, it is easy to lead to rigidity, Cheng Shifa has adjusted the details on the left and right sides of the local area by flexibly using the pen, thus changing and eliminating this stereotype. In addition, the painter also made different designs in the action forms of the main characters in the picture in order to obtain new changes in symmetry, which seemed very talented.
Three
C-shaped composition, L-shaped composition
C-shaped or L-shaped composition, visually giving people an aesthetic sense of rotation, movement, beauty and contraction, will produce a strong visual centripetal force. The notch formed by the semi-encirclement makes the momentum smooth and beautiful shape, giving people a soft rotating centripetal and relaxed and pleasant visual feeling. The painter's works that make the middle transparent vision wide are more abundant, and the picture is also lively and changeable, specifically the main scene in the picture is framed from a corner, so that the main body is prominent and the theme is distinct.
L-shaped composition method is formed by the intersection of vertical lines and horizontal lines, and there are several L-shaped composition forms of positive L-shaped, anti-L-shaped and positive and reverse L-shaped, which belong to a kind of corner composition form. Taking figure 28 as an example, this is a more typical L-shaped composition method, the protagonist A Q stands vertically on the left side of the picture, forming a vertical edge, and the two fighting roosters in the horizontal form a horizontal side, and the two lines cross to give people a sense of stability, quietness and extension.
Four
Triangle composition
The composition of "A Q Painting Biography" uses many "trigonometric law" methods. The so-called "trigonometric law" is a variety of flat triangles, right triangles or oblique triangles. Qing Zou Yigui said in the "Xiaoshan Painting Notation" that "the method of arrangement is like a Pythagorean", which refers to the "law of triangles", and such a composition can break the flat monotonous composition style.
This series of works are all triangular compositions, Cheng Shifa in order to highlight the sense of stability of this shape and abandon the background and do not paint, in Chinese painting there are "yin and yang symbiosis", "virtual reality symbiosis" said. There is a virtual existence, there is a real life, so as to achieve "vivid and natural", so that the picture is simple and clean, the group of characters constitute an irregular but dynamic triangle outer outline, making the picture more vivid, avoid stagnation. The triangular composition has a sense of sublime, solid, stable and solid, moving in stillness, seeking change in stability, making people have a sense of sacredness, upward and great impact.
Five
"One corner" and "half side" composition
In the works of "A Q Painting Biography", the "one corner" and "half"-style composition have been cleverly used, such composition is characterized by a small main image, a concise picture, and a large part of it appears to be empty, with the technique of "counting white as black", the blank space is upgraded to a creative technique. Although the pen and ink presented by this composition are small, there is an artistic conception that cannot be reached by pen and ink, and the blank area makes the picture have more dramatic effects, and the contrast between virtual and real becomes more intense, so that the picture has an invincible effect. The use of this composition highlights the emotional characters, so that the picture scene blends to be rich in deeper meaning, which is the development and enrichment of comic strips and ink figure paintings, which not only accurately expresses the inner life of Ah Q's personal life and his bleak situation in the social background, but also keenly reflects the mental state of a type of person in the society of that era.
Six
"Center view" composition
The composition center of a painting actually bears two missions, it is not only the main focus of composition processing, but also as a means of expressing the content most clearly, and only when the two coincide can the composition obtain the greatest expressiveness. In this work, Cheng Shifa skillfully uses the "Hui" character shape of the window to leave the most central position of the "Hui" glyph to the protagonist of the picture, thus highlighting the main position and having a strong visual impact. There is also a more typical type of "spider web" form, to guide the center point of the picture, whether it is a "back" glyph or a "spider web" shape for the foreground is through the "focus" way to determine a point to make the audience intuitive "bullseye". This composition increases the vertical contrast and decorative effect of the picture, creates a mysterious atmosphere, and makes the work produce a sense of depth and an extremely strong perspective effect.
3
Unsound group portrait
A careful reading of "A Q Painting Biography" will find that each of its pictures is a wonderful Chinese painting. Through his personality pen and ink, the bold passion of Chinese painting is brought to the extreme, and the brush is used with ink to play with ease, wielding freedom, dry and thick, complicated and simple, all of which are infiltrated with strong emotional colors, and pushed to the realm of the ancients with a new look. The following will focus on the analysis of the Weizhuang group portrait in Cheng Shifa's "A Q Painting Biography".
「 1 」
This work depicts the magnanimity and fearlessness of Ah Q once again appearing in front of the Weizhuang people. Cheng Shifa selects a cross-section of the tavern, a place where the unzhuang crowd gathers, and depicts Ah Q's self-satisfaction in returning to Weizhuang from the city, which is quite different from his previous humiliation. However, this kind of self-satisfaction and fearlessness did not change the old vision of the unsound people on him. In the middle of the picture, Cheng Shifa deliberately shows the moment when Ah Q stands up in his belly and sprinkles copper coins, and the crowd of onlookers is naturally divided into two categories, one is the low-level people who are standing with Ah Q, and the other is a magnate sitting at the table similar to Old Lady Zhao and Di Bao, with a facial expression of suspicion or flattery, but more is contempt and indifference. Through the portrayal of the facial expressions of different people, Cheng Shifa depicts Ah Q's stupidity and the drama mentality of the onlookers.
「 2 」
Ah Q has a gambling nature, once he has some small money, he will enter the world of gamblers, with a high-pitched voice and an excited look, and the characters sit around and stare intently at the chips, which depicts such scenes. Cheng Shifa's depiction of this group of portraits, on the one hand, is through the expression of the characters to portray its gambling side, on the other hand, through the pumpkins randomly stacked in the lower right corner, metaphors and A Q are mixed with the underlying identity of the rural people, the depiction of this still life is not entirely for the composition of the picture to fill in the blanks or fill in the blanks, but Cheng Shifa after a deep analysis and understanding of the original work, internalized into his own image inspiration, and the allegorical image of its relevant class is also about to come out.
「 3 」
This picture depicts a moment when Ah Q is escorted to the execution ground and paraded through the streets to show the public, Cheng Shifa uses a heavier ink pen to depict the convoy of executioners around Ah Q, while the onlookers in the distance are outlined in pure blurred lines. A Q is located at the highest point of the picture, but also the focus of everyone's line of sight, but the state of the surrounding crowd is congested and messy, both children who do not understand the world, and more are indifferent spectators who are like wooden chickens, who are happy to see Ah Q's performance-style death with a lively mentality. There is a relationship between a pair of characters in the picture that is noteworthy, that is, Ah Q's numb and frightened demeanor and the sight of Wu Ma, who is looking up at her neck, instantly makes a large number of sentient beings who are watching become the background behind her, thus reflecting Ah Q's five tastes at this time, like a close-up in a movie section, which is evocative.
「 4 」
In the crowd, Ah Q, who is at the highest point in the picture, reacts that he is about to die, and shouts a magnificent slogan at the last moment. In the corner of the street market in Weizhuang, all kinds of people and others came one after another, surrounding the torture car, and the picture was still full of the indifference of the crowd and the stubbornness of the officials. Cheng Shifa once again portrays this oppressive and tragic scene with an airtight portrayal method, with large building cornices and endless street markets and onlookers, with an ironic way of watching and being watched, alluding to the emptiness and numbness in the spiritual world of the spectators, thus presenting the climax at the end of "A Q Zheng biography" in front of the audience.
「 5 」
This scene shows the big scene of the old man who brought his family to avoid the limelight of the revolutionary party and sent the domestic servants to busily carry their luggage. In the picture, there are both domestic servants carrying luggage, as well as three or five people in a circle of discussion, from messy fruit baskets to children running in an unknown direction, and even hats fall off in shock when they hear a hint of wind. Cheng Shifa uses exaggerated brushwork to depict the uneasiness and trepidation of the Unzhuang crowd, which contrasts with Ah Q, who leisurely smokes a dry cigarette in the distance, and Ah Q looks like a spectator at this time. The whole picture of the crowd is arranged in a quiet, and the direct depiction technique is used to expose the emotional dynamics and moods of the characters, thus creating a panicked and declining atmosphere.
「 6 」
The picture presents the fantasy picture of Ah Q drunk on the bed of the Tutani Ancestral Hall half dreaming and half waking up, and he relies on the daytime to claim "revolution" and obtain a kind of "superior" self-congratulation. In the middle of the picture, Cheng Shifa depicts the humble and condescending appearance of the disgusted person in Ah Q's mind, as well as his own lofty and fluttering expression, one real and one virtual, creating a dreamlike sense of unreality. The gradual virtual reality of the ungranded elite, the ochre color of candlelight, the gray scene, and the contrasting use of dry brushes and thick and light splashes of ink further aggravate this illusory atmosphere that is detached from reality.
「 7 」
In this work, the relationship between the characters is centered on the line of sight, and through the traction of the eyes of the people, the center of the narrative is placed on the protagonist Ah Q, thus forming a group portrait relationship of gathering and dispersion. Ah Q, who was watching excitedly, was triumphantly shaking the cigarette pole in his hand, as if humming a small song and standing tall, immersed in the spiritual world of his "revolutionary fantasy". The crowd kept a certain distance from him, and there was both an inexplicable little yearning in their expressions, and more than that, a little fear and doubt. In the portrayal of the image, Cheng Shifa accurately grasped a degree: not simply caricaturing the characters, but also extremely exaggerated; not only not killing the anatomy of the characters, but also vividly and summarizing the physical dynamics of the characters, just right deformation - reaching the perfect realm between similarity and dissimilarity.
4
Unsound building
Embellished set, just right for good. Typical personalities always live in typical environments. The reason why Cheng Shifa's painting of A Q makes people feel realistic is also because he truly depicts the natural scenery of Weizhuang. The protagonist of "A Q Painting Biography" lives in the old houses in the streets of Jiangnan Water Town, the courtyard of the zhaobi wall and the big trees and small bridges that can be seen everywhere, the brick end wall, the natural harmony, the natural harmony, a group of flying swallows or a pumpkin, not only plays a role in setting off the theme, rendering the atmosphere, but also strengthens the interest of the picture... The following will be for everyone to analyze the Weizhuang building in Cheng Shifa's "A Q Painting Biography".
「 1 」
This work takes the Building of The Tugu Ancestral Hall of Weizhuang and its gate pavilion as the painting object, and constructs the narrative language of the picture to assist in the expression of the theme through the alternating lines of dry, wet, thick and light changes and the transformation of ink color. Cheng Shifa only uses a few dry and wet lines to outline the architectural structure of the gallery column, which not only divides the picture, but also breaks the regularity and singleness of the general building through the deformation of these lines, making the painterly language of the picture more abundant. In order to express the yin and yang sides of the building under the moon, Cheng Shifa treats the object with a thin line at the light, while in the backlight, the cornice is erased with a slightly oozing ink pen. Cheng Shifa placed the main building on the middle side of the canvas, and the stone steps in the lower left corner of the void in the form of blank space formed a light arrangement structure of upper and lower weights, avoiding the problem of too dark parts that may be brought about by the backlight, and echoing with the center of the picture and the blank space in the night sky, which is more conducive to focusing the viewer's gaze on the protagonist on the center and right.
「 2 」
The archway is a monumental building in the public space of Jiangnan countryside in the old days, either for honoring merit or for remembrance or for theosophical or chaste, and the wooden stone masonry arch and eaves building of Weizhuang is no exception. In order to strengthen the metaphorical function of the picture language, Cheng Shifa focused on depicting the archway of Weizhuang. The first is to depict the Weizhuang Arch with dry lines on the left side of the picture, and to mix it with the low courtyard wall of Weizhuang and the riverside house compact and cramped, and then to connect with the crowd watching the notice from a bird's-eye perspective, where there are both squires and villagers who are bustling. In the middle right of the picture, Cheng Shifa expands the pingyuan vision of the picture through the depiction of the Pingyuan mountains, lonely birds and the stone bridge of Hejie, further setting off the tallness and majesty of the archway, thus strengthening the irony of the picture and the scene of the ruined decline of the unzhuang.
「 3 」
The daily life of The villagers of Weizhuang is mostly based on the water town buildings living near the river, and the function of its various types of buildings is also based on the docking of the river. In this work, Cheng Shifa adopts the layout method of a corner landscape. First of all, on the left side of the picture, a larger blank space is used to mark the unsound river channel, and it is closely contrasted with the building on the right side of the picture. The pavilion that docks the boat under the full moon is the ferry place of Weizhuang Wharf, which is a relatively simple black tile eaves building, which is strung together with the stone bridge and the alleys crossing the river to form a water town traffic artery, which is the only way for Weizhuang people to walk out of Weizhuang or return to Weizhuang, and it is also an important station for Weizhuang to obtain information from the outside world. Cheng Shifa outlined the outline of the building in the lower right with a dry brush and heavy lines, and then painted the roof with a heavier light ink locally, marking the hazy state of the moon at night. Cheng Shifa close-ups here depict the relationship between the pier, the stone bridge and the alleys through the streets, which not only has the function of connecting time, but also has the function of connecting the plot.
「 4 」
In this work, Cheng Shifa uses a plane superposition method to deform the "one river and two banks" style in Chinese landscape painting. First of all, in the direct lower part of the picture with a lateral ink pen to construct this shore photo wall contour, the wall surface is mostly white, only under the eaves decorated with tangled branches and "Fu" characters, the lower part of the wall and the ground close, then with a light ink halo to sweep the transition picture, and then with the same ink pen to write the upper buildings and ships, and then borrow the tree and stone painting method in the landscape painting in the upper left of the picture, draw the old trees on the plate with curved strips, and outline the leaves full of dense flats over the river, connecting the buildings on both sides of the river, and finally painting water, thus constructing a near-middle-distance structure, forming a contrasting relationship between the upper and lower. It is worth noting that in order to avoid too dense, Cheng Shifa also deliberately vacated the upper left corner to echo the blank space on the wall.
「 5 」
In this work, Cheng Shifa depicts the Land Temple at the intersection of Weizhuang Bridge, a type of architecture that has rarely been of interest to other painters, in simple and generalized lines. In order to highlight this land temple, which is quite in the style of Jiangnan water town folk sacrifice architecture, Cheng Shifa deliberately blurred the depiction of the stone bridge on the left side, and focused on depicting the land temple on the right side of the road. Cheng Shifa takes one corner of it with a thick ink pen and divides it into two layers, showing a tendency to tilt inward, forming a block surface with the stone bridge slightly outlined inward on the left side, which increases the sense of stability of the picture. There is a shrine in the middle of the second floor, with an incense burner and a candlestick, and a rectangular strip of symbols pasted on the outer wall of the niche, usually red. A vine protrudes from the right on the roof, and a thin pen on the vine outlines a pumpkin. The combination of shrine and pumpkin is simple and complex, and very vividly portrays the rich interest of jiangnan countryside.
「 6 」
There is a clear distinction between the use of the river channel in Weizhuang, which is shared by everyone and a private wharf that is exclusive to the magnates of Weizhuang. Here, Cheng Shifa adopts a perspective that progresses from the inside to the outside, focusing on the docks of the Zhao Mansion and the courtyard wall buildings by the docks. Different from the simplicity of the weizhuang public ferry pavilion, Cheng Shifa explains the special identity of the owner of the house by highlighting the height and width of the courtyard wall eaves building, such as the elaborately carved lintel, the attic, and the corner of the inner house wall that is superimposed in turn in the courtyard wall building. Here, Cheng Shifa's pen uses thick ink, and uses the black and white surround blending method, through the splash of ink in the lower left corner, the light ink rendering of the wall and the attic, and the vines selected by the wall ink pen, forming a thick night color, and the docks and ships outside the door in the center of the picture are left blank to assist in the expression of the narrative plot.
「 7 」
The stone bridge leading to the ashram outside Weizhuang Village is a tiled beam plate bridge, a neutral stone pillar in the river pond, a stone beam on the pillar, a boundless fence, slightly in the shape of a "zigzag", about three folds. Cheng Shifa follows the law of drawing near, large and far, and adopts the method of Pingyuan composition to lay out the relationship between the bridge and the temple. In order to increase the tranquility of the nunnery and the distance of the countryside, to distinguish the distance between the Buddhist family and the earthly customs, Cheng Shifa first marked the width and distance of the river pond with a large area of white space and the stone bridge on the lower and right sides, and then used a pair of birds to increase the distant potential of the field with a pair of birds in the left middle blank, while the distant mountain smeared by the ochre after the ashram further rendered the trend of pingyuan, highlighting the super-dust mood of the ashram in the context of jiangnan landscape. In addition, Cheng Shifa added a corner of the ink-colored Slope Zhu in the lower left position, and picked out two clusters of bamboo from it to cut into the picture, which also expanded the viewer's imagination of space beyond the painting.
「 8 」
In this work, Cheng Shifa focuses on depicting the street market architecture of Weizhuang. Most of these buildings rely on the reconstruction of their own houses to build street-facing shops, and the opposite street structure has a natural growth state of staggered arrangement. Cheng Shifa uses thick and light ink lines to outline the houses on the side of the stone street and the various colored awnings built at random, and adopts the way of interspersed with blocks to form a curved S-shaped pattern to express the crampedness and crowding of the street market, thus leading the narrative focus of the picture to the protagonist who is forced to stay away from the bridge above. On this basis, Cheng Shifa dyed a layer of light ink for the building, which further enriched the expression away from the atmosphere. In order to increase the changes in the virtual reality in the full composition, Cheng Shifa especially adopted the method of white space blurring in the upper left of the frame, connecting with the blank space of the sky and the wall below to balance the picture.
5
Variation painting research
The following "Variation Painting Research" selects two variations of Cheng Shifa and compares and analyzes them with their final drafts in order to restore to the public the thinking process of Cheng Shifa's careful deliberation and several drafts.
The two main figures painted in the first draft have been depicted and the stone steps on the ground have been drawn, at this time, what is the basis for Cheng Shifa's sudden suspension of painting? Comparing the left and right two figures, it can be found that the high and low positions and distances of the two main characters in the second draft have made some adjustments compared with the first draft, and Cheng Shifa has better expressed the tension between the characters by widening the distance between the two people in the painting, which has played a sublimation role in creating the theme atmosphere of the picture, and the "fake foreign devils" are drawn out of the picture to take balance, making the composition more coordinated, and in addition, the stone path under the feet of the "fake foreign devils" is more prominent to the main characters. The reimagined gate steps are reimagined as a scene extension of the immediate thirty and thirty-one paintings, and form a strong and dense contrasting relationship. In addition, Cheng Shifa retained the exquisite pen-and-ink contrast relationship in the first draft creation in the creation of the second draft, Ah Q was mainly sketched in dry ink, while the "fake foreign devil" was scribbled with wet ink, and the blank space around the braid of the "fake foreign devil" was treated, highlighting the author's rough and refined pen and ink thinking, and even deliberately painted the coat of the "fake foreign devil" larger to show its "flying and stumbling".
Both of the paintings are works created by the forty-fifth painting of "A Q Painting Biography", and the composition of the two is basically the same, and the degree of completion is very high. As for why he chose the second draft and gave up the first draft, here is a very interesting thing, first look at the first draft of the work, the picture pen and ink and composition are also very exquisite, and even Cheng Shifa has been stamped on the upper left corner of the picture, indicating that he should be more satisfied with the pen and ink and composition of this sheet, but this one has not been selected into the one hundred and eight figures, the most important thing is that the performance of the character of A Q and the context plot have a large difference. As mentioned earlier, Ah Q's performance of clothes differs greatly from the context. As mentioned earlier, Ah Q took off his clothes in the Zhao family and did not wear clothes again, and the upper body should be naked, so this painting should be unclothed, but this one draws a dressing scene, which is inconsistent with the plot. In order to be consistent with the plot of the painting before and after, Cheng Shifa repainted the latter one, and appropriately made some pen and ink adjustments around the lantern, the frame of the word "Dang" and on the ground, so that the picture contrast was stronger and the pen and ink were richer. This also reflects the rigor of Cheng Shifa's painting creation from the side, as well as the spirit of repeated adjustment in order to make the work more perfect.
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