Traditional Chinese painting tools and materials
Brush brushes can be divided into long-edge, center-edge and short-edge brushes based on the length of their strokes, with different performances. The long edge is easy to draw graceful lines, the short edge is easy to make thick and dignified, and the center edge and short edge are both suitable. It is better to use the center edge when painting landscapes. According to the size of the brush tip, the brushes are divided into small, medium and large models. You need to prepare various types of landscape painting brushes. Generally, you should prepare one each of "Small Landscape" Xiaolanghao and "Big Landscape" Dalanghao. You should also prepare one each of "Little Baiyun" and "Dabaiyun" brushes, and a larger one. The "doubi" of Yanghao is enough. The tip of the new pen is very sharp and is only suitable for drawing thin lines. The old pen is more effective for chapping, erasing and dotting. Some painters like to use bare pens to paint, and the dots and lines they draw have a strong and simple beauty.
There are four standards for making and selecting pens, namely, the four virtues of "point, neatness, roundness, and health." "Qi" means that the edges of the brush are even, "Qi" means that they are easy to change, "Yuan means that the brush itself is rounded, and round means that the circle is not bifurcated when writing. "Jian means that the brush has moderate elasticity, and Jian means that it is strong and durable. Chinese brushes are different. Compared with Western oil paint brushes, Chinese brushes are conical, while oil paint brushes are flat brushes, similar to Chinese brushes. The nature of the brush depends on the production technology and the type of brush used. The brushes used for painting can be roughly divided into hard brushes. There are three categories: hard brush pens, soft brush pens and those between the two. Hard brush pens are mainly made of wolf brush (made of weasel tail tip hair), and are made of mink, rat, horse, deer and rabbit hair. The brush strokes are strong and suitable for drawing lines. Common "Orchid Bamboo", "Small Seiko", "Little Red Hair", "Yejin
pens", "Clothing Pattern Pens" and "Calligraphy and Painting Pens" are commonly used. ” and so on. Japanese pens include “Yama Brush”, “Physiographical Brush”, “Outlining Brush”, etc. Soft brushes are mainly made of wool, but also made of bird feathers. They are soft in nature and have strong water content. They are suitable for rendering large surfaces. Common soft brushes include "big crane neck", "baigui brush" and "dyed brush". "Pen", "Goose", "Pure brush", etc. Japanese pens include "Colored pen", "Kumatori pen", etc. The jianhao pen is made of a combination of sheep hair and wolf hair (or rabbit hair), with properties between hard and soft, such as "seven purple three sheep", "white cloud brush", "pure purple sharp hair", and the Japanese pen has "Zemiao" , "Magnolia", "Changliu", etc.
Good writing brushes all have some unique characteristics: round, neat, sharp, and strong, so that they can run freely when used. The brush should be cleaned promptly after use to prevent ink from drying out and damaging the brush.
The commonly used raw materials for making ink are oil smoke and pine smoke. The ink produced is called oil smoke ink and pine smoke ink. Oil fume ink is made from tung oil fume. The ink is black and shiny, and can show detailed changes in ink shades. It is suitable for landscape paintings. Pine fume ink is black and dull, and is mostly used for feathers and characters' hair. It is not suitable for landscape paintings. When choosing an ink, first look at its color. Purple ink is the best, followed by black, cyan, and inferior ink that is gray cannot be used. Then listen to its sound. Good ink has a clear sound when struck, and a delicate sound when grinding. , the sound of inferior ink is heavy and sluggish, and there is a rough sound when grinding. Use clean water to grind the ink, apply even pressure, and grind slowly in a clockwise direction until the ink is thick. The ink used for painting must be freshly ground. Ink that has been stored for a long time is called stale ink. There is concentrated residue in the stale ink. If it is not used well, it will become dirty. Nowadays, the calligraphy and painting ink produced in Beijing, Tianjin and other places (such as Yidege) is easy to use and has been used by many calligraphers and painters. However, the ink contains heavy glue. It is best to add a little water and then use an ink tablet to grind it evenly before use. The ink color is better.
Paper Chinese paintings mostly used silk during the Tang and Song dynasties, and only after the Yuan Dynasty did paper become widely used for painting. The paper used for Chinese painting is different from other types of painting. It is rice paper made from green sandalwood as the main raw material. Rice paper is produced in Jingxian County, Anhui Province. It belonged to Xuanzhou in ancient times, so it is called rice paper. Rice paper is divided into raw Xuan, cooked Xuan and half-cooked Xuan. Ripe rice paper is processed with alum water. Ink is not easy to penetrate and will not melt when exposed to water. However, the effect is different from other papers. It can be used for precise and detailed drawings and can be repeatedly rendered and colored. It is suitable for painting with green and heavy colors. Fine brushwork landscape. Raw rice paper has not been processed with alum water. It is characterized by strong water absorption and water permeability. It melts when exposed to water. It is easy to produce rich ink rhyme changes and can achieve the artistic effect of water halo ink seal and thick moistening. It is mostly used for Freehand landscape painting. Familiar Xuan painting is easy to master, but it is also prone to smooth and rigid problems; raw Xuan painting, although rich in ink, penetrates quickly and is difficult to master. Therefore, it is generally preferred to use half-cooked rice paper when painting landscapes.
Half-cooked rice paper slowly melts when exposed to water. It has changes in ink rhyme but is not overly penetrating. It is easy to master the process of chaffing, rubbing, dotting and dyeing, and can express rich brushwork and ink interest. Papers that can replace rice paper for painting include Koryo paper from Northeast China, Jiajiang rice paper from Sichuan, Liuji paper from Jiangxi, etc. Its performance is close to that of half-baked rice paper.
Inkstone Inkstone The most famous inkstones in my country are She Inkstone and Duan Inkstone. She inkstones are produced in She County, Anhui Province, and Duan inkstones are produced in Gaoyao County, Guangdong Province. Good inkstone. Generally, for calligraphy and painting, you can choose inkstones from various localities. When choosing an inkstone, you should mainly choose a stone that is fine in texture, moist, easy to produce ink, and does not absorb water. After use, the inkstone should be cleaned and dried promptly, kept clean, and should not be exposed to the sun or fire. The quality of the inkstone has a great impact on the color of the ink. The most ideal is the Duanxi inkstone produced in Zhaoqing, Guangdong, or the inkstone in Anhui. They are both hard, fine and moist, can produce ink quickly, can grind the ink finely, and can be stored. The ink takes a long time to dry, but high-quality inkstones are expensive. The Luoxi stone inkstones produced in Ershui, this province, are also of good quality, but it is not advisable to buy plastic products made from resin and stone powder. Although the inkstones should be fine and smooth, the quality of the inkstones is better. If it is too smooth (such as Taiwan marble inkstone), it will not be easy to ink. There are also many shapes of inkstones. The inkstone type is the most convenient and can store a lot of ink. The lid can be closed after use to prevent the ink from drying up. After a period of time, if there is too much residual ink, you should first soak it in water and then wash away the ink dirt to keep the inkstone clean. Pigments
my country's painting developed to the Tang Dynasty, with heavy color as the mainstream. Since the popularity of ink painting in the Song Dynasty, under the trend of literati pursuing elegance, the use of colors has tended to gradually decline; however, painters We should have some understanding of traditional painting pigments, develop them in a multi-faceted way, or better combine them with ink. There are two main categories of traditional pigments.
Mineral pigments are refined from ores, with thick colors and strong coverage. Commonly used ones are:
(1) Stone green: usually in powder form, it must be mixed with Glue and stone green can be divided into first green, second green, third green, fourth green, etc. according to their fineness. First green is the thickest and greenest, and gradually becomes thinner and lighter.
(2) Azurite: The performance and usage are roughly the same as azurite. Azurite is also divided into head blue, two green, three green, four green, etc. The first green has coarse particles and is more difficult to dye evenly. It should be dyed several times.
(3) Zhu Jing: Zhu Jing is also called Chen Jing. The bright red color is better, and it can also be made into ink. Zhu Jing should not be used with azurite or stone green.
(4) Zhu Bi: (Zhu Biao) is the orange part that is made by grinding Zhu Jing into fine glue and mixing it with clear glue.
(5) Ocher: Also called Shizhu, it is produced from hematite and is light brown in color. At present, most ocher is refined into water-soluble glue blocks without coverage.
(6) White powder: It can be divided into lead powder, clam powder, chalk, etc. Clam powder is processed and ground from clam shells in the sea. Over time, it is easy to "return to lead" and turn black. Use Light washing with hydrogen peroxide can return it to white. As for chalk (white clay powder), which is commonly used in ancient murals, it does not change color for a long time. Plant-based pigments are thin in transparency and have no covering properties.
Commonly used plant-based pigments are:
(7) Cyanine: Blue is made from the leaves of polygonum indigo or indigo. The cyan pigment extracted from the lake has a wide range of uses. It can adjust garcinia to grass green or tender green.
(8) Garcinia: The seaweed tree in the southern tropical forest has holes drilled in its bark and a gummy yellow sap flows out. It is collected in a bamboo tube and can be used after drying. Garcinia is poisonous and should not be used. Entrance.
(9) Rouge (grey): A dark red pigment made from three plants: red and blue flowers, madder, and purple stems. However, when painting with rouge, it will fade over time. Currently, it is mostly painted with rouge. Magenta replaced. At present, Chinese pigment products are mostly sold after grinding, bleaching or processing. They can be roughly divided into two forms: gummed and unglued; gummed (such as cyanine, ocher, vermilion, etc.) are made into blocks and stored in blocks. Put it in a small cup or make it into small flakes and put it into a small bag. It is more convenient for this kind of paint to be used at any time after being soaked in water, but it is better to use "light glue", and those without glue (such as azurite, azurite, white powder, Cinnabar, etc.) are mostly in powder form and need to be mixed with glue before use, which is more troublesome. In recent years, there have been more and more substitute paints, and they are replaced by better-quality canned advertising paints or watercolor paints (toothpaste-like). Japan also produces box-type simple paints. For each color, glue is mixed and made into rectangular and neat squares of equal size. Arranged in a box, it is suitable for students to use, but the colors are bright and the quality needs to be improved.
In addition to the above-mentioned pens, ink, inkstones, paper, silk, and paints, other tools need to be prepared:
(1) Color mixing (color storage) tools: White porcelain products are preferred. Several small dishes should be prepared for color mixing or ink mixing. Plum blossom plates and layered dishes are ideal for color removal. Different paints should be stored separately.
(2) Water storage bowl: It is used to hold water for washing pens or supplying clean water. It is also better to make it from white porcelain.
(3) Thin blanket: Lined on the painting table, it can prevent ink from penetrating and staining the painting. After laying the paper, the painting will not be easily scratched by the pen.
(4) Glue and alum: In order to prevent the color from falling off when applying heavy colors such as azurite, stone green, cinnabar, etc., you can use glue, alum and water to cover it. Alum is available in powder and lump form, and glue is available in bottles. For liquid deer glue and strips or blocks of cattle glue, fish glue, deer glue, etc., it is best to prepare a set of cups and alcohol lamps to melt the glue and mix it with water.
(5) Mortar: When the powdery pigment particles are too thick, they need to be ground in a mortar and then placed in a beaker to float. In addition, pen holders for hanging pens, paper weights for pressing paper, cutters for cutting paper, charcoal strips for drafting, absorbent cotton waste cloth (or waste paper), and ink pads and seals for sealing can all be prepared as appropriate< /p>
The brush-holding method of traditional Chinese painting and the use of pen and ink
The most significant feature of Chinese painting is that it is based on ink lines, which are used to express the outline, light and shade, and texture of objects. At the same time, ink lines can also be used to Express the painter's thoughts and spirit. The ink lines of Chinese painting itself have an independent aesthetic value. Therefore, how to use brushes in Chinese painting is the first problem that must be solved to draw a good Chinese painting. Chinese painting is the same as calligraphy. Although everyone has different preferences and there is no fixed method for enforcing the law, beginners must master the basic essentials. When holding the brush, hold the penholder with your thumb and index finger in a "dragon eye" or "phoenix eye" shape, and hold the penholder with your middle finger following your index finger. After holding the pen, the penholder generally does not extend beyond the first knuckle of the index finger. The fingers should be strong, the palms should be empty, the wrists should be flat, and all five fingers should be strong, and the movements should be natural. Calligraphy is more rigorous in holding the pen, while painting is more flexible. The hand can be straight or lying horizontally, and the pen can be held slightly higher. The pen tip can be rotated to be flexible. The wrist, elbow, shoulder and body cooperate with each other, and the movement can only be effective.
3 Chinese painting teaching
Brush and ink are the characteristics and essence of Chinese painting. Without brush and ink, it cannot be called Chinese painting. In a broad sense, the word brush and ink refers to the atmosphere of the picture achieved by using brush and ink. Painting language in color, composition, artistic conception, taste and other aspects. In a narrow sense, pen and ink refers specifically to the technique of using pen and ink.
1. Use the brush according to the six methods in "Ancient Paintings": Bone method. It means that the pen should be strong and strong, the heart should follow the pen, and the intention should come first. To be specific, they include lifting, pressing, smooth, reverse, side, hidden, fast, slow, etc. The pen should be used sensitively and happily, and pay attention to changes such as lifting and pressing, forward and reverse, speed, turning, front and side, hiding and exposing. (See Figure 1)
The brush strokes in landscape painting include center forward, side forward, hidden front, exposed front, reverse front, and smooth front. The center stroke is vertical, and the tip of the stroke is in the center of the ink line. The lines drawn with the center stroke are strong and sharp, and are mostly used to outline the outline of objects. When using side strokes, the palm of the hand is tilted to the left, and the tip of the pen is pointed to the left. Since the side of the pen is used, the line of the pen is thick and hairy, and is mostly used for scratching rocks. (See Figure 2)
When using the Zangfeng technique, the edge of the brush should be hidden and not exposed. The horizontal strokes should be "never going back" and the vertical strokes should be "never drooping or shrinking". The ancients called it "twists and turns". The lines are calm and subtle, penetrating the back of the paper. They are often used to draw the outlines of houses, boats, and bridges, as well as the outlines of mountains and rocks, and the double hooks of tree trunks. Lufeng exposes the edge of pointillism, making it appear tall and strong. Painting bamboo leaves and wickers is the use of Lufeng's brushwork. When writing against the trend, the pen barrel tilts forward and to the right. When writing, the sharp tip advances against the trend, causing the brush tip to spread out and produce flying white in the strokes. This kind of dots and lines have a vigorous and spicy brushwork, and the outline and cracking of tree trunks and landscapes Can be used with any wipe. Shunfeng's brush movement is opposite to that of Nifeng's, which uses dragging the brush, so the thumb strips are light, smooth, smart and lively. This method is often used to draw clouds and water. (See Figure 3)
There are ten particular methods of using brushstrokes in Chinese painting. From ancient times to the present, we have accumulated rich experience. For example, Mr. Huang Binhong proposed the theory of "five strokes". "Five strokes" refer to "flat, round, left, and "Heavy, changeable." The so-called "flat" means that the force of the brush is even, the beginning and end are clear, and the strokes are neither weak nor picky, but should be "like a cone drawing sand." The so-called "roundness" means that the turning point of the strokes should be round and powerful, without making unnecessary corners, and should be "like breaking a hairpin's strands". The so-called "retention" means that the writing should be subtle and retrospective, not hasty or slow, neither floating nor slippery, not wild and wild, and should be "like a leak in a house."
The so-called "heavy" means calm and heavy, like "stones falling from a high mountain", not like "leaves blown by the wind", which is what the ancients said "the power of a pen can carry a cauldron". The so-called "change" refers to changes in the use of the pen, either as a center forward or as a side forward. It should change according to the different objects of expression, and cannot stick to one. The second means that the brush strokes should echo each other, "when the strokes are not expected, the strokes will continue to break the intention." (See Figure 4) The form of strokes can be summarized as thick, thin, curved, straight, rigid, and soft when drawing lines. The changes and contrasts of lightness and weight make it a "realistic portrayal" of the depicted object. The promotion of lines in landscape painting: dry but moist, hard and soft, with quality and charm. (See Figure 5)
A pen that is dry but can be moisturized should have the beauty of being "cracked by the autumn wind but moistened by the spring rain". "If it is too wet, there will be no pen; if it is too dry, there will be no ink." Therefore, we must learn to use the contradictions of dryness and moistness to unify the two contradictions. How is this kind of pen line drawn? Mr. Li Keran said it very clearly: "Don't contain too much water in the pen, so that the brush will be green; if the brush is heavy and strong, the water can be squeezed out, so that the brush will be moist." The combination of hardness and softness means that the form of the pen line must be both A perfect state that is neither weak nor rigid. Rigidity and softness are another pair of contradictions in writing. If you don't know how to use this pair of contradictions, you will often lose either "hardness" or "softness". The famous painters Huang Binhong, Li Keran, and Lu Yanshao handled the contradiction between hardness and softness very well, and they are models for us to learn from. In Lu Yanshao's paintings, the outlines of mountains and rocks and the dots of trees and moss are vigorous and vigorous, threatening the thunder and wind and rain; while the lines of clouds and water are light, graceful and graceful. The combination of hardness and softness produces a strong worldly charm of formal beauty. Quality and rhyme refer to the unity of flesh and form. Quality is the physical essence of objective objects. In painting, no matter how good the lines are, if they are separated from the object to be expressed, it will become a worthless game of pen and ink. Rhyme is the charm, rhythm and rhythm of line movement.
"Painting is silent music" means that each stroke of a good painting is like a moving note, forming a beautiful and moving piece of music. Quality is the pursuit of the "truth" of the objective object depicted, that is, it can have both spirit and form; rhyme means expressing the subjective spirit through the objective object, that is, it can convey the spirit and freehand brushwork. Chinese painting requires the unity of subjectivity and objectivity. "Learning from the outside and getting the source of the heart" is the worldly realm that Chinese painting pursues throughout its life. "Three taboos" when using a pen: Han Chunquan of the Song Dynasty stated in "The Complete Works of Shanshui Chunquan": "There are three problems with using a pen: the first is board; the second is engraving; the third is knotting." The so-called "board" refers to the lack of wrist strength and inflexibility in using the pen. The drawn strokes are flat and have no rounded three-dimensional sense; the so-called "engraved" means that the strokes are too exposed, even unnatural and lifeless; the so-called "knot" means that the strokes are stiff and unable to move. , when it is scattered but not scattered, the pen line is not smooth. If you make these three mistakes with your pen, you will not be able to talk about the beauty of the lines. In addition, there are also taboos such as "dry, weak, smooth, sloppy, etc." Chinese painting painters have always had the theory that "calligraphy and painting have the same origin" and "calligraphy is connected with painting". To avoid the above three taboos, it is best to The best way is to practice calligraphy, including calligraphy, seal writing, and cursive writing, so that you can master various pen-using techniques. First, you must strengthen your wrist strength, and secondly, you must follow nature. , don’t be pretentious. Third, be confident before writing. 2. Use ink with brilliance and layering, and the requirements for ink should be clear, moist, clear, and clear. The color of the ink is moist, deep, not impetuous, and blends well with each other. The splashing ink method: dip the brush in water and ink of appropriate shades, and then apply it boldly on the paper. Add. Breaking ink method: first draw one kind of ink, and then use different inks when it is still dry. You can break through thick ink, light through thick, water through ink, water through water color, ink through ink and color.
4 Chinese painting teaching
Basic painting methods of landscape painting in Chinese painting
Tree painting method Trees are also called forest trees in landscape painting. They occupy a very important position in traditional landscape painting. Even if you only paint trees, they can become A complete work. When drawing a tree, you should first observe the overall characteristics of the tree, and then observe the branches. Since there are many types of trees, the ecology of the branches is also different. Beginners should use dead trees or winter deciduous trees as the objects of practice, branches without leaves. The structure is clear and the posture is distinctive, making it easy to understand the growth patterns and basic structures of various trees.
(1) Branches The structure of branches can be roughly divided into three categories. One is the upward-growing type, which is the traditional painting. In the paper, it is called the antler branch, which is the most common type, such as willow, acacia, camphor, etc. The second type is the downward-curving type, which is called crab claw branch, such as dragon claw.
The third type is the type that grows horizontally throughout its life, which can be called long-armed branches, such as pine, fir, kapok, etc. There are also forms between the two or three mentioned above. Before sketching the branches, first go around the four sides of the tree, observe carefully, and choose the most beautiful trunk and the most appropriate angle. First, hook up the thick branches of the main trunk, and then add the thin branches. When painting, you must first pay attention to the principle of four branches of the tree, that is, the branches sprouting from all directions, front, back, left, and right of the trunk. Avoid being like fish bones, growing two by two, lacking the scattered style. Secondly, pay attention to the arrangement of density and momentum. You can make some choices. In fact, you can boldly omit twigs and treetops. You should choose those that are in line with the principles of beauty from an artistic point of view for sketching. In addition, you must pay attention to the pen, which must be straight and straight. Each branch must be connected to the trunk or thick branch, and cannot grow in the air. The longer the branch, the thinner it will be. Do not write the tail thick or the branches thick and thin, which violates plant ecology.
(2) Bark, roots The appearance, personality and characteristics of a tree can sometimes be distinguished from the texture of the bark. Each type of bark has a different texture, such as pine bark, which is scaly. The bark of the willow tree has diagonal herringbone patterns, the bark of the apricot tree has horizontal lines, and the bark of the bark has twisted lines. There are many textures that are difficult to describe in words, and you need to observe them carefully before sketching. When drawing a tree trunk, in addition to paying attention to the texture of the bark, you also need to draw a three-dimensional feeling. When chaffing the bark, the texture near the two sides should be dense and narrow (or the ink should be thicker), while the texture near the center of the tree can be sparse ( (or the ink is lighter), which conforms to the principle of perspective. After drawing the branches, draw the roots. As for whether to draw the roots, it depends on the amount of soil and rocks or the type of tree. Usually, there are more rocks and less soil. , mostly with exposed roots; when there is a lot of soil and few rocks, there are mostly hidden roots, and like a banyan tree with many exposed roots. However, when painting, you can also ignore the distinction between soil and stone, and decide whether to hide or expose the roots according to the needs of the picture. However, to draw the characteristics of rising from the soil, being tough and stable, it cannot be painted as if it is inserted into the soil and will fall down when pushed. feeling.
(3) Leaves The arrangement and structure of leaves also vary depending on the species. No matter which kind of tree you draw, you must first understand the shape and arrangement principles of the leaves from a close look, and then look at the overall posture and feel from a distance. . The twelve types of leaves in the picture below are common in Taiwan. The trees in nature are the best painting charts. They are so varied that we can paint endlessly. We should make more observations and sketch frequently. The ancients used the method of clipping leaves (outlining leaves) to draw trees, which was first widely used. Each leaf was outlined with more than two lines and then filled with color. After the prosperity of ink painting, there were fewer clipped leaves and more single leaves (dot leaf method). Simplified, one stroke symbolized a leaf or a group of leaves, and according to its shape, there were pepper dots, character dots, interposition dots, plum blossom dots, and mouse feet. Dots, hanging vine dots, pine leaf dots, bamboo leaf dots,…. There are many different symbols, but these symbols are all extracted from natural observations by predecessors. They are both general and realistic, and are not fabricated out of thin air. Except for leaves with distinctive image characteristics such as pine, bamboo, willow, and sycamore trees, those with less obvious characteristics are generally called miscellaneous trees. When spotting leaves, you should pay attention to the fact that there are more leaves at the top of the tree that are exposed to sunlight, and the leaves are usually sparse near the trunk.
(4) Pine tree painting The pine tree symbolizes the gentlemanly demeanor and longevity of human beings. The ancients loved to paint pine trees to show their tallness, strength and majesty. The pine bark is scaly. To draw the pine bark, it should be vigorous and hairy but not shiny. Too regular arrangement is taboo. The pine leaves are needle-shaped, and can be drawn in many different ways, such as semicircle, circle, horsetail shape, zigzag shape, etc. The pine trunk is originally straight, but it is curved when it grows in stone gaps and cliffs.
(5) Willow tree painting The ancients often said: It is difficult to paint hands when painting people, and it is difficult to paint willow when painting trees. Once you paint, you will make a fool of yourself. The willow tree has a charming figure, leaning toward the water. The trunk is old and the wickers are tender. When painting wicker, it should be slightly thick, not sharp, the strokes should be slow and continuous, soft yet firm, just like dotting willow leaves, it should be fluffy and full of variety.
(6) Bamboo Forest Painting Method Bamboos in landscapes often appear in the form of bamboo forests (jungles). The leaves can be divided into two major forms: drooping bamboo leaves and upturned bamboo leaves (Qinglin Xinhuang). When painting, you can first draw the bamboo trunk. The branches are all slightly arc-shaped. Pay attention to the density and density. The arrangement of the bamboo leaves should not be neat and tidy. You must consider the overall interest, the relationship between reality and distance.