Sketch: a kind of drawing method that briefly describes the posture, shape, movement and other characteristics of an object with concise lines and quick and accurate observation. It is an important painting method to cultivate the painter's keen observation and quickly grasp the generalization of object characteristics, and it is also an important means to record life and accumulate creative materials. Meticulous painting: It became popular in the Tang Dynasty. Therefore, the reason why outstanding artistic achievements can be achieved lies in the maturity of painting techniques on the one hand and the improvement of painting materials on the other. Gongbi painting must be painted on silk or rice paper treated with alum. In the early Tang Dynasty, the improvement of silk materials promoted the development of meticulous painting to a certain extent. According to Mi Fei's History of Painting, "Silk was born in ancient paintings, and it was half-cooked in the early Tang Dynasty, Wu Sheng, Zhou and Hanwo. Later, the hot soup was cooked, and the powder was like a silver board, posing as a character, and the writing was brilliant. " Generally speaking, meticulous painting needs to draw a manuscript first, and a complete manuscript needs to be revised repeatedly before it can be finalized. Then cover it with rice paper or plastic alum silk, first outline it with a small pen, then color it with the class and render it layer by layer to achieve the artistic effect of both form and spirit. For example, autumn photos of Chen Zhifo. Freehand brushwork: it is to describe the scenery with concise brushwork. Freehand brushwork is often painted on posters, one stroke is vertical, and the ink is flying. Compared with meticulous painting, freehand brushwork can better reflect the charm of the scenery described and directly express the author's feelings. Freehand brushwork is gradually formed in long-term artistic practice, in which the participation of literati in painting has played a positive role in the formation and development of freehand brushwork. According to legend, in the Tang Dynasty, because of his excellent poems and paintings, later generations called his paintings "poems with paintings in them", and he "changed the way of painting" and created broken ink landscapes with "light ink and clear brush". Dong Qichang revered him as the ancestor of "literati painting". In the Five Dynasties, the branches and leaves of flowers were first written in ink, and then sketched in light color, which created the "drop ink method" of Xu Ti. Later, Wen Tong promoted the painting style of "Four Gentlemen" in Song Dynasty, and Lin Liang opened a new style of "Courtyard Style" in Ming Dynasty. In the Ming Dynasty, Shen Zhou made good use of thick ink and light color, Chen Bai Yang emphasized realistic ink and light color, and Xu Qingteng was even more unconstrained and unconstrained. After a long period of artistic practice, freehand brushwork has entered its heyday. After the Eighth National Congress, Shi Tao, Li, Wu Changshuo, Qi Baishi, etc., freehand brushwork is the most influential and widely spread painting method. Freehand brushwork advocates spirit likeness. Dong Qichang said: "Freehand brushwork is the best way to draw landscapes. What is this? When the shape and quality are perfect, there is no charm; If there are different colors, there is no brushwork. " Xu Wei's Poems on Paintings in the Ming Dynasty also said: "We don't want to look like a poem of survival, but we should cut it according to all our fingers. Ink in Chinese painting: it is the basic technique of Chinese painting. Painters have always attached importance to the use of pen and ink, the rise of freehand brushwork and the widespread application of life propaganda, and the use of pen and ink has become the basic feature of Chinese painting. Chinese painting ink mainly uses the skills of ink color change. Due to the different ink content in the pen, it changes from dry to wet and from thick to light. Replacing color with ink has produced the saying that ink is divided into five colors. Zhang Tang and Yan Yuan's Notes on Famous Paintings of Past Dynasties said: "Ink is transported in five colors. "The five colors are burnt, thick, heavy, light and clear, and each ink color has a change of dry, wet, thick and light. This is the wonder of Chinese painting ink. In addition, there is another saying that ink is divided into six colors. In the Qing Dynasty, Tang Dai said in "A Brief Introduction to Painting": "Among ink colors, there are six colors. What is six colors? Black, white, dry, wet, thick and light. " There is another cloud: "ink has six colors, so that black and white are indistinguishable, and there is no yin and yang light and shade;" "Dry and wet, no green and beautiful; The shade is not a petal, and there is no bump and distance. " The richness of the color changes of Chinese painting ink can be imagined. The ink color that has not changed must be dull and become a lifeless dead picture. The success of a painter is often inseparable from the skill of using ink. For example, Qi Baishi painted shrimp, so it is well known to women and children. An important reason lies in the proper use of ink. He painted the shrimp three times: "At first, it was just a little bit like it. Once it became true, it became darker and lighter." Today, what we see in his works is a lifelike shrimp shell, transparent and tough, especially the head of the shrimp. Where the ink on the skull is light, a thick ink is shrimp brain, which is really wonderful. The skill of using ink in Chinese painting is not reflected in how many ink colors can be transferred in the palette, but how to make different ink colors reflected on paper, especially how to make a pen produce various ink color changes. With the continuous development of Chinese painting, the skills of using ink are becoming more and more mature, resulting in various expressions such as "splashing ink", "accumulating ink" and "breaking ink". Color of traditional Chinese painting: China's painting has always attached great importance to the use of color. In the Catalogue of Ancient Paintings, Sheikh of Nanqi listed "coloring with the class" as one of the "six methods". This theory that different colors endow different types of images is the basis of the use of colors in Chinese painting. Chinese painting pays attention to "color by category", but it also attaches great importance to the influence of space environment on objects. With the influence of space environment on objects and the change of space environment, the color of objects will change accordingly. Xiao Yi made a careful observation of this phenomenon in the Southern and Northern Dynasties, and said in Song of Rocky Mountains and Rivers: "Autumn hair clan bones, Xia Yinchun shadow, cold blue, warm sun and cool stars." This is China's earliest explanation of the difference between seasons and climate, which caused the color change of objects, especially the change of cold and warm colors. In Song Dynasty, Guo's "Lin Gao Quan Zhi" summarized the influence of seasonal changes on water color and sky: "Water color: Chun Lv, Bi Xia, Qiuqing, Kehei; Sky: Spring shakes, summer is light, autumn is clear, and there is nothing to say. " In the Qing Dynasty, Tang Dai quoted Guo as saying: "Mountains have four seasons, with different changes. Their colors are not like their appearance. The so-called spring mountain is bright as a smile, summer mountain is green as a drop, autumn mountain is bright as light, and winter mountain is bleak as sleep. This is also the spirit of the four seasons. " It can be seen that the coloring of Chinese painting should be considered in combination with the inherent color of the object and the influence of environmental changes.