1, write
Writing style: Chinese painting is the same as calligraphy. Although everyone has different preferences and there is no formula for writing, beginners must master the basic essentials. When holding a pen, the thumb and forefinger hold the pen holder in the shape of "longan" or "phoenix eye", and the middle finger holds the pen holder along the forefinger. After holding the pen, the pen holder generally does not exceed the first knuckle of the index finger. Fingers are solid, palms are weak, wrists are flat, and five fingers are Qi Li, so it is natural to run and retract.
Calligraphy is more rigorous, painting is more flexible, you can hold the pen straight and hold it slightly higher, so you can rotate the nib flexibly, and the wrist, elbow, shoulder and body cooperate with each other to move and rotate effectively.
2. brushwork.
Chinese painting brushwork: brushwork is composed of strokes. Writing includes three parts: starting a pen, raising a pen and collecting a pen. Starting to collect the pen, going against the Tibetan front, naturally implicit. When using a pen, you should first pay attention to the pen and let the pen image according to the meaning. The pen should be powerful. The so-called "penetrating the back of the paper", "using the pen with bone method" and "moving the tripod" of the ancients emphasized the skill of using the pen.
There are differences between middle wing, side wing, rear wing, trailing wing and scattered wing. The central pen is the most important, and it is the skeleton of Chinese painting brushwork.
(1), center: Hold the pen straight to make the middle of the pen strong, the nib is basically in the center of the pen mark, and the pen mark is cylindrical.
(2) Side stroke: the stroke is slightly inclined to the left and right, so that the pen tip and waist force to one side at the same time, and the trace of the stroke changes greatly. Sometimes, one side is shiny and the other side is serrated, which can display lines and surfaces at the same time.
(3), anti-front: anti-pen. When painting along the front, the pen root is in front and the pen tip is in the back; On the contrary, pointing the pen at the front, the pen tip at the front, the pen root at the back, from bottom to top, from right to left against the hair, has the effect of vigor and Gu Zhuo.
(4) Before dragging: the pen is lying on the screen, along the hair, and the pen marks stretch smoothly and naturally loose.
(5) Loose front: the brush hair is loose, the brush marks are rich and ethereal, relaxed and elegant, and the area is large. Loose front is often used for tufting.
3. ink method.
Ink painting: Chinese painting, also known as ink painting, has always been used in many ways, and ink painting can not be separated from water. Ink painting uses water to produce different changes, such as thick, light, dry, wet, deep and shallow. Since it is ink painting, it is necessary to take ink as the body and water as the use. "Ink is divided into five colors", which is about the difference between the degree and severity of ink use, such as scorched, thick, heavy, light, light, dry, dry, thirsty, moist and wet. Here, the ink method mainly introduces the commonly used methods such as breaking ink, accumulating ink, burning ink and leaving ink.
(1), ink breaking method. Ink breaking method can be divided into two forms: rough breaking and light breaking. Ink-breaking method is a new expression method that produces new ink color effect through the superposition of different amounts of water and different ink colors. It must be carried out while wet, so as to achieve the purpose of mutual destruction. The characteristic of ink-breaking method is that the pen marks at the infiltration place are hidden and interpenetrated, which has a rich and natural aesthetic feeling.
(2) Accumulated ink method. This is a method from shallow to deep, repeatedly staggered stratification. The accumulated ink can be wet or dry. Wet accumulation is easy to show ink rhyme, while dry accumulation is easy to see ink bone. It is best to dye thousands of layers and be vigorous.
(3), coke ink method. The pen is dry, sluggish, dignified and vivid. Jiao Mo runs slowly, so it is full of vigor and vitality. However, Jiao Mo should not be used more, and the contrast with wet pen can better show the meaning of Jiao Mo.
(4) Ink painting. That is to say, after a day or several days, the rice paper is dipped in ink with clear water, showing a degumming Mo Yun ink method. Modern ink retention method is commonly used. Su Mo's infiltration on Xuan paper is more pen and ink than that of new ink, and it has an ethereal and simple aesthetic feeling. Chinese painting pays more attention to the effect of ink and wash, and generally uses less color, requiring that "color does not hinder ink, and ink does not hinder color".
There are ink paintings with no or less colors, and light red ink paintings with cyanine, gamboge and ochre as the main colors. These two methods are mostly used for freehand brushwork in Chinese painting. There is also a heavy coloring method called big coloring, which is commonly used in Chinese painting. Heavy color method mostly uses mineral colors such as azurite, stone green, cinnabar, gold and silver, which are usually painted many times, thick and bright.
4. Composition, inscription and printing.
Composition, also known as composition and layout, is an important link in Chinese painting creation. The success of a composition is related to the quality of a work. Composition must be combined with the idea of the picture, that is, it must be coordinated with the content of the picture.
(1), unity of opposites. Composition should use the law of unity of opposites to reflect the relationship between object and subject, far and near, virtual and real, sparse and dense, gathering and scattering, opening and closing, hiding and revealing, black and white, big and small. Opposition is changing and unity is in balance. Only by unifying these opposites in the picture can we call it a good composition.
(2) The theme is clear. In Chinese painting, there is only one subject, and the others are objects, which play an auxiliary and subordinate role. Subject and object are interdependent and integrated with each other. Only when the subject and object are clearly defined in the composition of traditional Chinese painting can the theme of the picture be clearly defined, so as not to "usurp the host's role".
(3) Transition. Starting, inheriting, turning and merging are several interrelated key links in Chinese painting. The so-called "starting" is the motive force and direction of the subject's development, and "bearing" is the movement process of increasing and changing, enriching and enriching levels according to the main potential and starting potential, and leading the potential according to the potential; "Turn" is the reversal of the situation to increase change and interest, and it refers to the part that breaks the main trend and increases contradictions to change direction; "Combination" means returning to the mainstream, taking the overall situation into consideration and achieving a perfect ending of cohesion, inheritance and echo.
(4), Yin and Yang, excess and deficiency. It is a pair of contradictions. If you are free, you will be free, and you will be born when you are free, so as to achieve "vivid nature". "Reality" refers to the real subject highlighted on the screen, while "emptiness" often refers to the secondary, distant, light and foil objects. In traditional Chinese painting, the place that pays special attention to "emptiness and whiteness", "there is reality in emptiness and emptiness in reality", is often the key in painting.