Portrait painting, or broadly speaking, as the main part of a painting, is full-length portrait, bust and even head portrait.
Portrait photo album (19 photos)
He has made great achievements in China, comparable to traditional western portraits.
But as far as quality is concerned, many qualitative differences remain to be analyzed, including whether to attach importance to the similarity between portraits and characters. This paper will make a brief discussion on this issue, and then make a further explanation in an article similar to "Introduction to Painting".
Although this introductory article is vague about how to achieve anatomical similarity, it is indeed quite concerned, which is consistent with the thinking of ancient western countries in this regard. The article came out late, about 1800. In fact, before18th century, painters in China, whether literati or not, seemed not to consider this issue. There are few works on portrait art, and there are relatively few articles detailing the skills and functions of portrait painting. According to Yu Jianhua's statistics in the Classification of Chinese Paintings, from the Tang Dynasty to the Qing Dynasty, there were more than 30 painters who talked about likeness, including Mi Fei (105l- 1 107) and Zhao Mengfu (1254- 1322). But most of the discussion is limited to a few lines, or emphasizes the basic principle of portrait painting, that is, the spirit (vivid), temperament and soul strength are mainly expressed through the eyes of the characters. At the end of the 4th century, Master Gu Kaizhi endowed this principle, which is closely related to the witchcraft-religion content in painting, with undoubted importance: "Vivid portrayal is being obscured".
From the terminology used by scholars, it can be seen that they attach importance not only to spiritual similarity and truth, but also to physical similarity and truth. The word "portrait" has a long history in painting criticism about portrait art, and it sometimes refers to "drawing a model", as opposed to "sketch" that appeared later. In addition, there are words such as "Portrait" and "Portrait", which can be found in an essay on Portrait by Wang Yi in Yuan Dynasty. "Portrait" is used more frequently because its application is beyond the scope of figure painting. However, in many articles, these words are slightly derogatory, and people have noticed countless such statements: "The difficulty is not the similarity, but the similarity." Or a painter is "good at portrait, not limited to form", and some even say: "If you are self-sufficient in realism, the brush can't enter the realm of freedom". This attitude has been passed down from generation to generation in China's general painting concept: the reconstruction of "truth" does not only depend on the proximity of "reality", but excessive similarity will lead to the subordination of God to form. /kloc-Hao Jing in the 0/0 th century said when talking about this problem: "If you look like it, you will get its shape and its gas; Real people are full of temperament. "
According to the theories of these famous literati, figure painting, like other paintings, focuses on grasping the basic elements of the object, sometimes called "God" or "Reason", "Mind" and "Tao", or choosing other words according to the context and the author's intention; When drawing characters, this element is the connotation and spirit of the object. The appearance is not natural enough to become a secondary problem. Just looking for shape, in the end, it is just a futile painting, just like a beginner deliberately copying.
Obviously, painters don't care about the shape of portraits, and there is no lack of evidence in history. People have noticed that in some times, such as Wei and Jin Dynasties, which were popular with solemn and inflexible images, the personality was liberated, the literati were vain, and portraits were redefined to counter the formalism of the Han Dynasty. At that time, people paid attention to the flashing personality, which was the unique spiritual temperament of the characters. Although there are new composition and expression skills, they do not touch the problem of shape. After this turbulent period, arhat statues from the western regions became all the rage. This portrait shows that the painter ignores the basic similarity of appearance and is afraid of realism. These portraits are also "qi" rather than "shape", so that the appearance of the characters is always comic. These grotesque portraits, coupled with the grotesque tradition of Buddha statues, were introduced to China, which may have really promoted the painters, and some inevitable rules soon appeared. But in any case, the painting criticism of past dynasties definitely put the inner world of characters in the first place, without paying attention to the similarity of rigid appearance, which is by no means limited to the category of Buddhist paintings. There are many anecdotes that because the portrait is lifelike, the characters on it live and even come to the world. The above concepts can be seen from this. These paintings are exactly the same as those mentioned by Guo at the end of Pictures and Stories 1 1. Because of paranoia, scholars have condemned it. They feel that these paintings are not the works of painters, but like the work of wizards.
Character image
Contrary to this extreme proposition, Confucianism advocates depicting a peaceful character image, which mainly shows the mental outlook and personality temperament of the character. First of all, we should show the inner moral quality of the character, and give him different clothes and manners according to the different times and social classes, because the primary role of figure painting is education, and modeling is second.
Buddhism itself does not encourage the individuality and originality of portraits, except that the arhat statues mentioned above are slightly special. Buddhist portraits and sculptures, with strict discipline, highlight the names of characters, and even more carelessly capture not only the appearance characteristics, but also the spiritual characteristics, which greatly affects the artist's creation. By 1820, some people did not follow the strict norms in Buddhist classics when painting Buddha statues. Shao Meichen, a painter, is still very touched by this: "Up to now, although the people who painted Buddha statues have been handed down from one draft to another, their faces have changed after nine times of writing, such as the word" fish drawn from the sea ",which makes the viewers unable to distinguish their faces, far from their solemn nature, and still praise each other with powder. It is really incomprehensible. "
Of course, there is a qualitative difference between Buddhist painting and portrait art, but the strict traditional principles of Buddhist painting, its utility and its inextricable connection with religion and social history undoubtedly played an important role in formulating a set of rules and regulations. It is precisely because of these rules and regulations that many literati painters gave up the creation of Buddha statues.
Perhaps to oppose the classification of paintings, professional portrait painters, usually second-rate artists or craftsmen, strongly emphasize the significance of their profession. It can be seen that they hope that portraits can be on an equal footing with literati paintings. They belittle the value of simplicity and modeling, emphasize the importance of creation beyond appearances, and regard portraits as mirrors of the soul, with the aim of giving portraits the same status and norms as mountains and rivers, flowers and birds, and pine and bamboo. Although some famous artists left portraits, most of the articles came from nobody. Wang Yi of the Yuan Dynasty mentioned above, his fame mainly comes from his exquisite skill in making pottery figurines and a portrait drawn by/kloc-0 in cooperation with Master Ni Zan in 363. Yi, Jiang Ji, a man, there are not many records about him, but his monograph "Biography of Mystery" is quite influential. The third thing to mention is Shen Zongqian, whose paintings are unknown, but his Painting of Mustard Boat, edited by 178 1, devoted a whole chapter to figure painting. Although, as people say, most of the pen and ink of these three articles are spent on expounding the value and self-cultivation of portraits to capture the inner world of characters, their primary feature is practical value. Wang Yi's article was recorded in the Record of Dropping out of Farming, which has been passed down to this day. The comments on these three articles in Calligraphy and Painting Notes invariably sigh: scholars turn a deaf ear to subtle theories, and these articles are rarely published because of oral circulation.
In the history of China painting, Yu Jianhua sighed for another portrait theory that seems to be more silent. This painting theory expounds in detail the skills that painters should use to achieve realism and creative purposes. This article is the Secret of Portrait written by Gao Ding in Qing Dynasty, which is said to have been written in 1800. Although Gao Ding's writing style is not as gorgeous as that of his predecessors, he emphasizes the qualities and accomplishments that painters should possess. Different from other authors, the main purpose of Gao Ding's writing is to explain the problem more practically. The author tells the details of appearance in more detail, and pays more attention to the "close" model. The article is divided into 30 sections, some of which are only a few lines. The attachment is a conversation between him and his son Ding, which will be mentioned below. The titles of the previous sections are: introduction, partial theory, draft theory, psychological method and yin-yang deficiency theory. The general principle put forward in this paper is quite classic. Here are just a few fragments: "Everything in the world is nothing more than Yin and Yang. As far as light is concerned, the bright is yang and the dark is yin. According to the theory of "Jade House", Yang is outside and Yin is inside. As far as things are concerned, high Yang Yu 'e is low Yin Yue. According to the theory of building repair, convex is yang and concave is yin. Is the human face lonely? It's just that it has yin and yang, so the pen is true and false. It's just that there is yang in the yin and yin in the yang, so the pen is empty and solid, and empty and solid. From scratch, rendering is also. "
China and Japanese painters often start with the well-known method of "marking the manuscript first". Its development in Zen aesthetics is particularly striking. This circle is completed with a brush: "People make a circle first, that is, the beginning of Taiji Wuji, and the news is great, such as chaos has not been opened and Gankun has not been paved."
Later, Gao Ding described the creative process in more detail: "Beginners who have no clear idea about portrait painting must draw more paintings first. More is familiarity, familiarity is specialization, specialization is refinement, and refinement is enlightenment. Its main point is not that three points stop at five points, but that the length of the surface is wide or narrow, which depends on it. After stopping at Tang Yin, stopping at Tang Yin to align nose, and stopping at Diego, these three stops are also vertical. Only by examining its five parts can we know its width and narrowness. The root of the mountain ends in the middle of the eye, the left and right ends of the eye tip are divided into two parts, the fish ends on both sides reach the edge, and the left and right spectra are divided into two parts. But the fifth part only stops in the middle, with the sky as the main stop, the sun on the left and the moon on the right, which is called Tiansan. The next stop is to limit the law by people, and the law is about to be four, which is called the fourth place. The method of this spectral part must be known. The five mountains should stand: the forehead is Nanyue, the nose is Zhongyue, the cheekbones are Xiyue, and the pavilion is Beiyue. If you want to draw eyes and lips, you must first spread the five mountains evenly so that they will not be misplaced. To the two ears, Qi Mei by going up one flight of stairs, because of the length of the shape, the change of the ears. All this was done by fax, which was not easy at all. If you can concentrate on your work and do nothing, you will start with sincerity, be clear about sincerity, and finally be skilled and ever-changing. Why is it so hard to have it? "
Topography is compared with human physiological structure throughout, and the author frequently borrows the words of physiognomy, even if he only studies these words, it is very interesting. Speaking of portraits, it is a bit strange for us to use this traditional metaphor of China. We are too used to analyzing the intrinsic value of image expression, where the small outline of human face is closely related to the world.
Description of five senses
The next chapters include forehead, nose, cheekbones, cheeks, chin, eyes, mouth, ears, eyebrows, beard and hair. The past three articles did not describe the five senses in this order. In Ding, every organ has a detailed explanation: "The forehead is round, so it is called heaven. There is a bulge on the top, very high. There is Lingshan, one of the hairlines, called Yunmane. The two foreheads are the corners of the sun and the moon, the eyebrows are lingyun Caixia, and the eyes are the heart of the sun and the moon, so it is the sky and the position. It must be dyed to be round, to cover, to line the five mountains and to support the eyebrows. Then divide the sun, set up a mountain forest, match the canopy and dye the border town. Heap up heavy troops and assign three points, with Tang Ming in the middle, Tang Yin under Tang Ming and Shangen under Tang Yin. Along the mountain root, a round of white light is displayed by Hunyuan dyeing method, which is the divine light of the main hall. The sun exposure is getting worse, and the hairline of the border town is covered with black piles, which will cover the ear door like a basin under the mane. All the lines on the forehead are covered with flowers, but there is a difference between coverage and density. There are those who support the sun and the moon like piers, those who line the mountain bones like ridges, those who surround the sky warehouse and cover the circle, and those who hook the sun and have holes. All kinds of differences should be applied to people. "
The nose is the most conspicuous organ of the face, so it is called Zhongyue, and it is the head of the five senses, which is why the painter began to discuss it. He started from his forehead, the so-called "mountain root", and his two nostrils were called "Lantingwei".
"On the husband's nose, there are many formats, including large and slightly high collapse, fat and thin knots and hooks. The highest one starts from real dyeing, and then enters Tang Yin in vain, and the two gases are caught in the bridge of the nose, which is like fear. From the outside, the eye hall is connected with the root of the mountain, goes down to the tail of Lanting, and protrudes outward from the root of the nose, such as the peak on the ridge. The fallen man must be small and flat. Lantian Tingwei held it against the big one with a slight mountain root. Deficiency in dyeing two cheekbones, deficiency in hueco mundo dyeing, Lantian Tingweilian, slightly exposed well stove. Fat people are not big because there is meat. It is also right to dye with fullness, seeing meat but not bones. Thin people are not small, but explicit. It is also right to dye with the method of clearing the hard gap and convex, and see the bone but not the meat. At the bridge of the knot's nose, another bone is arched, and only after baking and dyeing does it come out from the shade and look like a gourd. Your nose is pulled down like an eagle's mouth, and Lan Tai Ting Wei smells like there is no way out. He only used the brush method of pocket dyeing, and Shimada Hanzo was under his nose, shaped like a hook. Yang Zhewei stretched out the Lanting, round and thin, like a pair of nostrils, holding a firewire. Dyeing supplies for three times, there are obviously two black holes, which are self-sustaining in shape. Those who break the roots of the mountain should dye Tang Yin's lower eyebrow wheel to support the cover, dye the circle from the animal year, line out the eyes, and do not draw the roots of the mountain. The so-called upper dyeing is high, the lower lining is convex, and the lower part is blank and broken. These eight methods can be carefully understood, changed and communicated without fail. As for the crooked nose, we should also temporarily consider the number of points to match its shape. "
This theory of geomorphology is not inferior to the basic theory of painting in our Academy of Fine Arts, and we even regret not having a brush as a painting tool. Next, cheekbones: two cheekbones are the auxiliary of the face, and they are two mountains of the east and the west. The top is the sky, the bottom is the corner of the ground, the middle arch should be accurate and have the most shapes, which can not be separated from the four methods of height, width and width. The highest is not wide, that is, there is a mountain peak under the eye hall, so we should dye the sun with Hunyuan, and then dye it through the mountain root from the fishtail and tears hall in the border town. Judging from the law around the pocket, the yin chases the yang obviously, and the boundary is two cheekbones with a higher shape. The next one starts from the hilum and enters the teahouse. Today's tea room is higher than two cheekbones, and then enters the nose from under the cheek. The cheekbones are connected with the cheek, so the shape is lower. Those with wide cheeks, half-covered ears and manes, heavily stained cheeks and cheeks, narrow and concave, empty, slightly covered with tears. The sun hooks into the cheekbones, and the sky warehouse is dyed again, so that the sun retracts and its shape is wide. Narrow people are slightly weaker from the eyes, and there are two sharp points of cheekbones on their cheeks, the outside is wide, the two cheekbones are narrow, the front is opposite, and the shape is narrow. Such a face, the most rare god, is among scholars, meditation will come out, but concentration. "
However, the strict rules of shape did not prevent the author from thinking about how to think about objects:
"Buccal H is attached to zygomatic auxiliary, and its shape is different, square or round, fat or thin. Always suitable for meteorological activities, comfortable mouth, comfortable smile, hanging directly dyed thoughts, beards, gang laws, paper pulp in the pocket, followed by the ear door. An old man's cheeks are pale and wrinkled. A few people are as rich as the full moon. The more it spread to the Qing dynasty, the more exquisite and elegant it became; Doing it in luxury is getting more and more chic. The most appropriate beaming, don't be knowledgeable. ...
The next one is called Dige, which belongs to the water in the line, and its peak is Beiyue. On both sides of the law, the nose is called a birthday belt. Next to you, there are many styles, regardless of fat, thin and old. Fat people use Hunyuan dyeing method to make a heavy position from under both ears, full of pockets to chin, and arched on both sides. On the other hand, the pavilion is square, dyed in the inner pocket, lined with cheeks, covered with pulp, and the pavilion is super-dyed, showing the northern yue. The hilum is empty, bordering the border town. Submandibular heavy staining, pushing the neck, contains a lot of fullness. However, the thin cheek is narrow and exposed, and the cheek is dyed in the gap, and then the pulp is dyed to hold up the arch. The corners of the mouth are dirty, the umbilicus is smelled, the cheekbones are lined, the dental bones are pushed down, the image is sunken, there is no meat on both cheeks, and the bones are clearly visible. It was the thin old man who crossed the pavilion and sniffed with his lips flat. How to dye a real pen is clear at a glance. Most of the digging holes of teenagers are neither fat nor thin, and the task is to form digging holes because of their shape. Some of them were dyed from the deficiency of cheekbones on both sides to the corners of the mouth, and some were dyed from the pulp bag to the cheekbones, all of which collapsed to the ground. Others dye pavilions from Hunyuan border town, full of cheeks, calling them handsome products. Dyed from the gap in the basement and connected to the ear door is called sharp cutting. "
The description of the five senses and terrain contrast directly comes to an end in this section. We notice that Gao Ding's research on portrait art is more rational and creative than his predecessors'. In fact, in Gao Ding's article, we can't find any trace of imitating the ancients' "circling". All the contents are in their places, which is natural and doesn't need to be limited one by one. This may explain why in previous articles, painting eyes occupied a prominent position and constituted the essence of various metaphysics, while in Gao Ding's articles, they only occupied a place in the following paragraphs:
"For the sun and the moon, the essence of the five internal organs is extremely important. If God gets it, he is ready, but if God loses it, he doesn't know who it is. The so-called vivid Adu problem is also. " Yang on the left and Yin on the right. The shape has the length of Fiona Fang, the light shows the distance, and the emotions have emotions and fears, depending on whether it is high or low. Continuous upper and lower cells are active parts. It is particularly appropriate to put pen to paper on the truth, and the music is ethereal, emotional and lively. If a stroke on the eye is like a bow, it should be fixed in length and weight; At the moment, a pen seems to be the essence. External fixation always aims at yin and yang. ……
Haikou, called Mercury, is also an active part connecting Beiyue. So think carefully. There are countless names of different sizes. Nothing more than proper dyeing method and perfect machine, so a white road is left under the upper and lower lips to make a mouth wheel, and the outer edge is infected with a well. One of them was heavily stained and pushed down to the floor cabinet. Dye the corners of the mouth and fill the jade seal. The four sides are full of vitality, and look at the spots on the lips. There are two horns that are heavily dyed. If the upper lip is arched, there will be strings, and the lower lip is like two marbles. There is an upper cover and a lower cover. Some people climb high, some people shrink in, some people have steep horns, some people have drooping horns, some people turn over to cover the middle and lower parts, and some people have a horizontal line where they can't see their upper and lower lips. Temporary alignment can be changed.
Ear said Jin Mu two stars. Although it is outside the border town, it is also a supplement to the stop and should also be aimed at putting pen to paper. Its types include the outline of Fiona Fang with width, length, size and thickness, so we should always be careful and explain clearly. Open the dyeing work and make it arch. Fat people's ears are sticky with beads; Big and long. Thin ears, many strokes, thin and wide.
Purple eyebrows, lingyun on the left and rosy clouds on the left. Its shape and length are pure chaos, while the pen points are thick and light. High and low, wide and thin. Frown up, Niu Niu's turn. The tip is heavy outward and the stem is exposed, which is self-defeating.
There must be a way to draw. It is advisable to hook its shape with light ink first, and then dye its background color with thick and light ink. Once the color is dry, it should be marked with thick ink. It must be straight, curved, hooked and curved. Above the upper beard and lips, pens and pencils are bent and drawn straight. Under the underground cabinet, the stem hangs straight and rotates. Even the sideburns are dancing, slightly straight and covered. It must be long, clear and vivid. Start with a sharp pen, keep it sharp, not heavy, and especially avoid fragmentation. All are white for flowers; Five strands and three whiskers, and finally there are no two methods. "
The description of facial contour ends with a short poem. Dante Gao's article does not stop there. He also recorded his thoughts in many aspects in detail: rendering skills, different treatment methods according to the texture of drawing paper and silk, and even the formula of soaking silk with alum in different seasons. How to express the art of pleats has never been missed. He also reminded people that the change of light caused by the change of time will change people's form. He suggested that people should avoid the reflection of oblique light, and the studio facing north would achieve the best painting effect. Adjusting the angle between characters and painters, Gao Ding warned that we should change the angle according to different situations, and we should not just be satisfied with positive opposition; Try to pitch from left to right, paying attention to the correct details and proportions. When looking down, the head (main) is more prominent than the face (guest), and when looking up, pay more attention to the neck.
3 type compatibility
edit
Due to the great development of figure painting in Ming and Qing dynasties, the types of figure painting are increasingly diverse, and a variety of figure painting types are compatible and go hand in hand. Portraits in Ming and Qing Dynasties can be basically divided into XiShen, family hall, portrait, eat, drink, and be merry. The works in this exhibition clearly reflect this split situation, such as the portrait of Mr. and Mrs. Hong Yingzan in Qing Dynasty, the female music picture in Yu Dynasty and the portrait of Duff in Yu Dynasty. , are representative portraits in these different categories. Of course, the most popular thing in Ming and Qing dynasties was the production of big pictures, that is, clothes and portraits. This kind of portrait is the most common in the Ming and Qing Dynasties, with large pictures and small portraits in court clothes. Refers to the Ming and Qing Dynasties in order to serve as the most important way. The representative works of the large-scale imperial costume image exhibited this time include "The Portrait of Shen Du", "The Portrait of Qin Wang without Money" and "Twelve Portraits of Ming People without Money". These portraits have reached a high level in depicting the characters' personalities and mental states, and they are worthy of being the masterpieces of Ming Dynasty portraits collected by Nanjing Museum. In this exhibition, figurines also occupy a large proportion, such as Guan Tianpei of Confucius, Deng Tingzhen of Tang Dynasty and Lin Zexu, all dressed by Confucian scholars. This kind of work is mainly expressed from the personal spirit, morality and sentiment of the elephant master, and the purpose of creation is to reflect the elegant knowledge and tolerance of the master. There are also portraits of four female idols in this exhibition: Kou Baimen, Yuan Mu Hanru, Gu Mei and Xiaoqing. These four works have high artistic attainments, which were obviously created by famous artists at that time. For example, Fan Yin and Wu Hong, an important representative of the "Eight Jinling Schools" in the late Ming and early Qing Dynasties, collaborated in the "Visiting the Door". In this work, the author presents the quiet and graceful manner of Koubaimen, a famous prostitute in Qinhuai, with considerable cultural accomplishment, and at the same time reveals a strong sense of the disappearance of beauty. The author lamented the demise of the Ming Dynasty through the dying beauty of reality.
Jiangnan school
In figure painting, the most important thing is the appearance of "Jiangnan School" and "Concave-convex School" since the middle of Ming Dynasty. On the basis of the cross line, the expression technique of "Jiangnan School" appeared, which was more expressive than the traditional technique of sketching with single line first and then painting with color. It was a new development of the traditional portrait expression technique and was very skillful in the middle of Ming Dynasty. If there are twelve portraits in the Ming Dynasty Portrait Book, it is a model of this technique. At the end of Ming Dynasty, the portrait of Zeng Whale paid attention to smudged lucky money, which was rich in texture and was also the concrete application of traditional techniques.
Tuao school
However, what marks Zeng Whale's great contribution to the development of figure painting is not the skillful application of "Jiangnan School" and the perfection of this technique, but the emergence of "Concave-convex School" with three-dimensional effect by absorbing the expression techniques of western painting brought by Matteo Ricci and others and combining traditional expression techniques. The success of this method has brought great social reputation to Zeng whale. In his portrait creation, Zeng Whale pays attention to the perspective effect of characters and the relationship between light and shade, and emphasizes ink halo. In the production, he did not hesitate to bake and dye with Dan ink for dozens of times, and then slightly applied pastels, which made the figures have a very strong three-dimensional sense, which was indeed unprecedented in previous figure paintings, and undoubtedly developed the pen and ink techniques of China figure painting. For example, "Ancient Map" is a representative work created by Zeng Whale with the method of "ink bone". This work is a collaboration between the author and Zhang Feng, a famous painter of Jinling Painting School. He once painted a portrait of a whale, and Zhang Feng was a scenery designer. Because Zhang Feng's works are very rare and co-created with a generation of portrait masters, this work is very precious and is one of the most important portrait collections in Nanjing Museum.