Hope it can help you, the common techniques of Chinese painting: ink is divided into five colors
The name of the Chinese painting technique. It refers to using water to adjust the multiple levels of dry and wet ink color. The words come from Zhang Yanyuan's "Records of Famous Paintings of the Past Dynasties" of the Tang Dynasty: "The ink is transported with five colors." The "five colors" have different meanings, or refer to burnt, thick, heavy, light, and clear; or thick, light, dry, wet, and black; There are also those that add "white" and are collectively called "six colors". In fact, it refers to the rich changes in the use of ink colors. In the Qing Dynasty, Lin Shu used equal amounts of ink in five bowls and added unequal amounts of water to each painting to distinguish shades. The understanding was inevitably mechanical.
◇Eighteen Paintings
The name of the Chinese painting technique. Various depictions of folds on clothes of ancient figures. Zou Dezhong's "Hua Shi Zhi Meng" of the Ming Dynasty contains "18 levels of depiction methods from ancient to modern times". Divided into: 1. Ancient gossamer drawings (very fine pointed pen lines, used by Gu Kaizhi); 2. String drawings (slightly thicker); 3. Iron line drawings (thicker); 4. Moving clouds and flowing water drawings; 5. , Horse locust drawing (used by Ma He, similar to orchid leaf drawing); 6. Nail head and rat tail; 7. Mixed drawing; 8. Pout head ding (pout, one is used as a prong, bald pen line drawing, used by Ma Yuan and Xia Gui ); 9. Cao Yi Hua (there are two theories, one is that Cao Zhongda used it, and the other is that Cao Buxing used it); 10. Zhelu Hua (a sharp pen is long and thin, used by Liang Kai); 11. Olive Hua (Used by Yan Hui); 12. Drawing of jujube kernels (large pointed pen); 13. Drawing of willow leaves (used by Wu Daozi); 14. Drawing of bamboo leaves; 15. Drawing of water lines with war brush (thick and thick) Subtractive strokes); Sixteenth, subtractive strokes (used by Ma Yuan and Liang Kai); Seventeenth, Chaibi drawing (another thick subtraction stroke); Eighteenth, earthworm tracing. It can also be seen in Wang Diyu's "Coral Net" of the Ming Dynasty, in which a rat with a nail head and a tail is depicted as a rat with a nail head and a tail, and a ding with a pouted head is depicted as a pouted head, and the rest are the same. The various description methods mentioned above are all named according to the expression patterns of clothes folds in figure paintings of various schools in the past dynasties, and according to the shape of their handwriting. "Mustard Seed Garden Painting Manual" has a model manuscript. Ancient and modern clothing are different. Modern clothing pleat drawing methods have been developed, and various chemical fiber clothing materials are added to the clothing pleats, which was not seen in ancient times.
◇Line drawing
The name of Chinese painting technique. Originated from ancient "white paintings". Those who use ink lines to outline objects without adding color are called white drawings, such as Wu Daozi in the Tang Dynasty, Li Gonglin in the Northern Song Dynasty, and Zhao Mengfu in the Yuan Dynasty. A master of line drawing. There are also some that are slightly rendered with light ink. Painters during the Song and Yuan Dynasties also used line drawing techniques to depict flowers and birds, such as Zhongren in the Northern Song Dynasty, Yang Wujiu in the Southern Song Dynasty, Zhao Mengjian and Zhang Shouzheng in the Yuan Dynasty, etc.
◇Line drawing method
Referred to as "line method", also known as "Pythagorean method". The name of Chinese painting technique. During the Kangxi, Yongzheng, and Qianlong reigns of the Qing Dynasty, foreign missionaries such as Castiglione, Wang Zhicheng, Ai Qimeng, and Andeyi, who served in the inner court, used Western and Chinese methods to depict buildings using focused perspective, and used perspective to enhance the sense of space and depth of the building. It is different from traditional Chinese "boundary painting". At that time, those who were influenced by him and learned from it included Wang Youxue, Leng Mei, etc. Zou Yigui said: "Westerners are good at Pythagorean method, so they paint the yin and yang far and near, no difference between the yin and yang, the shadows are from wide to narrow, and they are measured by triangles, and the palaces and houses are painted on the walls, which makes people want to walk in." Most of the works painted by Fasu were used to decorate palaces and cloisters. Because they were painted directly on the wall, or painted on paper and silk and then posted on the wall, they weathered over time and very little remains.
◇Wet brush
It is symmetrical with "dry brush". The name of the Chinese painting technique. The finger pen contains more water. Wet brush painting was popularized by Zhang Hong in the Tang Dynasty. Ancient poem goes: "There is no rain on the mountain road, and the sky is green and people's clothes are wet. " Du Fu also said that "the chapter is still wet when the vitality is dripping". He said that the ink painting landscape has entered the wonderful realm of "water haloed ink chapter". Xiang Rong's brushwork is dry and hard but less gentle, and he is ridiculed as "stubborn". Jing Hao of the Five Dynasties claimed: "The tip of the pen is cold and the trees are thin, and the ink is light and the wild clouds are light." The so-called "light" refers to a wet pen with plenty of water. "The ink is dry if it is not moist." " He also advocated that there must be wet brushes in paintings. Wang Xing of the Ming Dynasty wrote a poem about painting: "Beiyuan looks like a landscape, but the ink is not visible. The successor is Juran, and the pen comes out from the ink. "Zhang Geng in the Qing Dynasty finally understood its meaning in his later years. He said: "It is difficult to work with a wet pen, but it is easy to work with a dry pen. "It is said that Dong Yuan's bones are hidden in the flesh, and the flesh is clearly visible in the bones. The latter said that "it is easy to see the brush on the bones, but it is difficult to draw the ink on the flesh." For a while, there was a rush to use dry brushes, but wet brushes were regarded as common craftsmanship and abandoned.
What Qin Zuyong said is the most prominent: "The most important thing to avoid when painting is wet brush. The sharp edges will be stained with ink, so you can't focus on it! The best way to remove wetness is to use dry." But modern Huang Binhong said: "Only when there is dryness can there be wetness, and where there is wetness Only when dry and wet are used together can it be called "water halo ink seal".
◇Dry pen
Also known as "thirst pen". Symmetrical to "wet brush", the name of the Chinese painting technique. Finger pens contain less water. Dry-brush painting flourished in the Yuan Dynasty, was popular in the Ming and Qing Dynasties, and has not declined to this day. Qin Zuyong in the Qing Dynasty said: "The most important thing to avoid when painting is a wet brush. The sharp edge will be completely stained by ink, so you can't focus on it! The best way to remove moisture is to use dry brushes, which are easier to apply and can be used with care. The foolish old man (Huang Gongwang) ) Songzi Jue can only be used with dry brushes. "It is also said that "Shen (Zhou) and Tang Dynasty's dry brushes are chapped, and the hooks are loose and beautiful." It can also be called "dry brushes", "dry brushes", " "Jiao Brush" and "Thirsty Brush", "Tan Yi Lu" pointed out: "Li Yingqiu (Cheng) cherished ink as gold, Dong Zongbo (Qichang) often said that painting should not only cherish ink, but also cherish water. The ancients all used thirsty brushes Today, people think that Yun Lin (Ni Zan) is the master of painting Yan, otherwise it is not true."
◇ thirsty brush
Another name for "dry brush", the name of the Chinese painting technique. When painting, use the method of "the pen is dry and the ink is little". Li Rihua of the Ming Dynasty wrote in "Ode to the Thirst Brush": "The thirsty pen in the book is like a thirsty horse, running swiftly and wildly and hard to control." Kong Yanshi's "Shicun Painting Secrets" said: "Every tree with leaves is dyed with the thirsty brush." ??People in the Yuan Dynasty mostly used thirsty brushes for landscapes. In terms of brushwork, Huang Gongwang, Ni Zan, Kuncan and Cheng Sui from the Qing Dynasty, Huang Binhong in the modern era, etc. are all good at dry brush rubbing and using thirsty brushes. See "dry pen".
◇Dry Brush
For the name of Chinese painting technique, see "dry brush".
◇Focus pen
The name of the Chinese painting technique. See "dry pen".
◇Shaking pen
The name of the Chinese painting technique. When painting, draw a trembling and trembling ink line. Xia Wenyan of the Yuan Dynasty said in "Pictures and Paintings": "Sun Shangzi is good at trembling brushes. It can be seen on clothes, hands and feet, wood leaves, and rivers, and they all appear to be trembling." Use trembling brushes to draw water, wood leaves, and clothes. We must strive to be smooth and natural, with twists and turns, and not be bent like a jagged tooth or bent like an earthworm. The trembling brush comes from the gold-staggered knife technique. The "Xuanhe Painting Manual" of the Northern Song Dynasty states: "The later master (Li Yu of the Southern Tang Dynasty) used the method of one stroke and three strokes of the gilt-stacked calligraphy. In his later years, it was transformed into painting, so the trembling brush is like calligraphy."
◇Cha method
The name of the Chinese painting technique. Used to express the texture of rocks and bark. The main methods of rock chapping are: Mapi chapping (also known as "Ma Pi chapping", used by Dong Yuan and Ju Ran, which can be divided into long and short), straight rubbing chapping (used by Guan Tong and Li Cheng), and raindrop chapping (also known as "Sesame chapping"). ", the big ones are called "Douban Chao" (used by Fan Kuan), Juan Yun Chao (used by Li Cheng and Guo Xi), Jiesuo Chao (there are straight Jiesuo and horizontal Jiesuo, many families use them, Wang Meng uses them) Once it changes into a long, thin and curved shape, it is called the "gossamer curling method"), ox hair chapping, lotus leaf chapping (used by Zhao Mengfu), iron wire chapping (used by the Tang Dynasty), long ax chapping (used by Xu Daoning, also known as (named "Rain-soaked Wall Crack"), small ax to chop cracked (developed from Li Sixun's small hook pen, used by Li Tang and Liu Songnian), big ax to chop cracked (used by Li Tang and Ma Yuan), water-borne ax to chop cracked (used by Xia Gui), grimace and chapped (used by Jing Hao), Mi Fu dragging mud and water chapped (first use water to wipe the small and large areas of the mountain slope, and point out with a horizontal pen dipped in ink, also known as the "falling tomato method"), Bullet vortex cracking (used by Yan Ciping), Kuotie cracking (used by Wu Zhen), folding belt cracking (used by Ni Zan), pulling nails out of mud (used by Xia Gui's master Li Tang, Jiang Shen likes to use it), skull cracking , broken net chaff (used by Wu Wei), prickly pear chaff (made from Douban chaff, used by Ju Ran), horse tooth chaff (used by Li Tang), horse tooth hook (used by Li Sixun, Zhao Qianli, etc., used in green landscapes) . The methods of chaffing the surface of the tree include scale chaff (pine bark), rope chaff (cypress bark), and cross-grain chaff (willow bark). Rub Hengcha (plum bark) and Hengcha (sycamore bark). The above-mentioned chaffing method is a form of expression created by painters in the past dynasties based on the geological structure and shape of mountains and rocks and the surface condition of trees. Later generations listed the changes and transformations of nature and the evolution of painting techniques, and various chamfering techniques will continue to develop.
◇Gouqiao
The name of the landscape painting technique. To draw a mountain rock, you first hook out the outline, which is called a "hook", and then use a chapped pen that is heavy on the head and light on the tail, shaped like an axe (such as axe, nail head, etc.) to draw the texture of the rock to express the light and dark concavities. It's called "cutting".
The specific method of painting does not necessarily involve hooking first and then cutting. There are also hooks and cuts mixed in, which depends on each person's painting habits and style.
◇Alum head
The name of the landscape painting technique. It refers to the rocks on the top of the mountain. It is named because it looks like the crystal on the top of the alumite. Mi Fu's "History of Painting" of the Northern Song Dynasty said: "Ju Ran mostly made alum heads when he was young." Guo Ruoxu's "Picture Experience and Knowledge" also said: "Those who paint mountains and rocks mostly make alum heads, and most of them have angled faces, and they are quick to write. See the strong and heavy nature." Huang Gongwang of the Yuan Dynasty (writing landscape painting) said: "Dong Yuan's small mountain stone is called alum head."
◇Sanyuan
The name of the landscape painting technique. Compiled by Guo Si of the Northern Song Dynasty "Linquan Gaozhi" records that his father Guo Xizhi said: "There are three mountains: from the bottom of the mountain to the top of the mountain, it is called "high and far"; from the front of the mountain to the back of the mountain, it is called "far"; from the near mountain to the distant mountain, it is called "far". It is called 'Pingyuan'." Han Zhuo's "Shanshui Chunquan" adds: "Guo said that mountains have three distances, and Yu also talked about three distances: those with wide water near the shore and vast mountains in the distance are called '. "Broad and far away"; those with smoky deserts and wild water that seem to be invisible are called "lost and distant"; those with extreme scenery but faint and ethereal are called "deep and distant". Later generations collectively called it "six far". Yuan Dynasty. Dai Huang Gongwang's "Shan Shui Jue" combines the two theories, saying that "the mountains are three far away, connected continuously from the bottom, called 'flat far'; from close to each other, facing each other, called 'wide and far'; from the distant view outside the mountain, It's called 'high and far'."
◇Six Fars
The name of landscape painting technique. See "Three Fars".
◇Seven Views
The name of landscape painting techniques. It is divided into: looking step by step; looking from all sides; looking at the big from a distance (looking from a distance); looking at the big with a small look (looking at a closer look); looking at it with concentration; looking at it from a distance; and "six distances". The methods of "viewing" are interrelated and can be emphasized when expressing. Ancient famous paintings such as "A Thousand Miles of Rivers and Mountains" by Wang Ximeng of the Northern Song Dynasty, "Along the River During the Qingming Festival" by Zhang Zeduan, "Dwelling in the Fuchun Mountains" by Huang Gongwang of the Yuan Dynasty, and "Residence in Qingbian" by Wang Meng ", etc., can be analyzed using this method.
◇Cuanju
Specially refers to the size and placement of stones in the composition of landscape paintings. Gong Xian in the Qing Dynasty said: The stones must be clustered together, and the small stones must be connected, and the faces should be consistent; even if they are not consistent, they should be large and small. " Tang Dai said: "The stones must be gathered together in different sizes. There are flat and large ones, sharp ones, horizontal ones, and upright ones. The postures cannot be the same. Some are rugged and rugged, some are simple and green, or some are exploring near the shore. Water, or immersed in water and half exposed. The gravel in the sand has the meaning of rolling flow. "
◇Small scene
A term for Chinese painting. Different from sketches, it is one of the genres of landscape painting. . It began with Huichong in the early Northern Song Dynasty, and is known as "Huichong Xiaojing". Shen Kuo's "Picture Song" also has the sentence "Xiaojing Huichong Yanmomo". Guo Ruoxu explained: "Hanting is far away from Zhu, and it is chaotic." "The image of empty space". Huang Tingjian also said: "I am proud of the wilderness and the flat distance." This is the style of small scenes. Hui Chong's poems were more famous than his paintings during his lifetime. Half a century after his death, his "small scenes" attracted the attention of Wang Anshi, who called him He said: "There are many paintings in the history of painting, and Hui Chong came out late, and I am the best." Xining and Yuanyou (1068-1093) saw winners in small scenes, such as Zhao Lingrang, Chao Shuozhi, Ma Bi, Zhou Zeng, etc. , can be said to be the successor of Hui Chong, but he was soon rejected by the imperial painting academy of Song Huizong Zhao Ji, who placed small scenes under the ink bamboos and derogated Zhao Lingrang as "the scenery of Tingzhu on the slopes outside the capital is not comparable to the mountains and mountains." ". However, the small scene has its own unique interest.
◇Landscape, Forest, and Stone
The term for landscape painting. The ancients said that thousands of rocks, thousands of ravines, and scattered rocks are all landscapes. According to traditional custom, the former is referred to as "landscape"; the latter is called "forest stone". Li Rihua of the Ming Dynasty said: "In ancient times, the trees and stones were different from the mountains and rivers. Most of the mountains and rivers had a profound artistic conception and a temporary atmosphere, while the forest and stones were sketched carelessly in the brushstrokes, and they were only seen to be tilted up, obscured, gathered and dispersed. Li Yingqiu (Cheng) has a wonderful landscape, and the forest and stone are even more exquisite. Ni Yu (Zan) originated from Yingqiu, so he created a style of leisurely and leisurely work, which is composed of woods and stones. "
◇Boneless
The name of Chinese painting technique. Instead of using ink pens as bones, depict objects directly in color. According to legend, it was created by Zhang Sengyou of Liang Dynasty in the Southern Dynasty. Yang Sheng in the Tang Dynasty was good at this painting method. He used cyan, green, vermilion, ocher, white powder and other colors to dye landscape paintings of hills, valleys, trees and rocks, which was called "boneless landscape". Dong Qichang, Lan Ying and others in the Ming Dynasty imitated it.
The flower hooks painted by Huangquan in the Five Dynasties were thinner, and the handwriting was almost hidden after coloring, so it was known as "boneless flower branches". In the Northern Song Dynasty, Xu Chongsi followed Huang Quan's example and painted flowers without ink lines and only painted them in color, which was called "boneless painting"; later generations called this painting method "boneless method." In the Qing Dynasty, Tang Yuguang and Yun Shou Equality follows suit.