Question 1: What does Gongbi pay attention to? D. Detailed realism.
Answered this question. The answer to the dream imperial examination
Question 2: What does Gongbi pay attention to in Gongbi painting? , is to use neat, meticulous and meticulous techniques to depict objects. Gongbi is divided into two categories: Gongbi white drawing and Gongbi heavy color. Meticulous line drawing is to completely use ink lines to depict objects and add color. Line drawing was originally used to make drafts. Song Dynasty painter Li Gonglin developed it into an independent type of painting. His line drawings are like flowing clouds and flowing water, infinitely varied and highly expressive. In the "Five Horses" he painted, both humans and horses are outlined with single lines, with accurate proportions, clear musculoskeletal structures, and even the luster of the horse's coat color. The dynamics are extremely vivid, and it is the first-class painting in ancient times. Line drawing works. Meticulous brushwork and heavy colors refer to Chinese paintings that are neat and detailed and lay out heavy colors. In the early days of Chinese painting, meticulous brushwork and heavy color played an important role. The silk paintings found in the Mawangdui Han Tomb in Changsha, Hunan are all authentic meticulous and heavy-color paintings, especially the T-shaped "Fei Yi" on the concubine's tomb. The composition is clever, the line drawing is fine, and the colors are gorgeous, which shows that the fine brushwork and heavy colors reached a high level at that time. . Ancient paintings generally used heavy-color pigments such as cinnabar and green, so the painting was called "Danqing". This shows the important position of fine brushwork and heavy-color pigments in ancient paintings.
Freehand painting is a painting method relative to meticulous painting. It requires the use of extensive and concise pen and ink to draw the shape and spirit of the object to express the author's artistic conception. It is said that during the Tang Dynasty, Emperor Xuanzong ordered painters Li Sixun and Wu Daozi to paint the landscape of the Jialing River in Datong Hall. Li Sixun is good at meticulous brushwork and heavy colors. It took him several months to complete this mural. Wu Daozi painted more than 30,000 miles of Jialing landscape in one day. It is conceivable that he could not use the technique of meticulous brushwork and heavy color to paint, and it must be relatively extensive and concise. This shows that the paintings at that time already had the distinction between fine brushwork and freehand brushwork. In the Song Dynasty, Su Shi proposed "scholar painting", advocating that paintings should "not seek resemblance in appearance", but should express emotions and feelings to express the author's subjective thoughts and feelings. The only painting he left behind was "Dead Tree Picture", which depicts a dead tree and a stubborn stone, with one or two branches of bamboo exposed behind the stone and a few thin grasses under the tree. This painting expresses his politically dissatisfied thoughts and feelings, but the great calligrapher gave it a very high evaluation, saying that the branches are "unexpectedly twisted" and the stones are "weird and strange, just like the depression in his chest". After the Yuan Dynasty, freehand paintings with concise brushwork, vivid shapes, hearty and interesting styles flourished.
In this way, freehand painting and gongbi painting, which abides by tradition and rules, have formed two schools with completely different styles. They have long competed with each other in the painting world and been passed down from generation to generation.
Question 3: What should you pay attention to when doing meticulous painting? When drawing lines in fine brushwork, don't draw too fast, but in a rhythmic manner. When drawing short lines, hold the pen with your wrist and elbow on the table, and focus on finger movements; when drawing a longer line, you should hang your wrist with your elbow on the table, and focus on wrist movement. The fingers should be held firmly to make the wrist move flexibly; For longer threads, the wrist should be on the table and the elbow should be hanging up. The thread should move with the wrist (not with the movement of the fingers). No matter what kind of line you draw, you must hold your breath during the drawing process, don't go too fast, and complete it in one go. In short, no matter which method of writing, the lines should be kept round and smooth. For example: the outline drawn in white is not to use thin lines to "draw" along the outline, but to use the pen to "write" the image in calligraphy. Gongbi line drawing not only pays attention to the workmanship, but more importantly, pursues the strength and beauty of the lines. The so-called "workmanship and attention to detail" is opposed to slender and weak lines. At the beginning of hooking, practice using the center forward and avoid flankers. The center brush is full and elastic, and the lines are round and thick, strong and powerful; when you start to practice hooking, it is easy to have side brushes, especially where the lines turn, because the brush is conical, and you must lift the pen when turning. Gently turn the pen barrel to reverse the direction and make the pen tip parallel and circular to maintain the center. The key to creating a sense of force in lines lies in the friction between the tip of the pen and the paper. Some people do not dare to use force when drawing lines because they want to draw thin lines. The drawn lines float on the paper and do not meet the requirements.
When drawing a line, you need to press the pen down so that the tip of the pen exerts pressure on the paper. At the same time, you need to hold the brush so that there is a lifting force upward. When the two forces are balanced, use a dragging force to draw. Just pressing without lifting is "wiping", and it is easy to cause side mistakes; lifting without pressing is "floating", and the line is slippery and weak. Do not "tick", "pick" or "slip" when using the line. Therefore, every time you draw a line, there should be three actions: starting the pen, extending the pen, and closing the pen. (1) Start the pen and hide the front: If you start the pen and want to move to the right, first pause the pen to the left, hide the front, and then move to the right. This is called left first if you want to go right, otherwise, you want left first right. The same goes for writing up and down. If you want to go down, go up first, and if you want to go up, go down first. This will cause friction between the pen and the paper. (2) Stroke: The stroke should be steady, the speed should be slow, and the pressure on the paper should be even. There are various changes in the strokes. Turning and stopping in the middle is called "pause", and turning back is called "setback". When the stroke is setback, the direction of the pen tip must be adjusted to avoid a side edge. The center forward's round turn is called "turn" with a pen, and the side forward's square turn is called "zhe". (3) Retract the pen and return to the front: Whenever you retract the pen, you must retract it in the direction it came from. The so-called "no turning back" and "no drooping, no shrinking" make the end of the line implicit and powerful. Also pay attention to the various pen and ink changes in practicing lines, such as center and side forward, straight forward and reverse front, as well as changes in pen and ink such as frustration, turning, thickness, continuity, square and circle, rapidity, light hair, virtual and solid, etc., and then In addition, changes in ink color such as shade, dryness and wetness are added to meet the formal aesthetic requirements of line drawing.
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Question 4: What should we pay attention to in meticulous painting? (I hope my answer can help you. If you are satisfied, please select it as the best answer. Thank you!!) In fine brushwork, you usually need to draw the manuscript first. A complete sketch needs to be revised repeatedly before it can be finalized and then copied. On the rice paper or silk with glue on it, first outline it with a small pen, then apply colors according to the type, and render it layer by layer, so as to achieve an artistic effect that has both form and spirit. Such as Chen Zhifo's beautiful autumn pictures. What kind of paints are used in Chinese paintings?
The pigments used in Chinese paintings include plant pigments (water color), natural mineral pigments (stone color), and chemically synthesized pigments. Plant pigments include cyanine, rouge, garcinia, etc. Mineral pigments include ocher, cinnabar, cinnabar, azurite, stone green, stone yellow, etc. Most Chinese painting pigments packaged in zinc tubes are chemically synthesized pigments. These are collectively called Chinese painting pigments.
Aqua (plant pigment) is a transparent color that can be mixed with each other. It has no covering power, is unstable in color quality, and fades easily. Stone color (mineral pigment) is an opaque color that cannot be used in harmony with each other. It has strong covering power, stable color quality, and is not easy to fade. Stone color and water color cannot be used in harmony with each other.
Question: What is the method of writing Chinese paintings?
Answer: Beginners must first know how to hold a pen so that their posture can be correct and they can use the pen and ink freely. They should pay attention to the following points:
(1) A straight pen: a straight pen means a straight edge. . The bone method is based on the center.
(2) Finger firmly: The fingers should be firm and strong when holding the pen, but also flexible and not rigid.
(3) Palm deficiency: When holding the pen, do not hold it tightly. The fingers should leave the palm and the palm should be empty so that the pen can be moved freely.
(4) Hanging the wrist and hanging elbow: It means that when writing in a large area, the wrist or elbow should be hung, so that the writing can follow the heart and the overall situation can be understood.
What kind of ink is used in Chinese painting?
Ink has a unique status in Chinese painting. There are two types of ink: solid ink and liquid ink. The traditional ink used in Chinese painting is solid ink. Due to the different raw materials used, it is divided into three types: oil smoke ink, lacquer smoke ink and pine smoke ink. Oil fume ink - made by burning tung oil and other oils into smoke. Its black color is warm and is used for painting, and it blends well with other transparent colors. Pine smoke ink - made from the smoke of burned pine branches. Its black color is cooler and is mostly used for calligraphy. Lacquer smoke ink - made from burning traditional lacquer, its black color is smooth and shiny, and it is also suitable for painting. When choosing, it is better to have a delicate texture, moist color and blue-purple color. The grades of ink are divided into "ding, shang, tribute and selection". Liquid ink maintains the characteristics of oil smoke ink and is now very popular due to its ease of use, but it is better used for freehand paintings. Among them, "Tianjin Ink for Calligraphy and Painting" and Beijing's "Yidege Ink" are the best.
What kind of paper is used for gongbi painting?
Meticulous brushwork is made of cooked rice paper or silk, which is made by brushing raw rice paper or raw silk with a certain proportion of glue alum water. Its performance is impermeable to water. There are currently many varieties of cooked rice paper, such as clear water calligraphy and painting paper, ice and snow paper, calligraphy and painting paper, cicada wing paper, mica paper, etc. The cooked rice paper above can be either thin or thick, and the alum water can be thick or light. Generally speaking, thin ones are suitable for painting light colors, and thick ones are suitable for painting heavy colors. Cicada wings are the thinnest, while ice and snow are the thickest. There are also gold-sprinkled paper and various dyed papers that can be used to draw gongbi silk into pure silk products, which are divided into round silk and flat silk. Round silk silk, also known as "original silk silk", is commonly used in ancient paintings. Nowadays, flat silk is commonly used. After the silk is woven, it is beaten to make the silk flat, so as to reduce the gaps between the silk and make it less likely to leak alum after the silk is brushed with alum water. This kind of silk comes in white and distressed colors.
What kind of pens are used in gongbi paintings?
(1) Outlining pen
In gongbi painting, the center is often used to outline thin and even lines. Generally, thin and pointed pens such as wolf hair are used. Commonly used pens include clothing pattern pen, leaf tendon pen, big red hair, small red hair, crab claw, langgui, zigui and so on.
(2) Dyeing pens
Commonly used dyeing pens include: large white cloud, medium white cloud, small white cloud and other soft brushes. Pure wool pens are too soft and generally not easy to use. Baiyun pens are better because their outer layer is wool and the middle part is hard and stiff hair, so they can contain moisture and are elastic.
(3) Board brushes
Meticulous brushwork often requires base coloring, or large-area flat painting and rendering, so it is necessary to prepare wool board brushes or row brushes of various widths .
What are the main dyeing methods for gongbi painting?
1. Separation and dyeing: the most important dyeing technique in gongbi painting. Dip one pen into color and another pen into water to spread the color, creating a gradient effect from dark to light.
2. Unified dyeing: In the process of drawing fine brushwork, according to the needs of light and dark processing of the picture, it is often necessary to render several leaves and petals in a unified manner to emphasize the overall relationship between light, shade and color, which is called unified dyeing. .
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Question 5: What should you pay attention to when self-studying meticulous painting? Compared with freehand painting, learning meticulous painting is simpler. In the basic stage, in comparison, freehand painting is quick to get started and difficult to learn well, while meticulous painting is slow to get started and easy to learn. This is due to the difference between the two. The difference between gongbi and freehand brushwork is: gongbi, as the name suggests, uses neat and rigorous techniques to depict objects. Fine brushwork is divided into line drawing, ink color, light color, heavy color, pastel, boneless and other types. Line drawing is similar to modern sketching using ink lines, and ink color is similar to modern sketching. The difference between it and light color, heavy color, pastel, and boneless is that there is no ink color. Gongbi painting pays more attention to the business location than freehand painting, with exquisite workmanship, neat brushwork and clear painting steps. The meticulous paintings mostly feature ladies, flowers and birds. For example, Zhou's "Lady with Hairpin Flowers" in the Tang Dynasty and Gu Hongzhong's "Han Xizai's Night Banquet" are representatives of meticulous painting. Meticulous painting is a relatively objective representation of objects. It takes a long time to paint, and the painting process and techniques are relatively cumbersome. Freehand brushwork is relative to gongbi. Freehand brushwork focuses on using pen and ink to express the author's feelings and thoughts in the pen and ink, that is, to describe the spirit with form. Freehand painting is richer in the use of brushwork, paying more attention to the traces of "writing" and paying more attention to artistic conception. The characteristics of freehand painting are more grand, focusing on one go, the painting time is short, and the techniques are relatively simple. For example, Qi Baishi's "Shrimp", Xu Beihong's "Horse", and Huang Zhou's "Donkey" are representatives of freehand paintings. Freehand painting is the author's subjective expression of things.
So what do you need to pay attention to when learning gongbi painting well?
1. Be careful. The brushwork of gongbi painting is more delicate and you need to pay more attention to details. Carefulness is particularly important for the quality of the work.
The so-called details determine success or failure, roughly like this;
2. Be patient. The painting process of gongbi painting is relatively long, and you need to have strong patience to grasp and control the whole process;
3. Be attentive. Most people who are new to painting have the mentality to paint immediately when they see good works. However, when random flowers become more and more attractive to the eyes, they are easily moved by new ideas and immediately want to change to another painting. If you can't complete a painting, how can you talk about learning meticulous painting?
4. Be perseverant. Any learning requires perseverance. Perseverance is the prerequisite for learning something successfully. It is inevitable to encounter problems and difficulties in the process of learning. For example, problems related to time, energy, physical strength, finances, and abilities, as well as the confusion and ridicule of outsiders, etc., must be overcome with perseverance.
With the four musts, there are four don’ts: don’t be careless, don’t be careless, don’t be dissatisfied, don’t be exposed to the cold.
Question 6: What issues should be paid attention to when getting started with meticulous painting? 1. How to communicate between traditional culture and modern thought. Chinese painting is traditional culture, with traditional ideological connotations and aesthetic habits, and is based on ancient Chinese culture. The Four Treasures of the Study are painting tools, and contemporary students have been learning Western painting since kindergarten, from using crayons, color brushes to pencils, from learning simple drawings and pencil drawings to watercolors and oil paintings, accepting modern artistic ideas. Therefore, they lack understanding and understanding of the art of Chinese painting, do not have a certain foundation in Chinese painting, and generally do not know how to use pen and ink. If we are eager to impart knowledge and skills, we will be resistant and react negatively, and we will always fail to learn. Therefore, we need to carry out teaching activities based on the actual situation of students. First, let them understand the history of Chinese painting and the characteristics of Chinese painting. By introducing the artistic achievements of Chinese painting, they can understand the great spirit and artistic essence of our nation and enhance their national consciousness. For example, when introducing "Spring Outing" by Zhan Ziqian of the Sui Dynasty, he emphasized that this is the earliest existing single landscape painting in the world. When appreciating the works of Badashan people in the Qing Dynasty, you can quote the words of Mr. Ding Shaoguang, a contemporary artist living in the United States: "Chinese literati reached their highest peak when they painted Badashan people. His paintings can be compared with any master in the world." His works are comparable and unambiguous." Another example is to display the works of modern painters such as Xu Beihong and Zhang Daqian for them to appreciate. As a result, their patriotism thoughts and feelings were poured into Chinese paintings. With this ideological foundation, teaching Chinese painting can achieve good results. Of course, students should also be allowed to appreciate our country’s ancient folk murals, sculptures, and New Year pictures. Let them truly feel that the art of our Chinese nation is profound, profound and has a long history, and is worthy of carrying forward. Once students have such emotions and awareness of Chinese painting, they can pay attention to the study of Chinese painting, be willing to appreciate it, imitate it seriously, and create with all their heart. 2. How to combine art appreciation and technical training. For a long time, art teaching has remained at the status quo where the sole purpose is to impart some basic skills. As an art teacher, I am not very clear about the spiritual requirements of the art syllabus, and my understanding of the teaching materials is also one-sided. I skip the appreciation classes and seldom appreciate and discuss some art masterpieces with my students. In fact, art appreciation is very important. Appreciation is to cultivate students' aesthetic ability. Whether students can appreciate, observe, and perceive beauty and recognize beauty is actually the fundamental question of whether they can improve their artistic quality. How can a student who doesn't understand beauty discover beauty, express beauty, and create beauty? Therefore, in the teaching of Chinese painting, art appreciation cannot be ignored. By appreciating paintings of different eras and styles, students' ideas and boundaries are broadened, and students are guided to understand the innocent thoughts and feelings that painters want to express in beautiful artistic images, as well as to understand their respective forms and techniques of expression. For example, Wu Daozi and Li Sixun in the Tang Dynasty, Huang Quan and Xu Xi in the Five Dynasties, Fan Kuan and Mi Fu in the Song Dynasty, Dai Jin and Shen Zhou in the Ming Dynasty, and Xu Beihong and Qi Baishi in modern times all have different style characteristics.
How to appreciate these paintings requires discussing some issues, such as where is the beauty of the image and where is the charm reflected? What is the interest in ink, how do you compose and color it? What kind of Chinese painting do they belong to, and what are the differences in their painting methods? Through discussion and experience, students can feel the most essential thing of Chinese painting art, that is, the artistic characteristics of both form and spirit and the artistic style of complementary pen and ink. With this kind of experience and feelings, it will be much easier for students to learn the techniques of Chinese painting. Of course, most of our students have never practiced calligraphy since childhood, and Chinese painting uses a brush as a tool for painting. The use of brushes and pencils are completely different. Therefore, we cannot act rashly when teaching techniques. Let students use brushes to draw from the beginning. We should first let students learn how to use brushes. It is best to have students practice calligraphy with brushes first. People say that "calligraphy and painting have the same origin." , that is to say, the brushes used in calligraphy and Chinese painting are consistent. Moreover, practicing some calligraphy can also add interest to the paintings, and it is also useful for inscriptions and signatures. Therefore, it is completely possible to teach some calligraphy first and then teach painting, so as to sharpen the knife and chop wood. In the teaching of Chinese painting, I found that students generally like to draw freehand strokes. The reason is that students feel that freehand strokes can be used casually and save time and effort. However, they do not know that although freehand strokes are simple, they have high artistic requirements and also contain the author’s understanding of things. feelings and associations. Therefore, we must prevent one-sidedness in teaching. We should let students understand that freehand brushwork is produced and developed on the basis of meticulous painting in appreciation classes. This can only be done on the premise that the author understands and recognizes things. Bold generalizations and exaggerations. In teaching, students can first draw Gongbi paintings, or they can appreciate...gt;gt;
Question 7: What did ancient Gongbi paintings pay attention to? Typical characteristics of figure painting modeling.
Although the shapes of meticulous figure paintings are neat and rigorous, the shape of the characters respects the relative authenticity of the objective while emphasizing the subjective will. It uses line as the basic skeleton of figure modeling, which not only cleverly solves the antagonistic relationship between artistic creation and objective object form, but also uses changes in lines to make the modeling of meticulous figure painting highly artistically appreciable, and on this basis This makes the shape of meticulous figure painting have two basic forms.
First, the external form of the character is relatively close to the objective object, emphasizing the expression of emotions on the basis of relative realism, and striving to achieve emotional unity between the character form, the objective object, and the painter's state of mind. By using rigorous and neat shapes, the figures are relatively objectively expressed, and spiritual connotations are naturally expressed in peace and elegance, so that objectivity and subjectivity, external beauty and inner beauty are integrated into an inseparable artistic whole. For example, meticulous figure paintings with relatively realistic shapes fall into this category.
The second is to emphasize subjective understanding, with the purpose of expressing spirituality alone, boldly exaggerating, summarizing, and refining the character shapes, making the shapes random and using the spirit to describe the shapes. Although the external appearance of the form is far from the appearance of the objective object, it expresses the unique charm of the shape in its childishness and innocence. For example, meticulous figure paintings with exaggerated and deformed shapes fall into this category.
Although the above two basic forms of meticulous figure painting have different opinions from the perspective of artistic aesthetics, the simple appearance and rich connotation are the artistic characteristics of meticulous figure painting.
The modeling of Chinese painting is a unity of subjectivity and objectivity, and the simplistic meticulous figure modeling, because it abandons complicated changes, makes the author's subjective intention more suitable for organic connection with the purpose of modeling, and easier to express. The author’s artistic pursuit. Therefore, the connotation of the shape is richer. This is unmatched by character modeling that focuses on changes in light and shadow and color expression.
The simplification of meticulous figure modeling mainly refers to the appearance and the inner artistic expression summarized by lines. It does not exclude the depiction of details, and it is precisely because of the richness and subtlety produced by the depiction of details. Only through changes have the shapes of meticulous figure paintings been enriched in the simple form, which is both concise and eye-catching, and the modeling features have become more typical.
The formal characteristics of meticulous figure painting are first reflected in the combination of lines and colors. Line plays the role of skeleton in the meticulous figure painting where color prevails.
The color is applied thinly each time, and the layers are deepened. After several passes, a layer of gum vitriol water is added to fix the applied color, making the color of the painting thick and calm. There are two types of heavy colors: hook-filling method and hook-dyeing method. The hook-dye method uses plant colors to render the base color and then over-dyes the stone color. In the hook-and-fill method, ink lines should be left and filled with stone-colored paint. What is meticulous pastel painting? Heavy color painting refers to the painting method of powdery opaque pigments, and light color painting refers to the painting method of mainly transparent pigments and ink. Light colors emphasize the beauty of elegance, simplicity, simplicity and purity, so they basically use ink as the main color and add transparent pigments to depict an illusive and hazy artistic conception. Well, what is boneless meticulous painting? Gongbi painting uses lines as the backbone, so generally Gongbi paintings are drawn with ink lines first and then dyed. The reason why it is called "boneless" is that it does not draw ink lines and is directly rendered with color or ink. Sometimes the picture still has a "line" feeling. This "line" is the effect of rendering or the effect of "empty", not drawn out. 9.......gt;gt;