Traditional and artistic characteristics of meticulous painting

It is a kind of Chinese painting expression technique that depicts scenery with delicate brushwork. Bian Luan is an outstanding representative of flower-and-bird painting in Tang Dynasty. He can draw the active state of birds and the bright colors of flowers. Make "Peony Map", with bright colors and beautiful hair. If you look closely, you can be sure that the peony was painted at noon. The cat's eye in the original picture has a "vertical line" visible. Another example is the flower feather written by Huang Quan, a painter of the Five Dynasties, which is lifelike, but it was attacked by the goshawk as a physical object. This can be seen in the Review of Famous Paintings in the Holy Dynasty: "During the Zheng Guang period, I ordered my son to paint the four seasons landscapes and various flowers and birds in the Baguatang, which was the best preparation. That winter, I will go hunting. Because I pressed the eagle dog, there was an eagle in it, and people struggling to raise their arms couldn't control it. So I went directly to the temple to fight for the feathers I painted. " Meticulous painting 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. China's meticulous painting has a long history. From the Warring States to the Song Dynasty, the creation of meticulous painting moved from naivety to maturity. Meticulous painting uses the means of "doing my best", and obtains the perfect unity of expression and form through "taking shape with spirit, taking shape with line and expressing meaning with shape". In meticulous painting, both figure painting and flower-and-bird painting strive for shape, and "shape" plays an important role in meticulous painting. Different from freehand brushwork in ink painting, meticulous painting pays more attention to "details" and realism. The pictures of ladies holding flowers and ladies shaking fans in the Tang Dynasty, the pictures of Tao Ren by Zhang Xuan and You Chuntu, the wife of the State of Guo, all describe real life. These works are not only descriptive but also poetic. After the late Ming Dynasty, with the introduction of western painting techniques into China, Chinese and western paintings began to learn from each other, thus making meticulous painting more accurate in modeling, while maintaining the natural flow of lines and poetic content. Freehand brushwork is to describe the scenery with concise brushwork. Freehand brushwork is more in propaganda, vertical pen, flying ink color. 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 its excellent poetry and painting, later generations called it "painting in poetry, painting in poetry". He "changed the way of painting" and created a broken ink landscape of "light ink and clear pen". Dong Qichang honored him as the father 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, Shan Li, Wu Changshuo, Qi Baishi and so on, 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 the colors are different, there is no brushwork. " Xu Wei's Poems on Paintings in the Ming Dynasty also said, "We don't want to look like a rhyme of survival, but we should cut it with our five fingers." Freehand brushwork pays attention to pen and ink. For example, the ink peony painted by Xu Wei is written by ink painting, not by cross-dyeing and contrast. There is a saying in Yuan Zhen Zhenwu's On Painting: "The works of Mohist drama, besides the rich words of Gestapo, are suitable for temporary interest and have a lot to do with his critics. Taste Chen Jianzhai's poem Mo Mei: "Full of meaning without seeking color, its predecessor is Ma Jiufang Gao." The learned painter also. "Freehand brushwork emphasizes the author's personality. Eight eccentrics in Yangzhou are famous for their strangeness. Their paintings are not standardized, they scribble at will, and they express their rebellious spirit with the word "chaos". Zheng Banqiao once admitted: "Modern Ding Bai (Taoism) and Qing Xiang (Shi Tao), whether muddy or strange, are unique from ancient times to the present. Recently, I painted bamboo in (Ding), which is quite chaotic. " The word "chaos" is very important to the body and is very important to the body. "("Zheng Banqiao Ji Bu ") Jin Dongxin also likes" chaos "when painting bamboo. He once said, "If you stick big leaves with burnt ink, the leaves will become confused. "Freehand brushwork is based on the brushwork of calligraphy, and the brushwork of freehand brushwork also greatly enriches the form of calligraphy, so freehand brushwork is mostly calligraphy. For example, Zheng Banqiao is good at calligraphy and painting, blending with each other, making books by painting, and creating official books by running script; " Six Books and a Half, with Zhu Lan's brushwork, is bright and vigorous. A Qing Dynasty Jiang Shiquan commented: "Banqiao writes words like orchids, and the waves are simple and graceful;" Banqiao takes orchids as words, and the beautiful leaves, vegetables and flowers show their postures. "Freehand brushwork is an art form that integrates poetry, calligraphy, painting and printing." Shan Li, one of the Eight Eccentrics in Yangzhou, likes to write inscriptions on paintings, which are long and short, patchwork, rich in pictures and more ornamental. Not enough pictures, enough topics. Painting is silent and poetic, and the two use each other. " (Record of Painting and Calligraphy in Love with the Sun) not only embodies the reality of Li's painting, but also embodies the basic characteristics of freehand brushwork. Wu Changshuo and Qi Baishi are also great artists in modern times.