Line drawing is the name of a Chinese painting technique, which refers to a painting method that only uses ink lines to outline an image without adding color; line drawing is also one of the literary expression techniques, which mainly uses simple and concise words to describe the image, without emphasizing rhetorical embellishments. Contrast with rendering.
Chinese name
Line drawing technique
Type
Chinese painting technique name
Meaning
Use only ink lines to outline the image
Line drawing requirements
Use minimalist and economical language
Introduction
Line drawing original It is a technique of Chinese painting, which refers to using ink lines to outline objects without color when depicting figures and flowers. It is called "single line flat painting" method. It originates from the ancient "white painting".
In literary creation, "line drawing" as a method of expression refers to using the most concise pen and ink without adding contrast to depict a vivid and vivid image. my country's excellent classical novels such as "Water Margin" and "The Romance of the Three Kingdoms" often use line drawing techniques; Lu Xun's works also have many examples of using line drawing techniques.
Example
Line drawing requires the use of minimalist language to describe the characteristics of the scenery and reflect the author's emotions.
For example, the beginning of Lu Xun's "Hometown": "Since it was late winter, as I approached my hometown, the weather became gloomy again. The cold wind blew into the cabin, making a whining sound. I looked out from the gap in the awning. , Under the pale yellow sky, there are several desolate deserted villages far and near, without any vitality. "A few words and a few strokes of outline not only capture the wilderness shrouded in the gloomy sky of late winter in my hometown, but also reveal it between the lines. The deep sadness contained deep in the author's heart.
The line drawing technique is used for narrative, making people feel that the lines are clear and the words are concise and true.
Line Drawing in Painting
For example, "The Scholars" wrote about Fan Jin's post about winning the exam: "I read it once, read it again, clapped my hands, He laughed and said, "Hey! Okay! I'm hit!" He fell back, clenched his teeth, and fell unconscious. The author captured the characters' movements and described the development of the situation vividly.
Using line drawing to depict characters, a few words can indirectly reveal the character's appearance, demeanor, and psychological activities according to the scenery or environment, allowing readers to see them as they are.
For example, Kong Yiji in Lu Xun's works, "is very tall; has a pale complexion, often with scars between the wrinkles; a shaggy gray beard"; "Although he is wearing a long gown, it is dirty and torn. , It seems that it has not been patched or washed for more than ten years." These descriptions are like using a few ink lines and a few simple strokes to reveal the features and convey the expression.
Just like painting, whether it is fine brushwork or colored ink, whether watercolor or oil painting, it can have its own style and characteristics; the line drawing technique in literary creation is not mutually exclusive with other techniques.
There are two passages in Wang Yuanjian's "Seven Matches". One is when the unknown soldier handed the seven matches to Lu Jinyong:
"Comrade, look at... that comrade who wants to Lu Jinyong waved, and when he came closer, he stretched out his stiff fingers and carefully fiddled with the matches one by one, counting in a low voice: one, two, three, four..."
Another One paragraph is when Lu Jinyong caught up with the troops and handed the matches to the instructor:
"Lu Jinyong quietly walked to the instructor of the rear guard company. Reflecting the flickering firelight, he opened the book with trembling fingers Party card, handed the remaining six matches to the instructor's hand one by one, and at the same time, counted in a strange tone:
One, two, three, four..."
p>In the two paragraphs, through two simple line drawings of "one, two, three, four...", we can develop rich associations and truly feel the noble inner world of the soldiers. When reading the first "one, two, three, four..." we seem to see the unknown soldier handing over the match he had protected with his life to Lu Jinyong, we couldn't restrain our excitement and said in our hearts, I have the match. , where are the seven roots? Look! Said one. During the second count, the wound hurt and the sound was very low and short. On the count of three, he was fighting against the pain and gathering all the power of life. He took a deep breath as much as possible and squeezed out three and four from low to high. When he said four, his voice was firm and his eyes were firm. firm. He seemed to see the soldiers recharging their strength around the fire; amidst the hail of bullets, the soldiers were charging to kill the enemy... After he finished speaking, he smiled at the corner of his mouth and his face was peaceful. The second "one, two, three, four..." was what Lu Jinyong said when he caught up with the army, completed the important task of the unknown soldier, and handed the match to the organization. It is said that his mood was sacred and solemn at that moment. When he was speaking, he remembered the scene of the unknown soldier dying on the grass, his eyes filled with tears and his voice trembled. On the count of three, Lu Jinyong's tone was full of relief and relief that he had completed the task. On the count of four, I thought of the great cause of the Red Army going north to fight against Japan. This match would ignite the vigorous anti-Japanese beacon fire, and my tone was high and forward.
I believe that everyone who reads this article will never forget these four simple words "one, two, three, four..."
In describing actions, use line drawing techniques to It can make the expression of the characters' inner emotions more accurate and the language condensed.
Look at the description in Wei Wei's essay "My Teacher":
"Only one time, his pointer seemed to be falling. I used a stone slab to catch it, and the pointer gently fell. The ground hit the edge of the stone slab, and everyone laughed, and he laughed too."
In these plain words, Teacher Cai's care for the students is like a trickle, flowing from each of them. It trickles out from the reader's heart, lasting and far-reaching.
Descriptive techniques - foil/rendering, foil/contrast/contrast, line drawing/meticulous brushwork, virtual reality/motion and stillness. The poet's lyrical expression is inseparable from the description of scenery, and the methods of scenery description are complex and diverse. In terms of appreciation of scenery description techniques, one should generally pay attention to the author’s perspective of observation and description (front and side, real and virtual, moving and static scenes, distant and close-up views, shapes, colors, sounds and tastes, etc.), and grasp and analyze the description of scenery. Expression techniques (contrast and rendering, line drawing and fine brushwork, contrast and foil, metaphorical techniques, symbolic techniques, etc.), it is necessary to understand and analyze the rhetorical techniques for describing scenery (metaphor, personification, contrast, exaggeration, metonymy, allusion, antithesis, etc. ).
Among the terms mentioned above, the following groups are often confused by candidates in appreciation. The specific analysis is as follows:
1. Contrast/rendering
Highlighting and rendering are both techniques of Chinese painting. The former is to use ink or color to set off the outline of an object to make the characteristics of the object more prominent; the latter is generally to use thick ink and heavy colors in places that need to be emphasized to make the image in the picture more prominent. Distinctive and prominent. Now widely used in literary and artistic creation, they are also two completely different description techniques for highlighting the characteristics of things.
Highlighting mainly refers to using object B to support object A to make the characteristics of object A more distinctive and prominent. It is a way of side description. According to the relationship between object A and object B, foil can be divided into two forms: forward foil and reverse foil; according to the object characteristics of object A and object B, foil can be divided into the following categories:
(1) With People bring out people. For example, in the Yuefu poem "Mo Shang Mulang", the poet uses the reactions of "walker", "young man", "hoeer" and others to highlight Qin Luofu's amazing beauty.
(2) Using things to support things. For example, Wei Yingwu's "The Dude Rain Sends Li Zhou to Li Zhou": "In the light rain on the Chu River, at the dusk of Jianye. The sails in the desert are heavy, and the birds in the dark are late. The sea gate is deep and invisible, and the Pu trees are far away. The love for each other is infinite. , Zhanjin is better than loose silk. "Except for the first sentence that clearly describes the object "light rain", the rest of the poem describes "rain" by describing other scenery. The poet successfully uses the artistic technique of using objects to support things, as if to make people feel happy. I felt that the sails, the bird feathers, the sky, and the big trees were all covered with drizzle. Another example is Bai Juyi's "Snow at Night": "I was surprised that the quilt pillow was cold, and I saw the light in the window again. It was late at night and I knew the snow was heavy, and I often heard the sound of breaking bamboo." The object described in the poem is the snow at night, but the poet touches it (the quilt pillow The coldness), vision (the windows are bright), and hearing (the sound of folding bamboo) highlight the size and fierceness of the snow.
(3) Entrusting people with things. For example, Liu Zongyuan's "Snow on the River": "Thousands of birds have disappeared, and thousands of people have disappeared. A man with a boat and a coir fishing alone is fishing in the snow on the cold river." The first two lines of the poem depict the Diaosou by highlighting the harsh environment in winter. His unique personality and his optimistic and open-minded feelings. Another example is the moonlight described three times in Bai Juyi's "Pipa Xing", which respectively highlights the beauty of the sound of the piano and the character's desolate, lonely and sad mood.
Rendering in literary creation mainly refers to describing the environment, scene or character's behavior, psychology and other details to highlight the image and enhance the effect of artistic expression. It mainly describes the object from the front. For example, the Yuefu poem "Lotus can be picked in the south of the Yangtze River":
"Lotus can be picked in the south of the Yangtze River. Lotus leaves are in the fields, and fish are playing among the lotus leaves. Fish are playing with the lotus leaves to the east, fish are playing with the lotus leaves to the west, and fish are playing with the lotus leaves to the south. , fish play with lotus leaves in the north."
The first three sentences of this poem outline a vivid picture of the Jiangnan scenery. The last four sentences center on the changes in the east, west, south, and north directions and the activities of the fish, which appear lively, natural, and interesting. The repeated sentence pattern is slightly changed, which is more reminiscent of lotus collectors boating in the lake and singing in harmony with the scene. There is not a word in the poem that directly describes people, but through the rendering of lotus leaves and fish, it is like hearing their voices, seeing their people, and being there, making people feel a sense of vitality, which reminds them of the heart of the lotus picker. of joy.
Another example is the first paragraph of Du Fu's "War Chariots". The author deliberately depicts the farewell scene, thereby expressing the people's disgust for war.
2. Set off/contrast/set off
There is often more than one scene described in poetry, and their positions are not parallel. The terms "set off", "contrast" and "contrast" reflect the angle and primary and secondary relationship of scene description. In the college entrance examination, candidates are often tested on their analysis of scene descriptions, but candidates do not understand the differences between the three and often confuse them together.
Set off and contrast are to compare some things together to highlight the characteristics of another thing. But there are clear differences between the two: contrast mainly emphasizes the differences between things, and the listed things are all in parallel relationship, with no priority.
Most of the nostalgic and condolence poems such as Jiang Kui's "Yangzhou Slow" and Li Bai's "Visiting the Past in Yuezhong" express the sadness of the change of things and people or the sadness of separation through the comparison between ancient and modern times. The purpose of setting off is to highlight the characteristics of things. The things listed are primary and secondary, not equal or parallel. For example, in Bai Juyi's poem "Snow at Night", the main object of description is "Snow at Night". The poem also describes the cold quilt pillow, the bright window, and the sound of breaking bamboo. The most important thing is the foiling technique. Similarities and differences in foiling and contrasting techniques: The same point is that the things listed are divided into primary and secondary, and they are all used to emphasize the characteristics of the main things. These two methods can be used interchangeably when they enumerate more than one thing. But foil is just a specific form of foil. foil is to use one thing to suggest another thing, and the main thing does not necessarily have to be revealed; foil is that both things have to be explained, and the two set off each other. The foil must use multiple secondary things to highlight the main thing, and the foil can be a one-to-one foil or a many-to-one foil. What needs to be supplemented is the similarities and differences between foil and contrast. These two predicates are two specific uses of foil. Contrast means to use things of the same nature or characteristics to set off. For example, Du Fu's "Quequatrains": "The birds on the river are getting whiter, and the mountains are green and the flowers are about to burn. This spring has passed, when is the return year?" "Jiang Bi" is used to contrast "birds are white", and "mountains are green" is used to contrast "flowers are red" ”, the colors complement the scenery. Contrast is the use of the opposite of something to set off another thing. This technique is widely and typically used in lyric poems borrowing scenery, and is generally divided into: using happy scenery to write sadness and using sad scenery to write happiness. The former, such as Ouyang Xiu's "Traveling on the Sand", uses the beautiful scenery of spring to contrast the poet's parting emotions; the latter, such as Li Bai's "Song under the Sai" (Snow in the Tianshan Mountains in May), uses the harsh environment of the Tianshan Mountains to express the optimistic revolutionary feelings of the border guards.
3. Line drawing/gongbi
Line drawing is a type of Chinese painting technique. It is generally drawn with thick ink lines without color. It is applied to literary creation, that is, using concise pen and ink. A descriptive technique that depicts a vivid and vivid image concisely and clearly without adding any foil. The poems written in line drawing may seem plain, but if you savor them carefully, they are profound. For example, Meng Haoran's "Spring Dawn" and Tao Yuanming's "Returning to the Garden and Living in the Fields" (Shaowu Suitable Rhyme) both use ink as much as gold, and use thick lines to outline the scene of spring and the scene of the poet returning to the countryside.
Gongbi, on the other hand, pays attention to local details of things and describes them with meticulous carving and rich ink and color. For example, Wang Wei's "Waiting for Chu Guangxi's Arrival": "The door to the court has been opened, sit up and listen to the sound of the car. If you want to hear the Qing Dynasty, you will go out to welcome it. The evening bell rings in the garden, and the light rain passes through the spring city. I don't care about myself anymore. , the hall is empty and the feelings return." The poet closely follows the word "wai" in the title and describes the various scenes of the poet waiting for the guests to arrive: he opens the door early in the morning to welcome the guests, but he is restless, sitting and getting up. Then he described the auditory illusion, and then through the description of the scene (the evening bell rang in the garden, the drizzle passed through the spring city), from morning to night, the friend still did not come, but he was sentimental (empty and sentimental). In the poem, the poet uses a series of detailed descriptions (actions, expressions, psychology, scenery) to express his eagerness for the arrival of his friends and his sadness when his friends have not yet arrived.
4. The coexistence of virtuality and reality/the combination of movement and stillness
The coexistence of virtuality and reality and the combination of movement and stillness are the two most commonly used angles to describe scenery in ancient poetry. Among the college entrance examination propositions, questions about analyzing the virtual reality of poems and dynamic and static techniques appear more frequently, and candidates are easily confused when making specific analyses.
The coexistence of reality and reality in poetry refers to the art that the scenes, objects, and things in reality and the scenes, objects, and things in imagination set off each other, penetrate and transform each other, and are intertwined to express the same thought or emotion. Technique. It can greatly enrich the images in the poem, open up the artistic conception of the poem, provide readers with a broad aesthetic space, and enrich people's aesthetic taste. In literary works, "real" and "virtual" are only relative. The so-called "real" refers to the scenery, objects, and environments that exist in the objective world, including objective, concrete, evidence-based, tangible, and known. , various "images" in reality that are all before our eyes and ears. The so-called "virtual" refers to virtual scenery, objects, and environments, including subjective and intangible, unfounded, hypothetical, past or future scenes, as well as dreams and the world of gods and ghosts. For example, in Liu Yong's "Yulin Ling", in addition to the virtual words "Thousands of miles of smoke and waves, the mist sinks in the dusk" in the first film, what is written is the real scene in front of you, the real thing and the real feeling. The lyricist and his sweetheart can't bear to be separated. The feeling of having to say goodbye again; the second film mainly describes the imagination of life after separation, which is all fictional. The whole poem combines the true and false, vividly expressing the reluctance to leave. Another example is Li Bai's "Dream Wandering in the Heavenly Mother's Farewell" and "Ancient Wind" (Going to the Lotus Mountain in the West) and Li Qingzhao's "A Fisherman's Proud Remembering a Dream", three poems about traveling to immortals. They all reflect the darkness of real society by describing bizarre fairyland. In poetry, the relationship between virtual scenery and real scenery is sometimes opposite to each other, forming a sharp contrast to highlight the center. For example, Jiang Kui's "Yangzhou Slow" depicts the prosperous scene of the ten-mile long street of Yangzhou City in the past, and actually depicts the desolate scene of "all the wheat and chestnuts are green" after the war. The two pictures, one real and one virtual, are in sharp contrast and deeply touching. It expresses the poet's sadness at separation. Sometimes they complement each other to form a rendering relationship to highlight the center.
For example, in Ouyang Xiu's "Traveling on the Sand", the first film is real-life, and the scene of early spring is used to contrast the pedestrians' farewell sadness. The second film is virtual, and the second film is virtual, imagining the wife leaning on the railing and looking into the distance, missing the pedestrians, to express the sadness. The wife misses her husband. , the husband misses his wife.
Dynamic and static are descriptions of scenery and objects in poetry from dynamic or static angles. They often use metaphors, personification, exaggeration and other rhetorical techniques to vividly describe the characteristics of the scenery or express the author's feelings. Thoughts and emotions. Movement and stillness complement each other, forming a situation and interest. For example, Wang Wei's "Mountain Dwelling in the Dark Autumn" successfully uses the combination of movement and stillness and the combination of reality and reality in the first three couplets to depict a quiet and tranquil pastoral picture for readers. There is painting in the poem, and there is poetry in the painting. This paved the way for the author to express his thoughts of retreat later.
Expand
Common rhetorical techniques include the following:
1. Metaphor
Metaphor is an analogy, using specific , simple, familiar, vivid things to illustrate or describe abstract and profound things. This can describe the image of things more vividly and concretely.
2. Personification
Personification is the use of imagination to write about things as if they were people. That is, giving them human words, deeds, thoughts, feelings, etc.
3. Parallelism
Parallelism uses three or more sentences or phrases with the same or similar structure, closely related meanings, and consistent tone to be arranged in a series. Such sentences can strengthen the momentum of language, express strong feelings, and enhance the appeal of language.
4. Exaggeration
Exaggeration consciously exaggerates or shrinks the things described to highlight the characteristics of the things, express the author's feelings, arouse the readers' associations, and deepen the impression.
5. Ask questions
In order to attract the reader's attention or thinking, ask questions first and then answer them yourself. That is, ask and answer your own questions.
6. Rhetorical questions
Rhetorical questions express clear meanings in the form of questions, that is, they only ask but not answer, and there is an answer in the question.
7. Parallelism
(1) Characteristics and functions of parallelism
Parallelism consists of three or more words with the same or similar structure, related content, and tone. A consistent combination of phrases or sentences. The same word with common emphasis appears repeatedly in the same position in each phrase or sentence. Its function is to strengthen the tone, emphasize the content, and heighten the emotion.
(2) Several forms of arrangement
a. Ingredient arrangement. For example: It seems that if the three northeastern provinces are lost, the party-state becomes more like a country; if the three northeastern provinces are lost, no one makes a sound, the party-state becomes more like a country; if the three northeastern provinces are lost, only a few students write a few "submissions", the party-state becomes more like A country that can win praise from "friendly people" will be the same as being a "country" forever.
b. Sentence arrangement. For example: their character is so pure and noble, their will is so tenacious and strong, their temperament is so simple and humble, their mind is so beautiful and broad.