Does anyone know the eighteen-bone method of facial dyeing in ancient China paintings? Do you have a map of eighteen bones?

◆ The modeling skill of Chinese painting-"Bone-based Pen"

There are no lines in nature, and lines are aesthetic abstractions of human images.

The greatest creativity and level of ancient painters in China is embodied in "using the bone method and using the pen".

In line modeling, China painters have made great achievements.

"Bone method" is very real through "using a pen".

Mustard Garden divides different styles of line drawing into eighteen strokes, and indicates the representative painters.

Mustard seed orchard is worthy of reference.

Bone method refers to the poking of Chinese painting, and the pen should have the "bone strength" of animals to compare the skills of using the pen.

"Pen Map": "Those who are good at writing are skinny, and those who are not good at writing are fleshy; The skinny and fleshy one is called Jin Shu, and the fleshy one is called Ink; The strong and the strong are holy, and the weak are sick. "

Writing with brush is one of the criteria for judging figure painting in ancient China.

◆ Apply lines to shapes.

As a symbol of painting modeling, line is a dynamic visual function of consciousness to perceive foreign objects and grasp objects.

As early as the Wei, Jin, Southern and Northern Dynasties, Sheikh first put forward a systematic artistic standard for Chinese painting in the Catalogue of Ancient Paintings: "Six Methods".

The order of the six methods is: vivid charm, pen as bone method, pictographic characters as objects, color classification, quotient position, transfer and modeling.

Vivid charm is a general requirement for painting, that is to say, painting should not only be complete, but also vivid and touching.

In addition, the five articles are all about vivid charm and serve for vivid charm.

The purpose of using bone pen to refer to lines is to express objects more vividly and naturally.

The ancients invented a variety of line drawing methods, such as orchid leaf painting, You Simiao painting, iron line painting, nail head and mouse tail painting, etc. The vivid and powerful lines directly reflected the "vivid charm" of the works.

At that time, the greatest creativity and level of the painter was embodied in "using a bone pen".

In line modeling, China painters have made great achievements.

◆ Bone method and pen use

"Bone method" is very real through "using a pen".

Why do you say that the artistic level is mainly reflected in the use of bone brushwork? Combined with the historical background before the Six Dynasties;

Painting exists as a ritual of ethics, and the theme and content of painting, including modeling, are stipulated and do not need painters to create;

The only thing that can reflect a painter's creativity and level is how to describe these contents and how to express his creativity by what means. Line is undoubtedly the most important form.

Although color is also very important, the use of color is plane painting, and the level of the painter doesn't matter;

The ups and downs of brush strokes, flying and diving, combined with the shaping of images, are not only accurate in outline, but also radiant, which depends on high-level painters.

Therefore, in the collective creation at that time, the junior painter was responsible for painting the colors flat, and the senior painter was qualified to undertake the work of drawing lines.

As can be seen from the painting documents of the Six Dynasties, the highest requirement for painters at that time and the place where they appreciated their creativity most were brushstrokes, that is, lines.

For thousands of years, line modeling has been continuously enriched and improved.

There are great differences in the expression of "bone method" between Chinese and western paintings. There is no so-called "bone method" in western painting, and the modeling is reflected by the change of light and shade produced by the light projecting on the object.

Therefore, the most important modelling technique is the description of various aspects composed of light and dark tones. Although western paintings are wired, they are only the intersection of face to face, or the appearance of the intersection of light and shade.

Because western painting pays attention to the description of light and shade, as the main means of modeling.

Therefore, Goethe believes that the painter's "genuine talent and practical learning" in "plastic arts" is particularly manifested in his "special sensitivity to the shape of objects";

And "you can draw the shape of an object as if you could reach out and touch it."

In contrast, the light and dark tones of objects in Chinese painting are almost ignored. The painter does not take the method of depicting light and shade, but pursues the full play of the efficiency of lines in painting.

Where there are ups and downs, turns and intersections on the surface of the object, the structure is described emphatically, and the modeling effect is obtained by using lines. Modeling with lines is not easier than modeling with light and shade.

Before writing, the painter must have a full, accurate and thorough analysis of the physical composition of the object, and after writing, he must adapt to the subtle changes in the priorities of the object before he can master the pen.

This kind of "line" is used as a means to express modeling, while Goethe uses "light to express" the shape of things as a symbol, which just reflects the differences in modeling concepts between Chinese and Western paintings.

In fact, the use of line is to use a pen, which is how many painters understand it. Many people think that strength is the high realm of "using a pen"

Just as Sheikh commented on the painter's pen, he praised "the pen is elegant and unparalleled" and criticized "the handwriting is weak."

Because Chinese painting has the characteristic that writing is difficult to change, it is necessary to write "with the intention first" and "in one go", and the handwriting should be strong and accurate.

In the Ming Dynasty, Tang pointed out in "On Painting" that some painters are "very old" when using pens, but in fact they are "extremely tender", which means that they have no object to play with, and "those who can't escape are hard to see".

It should be noted that due to the reasons of the times, Sheikh's "bone pen" is mainly aimed at figure painting.

With the history of Song Dynasty and the development of landscape painting, the meaning of Sheikh's "bone-based pen" has changed greatly.

◆ Inheriting tradition should be combined with the development of the times.

Chinese painting has always emphasized the inheritance of tradition, and how to inherit tradition with lines has not been well solved for a long time.

When it comes to line modeling, senior painters often ask the younger generation to learn ancient paintings, emphasizing that they should be "lifelike" and reach the point of "confusing the real with the fake".

However, there are not many ways to combine the traditional hook line with the times.

Mustard Garden divides different styles of line drawing into eighteen strokes, and indicates the representative painters.

In fact, from the shape of lines, they can be roughly divided into two categories, one is lines with no thickness change, and the other is lines with thickness change.

The calligraphy of lines has always been advocated by painters. In the Tang Dynasty, Zhang Yanyuan put forward the view that "calligraphy and painting are of the same origin" in Notes on Famous Paintings of Past Dynasties.

Although some people think that his views have multiple meanings, it is obvious that calligraphy and painting are the same in technique.

The "same technique" mentioned by Zhang Yanyuan should be the same abstract method, not the same specific brushwork.

Because painting and calligraphy are not exactly the same in actual pen use, and since ancient times, most painters are not specialized in writing, and many calligraphers are not good at painting, which can be verified.

Drawing lines is a means of modeling, and the purpose of checking lines is to shape structural modeling.

When it comes to keeping pace with the times and modernizing line drawing, the key is not how to hook lines but how to solve modeling problems.

The so-called sense of the times should also refer to modeling.

The ancients had many limitations in looking at the world and objects, so they were clumsy in painting plastic arts.

With the development of science, people's understanding of objectivity is more and more reasonable, and they know that objects have internal structures, including cells, molecules, quanta, nucleons and so on.

In plastic arts, the most obvious thing is to understand that the external form is determined by the internal structure.

To model an object, we should analyze it from the inside of the object structure, so as to vividly show its external characteristics.

The grasp of the structure can be multifaceted.

How to synchronize its development with the times should be combined with modeling to reflect aesthetic value.

As an ancient art, Chinese painting is characterized by line modeling, which is not an objective and true representation, but a traditional modeling concept with expressionism.

When seeking a pen, we should consider artistic treatment, so we should pay attention to "answering".

This bamboo is not the bamboo in front of you, but the bamboo in your heart.

In the face of physical objects, we should not imitate, but create.

Modeling is to create an image, and the artist's only task is to create an image with aesthetic value.

Everyone knows that western painting focuses on perspective, while Chinese painting is scattered perspective;

However, with the passage of time, many western modern artists have applied scattered perspectives to their modern works.

They divide the shape of the object into several viewpoints and put it into the picture, or break the normal perspective and reorganize the structure, so that the work has a new artistic life.

Modern art has already entered the era of composition, and various schools attach great importance to the beauty of picture composition despite their different concepts.

Since the establishment of Bauhaus in Germany in the 1930s, the "three components" have swept the world.

The understanding of plane, three-dimensional and color has also become a necessity for visual plastic arts.

In fact, a careful observation of China's traditional art will reveal that Chinese painting has always attached great importance to composition.

Chinese painting does not seek form, but emphasizes the characteristics of escaping from the chest, which is similar to western modern art in modeling concept.

From Shi Tao, Ba Da and Chen Laolian to masters of Chinese painting such as Huang and Qi Baishi, many objects are very particular about their shapes and lines.

Not only vivid, but also in line with modern composition art modeling;

Therefore, it always makes people feel unconventional.

Line drawing skills are nothing more than two points, one is to hook the line, and the other is to shape.

Many people have strong lines and smooth lines, but if they don't pay attention to the sense of the times, their works will look old-fashioned.

Mr. Lu Xun advocated "takenism", demanding vertical inheritance and horizontal transplantation, which is acceptable as long as it is useful.

When using line modeling, you can add the concept of composition, deformation and exaggeration;

Combine new ideas and traditions to create new Chinese paintings.

◆ "Pen" and "ink" must be done to shape the image.

The so-called "pen" usually refers to the brushwork of hooking, pulling, rubbing, rubbing and pointing.

The relationship between gestures, momentum and strokes in screen stippling, "brushwork pays attention to brushwork".

Cai Yong once said "Nine strokes" in the Eastern Han Dynasty, and Wang Xizhi in the Eastern Jin Dynasty also wrote "Twelve Chapters of Stroke" to teach the younger generation.

In the Qing Dynasty, Kang Nanhai said in "Two Boats of Guangyi": The ancients took the potential as the head of the book.

Zhong Lang said "nine potential", Wei Heng said "book potential" and Xihe said "pen potential", which is a general study of calligraphy morphology.

Tangible is powerful, military strategists are heavy, boxing is also heavy, righteousness and reality are the same, and there is a chance of winning.

The right army's pen gesture reads: first, right, second, affection, third, embellishment, and fourth, depression.

Zhang Huansui said: If you want to write a book, you must first accumulate momentum, and then it will be too late to do things. If you want to be free, you will be bound and die. If you want to be abnormal, you will care about the reason of excitement, you will devote yourself to the shape of abnormal, the change of abnormal shape, you will not be overwhelmed and lonely, and you will devote yourself to the spirit.

Well said, you should get it from your heart, you should get it from your hands. What I'm saying is that God does not see with his eyes, but he does it himself. New ideas are different and infinite.

If so, it is that blood is thicker than water, bones are old, and muscles are hidden but not exposed. For example, the Taoist priest's stock has been refined, looks like a king, and is definitely an ordinary person. "

It can be seen that the predecessors attached great importance to the grasp of "pen gesture".

Painting pen is more complicated and changeable than calligraphy pen. The most fundamental thing is that pens should be used to create images, that is, to serve modeling.

Pay attention to the shape and state of the pen.

When writing on paper, we must show various changes, such as points, lines, surfaces, Fiona Fang, straight lines and diagonal lines. According to the requirements of different manifestations of objects, integrate them into an organic unity.

Speed of operation, movement of pen. When writing, you must be harmonious and rhythmic, and you must not be impetuous.

Don't have the disease of delayed traction.

The strokes are smooth, the muscles and veins are connected, and the gas is constantly gathered. It is reflected and expected in stippling, and the lines are flowing like clouds, so as to show the spirit of machine interest, otherwise the spirit of the pen will be lost.

And all this should be "not confused" and should not be sent at will.

There is no point in writing without modeling, no matter how smooth it is.

The so-called "ink" refers to techniques such as baking, dyeing, breaking, splashing and accumulating.

Theoretically speaking, the development of Chinese painting began with single-line sketch, emphasizing pen sketch as the leading factor, and pen and ink and color complement each other.

Zhang Yanyuan pointed out in the Record of Famous Paintings in Past Dynasties: "The shape of the backbone is based on the meaning, but on the pen."

"Five-color ink is for pride."

Show the master-slave relationship between modeling conception and pen and ink.

In Qing Dynasty, Shi Tao's views on "pen and ink" in "Painting Records of Bitter Melons and Monks" are as follows:

In ancient times, there were people with pen and ink, people with pen and ink, and people with ink and no author. It is not limited by mountains and rivers, but people's endowment is uneven.

Splashing ink is also spiritual, so is the ink of a pen.

Murphy can't get effective edification, and his pen is not lifeless. He can be influenced by the spirit, but he doesn't understand the spirit of life, so he has no pen and ink.

Being able to accept the God of life without changing the spirit of being nurtured is a pen without ink.

Pay great attention to the spirit, spirit and life of pen and ink.

Huang's "Painting Quotations" says: "When using brushwork, you must use ink at the same time, and the beauty of brushwork is written with a pen."

Chinese painting pays attention to pen and ink, which complement each other and cannot be neglected.

All previous views on "ink" reflect the important position of ink color in Chinese painting.

When learning Chinese painting, many people are often intoxicated with the "pen and ink kung fu" of their predecessors and keep practicing in order to master the technique of "dropping ink".

But "ink" does not exist in Chinese painting, nor is it a trick, but is used to express structural modeling.

The ink color that cannot reflect the shape can only be "dirty" ink.

In short, the modeling methods of Chinese painting should keep pace with the times.

The structure of objects has the variability of special linear structural factors, which is the basis for studying the brushwork of hook, twist, knead and dot in Chinese painting and the brushwork of drying, dyeing, breaking, splashing and accumulating. In any case, lines should reflect the basic structure of the object.

In other words, the macro-structure expressed by the linear structure modeling of Chinese painting will not fluctuate because of a small change in concept.

Its connection with the outside world will also give them new series or new combination functions, which is the charm of Chinese painting.

Therefore, the relationship between pen and ink and lines is the core of studying Chinese painting modeling, which is both a whole and a process.

In this process, we can explore and discover the context and trend of modern and future development of Chinese painting, which provides great space for the sustainable development of Chinese painting.

◆ Chinese painting has a unique aesthetic taste.

Chinese painting has a long history and unique aesthetic taste, and occupies an important position in the world art field.

Line modeling is the main means of expressing objects in Chinese painting and plays an extremely important role in the development of Chinese painting.

The light and dark tones of objects in Chinese painting are hardly taken seriously. The painter does not take the method of light and shade description, but pursues the full play of the efficiency of lines in painting.

Drawing lines is a means of modeling, and the purpose of hooking lines is to shape the structure.

To modernize line drawing, the key lies not in how to draw lines, but in solving modeling problems.

"Ink" is not in Chinese painting, nor is it a trick, but is used to express structural modeling.

The relationship between pen and ink and lines is the core of studying Chinese painting modeling.

Traditional Chinese painting emphasizes that "the nature of foreign teachers is the source of China's heart", which transcends form and focuses on vividness.

Depicting the image and scenery with such expressive techniques as spotting, dry and wet shading, density and counting white as black;

Structural layout is not limited to focus perspective, but focuses on the contrast between color, pen and ink, space and point, line and block.

Line modeling is the main means of expressing objects in Chinese painting and plays an extremely important role in the development of Chinese painting.