The Emotional Characteristics of Colors in Landscape Painting in Green and Blue

Keywords: lime green color Inheritance Conversion

From the very beginning of the formation of landscape painting, lime green color was used as the main color to form the decorative aesthetic emotion of expressing nature, which did not carry strong philosophical colors. Since the Five Dynasties and the Song Dynasty, ink landscape painting has become the mainstream of the development of Chinese landscape painting for nearly a thousand years with the intervention of its literati aesthetic concepts and ideals. Bypassing the traditional literati color expression, we go back to the period of green and green expression, transform the literati color with green color, make the color give play to its own advantages, reconstruct the tradition subjectively, refine and combine the essence of ink and color in the tradition, and form a new style of landscapes with modern concepts, which has both ink and ink expressive expression as well as free emotional expression of color. Therefore, it is necessary to promote the development of contemporary landscape painting by inheriting the color expression of traditional green landscape.

I. Characteristics of the expression of the color of lime green landscape painting

1. The decorative nature of the lime green color

Lime green landscapes often use mineral colors such as stone green, stone green, cinnabar and gold. These stone powder colors have a strong coverage, bright and colorful, strong and unrestrained, resulting in a rich and brilliant visual effect. In the Tang and Song dynasties, green landscapes are mainly painted in color after outlining, and the material properties of cooked silk are not able to achieve rapid color staining compared to paper, which is more suitable for color painting, which also enhances the weight of the picture. The nature of the material and the method of applying color make the green landscape paintings have a very strong decorative effect.

2. Green color of writing

Since the Yuan Dynasty, the performance of large green is reduced, due to the prosperity of the literati ink, green style is declining, although there are also green landscapes in various dynasties, but more dependent on ink and ink, ink is the main one. On top of the ink rendering, applying lime green color, most landscape painters in order to seek the retention of ink and brush, with lime green color when appropriate. The use of Xuan paper deprives the green color of the condition of flat painting, and it produces the same haloing and seeping effect on the color. The expression of color is integrated into the expression of ink, and the unity of the picture is achieved by the bleed of color with ink, so that the color also produces the same sense of writing as the ink and brush.

Second, the decorative green color and ink combined with the analysis of contemporary painters

Traditional green color due to the nature of the color, the characteristics of the material, so that it has a decorative visual effect in the expression of landscape. The decorative effect makes the color appear flat and thick. Contemporary painters, while inheriting this decorative nature of lime green color, combine it with brush and ink to achieve a contemporary transformation of color and innovate the expression of landscape painting.

Professor Zhuo Hejun of the China Academy of Art: He changed the zigzagging and wandering of traditional brush and ink lines into the staggering and intertwining of straight lines to create images of mountains and rivers, reduced the depth of the curvature of the lines, and strengthened the combination of straight-line ink and ink into a large black, white and gray ink block. This kind of performance makes the image of mountains and rivers more holistic and generalized, and tends to be a kind of visual pattern of decorative flatness. The strong and heavy colors of traditional green, stone green and gold are borrowed to fill the space of flat linear brush and ink, forming the flow of ink and rhythm and the gathering of colors. The painter enhances the modernity of the picture through the flat geometric expression of color. In order for the color to stand out from the ink and form a contrast with the ink, it must be applied in a way of thick color, and the thickly applied lime green color makes it impossible for the color to change in intensity and then forms the flat state of the color. The flatness of color relies on the ink as the base so that the color is not gaudy and fickle, and the color achieves the state of saturation, calmness and moistness. The chiaroscuro flow of the ink and the rich green and blue color blocks finally reach harmony and unity in the picture, leading the traditional literati ink and wash to new heights.

Painter Xu Jun: Xu Jun's lime green landscape inherits the traditional coloring method of large lime green and combines the language of brush and ink to form a new lime green expression with modern characteristics. Painter using colored rice paper as a base, mountains and rivers and pavilions with thick ink outline its type, change the early big green empty hook without chapped way, increase chapped, rubbed, dotted, dyed ink and brush skills, to bold and heavy, square straight and strong lines and full of moist chapped, mainly to express the space and texture, so that the mountains and rocks level is rich, dynamic lines. On this basis, the application of green and heavy color, do plane coating, which changed the traditional ink landscape of light coloring produced by the subordinate status of the color space, color from the local to the whole picture, which will inevitably produce the color of the plane state, the formation of the color of the decorative nature. At the same time of color planarization, the language of brush and ink is strengthened, and the emphasis on the structural level of the rocks and mountains makes the spatial sense of the scenery deepen. The near rocks and mountains produce a sense of space through the brush and ink modeling before color application and the brush and ink level performance after color application. At the same time, the heavy stone green color of the near rocks and the slightly lighter blue color of the distant mountains form a contrast between near and far, thick and thin, so that the use of the contrast of the plane color block produces spatial changes, and thus, a new landscape pattern arises. The painter extracted the flat expression of color from traditional green landscape, and borrowed the formal language of brush and ink from traditional ink and let the two be combined, so that the brush and ink had a rich layered expression within the range of color, and the color was fully enlarged in the stylistic space of the brush and ink. The artist has adopted the creative concept of parallel development of brush and ink and color, forming a strong visual contrast.

Third, the analysis of the works of contemporary painters combining the literalness of green color and ink

Contemporary landscape painters, such as Lu Yusun, have used the literalness of traditional green color to integrate ink and wash, creating a new form of expression in landscape painting.

Lu Yushun is very original in both traditional brush and ink and color expression. The artist was inspired by the traditional heavy color application of large green and blue, and his works fully achieve the combination of colorful spontaneity and ink, both inheriting the traditional interest of ink and brush and enhancing the spiritual connotation of color, so that the color melts into the dense ink and wash mood, and is transformed into the subject of vision. In the expression of landscape painting, it changes the antagonistic state of brush and ink and modeling, makes the brush and ink modeling blend together, and enhances the overall sense of the ink and water image. The use of hooks and dyes reduces the expression of the spatial depth of the mountains and rocks, allowing the colors to enter into the main space of the picture and forming a contrasting and unified visual relationship with the brush and ink modeling. The expression of the spatial depth of the mountains and rocks in the picture is weakened and subordinated to the overall expression of the brush and ink. Through the outlining of the mountains and rocks in the near distance and the staining of the heavy ink in the far distance, it forms the relationship of the space of the mountains and water and a strong contrast, and it only outlines the outline of the mountains and does not make spatial expression on the details of the mountains and rocks, and as a result, the color enters the structure of the mountains and rocks and forms the planar expression of the color. A painting should not only have contrast, but also unity. The artist strengthens the expression of the green and green color in writing, and lets the color go out of the scope of the structure of the mountain and stone, and takes the initiative to connect with the ink and penetrate into it, forming the flow of the color's chiaroscuro. The green and green color produces the same rendering effect as that of the ink, and it also forms the change of the color's intensity and dryness and wetness, so the color acquires the initiative in its expression. The transcendence of color to form produces the color of writing and decorative, and finally and ink to achieve a perfect fusion, not only reflects the traditional literati noble elegance, but also expresses the modern color of the spirit of emotion and meaning.

Fourth, the inheritance and conversion of the green color has realized the expansion of the color expression of contemporary landscape painting

Contemporary landscape painters, when borrowing the green expression innovation, have realized the change of the green color of the writing, and the expression of the color has risen to the same theoretical level as the ink. The painters of the new era look for the base point of pioneering innovation from the tradition, find the advantages and deficiencies of color, make up for the deficiencies of ink with the advantages of color, and at the same time give the spiritual emotion of ink to color, so that the color can realize its own transcendence, inherit the decorative and pictorial expression of color, and realize the fusion and transformation with ink. In this way, the color transcends its own physical attributes, achieves emotional catharsis, and ultimately sublimates the spirit of landscape.