What are the requirements of ancient figure painting for pen and ink techniques?

The pen and ink skills and techniques used in figure painting pay more attention to the basic role of meticulous painting in color setting, line drawing and small freehand brushwork, thus creating "eighteen strokes" On the one hand, brushwork or description obeys the structural texture, sense of quantity and expression of the characters, on the other hand, it also conveys the author's feelings and embodies the author's personal style.

Freehand figure painting, pen and ink use each other. There is ink in the pen, pen in the ink and pen on the paper. It is not only vivid, but also lyrical and vivid, and it also shows personal style, which is far more difficult than landscape flower-and-bird painting.

Some of the portraits, named "Let's have fun", all put the characters in the specific scenery that is the easiest to express their temperament and personality, which is different from ordinary portraits. Similarly, there are great differences between figure painting and figure painting in Chinese painting. In traditional painting, the object of creation of figure painting and figure painting is people, and both take objective people as observation objects and creative materials. But when it is transformed into an artistic image, portrait painting is more specific than figure painting. First of all, portraits emphasize authenticity. Portrait painting must depict an objective, concrete and specific person, a real person who exists in real life or history. Portrait painting can create non-specific, typed and even fictional characters through generalization, synthesis and even imagination. Ancient figure painting attached great importance to "real people", which was called "portrait", "portrayal" and "writing shadows" in ancient times. Many theories about figure painting are also based on observing and depicting real people, such as Gu Kaizhi's theory of "regarding reality as reality" in the Eastern Jin Dynasty and Sheikh's concept of "pictograph of things" in the Southern Qi Dynasty. In addition, the social function and function of portrait painting is mainly to shoot real people, reproduce objective reality, give play to cognitive function, and at the same time serve as images for commemoration, sacrifice and warning to achieve the purpose of education.

Traditional figure painting pays attention to the idea before writing, which is what people often say. Artists often create by subjective impression, so they don't care much about the truth of image and appearance, but deliberately pursue similarity. Although there are some rules in the proportion of figures in traditional painting, such as "standing seven, sitting five, sitting three and a half" and "three courts and five eyes", on the whole, figure painting is distorted in appearance, not as rigorous as figure painting.

In addition, the proportion of group images in traditional figure painting is determined by status and rank. For example, the emperor in the group portrait is tall and big, and the guards around him are short and small, which is very uncomfortable from an aesthetic point of view.