History of oblique hair

In the landscape painting of Chinese painting, the appearance of travertine marks the real maturity of landscape painting. With the continuous development of Chinese painting, Tubo has evolved from a basic technique to an artistic language form with life spirit for thousands of years. It not only has independent aesthetic value, but also reflects the aesthetic characteristics of different times with the development of the times. On the explanation of "edge", Shuo Wen Jie Zi wrote: "The skin is thin, and the sound comes from the skin." The relationship between "chapped" and painting is as early as in the "Wu Di Ji": "Holding a pen is cold and my hands are chapped. Draw again. " "Tang Tong Zhu" also said: "Cao Fushan painted with wrinkled clothes as figures. Dong Yuan painted rocks and made hemp skin. " According to Shi Shuo Xin Yu, Gu Kaizhi painted a portrait of Pei Kai. "Three hairs on the cheek are beneficial", while "extraordinary" means adding three wrinkles on the cheek of the portrait, and the spirit of the character is present. These three wrinkles are the brushstrokes that express the texture in early figure painting.

The prevalence of metaphysics in Wei and Jin Dynasties led to the painter's freedom of personality and closeness to nature, which provided conditions for the independence of the theme of China landscape painting in the future. China's landscape painting is an intelligent and creative interpretation of all things in nature, and a meaningful emotional activity in pursuit of aesthetic value. The spiritual connotation of the Chinese nation is shaped in painting, and it is also most clearly reflected in landscape painting. The development of painting techniques has brought great impetus to the evolution and innovation of painting species, and so has painting methods. In a landscape painting, the task of stone painting is the most important. Compared with brushwork, ink painting, composition and color setting, the types of brushwork are also the richest, which is an important aspect of landscape painting techniques that is most worthy of study and can best represent the painter's aesthetic orientation. Therefore, He said: "Emphasizing painting method can be regarded as a kind of life in landscape painting art."

From the landscape painting before Sui and Tang Dynasties to the landscape painting in the Five Dynasties, the painting method experienced a long historical evolution and became an important symbol of the synchronous development with China landscape painting. The Five Dynasties and the Song Dynasty are the peak periods of the development of landscape painting, and also the peak periods of the finalization and development of landscape painting techniques. From "Axe Split" (prototype) and "Horse Split" by Dong Yuan to "Raindrop Split" by Fan Kuan, "Cirrus Split" by Guo, "Axe Split", "Maya Split" and Xia Gui. Since then, the painting techniques in Ming and Qing landscape paintings have been developed and created to varying degrees. Modern landscape painting masters Huang, Li Keran and Fu Baoshi also made new creations on the basis of traditional painting methods. Among them, Fu Baoshi combined his own brushwork on the basis of the traditional "disorderly firewood" and created the famous "bouldering group". These methods have also become valuable wealth in the history of China landscape painting.