Chinese Bird and Flower Paintings?

Chinese painting flowers and birds works 2

Chinese painting flowers and birds works 3

Chinese painting Flower and Bird Paintings 4

Chinese Flower and Bird Paintings 5

Chinese Flower and Bird Paintings 6

After the Chinese Flower and Bird Paintings, read the article about the flower and bird paintings below!

Practice of flower and bird painting techniques

For the creation of ideographic flower and bird paintings, the strengthening of techniques, especially the practice of basic techniques has always been relegated to the realm of the metaphysical, it seems that only with good creativity, good mood, or only if the author transcends emotionally, the work can be evocative, and can only be called a good work. This reasoning is worthy of affirmation, but if we examine the painter, especially the life experience of well-known painters, we may have another level of recognition. Flower and bird paintings focus on highlighting the mood produced by the picture, the right amount of brushwork and clever layout will make us marvel, in viewing a good painting, at the same time, I often think about why the author of the brush, how to add a point, how to subtract a point and so on? The result can only be to marvel at the author's skillful technique has reached the arbitrary situation; and a let a person feel sorry or there is always expression is not as satisfactory as the painting, but also for the author neglected to practice the technique and sighed. Pure technique is the premise of the expression of the mood, the masters in the pursuit of the mood at the same time, but also seeking a breakthrough in technique, as building a house, the most beautiful house is completed by the most characteristic materials, of course, these materials are not necessarily the most expensive and most scarce, but it must be the combination of the best. In the practice of technique, the author believes that it can be carried out from the following two aspects.

1, copying, which seems to be an old-fashioned way of learning should be throughout the art career. Of course, the copying here, not the kind of beginner copy, but a creative process. Nowadays, there are many books on how to paint, will be classified with the method of brush, the beginner for guidance, and even many good painting people also tirelessly on the scroll to analyze the scientific way. It is true that our educational theories have been built on scientific foundations, but as far as pictorial painting is concerned, it is more of an emotional study, and without the infusion of feelings, it is just like a baby facing the world, full of curiosity, and possessing in itself only the most basic desires. Therefore, in the copying of masterpieces, it should be the copying with "empathy", and the injection of this feeling is private, and in many cases it is "misunderstood" by the readers, but don't underestimate this "misunderstanding". But do not underestimate this "misunderstanding", for the copyist, itself has a valuable "misunderstanding" of the painting, which is also in the different stages of the painter's life, the same painting has a different understanding of the reason. The infusion of such feelings creates a reinterpretation of the basic techniques, and enriches the creative material of the creator, forming a valuable copy.

2, layout, writing focuses on layout, a good layout of the painting in time, space, interpretation, so that the painting has a painting outside the voice, outside the meaning of the painting. As a technique, the practice of layout can not be interrupted. Composition has always been the essence of China's traditional realistic bird and flower paintings, from the traditional triangular composition to the three-dimensional composition to the three-distant composition, to Bada Shanren's four-sided and four-cornered composition, as well as to the modern masters such as Pan Tianshou and Qi Baishi, whose imaginative compositions have contributed to the styles of their paintings. For a person who aspires to art, in-depth study of the compositions of famous artists in history, internalized in their own paintings, is not a shortcut.

The material dialectic holds that qualitative change is based on quantitative change. In order to achieve their own style of creation, the injection of their own emotional elements, can not be separated from the practice of solid techniques, and in the painting of the road to achieve the "artisan" to "family" of the key to the transformation does not lie in the maximization of the amount, but in the accumulation of quality of the amount. In the art of the road, often encounter progress bottlenecks, in the face of bottlenecks to look back to see whether their work is solid, whether the feelings are committed.