What is meticulous heavy color painting?

Meticulous painting with heavy colors is a kind of painting with strong colors. Mainly mineral pigments and powdery pigments, the picture is mainly color, and the color is thick, gorgeous and luxurious, giving people an elegant and magnificent feeling. Heavy color generally adopts the method of quality dyeing and color matching, and the so-called "three alum and nine dyes" refers to this painting method. Each time the color is applied thinly, the layers are deepened, and after several times, glue alum water is added to fix the color that has been applied, so that the picture is thick and steady. Chinese painting can be divided into palace painting, folk painting and literati painting; Among them, palace paintings and folk paintings are mostly based on the expression of cross-hatching and coloring, which is still used today and is called meticulous painting. In terms of techniques, Chinese painting can be divided into two categories, namely meticulous painting and freehand brushwork; Gongbi painting has two kinds of painting methods, namely, light color and heavy color. Fine brushwork is not only widely used, but also has various forms. From the silk paintings of the Warring States period, the figure Kui Feng and the figure Long Yu, it is not difficult to see that they already have the embryonic form of meticulous and heavy-colored painting. If we look at the raw materials used in China's paintings, the origin of meticulous painting can be traced back to the primitive rock paintings in ancient China. According to archaeological findings, the red pigments in primitive rock paintings contain more iron, which can be inferred as mineral pigments. In the process of making rock paintings, the "painter" grinds hematite into powder and mixes it with cow blood. To make a mixture, and then draw it on the rock wall with tools such as fingers dipped in paint or feathers. Although these original paintings have gone through thousands of years, they are still the same, which fully proves that the color of minerals is stable and not easy to change color. This is also the reason why mineral pigments play their characteristics in Chinese painting creation and have been used to this day. Whether it is Dunhuang murals, scroll paintings in Tang and Song Dynasties, Yongle Palace murals in Yuan Dynasty, fahai temple murals in Ming Dynasty, etc., the extensive use of natural minerals such as azurite, turquoise, cinnabar, gold, silver and mica fully proves the originality and importance of mineral pigments in Chinese painting and its internal relationship with the development history of heavy color painting. Whether as a technique or as a function, meticulous painting has rich artistic connotation and profound cultural value. It is a traditional art that played an important role in the historical development of Chinese painting, and it is also an important artistic resource that should be inherited and transformed in the development and innovation of contemporary Chinese painting. Based on the achievements of artistic practice and the present situation of contemporary China art, this paper further analyzes and discusses the connotation and value of the concept of "emphasizing color" in China's paintings. Etymologically, the word "heavy color" comes from the Book of Songs, which originally meant brightly colored clothes, which is far from our understanding of the connotation of "heavy color". Therefore, this paper focuses on the original meaning of the words "heavy" and "color" to explore and understand the connotation of heavy color painting. First of all, the word "heavy" has dozens of explanations in the dictionary. Literally, it corresponds to "light", which means strong color and taste. In painting, the word "heavy" refers to materials, and materials refer to mineral pigments (stone color). From the sense of color, it takes ore as raw material, grinds into powder or mixes with small particles to become painting pigment, which is characterized by covering, while plant color takes leaves, stems and roots of plants as raw materials and is characterized by transparency and lightness. Because stone color has a kind of material, that is, flashing and steady aesthetic feeling, which gives people a heavy, dignified and strong impression. "Heavy" can also give people the feeling of color saturation. More interestingly, "heavy" can also be read as "chóng" and understood as "many". Combined with China's heavy color painting, it can be understood as repeated color accumulation or shading of painting, which can produce overlapping transparent colors and rich layering. In the process of painting, colors can be distributed freely and are not bound by lines. This sense of hierarchy and freedom can make the painting language show the characteristics of massiness, massiness, massiness and complexity. Therefore, injecting new modeling language, new formal language, new production techniques and new flavor of the times into the aesthetics of traditional meticulous painting has expanded the performance space compared with traditional meticulous painting. Secondly, the "color" of heavy color first involves color. The development of Chinese painting originated from color expression and experienced the maturity and glory of color expression in Tang and Song Dynasties. Although literati painting once replaced the mainstream position in the development of Chinese painting in Yuan, Ming and Qing Dynasties, meticulous painting still did not stop moving forward under the social background of attaching importance to ink and neglecting color, and was stumbling and waiting for another glory. From the historical development, although the color expression of Chinese painting was silent after Yuan, Ming and Qing Dynasties, it did not stop, and even inherited and developed in some aspects. In this regard, we can't equate Chinese painting with ink painting, which is just one of the manifestations of Chinese painting. The above analysis shows that heavy color painting has irreplaceable technical, aesthetic and cultural connotations of ink painting. Therefore, in the development of contemporary Chinese painting, this is an important aspect that we should inherit. On the basis of inheriting the traditional color expression, we should constantly inject new factors to carry forward the spirit and outlook of China's painting. The traditional meticulous heavy color painting has its limitations, from scribing, dyeing, covering dyeing, adding color, making step by step, and finally flowing into a stylized creative mode. Contemporary China heavy color painting is different from meticulous heavy color painting, and it is different in production technology, and the production technology is more varied. The performance of lines and colors is much broader than that of traditional meticulous heavy color painting, and even can completely break through the shackles of lines. This development not only embodies the characteristics that the heavy color painting technique conforms to the times, but also injects new vitality into the traditional painting technique.