How to draw a picture of a lady? In what form do you ask the great god for help?

The painting of ladies, like landscape painting and flower-and-bird painting, started with ink dyeing. That is to say, before coloring, you must dye the places that should be dyed with ink (bun, eyebrows, mole back ink or places that need to be rendered with ink), and then start coloring. Therefore, pen and ink and color are inseparable and interrelated. Painters of past dynasties advocated that "ink is color"; "Ink is divided into five inks and six colors" (five inks refer to dry black, thick, light and wet, and six colors refer to black, white, dry, wet, thick and light). Explain that the reason why the pen expresses the shape of the object and the reason why the ink expresses the color of the object is the same as that of the color. Therefore, the pure white painting in traditional Chinese painting is not only a ladder for getting started, but also an independent and artistic painting. I once saw two sketches of Chou Ying in the Ming Dynasty in the Forbidden City, which were very beautiful. One of the pictures is a lady playing a Zheng. Her face, hair bun, clothes belt, as well as the sound columns and silk strings of musical instruments are all dyed with different shades of ink, which is extremely detailed. Although this painting does not use color, it also has a sense of color. These two high-level ladies' paintings strongly illustrate that "ink is color". The coloring techniques of ladies' paintings are briefly described as follows: (1) After the colored bun is hooked, it is gradually dyed with light ink (at least twice), then the color of face and hands is drawn, and then the bun is dyed with ink to a proper concentration. There are two ways to dye the bun with ink: first, the light-colored bun represented by Gaiqi and Fei in Qing Dynasty is dyed with light ink, and only one or two places are dyed with thick ink; First, in Chou Ying in the Ming Dynasty and in the Tang and Song Dynasties, ladies' buns dyed with thick ink were particularly thick. The most difficult part of ink dyeing is to calculate the hairline of the forehead. It must be dyed accurately according to the original hooked hairline, from coarse to shallow, until it is seamless. Beginners often don't grasp the moisture well, either they don't dye enough or they cross the boundary of joy. As a result, their foreheads become short and wrinkled, and sometimes they are stained with ink, which can never be recovered. Therefore, if you want to dye the bun well, you must master the unique "narrow dyeing method" technique in the rendering method. "Narrow dyeing" means that the bun suddenly fades without leaving a trace after being painted with a thick ink color. It is not easy to do this. (2) The methods of facial coloring can be roughly divided into two types: the facial coloring techniques of ladies' paintings in the Tang Dynasty, the hairpins of ladies' paintings in the Tang Dynasty, the pictures in the palace, and the official women in a large number of murals and tomb murals (such as Prince Zhang Huai's Tomb, Princess Yongtai's Tomb, Prince Yide's Tomb, etc.), and the facial coloring is similar. Because there was no magenta before the end of Qing Dynasty, they all used Gang B.. The dyeing method is to dye a lady's cheeks first, and then cover them with thick clam powder, without ochre. Zhu Xi's adjusted flesh color added light and shade. Because the facial contour is very accurate, although there is no shadow, it is also very three-dimensional. This method of non-shading spread from the Tang Dynasty to the Meiji Restoration in Japan, and even modern figure painters including Ito Sham Shui Po and Dysprosium Ito used this method of facial coloring. 1. The scroll painting in the Tang Dynasty is basically the same as the mural painting in the coloring method of the face. The difference is that after the scroll painting is dyed with rouge, it is slightly stained with light meat, mainly under the dark side of the nose and neck, with a thin powder cover, and then with heavy powder to dye the forehead, nose and chin (that is, three whites). This kind of heavy powder daubing technique, which does not dye light and shade or dyes light and shade less, just shows the effect of "heavy makeup" advocated by ladies in the Tang Dynasty, and is highly decorative. 2. After the Five Dynasties, the facial coloring technique of ladies' paintings adopted a very detailed rendering method, in which the eye sockets and the sunken parts of nose, cheeks, corners of mouth, ears and cheekbones were dyed with vermilion and ochre, and then covered with flesh-colored powder. This is very different from using powder to adjust the flesh color or less in the Tang Dynasty, but Sanbai is still painted on the lady's face like the Tang Dynasty, and it is thicker. This three-white method has been used since the Five Dynasties, which is more stereoscopic and even more impressive than the color setting in the Tang Dynasty. Fu: The female images in Han Xizai's The Night Banquet are the best examples. Therefore, the surface dyeing method of the Five Dynasties is more detailed, more stereoscopic and textured, and it is a great progress in coloring than that of the Tang Dynasty. Of course, this is not to deny the advantages of the facial coloring method of ladies' paintings in Tang Dynasty. Pen conditions: 1. Strength is pen power. The predecessors said that painting "the pen can bear the tripod", that is, the pen should have strength. "Power penetrates the back of the paper" means to use a powerful pen. 2. Always refers to old age. Old age, like strength, is the opposite of tenderness. How can I get old? "It mainly lies in the experience of painting learners in practice. 3. Living refers to the mental change without stagnation, that is, the pen must be light and heavy, slow and fast, and ups and downs, but it should also be based on the requirements of the image, dynamics and texture of the object being painted, while ignoring the weight, speed and ups and downs. Life is closely related to the use of wrist strength. In Qing Dynasty, Shi Tao said: "Xu Ruo's spirit can bend the painting, and it is not stupid to break the pen ..." It means to live with wrist strength. 4. Loose: It means light. Tang Dai, a painter in the Qing Dynasty, said that "writing should be respectful and sloppy" and that "there is no vivid momentum without writing". Just don't be timid in writing, don't hold the pen too tightly, hold it too tightly. 5. Circle: it is the antonym of flat. It is reasonable for the ancients to advocate that the center can be used to make a circle. But you can also play against the winger, so you can go home. 6. Thick: that is, not thin, thick and tasty. The thickness is related to the layout and the use of ink. It is required to use bristles instead of rigidity, but not floating, so as to achieve the desired thickness effect. Hook an object with a pen, not only to hook the texture, but also to hook the sense of quantity. In other words, a painting with a certain weight is intriguing. 7. Mao: It just didn't go well. This is relatively easy for landscape painting, but the long lines in ladies' paintings are not easy to do. I think we can draw thin lines with seal script and Tibetan brushwork in calligraphy, and we can also achieve the effect of being hairy but not rigid. 8. Moisturize: It means moisten. Use a pen to be filial and moist, and oppose poverty and godlessness. 9. dexterity and clumsiness: using a pen requires dexterity and clumsiness. Cleverness is spirit, clumsiness is agility. In short, cleverness is the rate, and stupidity is stupidity. Too much makes people feel frivolous, and too stupid makes them get stuck. The two must be combined to make the picture both flexible and vivid, and dignified. Taboo in writing: 1. Board: indicates that the pen is inactive. This problem is due to insufficient observation of the object to be described, and it is impossible to "intentionally write first". 2. Seal cutting: it means rigid, because the pen is rigid, lacking in weight, and the change is fast and slow. 3. knot: refers to the pen can't be untied, just like sticking to paper. The main reason for this kind of problems is that they dare not write, or hesitate and delay in writing, which is usually characterized by stagnation and rigidity. 4. withering: it is the antonym of moistening. The water in the pen is too dry to cause this problem. 5. Weakness is weakness. In the Ming Dynasty, Li Kaixian advocated that "a weak pen has no bone strength, and it is as thin as a wicker bamboo shoot, and the bottom of it comes out." This kind of trouble is different from the tenderness when learning painting. The freehand brushwork of ladies' paintings is done with pen and ink. First use a pen, first have the intention to write; Because only with mature thoughts can you write with God. More importantly, the emphasis is on replacing complexity with simplicity. For example, meticulous brushwork requires four strokes, while freehand brushwork requires only one or two strokes. This requires the author to have a high degree of generalization and extensive training ability for the mental state of the characters portrayed, otherwise it can only give people a dull and empty feeling. How can I make the pen concise and not empty? We must observe and ponder the object to be described for a long time, and constantly make more efforts on the refining line. There are two kinds of freehand brushwork: big freehand brushwork and small freehand brushwork. Small freehand brushwork is divided into meticulous brushwork. This combination of meticulous brushwork and freehand brushwork can not only meet some details of ladies, but also give people a vivid feeling of pen and ink. When using a pen, it is rough, slow, cadence, shade, dry and wet, so it is required to write quickly and boldly. Most of its paper is made of raw materials, in order to obtain the ink effect of ink painting. This kind of meticulous painting of ladies became popular among painters in the mid-Qing Dynasty. In the works of Fei, Wang Su and others, this has long been commonplace. There are also ladies' paintings that combine ink painting with light color. In recent years, there have been some works that combine heavy colors with freehand brushwork. This new category shines brilliantly in China painting circle. The brush and ink application of the above-mentioned ladies' paintings is mainly aimed at scroll paintings. However, the brush and ink used in murals are different, and the lines used for figures (especially heavenly daughters and ladies) and scenery makeup are thicker; Use a pen with thick lines; Choose the thick ink color with ink hook line (such as Yongle Palace mural), or treat it with thick ink color line (such as Dunhuang mural). The reason why murals use pen and ink in this way is mainly to require far-reaching and great effects. 3. Hand painting "It is difficult to draw a person with hands", which is the experience of ancient painters. A good figure painting mainly depends on the correct proportion and vivid image of the whole character, but the hand also plays an important role in the expression and posture of the whole character. There are some similarities between the hand shapes in China's figure paintings and those of Yunnan actors on the stage. For example, when an opera actor performs a character in a play, his hand movements are particularly exaggerated, which is for stage effect and artistic exaggeration. As the "hand" of traditional lady painting, it is no exception. Tsing Yi, Hua Dan and wudan in the traditional repertoire of China Opera have certain names for their hand movements and postures. The most commonly used one is "Orchid Hand", which is named after the posture in which the middle finger and thumb are slightly extended and the other fingers naturally tilt up slightly, just like orchids open. This is the hand of China women's dance and traditional ladies' painting. For example, in the murals of fahai temple in the western suburbs of Beijing in the Ming Dynasty, there was a lady picking flowers. She holds a dish of smallpox in her right hand, a flower in her left hand, and her little finger is up. Her posture is beautiful. The five flute players and flute girls in the second half of Han Xizhai's banquet were unified and varied. It's nice to hold the hand of the flower lady in the photo. In a word, the hands in ancient traditional ladies' paintings can be said to be varied and expressive. In terms of hand painting, most of the traditional ladies' hands are relatively small and their fingers are particularly sharp, which became more serious in the Qing Dynasty. The reasons are as follows: firstly, for more than two thousand years, women have been bound by feudal morality, forming an extremely unhealthy aesthetic view of women; Second, because ancient painters had limited scientific understanding of the proportion of human body. So women's hands are getting smaller and smaller, out of proportion to the human body. At this point, traditional lady paintings can't be compared with murals from folk painters in past dynasties.