How to draw landscape painting

For thousands of years, the Chinese nation, especially the literati class in China, has a special liking for mountains and rivers. Whether it is the wisdom of the elders, the understanding complex of mountains and rivers, or the spiritual pursuit of "being able to swim and live", all of them reflect the unique feelings of China people for mountains and rivers. The mainstream and main body of Chinese painting is landscape painting, which truly reflects our aesthetic culture and national spirit: taking landscape painting as the theme of painting, as well as literature and other artistic styles, which marks the awakening of China people's aesthetic consciousness of nature and is also the ultimate perfect embodiment of China people's philosophy of "harmony between man and nature".

In the final analysis, landscape painting is different from flower-and-bird painting and figure painting. The most important thing is to build an environment that is "feasible, promising, livable and suitable for travel". However, in history, the development of landscape painting has also experienced different pursuits from practicality to technique to aesthetics and interest.

If you study it in detail, you can refer to Chen Chuanxi's History of Landscape Painting in China and Niu Kecheng's Painting in China. These two books will give you a complete understanding of landscape painting, from materials and techniques to history and evaluation.

This is a difficult question to answer directly. "How to copy" includes the material selection, copying methods and so on, and it is difficult to give a comprehensive answer. Now, as far as I know, let me answer part of it:

First, the choice of copywriting. The ancients didn't have so many printed materials today, so the works they can see are definitely limited (except court painters and collectors). But one thing, they are faced with "originality", even if it is a fake. It was not until the mustard seed garden was widely circulated in the Qing Dynasty that a rich road of copying was opened, including Qi Baishi's works.

So many painters have developed the ability to remember. For example, Huang's Fuchun was once collected by Shen Zhou and later lent to a friend, but this work was stolen, and Shen Zhou was very painful, so he had to write it from memory. So there are two Fuchuan handed down to later generations, and Shen Zhou's works can make up for the missing part of Huang's works. In modern times, Lu's family was poor and attached to the mounting shop, which made him memorize, and he wrote by memory after returning home. Therefore, in the process of sketching, he never painted on the spot, but started to write, and his entry into the kingdom of freedom (Li Keran's comments) was related to his memorizing skills formed in his youth. Gu's "Han Xizai's Night Banquet" in the Southern Tang Dynasty of the Five Dynasties is also based on memory.

Second, about the authenticity and clarity of the selected copy. At present, most people think that Mingbao and HD version are the best. This makes sense, so that we can understand everyone's writing and structure as much as possible.

However, there are differences in history. For example, Wang Duo, a calligrapher, copied both the original and the fake, and finally achieved great success. Modern He Tianjian asked the copywriter not to be too clear, fearing that he could not get out completely, but it needed the guidance of a famous teacher, otherwise it would be easy to take a detour. In Qing Dynasty, Zheng Banqiao also said that "learning seven tenths, giving up three points" is never too old to learn.

I think we should specialize in one family, go in and come out again. For example, a group of contemporary Chinese Academy of Fine Arts that rose in the 1990s, including Zhang Weiping, Zhang, Zhang, and later, all have profound copying skills. In particular, they can recite Wang Meng's "The Picture of Qingbian Seclusion", and some of them can be exactly the same as the original. This foundation, and innovation, can have a foundation.

Among the copied works, there are ten big paintings in China Academy of Fine Arts, including Dong Yuan's Summer Mountain Map, Guo's Early Spring Map, Fan Kuan's Travel Map of Western Hills, Wan He Map, Xia Gui's Qingyuan Map of Western Hills, Zhao Mengfu's Autumn Color Map of Quehua and Huang's Fuchun.

Third, take a shortcut. Gu Kunbo, an old man from the Chinese Academy of Fine Arts, advocated from the Qing Dynasty to the Ming and Qing Dynasties until the Song Dynasty. However, Lu advocated starting with the great paintings of the Song Dynasty, and he also handed down ten great paintings. I think we can stick to a pattern.

As for the forms, styles and historical works of landscape painting, Chen Chuanxi's History of Landscape Painting in China is a historical evolution, while Niu Kecheng's Painting China with Colors is a combination of styles, and the effect will be very good. However, you must be able to read it thoroughly, otherwise, it is difficult to gain something.

Copy, but also pay attention to paper and brush. There are too many changes about paper. The previous silks, the later ebony book covers (later ebony books were used up, so there were fewer), and the later ones made of straw were all different. As for stealing Japanese rice paper made of China technology, it is more exquisite, but of little use. Today's Xuan paper, especially Red Star's, can copy the ink and wash works of Ming and Qing Dynasties. However, for example, Wang Meng's "The Picture of Qingbian Seclusion" in the Yuan Dynasty needs to be cooked and beaten.

There may be too much to say about this question. I don't know where to start. I hope the above will help you.

If you copy the landscape of Song people, you must use familiar silk books. But the paper at that time was essentially different from the paper now, and its water permeability was poor;

Copying the landscape paintings of Yuan people such as Wang Meng with half-baked cooking and hammering can not only draw the line of the pen, but also accumulate ink repeatedly;

There was rice paper in Ming Dynasty, which was made of sandalwood skin. This kind of paper is bright and clean, and can store ink. Later, when the sandalwood skin was used up, straw was used instead. Although bright and clean, it is not smooth and the ink color effect is poor. Japanese paper is delicate, but it is too detailed, so it is healthier to use.

Basically, it started with the freehand brushwork of flower-and-bird paintings, but the paper used by Shen Zhou and Xu Wei, their milestones, is different from today's life propaganda, especially Shen Zhou's paintings, which are familiar to everyone.

In the modern education system, such as Jia Youfu, students can attend three schools: Fan Kuan, Shitao and Gong Xian. Today, many students like Gong Xianzhi's ink accumulation, in fact, it is a propaganda that applies mechanically. The pictures are all muddy and ridiculous.

Nowadays, freehand brushwork of flowers and birds is often used to touch ancient landscapes and create contemporary landscapes, which is inevitably thin. Xu Jianrong of Shanghai University is extremely dissatisfied with people's behavior today. Although extreme, it also reflects that people who appear in the world use propaganda more than the painstaking management in the Tang and Song Dynasties.