The method of hand-drawing ancient beauty

To draw a lady's hand, you should be familiar with and master the following three rules:

(1) the shape and posture of the hand The shape of a lady's hand refers to the image of the hand, such as length, thickness and size, which belongs to the physiological characteristics of the character. Gestures refer to the movements and postures of hands, reflecting the thoughts and personalities of characters. These two aspects are interrelated and inseparable. In order to make it clearer, the two are described as follows:

First of all, the shape of women's hands. The images of Buddha, Bodhisattva, Tian Fei, maid and dancer in the murals of past dynasties are all different. Mrs. Wei Shishi's hand is drawn with thin lines, with rhyme and no knot, and it is very soft. The hand painted in the Tang Dynasty has a knot, which is slightly exaggerated than the real hand. The third finger is slightly longer and appears strong, and the protruding flesh of the finger is hooked out, indicating that women in the Tang Dynasty did not leave nails (Figure1); From the Five Dynasties to the Ming and Qing Dynasties, the shape of hands became thinner and thinner, and the proportion became more and more wrong, which showed that the human body was big and the hands were particularly small, which was extremely disproportionate. In order to make the lady painting develop healthily, we should inherit the excellent traditional hand-painted modeling, abandon unhealthy things and create a newer and more beautiful hand-painted modeling of the lady painting.

Secondly, the gesture of the female painter has been said before, which belongs to expressing the thoughts and character of the characters. Just as the depiction of characters in a painting is directly related to the theme of the painting, gestures express the thoughts and personalities of the characters and help to highlight the theme of the whole painting. Take my work Wen Xi Bian Qin as an example. This picture shows Cai Yong playing the piano on a moonlit night. In order to test whether his daughter Wenxi can really distinguish Qin, he deliberately broke a string. Wen Xi, who was sitting there, was listening carefully, telling which string his father had broken. This plot is related to the handling of gestures. At first, I designed Moon Hee to stretch out four fingers on the draft, which means the broken string is the fourth. After reading it, someone frankly sank. "Isn't this gesture an explanatory picture?" He thinks that I express Moon Hee's thoughts in this way, which is too simplistic and lacks the depth of inner activities. Later, I repeatedly pushed and knocked, feeling that this comrade's opinion was embarrassing. But how to deal with Wenxi's hand posture can we show Wenxi's instantaneous psychological activities after listening to the piano? While I was thinking hard, suddenly a colorful thinking bodhisattva clay sculpture supported by both hands in Dunhuang murals appeared in front of me, which gave me great inspiration. So I decided to take Bentham Wenxi's hand as a gesture close to my mouth, and I'm thinking about it. Practice has proved that modifying hand gestures is indeed much more subtle than sticking out four fingers. Recently, I encountered similar problems in my creation, which made me more aware of the importance of posture in the creation of ladies' paintings.

(2) The structure of the hand is simple. The structure of the hand includes three parts: the wrist, the palm and the fingers. The carpal bones form the base of the palm. It is composed of eight small bones, oval, located between the palm and forearm. It connects the palm with the forearm. The five metacarpals are fan-shaped, and the third finger is the longest phalanx, which consists of three sections except the thumb. On the thumb side and the little finger side of the palm, there are two fleshy bulges called "thumb ball" and "little finger ball". When looking at the whole hand from the side, the forearm, wrist, palm and fingers descend step by step. On the back of the hand, the muscle cup of the forearm muscle extends to each finger through the wrist, so that the tendon is exposed when the hand flexes and stretches. When we draw a lady's hand, we should also pay attention to the regularity of the hand structure.

In modern times, due to the emergence of medical human anatomy and artistic human anatomy, many painters, sculptors, ivory sculptors and jade sculptors have correct and healthy hand structures when creating beautiful women, but some works have incorrect hand structures and proportions. This is because the author has not mastered this art science well. These problems are manifested in the following aspects: the big hand is small, the two hands are not as big as usual, the little finger is thicker than the thumb, the five fingers are parallel, the palm is too long or too short, the wrist is too thin or too thick, and the position or connection between the wrist and the hand is incorrect. To overcome these shortcomings, we must attach importance to human anatomy, study and master it seriously, and apply it to our ladies' paintings.

(3) Hand hook line Hand hook line, like surface hook line, requires symmetrical tightness to make soft lines elastic. The lines of the scroll painting of ladies' hands are made of fine oil silk seedlings to show the symmetry and softness of ladies' hands. The lines of ladies' hands in murals are all drawn with iron wire, but the painting method is as symmetrical and powerful as scroll painting, and it can also achieve the effect of gossamer. The hook marks of the ladies' hands in the murals of Dunhuang and Yongle Palace can confirm this-? 6? 1 min, the difference is that the scroll painting uses a light ink hook, and the mural painting uses a pure thick ink hook. In addition, the pen can be slightly undulating, but avoid turning the brushwork to make the painter look stiff. Figure 4 shows the hook method of ancient scroll paintings and murals, and Figures 5, 6 and 7 show the posture and hook method of modern ladies' hands. From these pictures, we can see the advantages of Gou Xianbi method, a traditional method, and the structure of modern female painters, which embodies the spirit of "making the past serve the present and making foreign things serve China", which can be used as a reference for beginners. Because the hand is a part of the human body and has a direct relationship with the arm, the arms of officials and women must also be drawn accurately in order to coordinate with other parts.

(4) The coloring of the hand is the first, and it is stained with eosin. It is required to be done at the same time as the face. In order to show the blood gas of hand skin, the joint of fingertip, wrist and forearm, thumb ball and little finger ball must be stained with eosin.

Second, use ochre to adjust the colors of fingers, the back of hands and palms. Fingers only need to be dyed on one side, not on both sides. At the same time, don't dye it too deep or too stereoscopic, otherwise it will be out of harmony with your face.

Third, cover your hands with cinnabar, eosin, Garcinia Garcinia, and powder cake (coated on your face at the same time). After drying, adjust the ochre color line with eosin (also coated on your face). At this point, the coloring of the lady's hand is all over.

4. The coloring and color development of women's clothing.

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. The high-level paintings of these two ladies and gentlemen strongly illustrate that "ink is color". The coloring techniques of ladies' paintings are briefly described as follows:

(1) After hooking the colored bun, dye it gradually with light ink (at least twice), then paint the face and hands, and then dye the bun 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) There are two ways to paint the face color of a beautiful woman. Judging from the traditional ladies' paintings, there are two kinds:

The facial coloring techniques used in the paintings of ladies in the Tang Dynasty, such as the Paintings of Ladies in Zanhua and the Paintings in Palace, as well as 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.), have similar facial coloring. 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.