What are the manifestations of Miao costumes in meticulous figure painting?

The embodiment of Miao costumes in meticulous figure painting;

First, the point, line and surface of Miao costumes are reflected in meticulous figure painting.

From the point of view of modeling, points, lines and surfaces are all visual units with spatial positions. In Xiangxi Miao costumes, point, line and surface are the basis and means of expression of modeling, and they are also important aesthetic characteristics of national costumes. The convergence, dispersion, density and simplicity of points, lines and surfaces play a unique role in clothing. They are interrelated and restricted, and each has its own unique decorative style and formal aesthetic feeling. This is consistent with China's emphasis on the relationship and composition of points, lines and surfaces in meticulous painting.

1. "Point"

Points do not have a certain size and shape, as long as they have the function of condensing vision compared with other modeling elements around them. In Jiang Caiping's work Bride Dressing, the head and body are dotted with silver bubbles, silver pieces and silver bells, which just balances the color of the dress and coordinates the overall shape of the dress. In the complicated silver ornaments, although the overall feeling is heavy, the painter tries to simplify the layers and avoid the thick piles of pigments and plastics. Clothing basically highlights the bride's gorgeous clothing through hook lines and plain colors.

2. "Line"

Line is the expression of the external form of clothing modeling, and there are also lines in the structural form of clothing. It is a modeling element, which can directly and clearly show the image of clothing. There are many styles and structures of Miao costumes in Xiangxi because of the combination of different forms of lines. And the evolution of its style is also controlled by lines. The pleated skirt of Miao nationality in Xiangxi is a major artistic feature. Miao people print and embroider different patterns on hand-woven homespun, and then make pleats to highlight the rhythm of skirts in a straight line. Because of the lines with different thickness, length and width in Miao costumes, the simple clothing style has become lively, elegant and generous. Therefore, the combination of lines can produce different rhythm effects, changing the length of lines can also produce a sense of depth, the contrast of line thickness will have a sense of direction and movement, and the dense arrangement can produce a sense of light and shade. Therefore, the decoration of lines makes the clothing more aesthetic.

Line is not only the carrier of art, but also the carrier of the creator's mind, because it is an important means for human beings to shape on the plane. The painter Liu Jingui's work "Sacrifice" draws on and absorbs the elements of the midline of the Miao pleated skirt on the basis of traditional lines, and expresses the decoration of the picture through the expression language of lines in modeling. Although he added generality to modeling refinement, he did not rule out the description of details, which were often richer and more detailed, thus making the picture more vivid. He draws every line carefully. He absorbed the western understanding of line, which is helpful to enrich the expressive connotation and spiritual motivation of line, thus creating Chinese paintings in line with modern aesthetic consciousness.

Step 3: "Face"

Face is reflected in all aspects of composition and decoration. Miao costumes, that is, the different use of lines, make clothing modeling show different visual effects in plane or three-dimensional. Its composition is realized by splicing and folding different fabrics. The Miao people in western Hunan have woven beautiful clothes with diligence and wisdom, and skillfully and reasonably arranged the configuration of points, lines and surfaces in the overall modeling design. It is precisely because of this patchwork of dots, lines and planes that the national artistic characteristics of Miao costumes are more reflected.

Miao costume art originates from the Miao family's inheritance of historical traditions and expression of nature. The color is blue and black, which is very decorative. Chen Baiyi's Dowry emphasizes the rhythm and rhythm of lines in character modeling. He uses the ups and downs, strength, rigidity, speed and thickness of lines to form the chapters of the symphony. Dress for the effect of the block. There are red, yellow and blue small color blocks between the green and black blocks, which are decorated with patterns. The visual contrast is strong, giving people a deep and distant feeling, illusory, colorful and pleasing to the eye. Deep philosophical feelings and pleasant sensory stimulation combine to produce wonderful color effects.

Secondly, the form and beauty of Miao costumes are now in meticulous figure painting.

1. Beautiful rhythm

One of the characteristics of Miao costumes in Xiangxi is the sense of rhythm produced by their own costumes. No matter from the style, color matching and moderate decoration, or the choice of materials and production methods, they all show sincerity and simplicity, showing the national characteristics of Miao costumes. Gorgeous and dignified silver ornaments on the head, embroidered ribbons like color chains, patterns and patterns on clothes, etc. It forms a beautiful rhythm with the swing and ups and downs of clothing lines, the lightness and darkness of colors and the gradual change, which makes people's eyes wander with the change of action position. This scenic spot makes people feel relaxed and happy, showing the rhythmic beauty produced by Miao costumes in western Hunan. The costumes of Miao women in Jishou area are unique and novel. Baotou handkerchief emphasizes exquisite composition, clear veins and good folds. The three or four-meter-long headpiece is coiled on the head, which is organically combined with the pattern of the headpiece itself to form a decorative effect with strong rhythm.

Composition rhythm and modeling rhythm are the artistic interests pursued by meticulous painting. When feelings are integrated into the painting process, there is no lack of natural and relaxed feeling at the picture level. The musical sense of painting can be realized not only by the plot of painting, but also by the formal beauty of the picture. Zheng's work "Catch Songs" uses decorative language to express complex and orderly Miao characters, looking for the rhythm of music in painting and expressing his feelings with the rhythm of music.

Everything is called beauty.

It is said that beauty is the most typical representative of the aesthetic taste of our Chinese nation and has a stable and unified aesthetic feeling. In Xiangxi Miao costumes, the same symmetry law is followed, and the pattern follows this law regardless of style, proportion and pattern. The silver crown of Miao nationality in Xiangxi is the best embodiment, such as horns on both sides of the crown, dragons and phoenixes, silver buds on the top of the hat, and exquisite patterns on the silver medal. The left and right ends are symmetrical, echoing the patterns of shawls and embroidery on clothes, forming a strong beauty, which is called beauty.

Jiang Caiping's work "The Young Girl with the Silver Crown" pursues the so-called beauty. The composition is rigorous, the pen is exquisite, the color is bright and beautiful, and it has a distinct artistic personality. It is an artistic masterpiece born out of ancient traditions and full of the flavor of the times. The pattern of the silver crown has cultural symbolic significance, and its even and elegant tone not only shows the artist's artistic accomplishment, but also reflects the new breakthrough of China's heavy-color figure painting techniques and materials.

3. Diversity and unity

Miao costumes pay attention to the diversity of decorative patterns, especially exaggeration, deformation and fit patterns. Miao women in western Hunan have created many vivid and rich patterns according to various forms of flowers and animals. These patterns are similar to the rules of formal beauty in painting, so meticulous figure painting can be created with reference to the rules of formal beauty of its own clothing, which can not only enrich the picture but also conform to the performance of clothing. In Xiangxi Miao costumes, due to the comprehensive effect of various factors, costumes are rich and diverse. Xiangxi Miao ancestors cleverly integrated the changes and complexities of these elements and achieved a high degree of unity.

Liu has made some explorations in the creation of contemporary Miao meticulous figure painting, especially in the depiction of silver ornaments. For example, his works, as we can see from the picture, depict the scenes of Miao women wearing costumes. The wide sleeves are embroidered with Miao patterns, and the delicate and complicated silver ornaments are all over the head, neck, chest and back, which makes the reddish face more vivid. Purple and black clothes, black pleated skirts, red embroidery patterns and white silver ornaments are all reflected in the picture. From the artistic point of view, the picture not only has a strong sense of reality, but also highlights the aesthetic feeling of silver ornaments, and the tone processing of the picture is unified and coordinated. It can be seen that the ornaments in Miao costumes will play a strong decorative role in the picture.