On the attempt to integrate lacquer painting creation into personal oil painting creation

With the integration of contemporary art and the formation of multi-culture, China's oil paintings have formed more colorful painting languages, which are more closely related to different artistic language forms. In the main period of the new period, China's oil paintings pay attention to learning from the West, which is a process of actively absorbing foreign cultures, as well as a process of collision and running-in between Chinese and Western cultures, and a process in which China oil painters further integrate foreign cultures with local cultures and constantly explore and innovate. They should not only think about the contemporary international popular art model and value scale, but also stick to their own national cultural position and carry forward the national cultural spirit [1]. Therefore, in the study of oil painting, we should try our best to draw nutrients from all beneficial foreign cultures and national cultures in a positive and enterprising spirit. Consciously explore between the east and the west, between tradition and modernity. Think about what you can learn from and how to learn from it. How to build a unique oil painting language? The author made a preliminary exploration, trying to learn from lacquer painting creation techniques and integrate them into personal oil painting creation.

First of all, learn from the creative skills of lacquer painting and integrate it into the creative concept of oil painting.

China's "oil" painting, bred by the Millennium tradition, originated from lacquer technology and formed China lacquer painting. Lacquer painting is a new type of painting which combines traditional lacquer art with modern painting. It has the characteristics of painting and craftsmanship. From 1990s to now, China lacquer painting has a new development opportunity and performance stage, showing the youth and exuberant vitality of this art garden. At the same time, the environment of reform and opening up also provides solid material and technical conditions for lacquer painting creation. Lacquer painting quickly entered the living environment and space of modern people. Painters with different painting types, styles and artistic ideas entered the lacquer painting garden, and their creation and research showed a diversified trend. Lacquer painting has gradually turned from pursuing a single craft to combining with painting, combining tradition with modernity, and boldly learning from the language characteristics of different paintings such as "country, oil, plate and sculpture", so that the works are full of life and national characteristics and full of modernity. Tracing back to the relationship with lacquer painting, first, as a teacher of the technical school at that time, I often contacted lacquer painting. Second, I have studied lacquer painting after work, and I still admire the wonderful artistic conception and charm in lacquer painting. After gradually understanding the aesthetic characteristics of lacquer painting that some other paintings do not have, they are even more attracted by these beauties.

I paint oil and I like painting paint. Only people who have really touched lacquer painting know that lacquer painting has a long production process and is prone to accidents. In addition, the pain of "biting" people by big lacquer is a kind of lacquer painting production experience of "pain and happiness" for the creator. The author experienced painting oil painting and lacquer painting, and gradually realized that there are many similarities between oil painting and lacquer painting, so he explored the root of poverty and read related books: China had a history of "oil painting" two thousand years ago. According to the literature records and unearthed cultural relics in Zhou Li and Han Shu, oil painting was invented by the Dutch painter Van Aike in Europe in the15th century, and was widely used and developed into an independent painting [2]. In addition to the ancient silk paintings in China, the first canvas painting in Europe in the17th century is now collected in Fontainebleau, the "Summer Palace" of Louis XIV. This is the most powerful proof that the embryonic stage of modern European oil painting was directly influenced by China lacquer art [3]. Through these fragmented clues, we can completely imagine that lacquer painting and oil painting are in the same strain. Looking closely at China's oil paintings and China's lacquer paintings, we can see that their expressive force and capacity are rich, which are incomparable to other paintings. From the material point of view, viscous paint is closer to oil painting pigment. The prepared colored paint can be leveled, crossed, blurred or piled up with brushes, brushes, scrapers and other tools, just like "painting" in ancient lacquer art techniques. The method of description is similar to that of oil painting, and it is the most basic lacquer painting technique. The author thinks that the reference of China's oil painting to China's lacquer painting is not entirely based on this feature, and there are many artistic languages and techniques that both sides may learn from, which can be absorbed by artistic creation practice and become a road of oil painting with individual characteristics. Therefore, the author tries to combine the unique color and thought of China's lacquer painting art with the oil painting techniques of western painting, and seek the oil painting art language with self-individuality, which is a problem that the author has been thinking and exploring in oil painting creation.

Second, the creative practice of China's lacquer painting.

1. color reference

It is not feasible to completely copy the color pattern of lacquer painting. What kind of skill color should be used to best express the expected picture effect? Through the analysis of lacquer painting color, we know that it is the embodiment of Chinese traditional color aesthetics and color emotional connotation. When the author absorbs and draws lessons from the colors of lacquer painting, he does not blindly apply them, but first analyzes the collocation law of colors in a specific color system. Although modern lacquer painting can use more kinds of colors than traditional lacquer painting, the colors used in a large area are also selective, and they are unified in one tone through cover painting. The picture should be bright and rich in color as far as possible, which sets off the theme image with intention and environmental atmosphere. In the background processing, we imitate the language style of lacquer painting when dealing with the background color, and tile it with large pieces of color, so that the main image and background processing form a unified picture atmosphere. In order to make the picture not boring, we also refer to the wonderful use of special techniques in lacquer painting, such as "leveling gold and silver", "fishing for gold", clay gold, clay silver and gilding. Among them, the surfaces of gold and silver foil and gold and silver powder can be coated with transparent paint to increase their color richness and expressiveness. So a small amount of gold and silver is consciously used in the picture. If you don't grasp it well, it will make the picture neither fish nor fowl. In lacquer painting, although the colors are gorgeous, they can be rendered as much as possible. If you draw lessons from it improperly, it will lead to the disadvantages of uncoordinated colors. Therefore, the author tries to avoid abuse when creating. In practice, it can be directly integrated with other oil paintings, with gold or silver being much lighter and less deep. It is also used as a background color, and the superimposed color can make the color bright and meaningful by comparing the texture of gold and silver. Because I feel that although they account for a small proportion in the picture, they have played a certain role in increasing the level of the picture and strengthening the color effect of the picture. Therefore, we can learn from this technique to achieve the colorful but unattractive decorative effect of our own pictures. These techniques have been tried many times in the works, and some expected results have been achieved in the creative practice.

2. Texture effect reference

In painting, the use of materials and tools will produce texture phenomenon. Picture texture refers to the texture of the picture caused by the use of special materials and corresponding treatment methods in artistic creation, and texture is the material effect produced by the painter using painting tools, materials and techniques [4]. In oil painting, the application of texture effect has a long history. As a principle of formal beauty, texture has a unique aesthetic taste and is also an important technique. The importance of texture technique lies in that it directly conveys the artist's artistic feelings and affects the visual expression of visual elements in works. Therefore, many artists will pay attention to the use of materials and techniques in the process of oil painting production, and pursue a distinctive and unique picture texture effect. Proper use of texture effect in oil paintings will give new content to the picture, enhance the expressive force of the picture and gain a strong sense of art. The application and exploration of various techniques in lacquer painting, such as inlay, painting, description, polishing, carving, filling and overlapping painting, show the color change and texture beauty of lacquer painting, which makes lacquer painting have unique aesthetic personality and connotation. This provides a broad possibility for us to explore the texture in oil painting creation.

The pursuit of texture is manifested in the production of the author's creative work Trace, which can be said to be an attempt. The production process is probably like this: First, I took a photo of my favorite seaside scenery. According to the photo, draw a sketch to summarize the curve changes of the landscape outline as much as possible. In the sketch stage, some unimportant small bodies that affect the picture composition are removed. In order to increase the strong contrast between the beach and the sky, some duck egg shells were prepared after the manuscript was written. There is a film on the inner wall of the eggshell, which needs to be cleaned before use. Scrape off the thick white latex on the canvas that needs texture with a painting knife, and then lay down the eggshell. Press gently with a horn knife first, and natural cracks will appear in the eggshell. Then press with a vertical knife, flatten one by one, and adjust the density and block size. Then use a painting knife to scrape a thin layer of golden oil painting color at the position where the sky is painted, and it is required to scrape evenly in one direction and cannot be repeated. After standing for a few days, I began to paint locally, pushing from one detail to another. The pleasure of "painting" is presented through the description of details, and the "accident" and "accident" with reserved value are found in painting in time, which is similar to the color effect of lacquer painting. After about ten days of color drying, the eggshell buried under the pigment can be ground out by grinding. The dense and naturally cracked texture of eggshells used in the works presents the ecological structure of beaches in nature. These "real" images are hidden or presented in the plane, which makes the pictures have a strong contrast, and the heavy feeling brought by texture and material reaches the visual impact that simple oil painting can't express. Through the cold and warm treatment of color and the application of texture in the picture, we can see that in the overall interest treatment of the picture, the author tries to integrate the unique texture production method of lacquer painting into the performance of oil painting, and enrich the expression language of oil painting with the nutrition of China lacquer painting. It can be said that for artistic creation, practice is the most important. Under the essential condition of oil painting, when the operation of materials seems to break through the boundaries of oil painting, traces of various favorite languages appear one after another, and interact with each other, overlapping and infiltrating, resulting in various "compound languages" with personal essential characteristics.

Three. Concluding remarks

Throughout ancient and modern times, many Chinese and foreign artists have absorbed nutrients from the fields of oriental art, primitive art and folk art, so that their painting language has been sublimated. For example, Lin Fengmian is an advocate of the artistic ideal of "combining Chinese and Western". He endowed the expressive language of oil painting with oriental rhyme and ink painting with modern form. He is a painter with "the ideal of integrating East and West and the spirit of harmony". Wu Guanzhong was deeply influenced by Lin Fengmian's artistic view and aesthetic view. His exploration is based on his understanding of eastern and western art and his reflection on China tradition, that is, he successfully integrated Chinese and western art, Modigliani sought modeling factors from African art, and Gauguin pursued primitive art persistently. Picasso drew nutrition from African primitive masks and China art, while Klimt and Matisse also borrowed many things from oriental art, decorative art and folk art.

These masters have expanded people's aesthetic field in the exploration and research of new methods, and also brought us many inspirations. Therefore, combining with the author's practical experience, this paper discusses the formation of personalized language of oil painting and the influence of social and cultural background on the development of personalized language from the perspective of drawing lessons from some expression techniques and aesthetic spirit of China's lacquer painting. I hope to learn the elements needed by oil painting language from local cultural heritage and find a unique oil painting creation style.