Composition, coloring, technique, painting method.

Compositional painting refers to the use of simple and generalized ink and brushwork to express the spirit of the object, and it is a method of painting that does not aim at resemblance but at godliness. According to the history of painting, the Jialing River landscape painted by Wu Daozi or Wang Qia's ink painting in the Tang Dynasty may have already had a realistic form, and among the paintings of the Northern Song Dynasty, the ink bamboos of Su Shi and Wentong and the ink plums of Shih Chung-jen can be categorized as realistic paintings, and at the end of the Ming Dynasty, Xu Wei even painted painstakingly in large-scale capitals with his bold ink and brush strokes on rice paper, as seen below in the picture of the Peony and Banana Rock Painting by Xu Wei. The Bada Shanren, Yangzhou Eight Monsters, and the Jinshi School of painting all expanded the realm of realistic bird and flower painting.

The method of painting birds and flowers in a pictorial style is mostly based on the technique of "dot-pallet" or "dot-cluster," which can be subdivided into the method of hooking flowers and dotting leaves, the small pictorial method, and the large pictorial method, etc. It is suitable to use raw paper, and to use the paper in a pictorial style. It is suitable to use raw paper for painting in a realistic style, and can be painted with ink alone or with several colors. The pen first contains a good mix of light colors, and then reef dark colors in the tip of the pen, can also be first reef dark colors and then dipped in water to draw, each pen should have the depth of the changes in the use of raw paper is easy to dissolve, in order to produce the different effects of dry, wet, thick, light.

The following illustrations show Professor Wu Xuejian's demonstration of wisteria in a freehand style, using double hooks to understand its structure. The wisteria flowers are painted in a realistic way, first using a sheep-hair brush dipped in white powder, the tip of the brush dipped in blue, then dipped in magenta and then dotted with a side stroke, that is to say, there is a change in the intensity and color of the petals, and then after making up for the small petals, the grass-green color is changed to draw the thin stalks, the tips of the flowers are dotted, and the yellow powder is used to dot the stamens. In addition, the structure of the leaves, leaf sequence, through the vine, should also pay attention to.

All in all, although there is a so-called "meaning to the brush", the form of brief or imprecise image do not need to care, but in order to draw well, but to draw well, still have to work in the brush painting method, more observation of sketching, in order to play the characteristics of the brush simple and full of meaning.

Basic techniques of animal painting

Animal and beast, also known as beasts, is one of the more difficult to perform well in Chinese painting, the Song Dynasty Shamen Dehong pointed out that: "Painting can be god and ghosts, so that people can be shocked at the heart of the person, in order to its constant form, the constant form can be deceived by the world, and then the end of the beginning of the thought that the expensive. But dogs, horses, cows and tigers have a constant shape, there is a constant shape so that the daytime is difficult to work, the world of people see its similarity, then no one is expensive. It can be seen that the animals have a constant shape, that is, each animal has a certain size, proportion and dynamics, a little careless, not observed carefully enough, that is easy to be a laughing stock. The animals that are often painted include horses, oxen, tigers, lions, deer, sheep, apes, monkeys, cats, dogs, civets, rabbits, pack animals, mules, and dragons as symbols of power, etc. Each of these animals has different characteristics and habits, and they must be observed and sketched in detail before they are painted.

Observation and sketching of animals and beasts

China's ancient painters attached great importance to observation, for example, Yi Yuanji, a painter of the Northern Song Dynasty who was good at painting swineherds and apes, traveled to the mountains between Jing and Lake, and went deep into the mountainous areas to observe the movement of the beasts and their resting and roaming patterns, so his paintings of animals and beasts were full of interest. Li Gonglin every time through the fetish house, see which the imperial horse, must be observed all day long, no time to talk with guests, so can draw the characteristics of the horse, Huangshan Valley in his poem that praised: "Li Hou day bone also day flesh, pen raw horse like bamboo. It is said that the Yuan dynasty famous horse painting Zhao Yong once according to the strong learning horse rolling dust, his mother tube Mrs. peeping from the window, is to see a rolling dust horse, so Zhao Yong day horse, can get its temperament. It can be seen that the ancient achievement of high day family are very important to observe, and even personally imitate its movements, in order to vividly express the characteristics of animals and animals and interest.

Su Dongpo's title trek once mentioned Shu collector Du Shi one day is exposing its paintings and calligraphy, a herdboy saw one of the shaft Dai Song day of the bullfighting picture, clapping his hands and laughing, said: "This painting is also a bullfighting bulls, bulls fighting force in the corner, tail convulsions into the two strands of the intersection, this is the tail off and fight, fallacy. Shepherd boy often live with the cattle, found to the cattle in the fight, cattle tail is tightly clamped between the two shares, and the Tang Dynasty cattle artist Dai Song's observation is not thoughtful, resulting in errors, is worth as our mirror.

Chinese painting has always advocated the "form and spirit - to write God", painting animals and beasts is no exception, observing the subtle, mastering the god, in order to draw it alive. Although animals have the same five senses and limbs, their ability to express their feelings is not as rich as that of humans, but we should not overlook their delicate dynamics and expressions, and each animal has its own unique way of expressing joy, anger, sadness and happiness. In addition, animals also have many special habits and dynamics, such as deer, tigers and other ears can be turned in all directions at will, such as the listener, can detect the very slightest sound; cats, tigers and other eyes of the pupil, can be sensitive with the natural light changes and open and close, as if the aperture principle of the camera; animal tail has a balanced role in adjusting the various postures, all of these features should be noted.

Painting cats play to show the characteristics of the clever and clever, the same cat family of tigers to show the feeling of majesty and courage; painting donkeys to paint a silly and funny flavor, with the same family of horse hooves, we have to day out of the heroic character, each of the animal's character, in the day before the day must be a little bit of research.

When sketching, one should understand the anatomy of the animal, or at least observe the relationship between its bones and muscles. As the ancients used to say, "It's hard to draw a tiger's skin and bones," meaning that people tend to overdraw the tiger's skin, while neglecting its bones and tendons to show the tiger's power.

Sketching is a necessary means of accumulating creative materials and capturing vivid images, but it is a combination of observation and silent drawing to sketch out the vivid image, not to look at a brushstroke, for the dynamic beasts in the day, you should grasp the demeanor, especially pay attention to the transition from one dynamic moment to another, only a few strokes, you have to accurately show the characteristics of the beasts and animals, and their momentum depends on the contrast and combination of different directions of the lines. The momentum of the animal should be expressed by the contrast and combination of lines in different directions. Here is an example of a sketch by Prof. Liang Zhongming, who specializes in animal paintings, together with an album of monkeys in ink and watercolor, which shows that diligent observation and sketching can be of great help.

Drawing animals and beasts in a realistic way

The slightly more bold expression of animals and beasts can be seen as early as in the Han Dynasty wall paintings and the Wei and Jin Dynasty brick paintings, and in the paintings of Shi Ke in the Fifth Dynasty, tigers can be seen in the Zen sense, but it was not until the Ming Dynasty that realistic painting became more prevalent, for example, Shen Zhou's sketches of animals and beasts in the sketchbook, and Guo Daan's "Ox-backed flute painting", which is a vivid change of the dryness, wetness, and intensity of the ink, as well as the use of broken brushes to swipe out the hair of oxen in withered ink, which is interesting. The painting is full of interest. In recent times, artists of animals and beasts have mostly used the realistic method of expression, such as Xu Beihong's Double Horses, which combines the concepts of chiaroscuro in Western painting with a correct knowledge of anatomy, to show the running spirit of the sky and the horse. Lin Yushan's fierce tigers show a ferocious and majestic momentum, and Qi Baishi's and Li Keran's oxen have unique personalities.

The realistic painting method is to use concise ink and brushwork to express rich content, and can arouse the viewer's imagination and infectious, so the realistic method of painting animals and beasts, the details of which should be simplified or omitted, such as the complexity of the light and shadow can be omitted. The eyes can be exaggerated to convey the spirit of the animal. As for the handling of the scenery, must be based on the different habits of various types of animals and living environment to arrange, such as tropical growth of animals, should not be matched with frigid plants. Cattle, horses and other beasts, can not rely on the scenery to set off, to leave the way, or on the ground dyed some grass color, such as Xu Beihong's horse, more to leave the way, so that the viewer is free to associate.

Tiger painting method: first outline the form with light ink, ochre and garcinia cambogia to paint the tiger body, then use slightly thicker ink to paint spots, white powder to dye the mouth, chest, etc., and ochre to dye the body for the second time. After the light ink breaks the fine hairs, the tiger is dipped into the tiger's realistic painting method and the thick ink is used to draw the eyes and ears and to re-hook the markings, then the white powder is dyed for the second time and the fine hairs are dyed with the thick ink, and the whiskers of the tiger are drawn with the white powder, and then the scene is completed. Painting roughly all at the same time, layer by layer

The main types of traditional Chinese painting. Chinese painting in ancient times, no definite name, generally known as Danqing, mainly refers to the painting on silk, paper and framed scroll paintings. Since modern times, in order to distinguish it from foreign paintings imported from the West, such as oil paintings (also known as Western paintings), it has been called Chinese painting, or "national painting" for short. It is a painting created with Chinese unique brushes, ink and pigments, in accordance with long-established forms of expression and artistic rules. According to the materials used and the methods of expression, Chinese painting can be subdivided into ink painting, heavy color, light-red, brushwork, writing, white drawing, etc.; according to its subject matter, there are figure painting, landscape painting, flower and bird painting, etc. The forms of painting are more diverse. There are various forms of Chinese paintings, such as horizontal scrolls (also known as hand scrolls) and horizontal ponchos, vertical banners and centerpieces, full-size albums and doufangs, and folding fans and fans painted on top of fans. Chinese paintings reflect the social consciousness and aesthetic taste of the Chinese nation in terms of ideological content and artistic creation, concentrating on the Chinese people's understanding of nature, society and the political, philosophical, religious, moral, literary and artistic aspects associated with it.