The classification of landscape painting

1, writing landscape

Writing two words, writing is the pen, meaning to create a realm, not a wild smear. Neither is the so-called literati to play, in the study with a pen to write the meaning of writing. Painting is naturally bookish, but the foundation is still the most important. If you don't start with copying and sketching, then you don't understand the structure of the brush, so it's not six big mistakes. Therefore, it is necessary to put in some hard work. Copying the ancients, to learn his brush and ink, know his painstaking conception. Sketching should recognize the feelings of things. When drawing, first use a thick brush and light ink to outline the realm of the heart to spit out. Mountains and rocks, trees, buildings, bridges, layout agreement, and then use the burnt ink thirsty pen, the first sub-trees and rocks, and finally placed in the building characters, chalking chalking chalking both finished, and then take the ink and rendering one at a time, must be able to show the yin and yang, back and forth, high and low, near and far. Near the stone is slightly thick, the distance should be light and clear. The creation of the realm has the meaning of endless twists and turns, in which the characters with reduced strokes is appropriate, the simpler the better. The ancients said that "distant people have no eyes", if you want to have a response to accompany the waiting, may also want to point eyes, do not have to be rigid. The roots and branches of the trees should be clearly defined, while those far away should be pointed out without having to see the branches. Writing paintings created since the Yuan dynasty four, to the end of the Ming and early Qing dynasty four monks, Shixi, gradient Jiang, Shi Tao, eight, God changes, has been covered by the former. Gradually Jiang Shuo chipped, Bada simple and lush, take the brush to show his characteristics, Shi Xi, Shi Tao's special take the mood to show his characteristics. As for Shih Tao, he is especially remarkable, he himself inscribed his painting of Huangshan Mountain, saying: "I have got the character of Huangshan Mountain, and I don't have to designate its place. He also said: "Go out and write what you see in your eyes. He also said, "Finger the bald brush and use the light ink half-dry. Straight pen to the paper, empty hooks, such as insects eat leaves, and then heavy with burnt ink, look at the yin and yang dots and dyes, write the tree is also the same, with the pen to cone through the wonderful. This simple a few words, simply revealed the painter's secret.

2, light-red

Light-red landscape, mostly used in the fall. This is the founder of Huang Dazhi, and later the Southern School took it as a standard, taking ochre as the main body of the color, and applying a little bit of blue and white on the forest. The light-red color is not only used to represent the autumn scenery, but also suitable for all stone mountains, such as painting the Yellow Mountain, which is the most suitable for this method. In Chinese painting, light and color are used separately, and if you want to take the color as the main body, you should use the color to show it, and you don't have to take the light into consideration. Therefore, just by saying the word "light-red", the season of the mountain can be expressed. The painting method of light-red painting is still the same as that of ink-brush landscape, first use light ink to paint the general body, then use darker ink to chafe and separate the layers, and then set up the color after it dries. In the landscape, from light to deep rendering several times, until the whole dry, and then thirsty pen with burnt ink, to chapped and outlined. Tree moss point, take the light flower green or juice green one by one halo out, when the sunny place, with ochre coloring wake it up, this is the most important. Buildings on the color take light ink or light blue on behalf of the tile house, take ochre on behalf of the earth house and grass house.

3, splash ink

The so-called landscape is the landscape of western painting and photography. The realm of landscape in Chinese painting is the most important, however, it also needs to be assisted by brush and ink. With the realm, but no ink and brush, or with ink and brush, but no realm, it does not become. It that structure and location, must be particularly intentional, such as painting temples and temples, these places should not be like people's huts, as if and speak of feng shui. This statement, to see more ancient monuments, as well as famous mountains and rivers, places of interest, will naturally understand. If a painting, which is mainly placed in the family, but precisely like a cemetery. Such a painting, hanging in the hall above, ask others to see, comfortable or not? Is it still attractive? Guo Heyang's theory of painting is that it can be viewed, traveled and lived in. What he meant by "viewable" is that once one looks at a painting, one becomes interested in it and wants to look at it again and again and again and again and again and again. In the second step, he wanted to go for a tour, and in the third step, he thought, "This is such a good place, how can I move to live there? Such a landscape is considered enough conditions. Some people say that Chinese landscape paintings are flat, and the trees seem to be sawed from the center, which is by no means true. Since the Tang and Song dynasties, there has been a school of literati painting, which emphasizes brushwork and ink, and neglects the theory of painting. If the masterpieces of the Tang and Song dynasties to observe in detail, the painting of the strict, spring, summer, autumn and winter, rain, sunshine and snow, is simply to experience. Dong Yuan painting trees, eight sides out of the branches, the rocks simply have the appearance of the setting sun. Guan Tong Gan **** bitter with the painting of trees, branches without trunks, is not a plane? Painting landscapes must be practical, see more famous mountains and rivers, strange peaks and cliffs, dangerous mountains and flat slopes, smoke and mist, waterfalls and streams, the universe, a thousand variations, not seen with their own eyes, with the intention of seeing, is not on the tip of the pen. The eyes have seen, the chest will naturally have, a shake of the pen, will naturally run together under your wrist.

Painting the most important mountain chafing, the ancients have a variety of names, but only on the landscapes they have seen and experienced. Should use that kind of chafing out, the shape of that seen how, so called for so-and-so chafing, not reluctantly, not with this chafing can not be. Such as the North Garden with Pima chapped, because the mountains of Jiangnan, soil more than stone, and because the painting of the luxuriant forest, since it is appropriate to use this chapped. If Fan Huayuan painting the northern mountains and rivers, Taihang Wangya, stone more than soil, the ground is also high, grass and moss is scarce, naturally, it is appropriate to use the mud to pull nails, rain hit the wall, the ghost face this chapped. If you make two public chapping, change each other, and into what face? So my meaning of landscape chafing do not have to stick to, as long as you look suitable for a certain kind, with a certain kind of chafing. Ancient chafing, cited several kinds of lotus leaf chafing, size of the axe chafing, pima chafing, rain hit the wall chafing, mud pulling nails chafing, cloud chafing, folding band chafing, ghost chafing, cow hair chafing, horse teeth chafing, roll to chafing, alum block chafing, which are commonly used.

4, work brush

Working brush painting, that is, fine brush painting, ink, light red, green, green, gold and blue, boundary painting, are included. Work-brush is not more than writing, must first be made into a draft, posted on the wall, observe the deletion, near and far, high and low, the arrangement is appropriate, and then the script, with willow charcoal on the reverse side of a line a line of hooks over, shoot on paper and silk. Inside the pavilion characters, especially pay special attention to the pavilion should be discounted to stop evenly, the characters should be vivid, the clothes seem to be fluttering. Painting first outline with light ink, and then chapped rendering. Painting trees to point out the folder phase reference, light red color with one or two green folder leaves, or red tree a plant, more interesting. The body of the tree leaves, not to see the color, the more obvious. Green to play a good outline of the base, without chapping. Rock with stone green, take ochre base, add stone green two or three times, to be a little thinner to be good, too thick on the blunt stagnation. If you use stone green, fill in the ochre above the stone green once, and then add two or three times the stone green on it. Can not use the flower green juice green base, because these two are not clear. Jinbi that is completed in the green, with flowers and green on the outline of the outline of the rock, and then use the mud and gold hook by hook once, stone feet can also use mud and gold lining it. Green or gold and blue landscape, water and sky are suitable to see the color, the water is more appropriate to have ripples. There are many kinds of water paintings of the ancients, and the two kinds of water paintings are suitable for netting and fish scales. The ancients said that "distant water has no ripples" means that you can't see it clearly from a distance, so the more far away you go, the lighter it is, and the lighter it is, the better it is for nothing. Painting water on the shore to leave a white line, looks especially spiritual. Painting should have a sense of rhythm, and if it is stagnant, it will not be recognized as a work of art. The main point, not only to write the picture of the main virtual reality, before and after the near and far clear, but also in the use of brush and color with the use of water flexible and vivid. Stone green, stone green, mud gold under the glue, especially must pay attention to.