Chinese landscape painting are divided into which steps

The basic skills of landscape painting (a), the exercise of modeling ability ① the ability to shape the form. ② the ability to express space. (ii) The study of the laws of nature, including mountains, water, trees, rocks, buildings, boats and vehicles, smoke and clouds, flowing water, etc.. (C), the study of traditional techniques "tradition, life, creation of the trinity" that is, "monitoring copy, life drawing, creation". The study of tradition, research is an indispensable part of landscape teaching. Copying learning is to learn from, never copy in their own creation. Copying is divided into the whole and local pro. Overall Pro to understand the spirit, local Pro to facilitate the mastery of the technique, the two aspects of each other, combined. (D), the use of professional tools mainly refers to the pen, ink, paper, water, color and other properties of understanding and mastering the use. Third, the basic techniques of landscape painting (a), penmanship: Chinese painting in the pen is very high and strict requirements, these strict requirements is the so-called "penmanship". Zhang Yan Yuan in the Tang Dynasty mentioned in the Record of Famous Paintings Throughout the Ages that "the image of the object must lie in the likeness, and the likeness must be full of its bones, and the bones and the form are all based on the intention, which is attributed to the use of the brush." 1, the principle of penmanship since ancient times with the brush to talk about "penmanship", "penmanship", "penmanship", "penmanship", "penmanship", "penmanship", "penmanship", "penmanship", "penmanship", "penmanship", "penmanship". "Idea" that is, subjective feelings, understanding, "reason" that is, the objective law, "intention" and "reason" combination that produces The combination of "meaning" and "reason" produces "law" and "interest", and "law" is the product of the dialectical unity of subjectivity and objectivity. Li Kuchan said: "Painting to book is the height, book to painting is the ultimate rule." A good Chinese painting, when viewed together, is an image of every brush stroke. Folded apart, the strokes are all calligraphy. This is the principle of "see the pen and no pen marks", in fact, is the use of the pen in the laws of nature, so that people look at, feel the image and forget is the use of the pen marks. 2, a few points of the requirements of the pen: flat, stay, round, heavy, change (1) flat, such as the "cone paddle sand" (the power of a solid, even) "(2) round, such as "folding hairpin stock" (rich, rounded, elastic) (3) stay, such as the "house leak marks" (height control, accumulation of points into lines) (4) heavy, such as the (4) heavy, such as "high mountain falling stone" (force through the back of the paper, into the wood) (5) change, such as "a hundred rivers to the sea" (extreme changes, back to unity) (2), ink method of using the pen and ink is inseparable, so it is known as "ink and brush". Ink and brush are inseparable, so it is called "ink and brush". Ming Dynasty Mo is a dragon in the "painting" in the proposed: "the ancients cloud: pen and ink, pen and ink two words, more people do not know, painting is not pen and ink? But there are outlines and no chapping, that is called no pen; chapping and no weight, to the back, bright and obscure that is called no ink." There are many ink methods, the following for the heavy introduction of "ink" and "broken ink" two kinds of. 1, ink accumulation method: simply put, that is, layer by layer. There are three key points: ① the first dry and then add the second ② the second is the first complementary, interlaced, not the first repetition and depiction of the compound line, plus the result is a variety of penmanship convergence and unity. ③ every time you add to maintain a strong overall concept, when the sparse is sparse, I dense is dense. 2, broken ink method: is not too dry in the previous one, the tendency to add up to another so that it melts and seepage, and two and one as one, resulting in a vivid, harmonious and moist effect. Only cumulative ink, easy to thick and not moist live, only broken ink, easy to live and not thick. (C), color method: ① color and ink overlap method ② color and ink contrast method ③ color and ink mixing method ④ water, Huang Binhong said "water is used, not washed". Water is an essential material in painting. Fourth, landscape painting study steps (a) tree law: tree in landscape painting is a very important factor in the composition, the ancient cloud: "painting the tree of the work of all things half." This shows the status of the tree in landscape painting. 1, the tree's growth pattern and performance methods: (1) early spring tree method: branches and trunks should be strong and more withered less leaves, the ink is suitable for the stream, rocks should be used Phi Ma, less moss points. Techniques have antlers, fish bones, sparrow melon and so on. (2) mid-spring tree method: painting the trunk should be strong and upward hair tender twigs, point with rouge and tender yellow green leaves with dark green, rocks should be used with a small pima, point should be used with a small mixed point or pepper point. (3) seasonal spring tree method: basic and mid-spring with the same, but the twigs are soft and long and prosperous, point to tender green, the rock should be long pima. Moss to horizontal points. (4) Meng summer tree method: tree leaves Mao Yin thick, set the color clear green, avoid pointing red leaves, which can be mixed with some dead trees (dead trees), there are withered and wet, more angry. (5) midsummer: wood shady, precipitation is more, so the leaves are fat and moist, painting rocks should be cloud chapped or decoupled chapped. (6) seasonal summer: the leaves should be strong and drooping. (7) Meng Autumn: the grass is gradually killed, the tree should be strong, twigs point to pale, if the point of the leaf must be a strong pen, coloring to green and yellow-green, withered branches should be green and ink or vermilion or yellow point. (8) mid-autumn: more branches and fewer leaves, the branch sheaths should point yellow and vermilion, more of a golden autumn like, can be added to the fruit. (9) late autumn: branches and trunks should be thin and strong, the color of green or Zhu. (10) Mon-winter: the wood leaves are off, the tree is not pointing leaves, the branches and the trunk should be withered and strong brush, it is appropriate to light ochre, the branches and trunk dyed with light ink. (11) Mid-winter: no leaves, branches withered and old, the brush should be stiff and strong but ancient, the branches drooping, the stem dyed with light ink, first dyed with light ochre ink, the rocks and stones should be chopped by a big axe, with fewer points of moss and grass (or no points). (12) Seasonal winter: the stem should be odd, the branches should be stiff and curved, the twigs should be short, bald and robust, the stem and branches are dyed with ink. 2, the steps of painting the tree tree consists of four parts: the main trunk, the branches, the fine branches and the leaves (1), the main trunk: the painting of the tree generally start from the main trunk, the first draw the left side of the line, and then draw the right side, so that it is easy to observe the size and location of the two lines to be coordinated. (2), the trunk: after painting the main trunk, then draw the trunk, pay attention to the growth pattern of the tree, that is, the upper small, the lower big, the trunk to grow on all sides. (3), fine branches: painting fine branches is a continuation of the trunk, fall and winter leafless trees and dead trees only painted, if you paint the leaves of the tree can not be painted. There are various forms of organization of fine branches. (4), leaves: leaves are an important part of the tree, has an important position in landscape painting, especially the performance of the bush tree, on the one hand, the difference and change of the tree and the sense of hierarchy, you have to use different leaves to differentiate between the leaves, leaves have the difference between the clip leaves and the point of the leaves, on the other hand, you have to differentiate between the intensity. Whether it's clip leaves or point leaves, there are various forms of organization. (B) rock method of painting rocks to pay attention to the organization of the size of the rocks and interspersed, painting rocks are generally divided into four steps 1, hook: hook outline and structure, which is an important step in modeling. 2, chapped: so that the outline of the plane to produce a sense of volume and texture, which includes rubbing. In the chapped method, over the centuries, the painters of various eras to carry on the past and the future, the establishment of a more complete system. Summarized roughly the following kinds of chafing (1) short Phi Ma chafing: suitable for the performance of winter and spring of the mountain, the reason is that the winter and spring grass and trees are depressed, the leaves are basically off the pits of the rocks are exposed. With this method on the performance of this texture. Hilltop moss point should be a small mixed point or pepper point. (2) long Phi Ma Chafing: suitable for the performance of the spring to early fall scenery, the reason is that the grass is lush, the rocks are covered with grass. Therefore, the performance is the texture of grass and trees layer by layer. Points should use a word or horizontal points. (3) rice point chapped: suitable for the performance of the spring rain, painting method is to draw the outline, and then point instead of chapped, repeated many times, from thick to light. (4) millet point: suitable for the performance of the fall rain. (5) raindrop chapped: suitable for the performance of mid-winter mountains, pen texture. (6) folding band chapped: suitable for the performance of riverside rocks, point with a needle. 3, dye: including coloring and ink, is to make the sense of volume more prominent continue. 4, point: point of awakening, so that the bland picture vivid, near the point of the moss, far away from the tree. (C) clouds, water painting Chinese painting is concerned about know white to keep black, clouds and water in the role of the painting is here, it is an important means of making the picture vivid, clouds and water generally do not have to paint how to deepen the surrounding rocks and trees will be highlighted, of course, the internal need to add some dynamic lines to reflect. (D) the architecture of the painting method is an important part of the landscape painting is indispensable, depending on the situation. The figures and animals are also an indispensable part of the landscape. Fifth, landscape painting sketching (a) the significance of landscape painting sketching "division of creation" is a creative landscape painter's path. It is a prerequisite for the development and innovation of landscape painting. "Life is the only inexhaustible source for artists." Sketching is the most crucial training in the basic or training of landscape painting. (B) Landscape painting sketching methods and steps 1, methods: (1), sketch (2), memory writing (3), slow writing 2, steps: (1) select the scene: nature is not everything can be painted, to have a choice. (2) Observation: Select the most vivid and representative things in life. (3) Concentration and Conceptualization: Selective expression of things. (4) Artisanal Processing ① Cutting ② Exaggeration ③ Organization (management of position) (5) Ink Painting: ① Drafting, ② Hooking lines, ③ Chafing, ④ Stippling, ⑤ Tidying up the whole. ⑥Coloring. According to the season and the needs of the picture with the class bound color Note: ① tree only need to paint the trunk, branches, twigs that is. ② Faithful to nature, but not copy nature. The first part of the ink is seven-tenths faithful to nature, and the second part is three-tenths faithful to the theory of painting. ④ Pay attention to the understanding of Chinese painting's scattered perspective. "In addition, you must pay attention to the use of lines, and if you use the lines well, the landscape will be very flavorful. The brushwork of Chinese painting The brushwork is the method of using the brush, including the method of executing the brush, the use of the brush stroke, and a variety of techniques of using the brush. The method of holding the brush and the use of the stroke are only about the use of the brush, while the various techniques of using the brush are the ink in the brush and the ink in the brush. Pen, ink, water is a fish-water relationship, not dip water, not dip ink net pen will not be out of shape, pure water, pure ink without pen is also difficult on the screen, splash ink, splash of color also need to use the pen to take advantage of the situation. For the convenience of the story will be the brush method and ink method separately. Penmanship Ancient people summarized the penmanship method as press down, bet, hook, grid, against five words. "Press down" is to use the big finger belly close to the inside of the pen tube. "Pressing" is to use the first section of the index finger to press against the outside of the barrel of the pen and to cooperate with the big finger inside and outside. "Hook" is to use the first and second joints of the middle finger to hook the outside of the brush like a hook. "G" is the ring finger between the first and second joints of the bone close to the pen tube to force the middle finger inward to block the pen tube and push outward. "Against" is to use the little finger under the ring finger against the hook of the middle finger. After learning the correct way to hold the pen, and then learn to run the wrist, with the five words hold the pen method but also to do the "finger solid palm virtual", the palm should not only be virtual but also up, "palm vertical in order to wrist flat", "wrist flat in order to hanging elbow "It is not only the palm that should be virtual, but also erected. Hanging wrist is to leave the wrist off the table, hanging wrist movement axis in the elbow. Its rotation can be increased. Such as painting a large work, is standing in front of the case of painting, must also be hanging elbow, hanging elbow axis of motion in the shoulder, the amplitude of rotation is greater than the hanging wrist, but the painting of brush characters facial features of the finest detail, must be pillow wrist to paint, that is, the wrist against the desktop, so that the fingers can be stabilized, to facilitate the portrayal of its finer points. The use of the brush The brush's head is divided into three sections, the sharpest part is the tip of the brush, the middle is the belly of the brush and the brush tube for the root of the brush. There is a difference between the center stroke, the side stroke, the smooth stroke and the reverse stroke. The center front is the barrel of the brush is vertical, the tip of the brush stays right in the middle of the ink line, the line drawn is straight and smooth, the center front is also called the positive front, or called the positive with the pen. The lines drawn with a center-front have no obvious changes in thickness. When drawing, the force of lifting and pressing is more even, and the line is more stable. If the force is uneven, light or heavy, the line will have thickness changes. Side-front is not perpendicular to the surface of the paper, the barrel of the brush is tilted, the direction of the brush tube and the direction of the line drawn also has a certain angle, the tip of the brush is not in the middle of the ink line, the tip of the side of the light, the belly of the brush side of the hair, and there is the effect of flying white, the side of the line is light on one side, the other side of the heavy, with a kind of cutting sense. Shun Feng refers to the pen from within the bosom to the bosom (from left to right): from top to bottom, so that the stroke is in a smooth trend, called the smooth stroke with the pen. The reverse stroke is the opposite of the smooth stroke, and the stroke also adopts a reverse trend. Both positive and negative strokes can be used against the flow of the brush, in the advancement of the brush, blocked and scattered naturally form the effect of flying white. According to the weight of the brush, the speed of the brush, the effect of the painting is not the same. The use of the brush is also: "lifting and pressing", "twisting and turning", "real and imaginary", "slippery and astringent", "pause", "poke", "knead" and other methods. The use of the brush is usually prone to three kinds of problems, namely, "version", "carving" and "knotting". "Plate", lack of wrist strength, hesitant strokes, inaccurate and unnatural shapes, flat and lack of three-dimensional sense of flatness. "Carve", the handwriting is obvious, the stroke is sluggish, and the corner of the turn appears to be an undue angle. "Knot", the handwriting is delayed, the place where it should be scattered can not be scattered, the stroke is not fluent. Strokes must be obeyed for the objective image modeling requirements, at the same time must accept the painter's thoughts and feelings of the command, so due to the depiction of the object and the painter's personality and feelings of different, will produce a variety of different strokes and artistic effect. (1) Intention is the soul of the work of art, is the author to express the thoughts and feelings. The level of intention determines the depth of meaning and the artistic charm of the painting. If the composition is made without an idea, it is bound to be filled in with the strokes of the pen, and there is no master in the chest. It is only when the composition is in accordance with the "intention" that a suitable composition can be created to fulfill the author's intention of the painting.　　(2) Taking the potential of landscape painting composition, the first thing is to take the potential. The so-called "potential" is a kind of image movement. Ancient landscape painting theory, has long been mentioned: "painting landscapes greatly, it is necessary to get the momentum of the main. Mountains get the momentum, although twisting high and low, the air is still through the veins, forests and trees get the momentum, although different from each other, and each smooth. The water has the potential, although strange and not lose reason, that is, the ordinary is not mediocre. Hillside potential, although staggered and not chaotic. Why? With its reason also." Excellent landscape paintings always make people feel that there is a spirit. But some paintings make people feel like a garden in the fake mountain or bonsai, mainly because there is no painting the momentum of the mountain should be. "Potential" and perspective treatment, some scenery, through the perspective of the treatment, you can show its momentum.　　(3) the relationship between the main subject of a painting to have a theme, to highlight its focus. Do not fragmented branch, average treatment, without a major pivot point. The theme of the painting is the main, accompaniment is the guest. Determine the guests and masters, not only should the guests and masters clearly, but also echo each other, can not be independent. If there is a guest without a master, it will be scattered, and if there is a master without a guest, it will be monotonous and boring. Only the guest and the main arrangement is appropriate, the picture will feel comfortable.　　(4) the handling of the real, dense, light and heavy In terms of the performance of the object, in general, the trees are dense, the rocks are sparse. Trees and rocks are solid, clouds and water are virtual. But sometimes the picture needs, there are also the rocks dealt with as heavy and solid, while the tree is dealt with simple and light. In general, rocks, buildings, trees are heavy, while the clouds and other light. But sometimes in the picture on the static things although big but light, movement of things although small but heavy, it involves a balanced treatment of light and heavy problem, Chinese landscape painting on the light and heavy, the size of the appropriate configuration, to get like a Chinese pole scale has a change in the balance, never take the average balance of the balance scale. When considering these aspects of a painting, the important thing is the words "virtual and real". And in the virtual treatment, the picture of the four sides and four corners of the treatment is extremely important, because it is related to the picture of the far effect, that is, the first feeling. Generally should be taboo picture image and the four edges into a parallel posture, as well as image dynamics into a diagonal shape. And pay special attention to the taboo on the four edges and four corners of the real and imaginary treatment of the same, pay attention to changes. The so-called "white as black", that is, this is the reason. Such as mountains and rocks are real, but with clouds and smoke a cover on the virtual. Another example is the water is empty place, can add oars islands, reflections and other things on the real. What we say is not not painted, but planned not to paint, not paint the place still feel painted. Often painted with light ink or dry thick ink, the brush should be abbreviated, a few strokes to meaning enough.　　(5) Perspective and Light and Darkness Landscape painting adopts the scattered perspective method, which allows the author to move the point of view to observe the scenery according to his or her own creative intent. That is to say, gradually move the point of view forward, backward, upward and downward, forward and backward, left and right, from this mountain to that mountain, while looking at it, while painting it, face to face, looking forward and backward, and focusing on the scenery that you see without being restricted by the field of view. As Guo Xi in the Song Dynasty called "mountain shape step by step", "mountain shape face to face" way of viewing. This kind of perspective of moving viewpoints is the traditional perspective of landscape painting, a scattered perspective. In the actual use, should not violate the laws of focus perspective, a line should be up, never down, close to the object should be large, not small. Otherwise it will feel uncomfortable.　　In addition, Western painting emphasizes light, and its light source comes from a single direction, so it is uniform. While landscape paintings generally do not emphasize light, and the light source is not necessarily required to be uniform, it can come from many directions. Most landscape paintings also take light from the top down, or favoring the top.　　(6) three stacks of two sections and open and close Ancient people mentioned landscape painting, said the picture can be "three stacks of two sections" of the treatment. The so-called "three stacks" means "one layer of land, two layers of trees, three layers of mountains". The so-called "two segments" means "the scenery is at the bottom, the mountain is at the top, and the clouds are in the center, clearly separated into two segments". "Three stacks of two sections" is an ancient landscape painting in a composition program, but it is not necessary to comply with the law, so the painter or according to their own aesthetic experience of the natural landscape, the flexible use, not a rigid set.　　The so-called open and close, "open" generally refers to the scene spread. In order to prevent the scene open chaos and scattered, it is necessary to over-dispersed points gathered together, and then highlight the main body, so that it is concentrated, which is "together". In fact, to open is to create contradiction, to unify is to unify contradiction, small opening and closing is contained in the big opening and closing. Contradictions made sharp and well unified, the more powerful the painting, the stronger the artistic force. In short, when considering the composition, take the potential to avoid flat, to highlight the key points; the actual processing, simple and complex, light and heavy, real and imaginary should be noted. The pen should be dry and wet, thick and light each other,