Techniques of Chinese Ink Painting

(A) chapping. In the history of landscape painting, where there is a huge change, mostly due to chapping. Chapping is a method of using ink and brush, dedicated to depicting the veins and texture of the mountains and rocks, but also as a way to express the skin and texture of the main trunk of the tree. Sheng Tang Wang Wei "began to use wash light, a change in the structure of the method of hacking". Tang dynasty landscape since the beginning, the appearance of chapped. These landscape painters are mainly concentrated in the Guanshan area, their rock lines to the square hard and stable, depends entirely on the feeling of the local landscape. This is rumored to be the Tang Dynasty landscape scroll paintings and tomb murals in the landscape can be slightly seen. The style of landscape painting in the north blew until the Southern Tang in the Five Dynasties, so the style of landscape painting in the Hanlin Painting Academy of the Southern Tang did not differ greatly from that of the north. As Dong Yuan was in charge of the royal forest garden, he had a personal aesthetic feeling for the earthy hills of Jiangnan. He used loose and spacious lines to spread out the undulating state of the rolling hills of Jiangnan, reflecting the loose and gentle geomorphological features of the earthy mountains, with the intention of calmness and serenity. Because of this line arbitrariness is very strong, uneven length, easy and natural, as if Phi Ma (scattered plants hemp), so this name. Pima chapped uneven length, long that is, long pima, short for short pima. Dong Yuan's innovation in the chafing method I do not know how many later generations of landscape painters in Jiangnan enlightenment.

(ii) modeling. Dong Yuan's rock modeling is not for the craggy peaks, more for the gentle slopes of the flat mountains. On the slope of the tall trees into forests, the slope below the stream into a river, fishermen, ferrymen and other stars, and vivid. The top of the mountains in the distant view gathered pieces of alum head, that is, stacked boulders, the shape of the alum stone crystals, a cluster of bitter points to distinguish the shape of each alum head, flat columns unfolded on the screen.

(3) Composition. The main flat view, slightly overhead, depth of field is larger, more horizontal panoramic layout. Most of the existing ancient paintings related to Dong Yuan's style are long scrolls.

(4) Vegetation. The vegetation in Dong Yuan's paintings is the basic element of his dense landscapes, which are derived from the actual scene in Jiangnan. Due to the dry climate and rocky mountains in the north, the forests and trees on the floating soil contrast with the bare rocks, while the air in Jiangnan is humid and rainy, so it is easy for grass and trees to cover the surface of the mountains, which are mainly made of soil.

(5) Context. Dong Yuan's landscape paintings focus on the atmosphere of life in the countryside, which is very interesting and different from the landscape paintings of Li Si-xun, which emphasize the display of Taoist fairyland.

Dong Yuan's landscape paintings were of two types: "ink and wash like Wang Wei, and coloring like Li Si-xun" (Guo Ruoxu's "Pictures of the World"), which shows that he was capable of ink and wash brushwork, and was also good at green and green landscapes. Today, in the paintings passed down as Dong Yuan can be seen in his small green technique, such as the Longshu suburban folk picture axis.

Dong Yuan has a wide range of talents, but also workers and objects, dragon and water, ox and tiger painting, there were a lot of powerful and noble families asked Dong Yuan painted dragon and water screen, enjoying a long reputation. Unfortunately, there are no traces of his attainments in these disciplines to be found, so we can only focus on Dong Yuan's Jiangnan ink landscape paintings.

Today rumors for dong yuan landscape painting good author nearly ten, its identification of conclusions from ming people. After a comprehensive comparison of these landscape paintings, they can be divided into three levels: (1) The modeling program and presentation methods of the Xiaoxiang Picture Volume, the Summer View of the Pass waiting to be crossed Volume and the Summer Mountain Picture Volume are quite similar, which are completely consistent with the style of Dong Yuan's landscape paintings as documented in the history of paintings, and have been passed down in a clandestine manner, which represents the artistic characteristics of Dong Yuan's landscape paintings. (2) The scrolls of "Longshou Suburban Folks", "Traveling in the Autumn Mountains", "Traveling in the Streams and Mountains", and "Cold Forests and Heavy Tings" are fine works close to the style of Dong Yuan's landscape paintings, and they can be used to explore the richness of Dong Yuan's painting methods. (3) The scrolls of "Picture of a Stream Bank" and "Picture of a Mountain Hall in a Cave" are among the finest imitations by later painters, reflecting to varying degrees some of Dong Yuan's artistic techniques. These works have survived the most, either for the purpose of counterfeiting, or due to misinterpretation by later generations, but side by side, it reflects the far-reaching influence of Dong Yuan's landscape paintings on later generations.