What are the basic techniques of Chinese painting?

The characteristics of Chinese painting The general characteristics of Chinese painting To learn Chinese painting, we must first understand what the characteristics of Chinese painting are, so this book begins here. It is not easy to answer the above questions concisely in a few sentences. Chinese painting has a long history. It adapted to the cultural soil of China and took root and blossomed, with its own characteristics in conception, composition, techniques and stylized expression. These characteristics are exactly what Chinese painting theorists are discussing and summarizing at present. Here are a few examples. First, the concept of Chinese painting is well thought out-many painting theorists first emphasize this point, whether painting landscapes, figures or flowers and birds. In the Tang Dynasty, Zhang Yanyuan wrote a passage about the Six Laws in Famous Paintings of Past Dynasties: the image of a husband must be shaped, and the shape must have backbone. The backbone is similar. It all comes from carelessness and belongs to the pen. He believes that intention is the purpose. Only in painting can there be abnormal and strange meaning. Hua Guang, a famous monk who painted plum blossoms in the Song Dynasty, was handed down as Hua Guang's "Painting Plum Fingers", in which there was a passage that painting plum blossoms was completely settled. At the beginning, painting plum blossoms was completely settled, and business came first. In the Qing Dynasty, Fang Xun wrote The Painting of Jingshan Mountain. Here, he also emphasized the relationship between conception and painting. He said: first of all, you must define your own position in painting, meaning strange, high, far, deep and ancient. He believes that mediocre paintings will be mediocre and vulgar paintings will be vulgar, because paintings lack the most precious ideas of painters, so works are mediocre. Leonardo da Vinci, an Italian Renaissance painter, had a similar idea. He once said: A painter should describe two most important things, people and people's thoughts and intentions. This is very consistent with Gu Xiaozhi, a figure painter in Jin Dynasty in China, who put forward the idea of smart thinking and intensive thinking. Where does the meaning come from? First, the painter's rich observation of real life and fully accumulated creative experience; Another point is the painter's self-cultivation, so that before the creation, what to draw and how to draw have formed a mature idea in his mind. Song Dynasty painter Wen was praised as having a well-thought-out plan, that is, before writing, he had the image of bamboo in his mind and was ready to write. Planning has become an idiom in China to praise being good at planning and arranging things. Before Zhang Yanyuan put forward his idea, Sheikh in the southern production era had a theory of "creativity" and "clear meaning". Creative painting is unconventional, accurate in conception, living by scenery, with few strokes but many meanings. In this sense, as a painter, we should not only pay attention to practicing calligraphy and sharpen our personal performance skills in peacetime, but more importantly, we should seriously strengthen the skills of practicing ideas. It is worth noting that many painters often only pay attention to the practice of writing and ignore the practice of meaning. Second, the shape of the line is vivid-the modeling law of Chinese painting Chinese painting is based on the shape of the line, and the outline, texture and volume are drawn through the line. Goethe, a German poet, said that art uses light to express its vivid expressions, and visible light is one of the modeling means in western painting. Chinese painting, on the other hand, is dominated by line modeling, which clearly distinguishes between Chinese and western painting in modeling means. However, this does not mean that western painting completely rejects the use of lines, but that light can be used as the main language of painting. Rodin of France once emphasized that a prescribed line runs through the universe, which means how plastic arts are separated from the universe, and did not regard it as the main means of expression of painting. Traditional Chinese painting, on the other hand, has accumulated a very rich line type and skillfully portrayed various images, whether it is the broken lines of mountains and rivers or the lines of clothes. It is a famous saying of Gu Kaizhi, a painter in the Jin Dynasty, which established China's aesthetic view that artistic gods are superior to form. It is very different from modern European aesthetics, which is purely abstract, that is, painting people is not only similar in shape, but also similar in spirit, drawing people's mental outlook, not stopping at the simulation of shape, not sticking to the truth of nature. This theory is the height that artists should strive to reach when establishing art. Under the guidance of this theory, many outstanding works with vivid descriptions have appeared in the past dynasties, which has become an important standard to guide painting. Third, the multi-point perspective is black and white-the composition rule of Chinese painting Chinese painting adopts both focus perspective and scattered perspective, which not only strictly abides by the real space and white cloth, but also breaks the real space and white cloth according to the needs of composition, so that when an object appears in the picture, it can change its image and position according to the artistic needs of the object on the picture. Peony flowers below the horizon can also be placed above the Zhu Ping line to achieve the best perspective effect. Chinese painting pays special attention to the management of blank space, and often borrows calligraphy techniques to make white black, that is, the part without painting should be carefully scrutinized and treated like the part with painting. Fourth, color matching with the class-the color law of Chinese painting The color of Chinese painting is not limited by the cold and warm tones of light sources, but pays more attention to the inherent color of the object itself, rather than emphasizing the conditional color under special light. When painting an object, give it basic colors to achieve harmony between color and object, color and line, color and ink, and color and color. V. Scenes are vivid and vivid-the artistic conception of Chinese painting Chinese painting requires pen and ink, emotion and scenery. There are infinitely rich scenes in reality, and the painter has a strong image appeal. With this feeling, the painter aroused the passion to describe these scenes, so the works reappeared in the form of replicas of the scenes, blending the scenes together. As for the vivid charm, that is, the artistic spirit created by the painter, which is different from the general sketch painting, should be vibrant, fresh and lively, poetic and fascinating to the viewer. If it doesn't show such vivid and rich connotation, it certainly can't give people these feelings, and it can't reach the fascinating artistic conception of Chinese painting. Sixth, poetry, calligraphy and painting, printing paper and pen-the unique form of Chinese painting can be said that only Chinese painting can have the practice of inscription and seal. Not only can literati paintings express the three wonders of poetry, calligraphy and painting, but ordinary paintings always need inscriptions and seals to have a strong flavor of traditional art. Inscriptions and poems can improve or supplement the viewer's appreciation and understanding of the works, and can also enrich the structural changes, playing a variety of roles in setting off each other, highlighting each other, embellishing and balancing the composition. The performance of tools and materials of Chinese painting also determines the characteristics of Chinese painting. Chinese painting uses silk and paper, especially the appearance of raw rice paper, which gives full play to the pen interest and ink color. The permeability of Xuan paper and the sharp cone of the brush make the nib change endlessly, which produces wonderful effects. At the same time, various imitations and descriptions, paintings and brushwork have also been formed.