What are the color techniques of Chinese painting?

You can paint after you finish the basic modeling with pen and ink. Shen Zongchun, a painter in the Qing Dynasty, once said: "Cover painting is mainly based on the backbone, and the backbone only needs to be written with pen and ink. If the pen and ink are magical, they will naturally have the color they deserve before coloring ... ". But coloring can't be ignored, and dyeing plays a great auxiliary role. Dyeing can connect pen and ink together, without coherent momentum. By dyeing the hands and faces of the characters, the skin colors of men and women and the ages of the young and old are revealed. In the Qing Dynasty, Shen Zongchun's Painting Analysis of Mustard Boat, people's colors change from young to old, and they are relaxed at any time. When they were babies, their muscles were smooth and delicate, and their colors were crystal clear, but when they were pink. Just like the color of a flower when it first blooms, in its heyday, its bones will swell with blood, and it will look radiant ... When people reach middle age, they will try to gather together because of qi decline, and the color will be moist and light. "As for the scenery, flowers and trees, dyeing increases the sense of life and wetness. There are many ways to color Chinese paintings, but there is a general principle: first, ask ink not to cheat the pen; The second step requires that the color does not deceive the ink. Color is the auxiliary and enrichment of pen and ink. Even if meticulous painting emphasizes color, don't hide the pen used for sketching, or use colors beyond the depth of ink, so that the pen and ink will not be submerged. Coloring with classes means contrasting different objects with different colors. Art is accomplished through modeling, color and space, and coloring is one of them-why do you say coloring should follow suit? This explains a major feature of Chinese painting. Western painting must draw different colors according to the relationship between light, and also draw colors influenced by environmental relations. For example, a white shirt that is reflected by external light, showing yellow, green and stored colors, must be colored. I think this will make the shirt realistic, so the focus is not on the color of the image itself, but on the role of the color of light. The concept of "coloring with class" put forward by Xie He describes objects according to their inherent color categories in time. The color of traditional Chinese painting generally requires elegance, composure and generosity. Even if color painting is emphasized, it will not make people feel angry. Because Chinese paintings use a large number of monochromatic mineral colors or monochromatic plant colors, the use of colors generally emphasizes harmony. On the relationship between primary colors and intermediate colors, Hao Jing's painting theory. Put forward "red asks yellow, autumn falls, red doors are green, flowers are blooming, and blue and purple." It is better to die than to be in glory. "Please hang Zou Yi. Please don't juxtapose purple, yellow and white, and you can't follow them side by side. Red and blue are occasionally one or two, while dark green and light green are positive and negative. It is a concept of color used by predecessors. Chinese painting coloring can be divided into three different ways; One is Hungarian thread, which is very dark. Before the tenth century, this was basically the case; Another way is to use ink as "Mo Yun foot, then apply color", that is, to use most of the changes of ink color as color to achieve the blooming effect of "color in ink, Luo in color", which is a major change in the color of Chinese painting after the twelfth century; In order to explore a broader road, modern painters gradually let users splash color, light color and heavy color, and strengthen the color expression of Chinese painting. As mentioned before "Color Appearance", Chinese painting mainly reflects the simple, elegant, clear and clean decorative beauty of Chinese painting with its inherent colors. Color-by-color refers to drawing the basic color of an object realistically with pigments. The reflection of objects in art depends on such elements as shape, color, quality and sense of space. Of course, a Chinese painting needs a correct image, but if the image is correct and the color is not well painted, it will affect the integrity of the painting. How can I draw a good color? We must observe the color from our daily life and learn the traditional coloring methods, that is, how our predecessors observed the color of an object and how to deal with it. Flat dyeing is called flat dyeing. After the color is mixed with water in the plate, it is drawn flat in the frame of line pattern, regardless of shade. This method does not need to use water for deep and deep shading. So it seems easier to master, but it takes a lot of practice to master it evenly and delicately, especially the heavy color pigments such as azurite and turquoise. When flat dyeing, the color should not be too strong, and it can be dyed again when it is insufficient, but be careful not to splash when flat dyeing. Freehand brushwork is rarely dyed flat, because the coloring of freehand brushwork will change with the shade of the pen at a time. Contact dyeing method is mostly used in fine cooked paper. The method is to embed two pens in your hand at the same time. For example, draw a lotus, one pen dipped in magenta, and the other pen dipped in white powder. They touch each other on paper to produce beautiful colors, which are brighter than the colors mixed in the palette. The unexpected effect lies in the touch, so the color can't be completely adjusted, and only the color collision can penetrate each other and produce a smudge effect. The face of the character uses stone storage, and the cheeks can be dyed with eosin, usually once, but twice if it is not enough. Lingnan painters all use this method, and so do meticulous bronzes. "Contact dyeing", also called "dyeing", is a traditional and old method. If you draw a green mosaic, you should first blend the flowers, dip one pen in color and the other in water, and the blue spots of the flowers are in the dark part of the leaves, and then dry them with a pen at any time. In this way, dye the flower blue and dry it with a pen. It is getting lighter and lighter. Flowers should be dyed with water when painted in the light, which will naturally faint without leaving traces, and there can be no splash and dirt. Dyeing and touching are completed at one time, and dyeing is a process divided into two processes. The method is to divide the tone in contact dyeing into two or more times according to the back of yin and yang. For example, the traditional "three whites" face dyeing method is made by baking and dyeing several times. The method is to apply thin powder to the forehead and nose to the lower forehead, and then dye it with rice stone. When it meets a shiny place, it uses a light storage stone. If the color tone is insufficient, you can wait until it is dry and then dye it with a mask. When the picture of the base paper must be dyed separately, in order to prevent the base paper from sticking easily when it meets the color containing glue, a small area of lips can be painted magenta first, and then a large area of storage stones can be painted to blend in. Huang Hanyuan's Water Painting Style in the Qing Dynasty said, "The color is wonderful, but the hand is simple, and the ugliness is uglier than the coarse sand. When applying for coloring, I can't see the trace of the pen tip, like a painted rose. Draw a green landscape. First, dye and store the roots of the rocks. Next, draw the lower part with stone green without coloring, and slowly dilute the connecting banana stones. Natural dyeing is required when dyeing, leaving no trace. When painters in China use monochromatic mineral colors and plant colors, if they need to adjust the intermediate colors, it is often through cover dyeing. Jfl cinnabar cover dyed with rouge makes cinnabar redder; The blue mask is dyed with cinnabar to make cinnabar purple; Azurite mask dyed gamboge light yellow, and lead powder mask dyed rouge pink. Except that the combination of cyanine and gamboge can produce grass green, it is not clear that most complex colors are mixed in advance and then painted on paper. In addition to color, the performance of rice paper is also related. Therefore, the painter's ideal color tone can be achieved in another way, that is, the above-mentioned cover dyeing, formerly called cage cover. In other words, if we want to get a kind of purple, we can first paint it with rouge and then cover it with a layer of cyanine, which produces purple. All the colors of excessive internal heat can be covered with light ink to reduce excessive internal heat. Take painting flowers and leaves as an example. After being touched and dyed blue, it is covered with two green and three green layers. The method is: according to the requirements of light and shade, where there is a green background, we should talk about it on the stone green, which means that the dark and light-flowered places are painted with thicker stone green, and the places with more stone green naturally appear bright and shiny. Then, cover the green made of cyanine and gamboge and dye it twice. At this time, the flowers and leaves are fresh and thick, with a green luster. The color matching method of mixed color ink in Chinese painting, the mixing of color and color door, is not very good, and this color matching method is not an ideal way of Chinese painting. The blending of color and ink in Chinese painting has made rich changes in hue. Such as azurite with ink, azurite is deep, azurite color is not too floating; Zhu Pumo's dyed face is not pink. Here we can also see the coloring principle of Chinese painting "ink is river". It can be seen that the proper collocation of color ink can make the color gas not float or stagnate, and there is ink in the color and colored in the ink. In fact, smudge is smudge, but smudge refers to the painting method from strong tone to light tone to white, which is a special term. All painting methods, such as touch dyeing, bottoming, so-called "Wu Zhuang", must master the technique of fading out slowly, and get a B without trace. This method, especially the common skill of meticulous painting. Silk or paper used to contrast and dye Chinese paintings is thin and transparent in color. It is often colored on the front through the back of the paper, and the back of the paper can also be colored on the paper. Therefore, Chinese painting is also dyed with contrast color to make the color more calm and heavy, and the original brush strokes will not cover the color on the back of the contrast color dyeing with daily stone color, and the color on the picture can be used or replaced with matching color. For example, the purple peony flower head has been dyed magenta in front and can be set off with cyan in the back. Purple flower heads can be lined with powder or stone yellow. The front of the leaves is stone green, and the back can set off grass green. If the flower green background is dyed with grass green cover, stone green can set off the back. White goose and duck can be painted with white powder on the back, which will not hurt the brushwork and leave no trace. Others, such as peach blossoms and plum blossoms, should be more brightly colored, and the back can be covered with village powder. The drawing paper and silk that need to be set off should not be too thick. If it is too thick, it will lose its foil effect. Dry dyeing and wet dyeing are usually called thousand dyeing after inking, and can be carried out after Hungarian yarn is dried. The characteristics of dyeing can be seen in the use of pens and flying white. Although it is dyeing, the power of words can also be seen. The method of wet dyeing is to spray or brush all or part of the picture that needs wet dyeing, and then carry out variegated color. Regardless of the effect of wet dyeing and dry dyeing, although you can't see the pen, you can dye it evenly and moisten it. Where can I dye with wet method? Generally used for painting rainy scenery; In a foggy and rainy atmosphere, it is best to use wet dyeing. The method is to spray the whole painting with clear water for about 10 minutes after the landscape is drawn, so that the water is slightly soaked, and then dry the foot of the rain, the shadow of the mountain and the distant mountain with light ink, which is not enough once, and then use wetting dyeing to strengthen the atmosphere of misty rain. Of course, fog and night clouds don't have to be wet. Generally, after the waterline is drawn, it can also be wet dyed to increase the hue and feeling of water. The dyeing method can use ink, flower green or grass green. In order not to flatten the water surface, some white waves can be left. Clouds are also set aside in the form of white paper and should be dyed. Wet dyeing is mainly suitable for base paper, which can render a wet effect. If it is difficult for wet dyeing to leave room for snow when painting snow scenes, and dry dyeing is not moist, you can also add glue to the water and dye it again, so that it will be moist and there will be no big seepage. Wet dyeing is not suitable for cooked paper, and the dyeing of cooked paper should be gradually faded out by touch dyeing. As for freehand brushwork, it is not suitable for wet dyeing. Some landscape paintings cover the sky, leaving only a blank, depending on the needs of the picture, not all of them are dyed. Powder accumulation water meets powder, which is generally called powder accumulation. This method is often used to draw flowers. Its method is to dip a pen in powder and a pen in water and dye it inward along the edge of petals. Powder is piled up on the edge of each petal, and then dyed outward from the center of the flower in the opposite direction with a colored pen, leaving a white edge on the edge, so that each petal stands up and feels like a volley. After the petals are painted, point out the flower center with thick powder, such as yellow core, 1 1I powder, and a small amount of gamboge. You can also point the powder first and then cover it with gamboge, so that the thick powder point will have a prominent three-dimensional effect. There is also a contradiction here. For example, lead white can indicate the thickness, but it is easy to turn lead into black, so it is not suitable for use. Zinc white can't stand out, clam powder is the best, but it's expensive and easy to paste the pen, so you can't pull the nib. It should be used as appropriate after understanding the properties of various powders. Chinese painting primer, briefly mentioned above, is mainly aimed at the use of Chinese painting pigments, unlike watercolor and oil painting pigments, which are often mixed with each other. The illegality of initiation can be simply divided into ink initiation and color initiation When ink painting is light, it is usually based on ink, such as a human face, at the junction of light and dark. The chin and part of the neck are painted with light ink first and then with ochre. If the hand is painted, you can also bake the raised joints with light ink and then color them. On the one hand, it can increase the thickness and muscle sense of the hand; On the other hand, it can avoid the single tone of ochre. If you draw a blue shirt, people use ink as the background color, which can also enhance the texture of agricultural clothes. In addition, when drawing a pure sketch form, the primary color method is not needed. If you draw a grass slope, first use ochre as the bottom, and then cover it with grass green. There are some loess layers under the performance list: if you wear gold, you can also use yellow as the background color first, and use stone green or grass green stored in stone as the background color, which can increase the sense of heaviness. In addition, gypsum is cyan, Korean sand is magenta and special source, and the front of meticulous mosaic is azurite, and the back can also be grass green or azurite. Three alum stains and eight alum stains can fix the color and ripen the base paper. For example, if you draw a person's face with heavy colors, you can draw the person's face on raw rice paper first, and then paint it with alum water before heavy colors. This can not only keep the pen power of rice paper, but also make the heavy color painting delicate, even without watermark. If the color is too small and the color floats on the paper, you can also brush a layer of light alum water, and the color is the same. According to Six Paintings of the Tang Dynasty, flowers and birds can be dyed with three alum and eight dyes, and the effect can be perfect. For example, if the flower head with rouge color is painted on a sand-picking background, when it is dyed with rouge, the color will easily float and mix with rouge. At this time, you can coat it with alum water, so it won't float. There is no need to dye too much at a time. After dyeing one or two layers, cover with a layer of alum water, which can be dyed eight times at most, so there is a saying that Sanming alum dyes eight times. Before the painting of heavy colored powder is supported, it is also important to put an alum water to avoid the color from infiltrating into the water. The method of painting rain, lights, wind and snow with alum is gradually used by painters, but many contemporary painters like to paint rain and snow with alum water, use raw rice paper, sprinkle snowflakes or raindrops thrown by muscle water according to sketch arrangement, and then apply ink, so wherever there are alum dots, they become snowflakes and rain columns. Women, children and flower clothes can also draw patterns with alum water and then dye them, so the patterns are natural. For example, festive lights, fireworks, scales of carp and branches hung with snow can all draw unexpected effects with alum water. The method of piling up gold dust is not suitable for painting on paper and silk materials, and it is easy to fall off because of time. However, it is still feasible to use the method of "judging gold" after leaching the powder with light clam powder. If people's clothes and blanks need to be decorated with gold foil and silver foil, they can also be directly glued to the picture. In the painting of ancient buildings in China, the technique of quasi-dipping gold powder is often used. The method is to mix seven parts of rammed loess with three parts of bean flour into paste, put it into a small cloth bag, squeeze it into the painting building through a pipe when using it, and then coat it with stone yellow, glue alum water and tung oil. When wet and sticky, stick it with gold foil and rub it slowly to make the picture appear thin and carved. This method is also widely used to depict clothes, crowns and decorations in Buddhist temple murals, which can enhance the festive, auspicious and gorgeous atmosphere and is full of national color.