What are the techniques of Chinese painting

I hope I can help you, the common techniques of Chinese painting: ink in five colors

Name of Chinese painting technique. It refers to the use of water to regulate the ink color in multiple layers of intensity, lightness, dryness and wetness. Language from the Tang Dynasty Zhang Yanyuan "Records of Famous Paintings Throughout the Ages": "Transporting ink and the five colors with." The term "five colors" is used in different ways, either to refer to burnt, thick, heavy, light, or clear; or to refer to thick, light, dry, wet, or black; or to add "white", collectively known as the "six colors". In reality, it refers to the rich variations in the use of ink colors. Lin Shu of the Qing Dynasty used equal amounts of ink, placed in five bowls with unequal amounts of water, used for painting to distinguish between light and dark, the understanding is not mechanical.

◇Eighteen strokes

The name of a Chinese painting technique. The various ways of depicting the folds of the clothes of ancient figures. Zou Dezhong in the Ming Dynasty, "painting refers to Meng" contains "depiction of ancient and modern 18, etc.". Divided into: one, high ancient silk stroke (very fine pointed pen lines, Gu Kaizhi with it); two, string stroke (slightly thicker); three, iron line stroke (and thicker); four, running clouds and flowing water stroke; five, horse locusts stroke (horse and the use of, similar to the orchid leaf stroke); six, nail head and rat's tail; seven, mixed strokes; eight, pouting head ding (pouting, one as a peg, the bald line, Ma Yuan, Xia Gui with it); nine, Cao clothes strokes (there are two said, one refers to Cao Zhongda with it, one refers to Cao Bu Xing with it); one refers to Cao Bu Xing with it; one refers to Cao Zhongda with it; one refers to Cao Buxing with it; one refers to Cao Buxing with it; one refers to Cao Buxing with it. (there are two ways of saying this, one refers to Cao Zhongda used it, the other refers to Cao Buxing used it); 10, folded reed stroke (long and thin pointed brush, Liang Kai used it); 11, olive stroke (Yan Hui used it); 12, jujube kernel strokes (pointed large brush); 13, willow leaf strokes (Wu Daoci used it); 14, bamboo leaf strokes; 15, the war strokes waterline strokes (coarse and large reduced strokes); 16, the reduced strokes (Ma Yuan, Liang Kai used it); 17, Chai pen strokes (another coarse and large reduced strokes); 18, earthworm strokes. Also seen in the Ming dynasty Wang heap Yu "coral net", which nail head and rat tail for nail head and rat tail description, pout head ding for pout head description, the rest of the same. The above description of the various methods, are based on the successive schools of figure painting folds performance program, according to the shape of its handwriting and the name. The Mustard Seed Garden Drawing Record has a model manuscript. Ancient and modern clothing is different, modern folds have developed, plus a variety of chemical fiber clothing folds, for the ancient times.

◇White Drawing

Chinese painting technique. Derived from the ancient "white painting". Ink line hook depiction of objects, without color, known as white drawing, such as Wu Daozi in the Tang Dynasty, Li Gonglin in the Northern Song Dynasty, Zhao Mengfu in the Yuan Dynasty, the characters, sweeping but powder, light ink, light ink, strong and rounded, and extraordinary, and pushed to be a master of white drawing. There are also slightly light ink rendering. Between the Song and Yuan dynasties, there were painters who used the technique of white drawing to depict birds and flowers, such as Zhongren in the Northern Song Dynasty, Yang Wugui in the Southern Song Dynasty, Zhao Mengjian and Zhang Shouzheng in the Yuan Dynasty, and so on.

◇Line Painting Method

Short for "line method", also known as "hook and strand method". Chinese painting technique. The foreign missionaries Lang Shining, Wang Zhicheng, Ai Qimeng, and An Deyi who served in the inner court during the Kangxi, Yongzheng, and Qianlong periods of the Qing Dynasty used the Western method to depict buildings in focal perspective, and utilized perspective to strengthen the sense of space and depth of the buildings. It was different from the traditional Chinese "boundary painting". At that time, those who were influenced by it and learned from it included Wang Youxue and Leng Mei. Zou Yigui said: "Westerners are good at hook and strand method, so their paintings in the yin and yang near and far, not a penny less, the cloth shadow from the broad and narrow, to triangular measure, painting the palace in the wall, people want to walk into." The works painted by the line method are mostly used to decorate palaces and cloisters. Because directly painted on the wall, or painted on paper and silk and then posted on the wall, weathered over time, few survivors.

◇Wet brush

Symmetrical to "dry brush". Chinese painting technique. It means that the brush contains more water. Wet brush painting was started in the Tang Dynasty with a tassel of pearls hanging from a coronet. An old poem says: "There is no rain on the mountain road, and the empty green is wet." Du Fu also has the sentence "The chapter is still wet when it is dripping with energy". Ink and wash landscapes enter the wonderful realm of "water drenched ink chapters". Xiang Rong penmanship hard and less warm, was ridiculed as "stubborn". Five Dynasties Jing Hao said: "the tip of the pen cold tree thin, ink light wild clouds light". The so-called "light", that is, the wet pen with plenty of water. Guo Xi of the Northern Song Dynasty said: "Ink color is not moist, it is called wither, wither is no business." It is also advocated that there must be a wet brush in the painting. Ming dynasty wang line inscription painting poem: "north garden look landscape, see ink not see the pen; after only juran, pen from the ink out." Qing dynasty Zhang Geng late in life to realize its meaning. He said, "Wet brush is difficult to work, dry brush is easy to good." Dong Yuan hid bones in his flesh, and Ju Ran's flesh penetrated into his bones. The latter said, "Bone is easy to see the brush, but flesh is difficult to signify ink". For a while, they were all in favor of dry brushes, and abandoned wet brushes as a common work. Qin Zuyong's theory is the most prominent: "the most avoided painting wet brush, the sharpness of all for the ink China impregnated, will not be able to focus on carry on! Wet method, such as dry." But the modern Huang Binhong said: "There is dry before there is wet, there is wet before you know there is dry." Dry and wet each other, can be called "water halo ink chapter".

◇Dry brush

Also known as "thirsty brush". Symmetrical with "wet brush", the name of Chinese painting technique. It means that the brush contains less water. Dry brush painting, the rise of the Yuan Dynasty, the line in the Ming and Qing Dynasties, so far no decline. Qin Zuyong of the Qing Dynasty said: "Wet brush is the last thing you want to do in painting, and if your brush is drowned in ink, you will not be able to make an effort! The method of removing wetness is like using dryness, which is easy to apply and can be utilized from the heart. Da Zi old man (Huang Gongwang) pine word trick, but can use the dry brush." Another cloud: "Shen (Zhou), Tang "Yin" dry brush chapped, hooked pine show." Can also be called "dry chapped", "dry pen", "burnt pen", "thirsty pen", "Talking about art" pointed out: "Li Yingqiu (Cheng) ink as gold, Dong Zongbo (Qichang) often said, painting not only ink, but also when the water, the ancients are thirsty pen to take the Yan, today is thought to Yunlin (Ni Zan) a family of law, or not also."

◇Thirsty Brush

Another name for "dry brush", a Chinese painting technique. It is the method of using "dry brush and little ink" when painting. In the Ming Dynasty, Li Rihua's "Ode to the Thirsty Brush" reads, "The thirsty brush in a book is like a team of thirsty brushes, and it is difficult to control the swiftness of the briskness of the brushes." Kong Yan (bark) "Shicun Painting Tips": "Thirsty brush is used to color all the leaves and trees." The Yuan landscapes were mostly painted with thirsty brushes, such as Huang Gongwang, Ni Zan, the Qing scalds, Cheng Profound, and the modern Huang Binhong, etc., who were all good at dry-brush chafing and were long on using thirsty brushes. See "dry brush".

◇Dry Brush

For the name of the Chinese painting technique, see Dry Brush.

◇Burnt Brush

Name of a Chinese painting technique. See Dry Brush.

◇Quivering Brush

Name of a Chinese painting technique. To draw a kind of shaking and trembling ink line when painting. The Yuan Dynasty Xia Wenyan's "Pictorial Pojian" said, "Sun Shangzi was good at trembling brushwork, which was seen on clothes, hands and feet, wood and leaves, and streams of water, all of which were like trembling." Painting water, wood and leaves, clothes with trembling brush, the line must strive to smooth and natural, zigzagging, not flow in the folded as jagged, as curved as earthworms. Trembling pen from the * gold wrong knife method, the Northern Song Dynasty "Xuanhe painting spectrum" said: "after the Lord (Li Yu, Southern Tang Dynasty) gold wrong book with a three-over method, late in life to become a painting, so the trembling button is like calligraphy."

◇Chapping

Chinese painting technique. It is used to express the texture of rocks and tree bark. The rocks are mainly chapped (also known as "hemp chapped", Dong Yuan, Ju Ran with, there are long and short points), straight rubbing chapped (Guan Tong, Li Cheng with), raindrop chapped (also known as "sesame chapped", the shape of the big said "bean chapped", Fan Kuan with), and the chapped rocks. "Fan Kuan with it), curling clouds chapped (Li Cheng, Guo Xi with it), decoupage chapped (straight decoupage, horizontal decoupage, the home of the people more, Wang Meng a change into a long, thin, floating curved shape, called" silk curls empty method "), cow hair chapped, lotus leaf chapped (Zhao Mengfu with it), wire chapped (the Tang with it), long axe chapped (Xu Daoning with it, also known as the name), the long axe chapped (" chapped"), the long axe chapped (also known as "chapped", also known as "chapped", the long axe chapped). Xu Daoning used, also known as "rain shower wall chapped"), small axe chapped (from Li Si Xun small hook pen development, Li Tang, Liu Songnian used), large axe chapped (Li Tang, Ma Yuan used), with water axe chapped (Xia Gui used), ghost-face chapped "Jing Hao used), Mi Fu dragged the mud with the water chapped (the first to water hank wiped the size of the slope of the mountain, dipped in ink with a horizontal brush point out, also known as the "drop eggplant method"), popping whirlpool chafing (Yan Ji Ping with it), bracket iron chafing (Wu Zhen with it), folding band chafing (Ni Zan with it), mud in the plucked nails chafing (Xia Gui division of the method of Li Tang, Jiang Senxi with it), skull chafing, broken net chafing (Wu Wei with it), prickly pear chafing (chafed by the bean petals, Ju Ran with it), horse chafed teeth (Li Tang with it), Horse teeth hook (Li Si Xun, Zhao Qianli, etc., for green landscape). Performance of tree skin chapping, scale chapping (pine bark), rope chapping (cypress bark), cross hemp skin chapping (willow bark). Point rubbing horizontal chapped (plum tree bark), horizontal chapped (sycamore tree bark). The above chafing, is based on the geological structure of rocks and stones of successive generations of painters appearance, the state of the epidermis of trees, and the creation of the form of expression. Posterity listed in the natural world of change and transformation and the evolution of painting techniques, a variety of chapping will continue to develop.

◇Hook hacking

The name of the landscape painting technique. Painting rocks first hooked out the outline of the shape, called "hook", and with the head heavy tail light, such as the shape of the axe chapped brush (such as axe chapped, nail head chapped, etc.), painting the pattern of the rocks to express the darkness and concavity, so-called "hacking". Specific painting may not be the first hook after hacking, there are hooks and hacking mixed with, according to each person's painting habits and style.

◇Alum head

The name of the landscape painting technique. It refers to the stone on the top of the mountain, so named because it is shaped like the crystallization on the top of the alum stone. In the Northern Song Dynasty, Mi Fu's "History of Painting" said, "When Ju Ran was a young man, he made a lot of alum (alum) heads." Guo Ruoxu "painting insights" also said: "painting rocks, more alum head, many for the Ling face, pen will see the nature of the firmness of the heavy. Yuan dynasty Huang Gongwang (writing landscape know-how, it is said: "Dong Yuan small stone, called alum head."

◇Three far

The name of the landscape painting technique. The Northern Song Dynasty Guo Si compiled "Linquan Gaozhi" in his father Guo Xi said: "The mountain has three far: from the bottom of the mountain and the top of the mountain, so-called. 'high and distant'; from the front of the mountain and peeping behind the mountain, it is called 'deep and distant'; from the near mountain and looking at the distant mountain, it is called 'flat and distant'." Han拙 "山水纯全集 "又增一说："Guo's said that the mountain has three far, and I also discuss the three far: there are near the shore of the wide water, vast remote mountain, called 'broad far'; there is a smoke and dark desert, the wild water apart as if it were not seen, called 'fan far'; scenery to the absolute, called 'deep far'; from the near mountains and look at the distant mountains, called 'flat far'. '; the scenery to the absolute, and the faint misty, called 'remote'." Later, it was called "six far". Yuan dynasty Huang Gongwang "landscape know-how" combined the two said, said "mountain on the three far, from the lower connected constantly, called 'flat far'; from the near the intervals relative, called 'broad far'; from the mountains outside the distant view, called 'high far'. 'high and distant'."

◇Six Distant

The name of the technique of landscape painting. See "San Yuan".

◇Seven Views

Name of landscape painting techniques. Divided into: step by step; face to face; big to see small (push far to see); small to see big (pull close to see); dedicated to see; to take the shifted view; together with the "six far". The "seven views" are interrelated and can be emphasized in the performance. Ancient paintings such as the Northern Song Dynasty Wang Ximeng "thousands of miles of rivers and mountains", Zhang Zeduan "Qingming Shanghe Tu", Yuan Huang Gongwang "Dwelling in the Fuchun Mountains", Wang Meng "Qing Bian seclusion," etc., can be analyzed by using this method. See "three far".

◇Collecting

The name of a Chinese painting technique. Specifically refers to the landscape painting composition, stone placement of the size, gathering and dispersion, more or less, sparse and dense, must be carefully considered, appropriate and appropriate. Gong Xian of the Qing dynasty said: stone must be a series of several blocks, between the stone small stone, but must contact, the face should be one; that is, not all the time, but also suitable for the size of the Guanpang." Tang Dai said: "Stone size must be gathered. There are flat big, there are pointed craggy, horizontal and vertical, the body style can not be the same, or Saga and flute layer, or simple and pale moist, or near the shore and explore the water, or soak the water and half exposed. Crushed stones in the sand, all have the meaning of rolling and flowing."

◇Small Scene

Chinese painting term. Different from miniatures, it is one of the schools of landscape painting. Started in the early Northern Song Dynasty, Huichong, the so-called "Huichong small landscape". Shen Kuo "painting song" also has "small landscape Huichong smoke desert" sentence, Guo Ruoxu explanation: "cold, distant islets, panic spilling the image of emptiness". Huang Tingjian also said: "the intention of the rate of deserted far away". This is a small scene style. Huichong poetry name than painting name, half a century after his death, its "small scene" Fang got Wang Anshi attention, said: "painting history has been counted, Huichong late my most." Between Xining and Yuanyou (1068-1093), those who excelled in small landscapes, such as Zhao Rang, Chao Zhuozhi, Ma Ben, Zhou Zeng, etc., can be said to be Huichong's successors. But soon for the Song Huizong Zhao Ji's Royal Academy of Painting rejected, placed small scenes in the ink bamboo category, Zhao Ling Rang disparaged as "outside the capital of the slopes of the Baka Tingzhu scenery, not enough to compare with the heavy mountains and steep ranges". However, the small scene has its own unique interest.

◇Shan Shui Lin Shi

Terms of landscape painting. The ancients said that thousands of rocks and gullies, rocks and forests, all landscapes. Traditionally, the former is referred to as "landscape"; the latter is called "forest and stone". Ming Dynasty Li Rihua said: "Ancient forests and trees are stone, this line with the landscape, landscape landscape landscape mood deep back and forth, prepared for a moment of meteorology, and the forest and stone is a grassy pen, see the loss of supine and gather scattered calendar fall of the cause only. Li yingqiu (into) special wonderful landscape, and forest and stone more create subtlety, ni yu (zan) source of yingqiu, so the work of the leisurely, cover the forest and wood arena stone school also."

◇Bone-less

Name of Chinese painting technique. It does not use the ink brush as the bone, and directly depicts the object with color. It is said to have been created by Zhang Xingyao of Liang in the Southern Dynasty, and Yang Sheng of the Tang Dynasty excelled in this painting method, using green, green, vermilion, ochre, white powder and other colors to pile up the landscape paintings of hills, gullies, trees and rocks, which is known as "Boneless Landscape". In the Ming Dynasty, Dong Qichang and Lan Ying imitated this technique. In the Fifth Dynasty, Huang Tsuen painted flowers with fine hooks and almost invisible brushstrokes after coloring, which gave rise to the name of "boneless flowers and branches". In the Northern Song Dynasty, Xu Chongshi followed Huang's example and painted flowers without ink lines and hooks, using only color, known as "boneless drawings"; later people called this painting method "boneless method." In the Qing Dynasty, Tang Yuguang and Yun Shouping imitated this method.