How to make Nanyang pyrography?

Pyrography, also known as pyrography and fire painting, burns a brand on an object with a hot soldering iron. While grasping the temperature and intensity, pyrography creation pays attention to "writing first, putting pen to paper to form". Pyrography not only has the techniques of hooking, painting, dyeing, rubbing and tracing in Chinese painting, but also can burn out rich levels and colors, with a strong three-dimensional sense, which is similar to brown sketch and lithograph. Therefore, pyrography can not only maintain the national style of traditional painting in China, but also achieve the rigorous realistic effect of western painting. It has a unique artistic charm, which gives people a simple and elegant artistic enjoyment with endless aftertaste.

Hulu homophonic "Fulu" is regarded as a mascot in China, and it has the reputation of "Bao Hulu" in ancient times. This is a popular form for people to write poems and draw pictures on mascots. The ingenious conception of pyrography on gourd not only increases its artistic value, but also improves the difficulty of pyrography creation, which is even more unique. It also highlights its simple and elegant, solemn and elegant characteristics. Gourd pyrography can be described as a wonderful flower in the art hall.

Pyrography has a long tradition in Yuzhou, and the famous pyrography artist is Lian Jie Jing.

Pyrography, known as "fire needle embroidery" in ancient times, is a very precious and rare painting in ancient China. According to historical records, pyrography originated in the Western Han Dynasty and flourished in the Eastern Han Dynasty. It was once lost after years of famine and war. It was not until the third year of Guangxu that it was rediscovered by a folk artist named Zhaoxing. After that, several major factions represented by Henan and Hebei gradually formed.

Pyrography used to be limited to painting on wooden materials, such as boards, bark and gourds. Uneven texture changes naturally appear on the screen, which has a certain relief effect, and the color is dark, light brown or even black. Pyrography is a kind of craft painting made by branding fan bones, combs, wooden furniture and paper silk with a special iron pen. Modern bold use of materials such as rice paper and silk enriches the artistic form of pyrography. Produced in Henan, Guangdong, Zhejiang, Jiangsu, Anhui and other places.

Historical evolution of pyrography

Nanyang, formerly known as Wan, is a famous historical and cultural city in China. More than 5000 years ago, our ancestors created an ancient civilization here. Since then, it has become the hinterland of Xia people, the southern commercial port and the hometown of Zhou Helu. Wan Yi was built in the Spring and Autumn Period, and now it has become an iron smelting center and one of the five major cities in China. Qin is located in Nanyang county. Liu Xiu, Emperor Guangwu of Han Dynasty, made his fortune in Nanyang and became the capital of Luoyang, which has the reputation of "Southern Capital" and "Emperor's Township" in history. Historically, Nanyang was ruled by the county, with "Jingxiang in the south and Ruluo in the north" and "business all over the world, rich in the sea". Thus, it laid a deep material foundation for the emergence and development of pyrography art. Pyrography, also known as pyrography, pyrography and "fire needle embroidery", is to sketch, bake and paint on bamboo, rice paper, silk and other materials by using carbonization principle and temperature control skills, and to skillfully and naturally integrate various expression techniques of painting art with pyrography art to form its own artistic style.

According to legend, pyrography originated in the Qin Dynasty, but there is no evidence and historical data. According to folklore, it began in the late Western Han Dynasty and has a history of more than 2,000 years. According to legend, there was a pyrography craftsman named Li in Nanyang at that time. He is a famous master of pyrography. Whether it is a ruler, chopsticks, walking sticks or fan pendants, all kinds of figures, flowers and birds, landscapes and animals are lifelike, lifelike and exquisite, and they are called the king of pyrography. He is honest and kind. He has opened a facade in the city and is very famous in Fiona Fang. Legend has it that "Wang Mang drove Liu Xiu out" (Nanyang folklore), Wen Li once saved Liu Xiu and gave him a burnt gourd for travelling expenses. Liu Xiu was not grateful. After all the hardships, he never sold the burnt gourd. In AD 25, after Liu Xiu proclaimed himself emperor, he still did not forget King Gao Hua's saving his life. After visiting him, he announced that he would go to Beijing, gave him 1,200 silver, named him "Wang Kaohua", and listed Nanyang Kaohua as a tribute of the court. Since then, Nanyang Pyrola has flourished and become famous all over the world. The story of "Pyrola King" has also been passed down to this day. There are many stories and folklore about the origin of Nanyang pyrography, and here is just one of them.

According to records, in the third year of Guangxu in Qing Dynasty (AD 1877), Zhao Xingsan, a native of Nanyang who was good at painting, became interested in painting once after smoking opium. After a long time, he used a red-hot cigarette stick to make a ghostwriting on a cigarette stick, which was overjoyed. Then he performed art on other wooden toys, all of which were very successful. He devoted himself to research, and over time, he grinded out a set of pyrography one by one. His pyrography works gradually became the best gift among dignitaries, and even entered the Qing Palace as a tribute to Nanyang. Some top-grade pyrography is favored by the royal family. Later, Zhao Xingsan accepted four apprentices. Li Fanzhi, a great apprentice, can write and draw, master all kinds of colors and skills, and specialize in characters; Qiu Yiting, the second disciple, is good at Bo Gu; Yang Diankui, the third disciple, specializes in flowers and birds; Zhang Xifan, the four disciples, is the only one.

In the 1920s, pyrography has formed a special handicraft industry, and pyrography has also become a well-known folk art in Nanyang. At that time, there were six or seven shops specializing in pyrography in Nanyang, among which "Fujuheng" chopsticks shop in Fang Yutang was the most famous, and four disciples of Zhao Xingsan became the pillars of "Fujuheng". Fujuheng's business is booming, and its products are well-known at home and abroad and exported to Beijing, Xi, Tianjin, Kaifeng and other places. By the early 1940s, Fujuheng alone had more than 30 shop assistants and artists, which had begun to take shape.

After liberation, the party and the government attached great importance to the excavation, arrangement and development of this traditional folk art, organized pyrography artists scattered all over Nanyang, and successively established mutual aid groups and cooperatives. Under the correct leadership of the party and the government, pyrography artists continue to inherit and carry forward the excellent traditions of their predecessors, and constantly innovate and improve their own techniques and tools, thus pushing pyrography art to a broader development path.

New development of pyrography art

Most of the early pyrography works used the combination of traditional Chinese painting and folk painting. Through continuous exploration and practice, artists boldly tried to absorb the expression techniques of western painting and achieved ideal results. The posture, tools, materials, techniques and contents of pyrography have all developed.

First, the welding posture

In the past, pyrography artists smoked a lot, so they used smoke lamps to heat their beds over there for pyrography, which was called "lying pyrography". This method can only pyrography some small handicrafts, and it is not easy to master, which limits the development of pyrography art to some extent. In the1940s, the pen was supported by the pen container, forming the technique of "sitting over", which was flexible and easy to learn. It has opened up a new world for the research and development of pyrography art.

Second, the welding tools

Pyrography artists first used iron needles as tools to bake pictures on oil lamps, which were mainly used for decoration of small daily necessities such as chopsticks, rulers and wooden combs. Later, the production technology and tools were constantly reformed, from "oil lamp branding" to "electric branding" or even "laser branding", and the single branding needle or soldering iron was changed into large, medium and small models of special electric branding pens. The more advanced electric marking pen can adjust the temperature at will, and is equipped with a variety of special pens, thus making this ancient creative way have an unprecedented performance.

Third, baking materials

Previously, painting was limited to wood, bark, gourd and other materials, and uneven texture changes naturally appeared on the screen, which had a certain relief effect, and the color was dark, light brown or even black. Now we boldly use materials such as rice paper and silk, thus enriching the artistic form of pyrography. Early gourds and bamboo materials were hard and thick, so branding was easier to control. Xuan paper and silk are thinner, but they do not lose the change of depth, shade and realism caused by the different carbonization degree of pyrography itself. If the temperature is too high and the technique is too heavy, paper and silk will zoom; The temperature is too low to be branded. Moreover, it is necessary to re-create the art according to the content of the picture, so that the rice paper pyrography can become a fine product in Nanyang pyrography.

Fourth, baking technology.

Brand technology has also developed retouching, hot engraving, fine drawing, baking and rendering. Pyrography works are generally dark, light brown, elegant, clear and beautiful, and its unique uneven texture changes have a certain relief effect and are unique. After rendering and coloring, it can produce stronger artistic appeal. In addition, there are "color matching pyrography" and "color filling pyrography", which make the traditional pyrography art icing on the cake. Therefore, according to different creative themes, we can adopt different techniques, add color considerations, or slightly apply light colors to form a fresh and elegant style; Or heavy color filling, forming a strong decorative effect.

Verb (abbreviation of verb) expression

The forms of expression are more diverse, from beads with a diameter of less than one centimeter to long scrolls with a diameter of several meters or even tens of meters, and then to large-scale hall murals, such as Riverside Scene at Qingming Festival, Grand View Garden Atlas, Wan Li Great Wall and so on. The works can fully reflect the traditional Chinese painting, meticulous brushwork and freehand brushwork, as well as the styles of portraits, New Year pictures, calligraphy, oil paintings and abstract paintings.

Sixth, pyrography theme

The contents of the works are constantly enriched and innovated on the basis of trying to inherit the traditional colors, mostly classical novels, fairy tales, auspicious patterns, landscapes and so on. The pattern is fresh, beautiful and generous, and will never fade.

Artistic achievements of pyrography

It not only inherits Chinese painting, but also develops it.

Essentially, pyrography and traditional Chinese painting are both paintings. Regarding the definition of painting, I think we should grasp it from two aspects: 1, the artist's artistic accomplishment, including the ability to understand and express the feelings of beauty. 2. Selection and application of tools and materials.

1. Chinese painting is a traditional form of painting in China. Its definition is basically two silk paintings unearthed from the Chu Tomb in Changsha, Hunan Province during the Warring States Period, namely, Silk Painting of People with Dragon and Phoenix and Silk Painting of People with Dragon. After more than 2,000 years of history, it has gradually developed and matured. From figure painting to landscape painting, flower-and-bird painting and pommel horse painting, each painting has its own evolution, development process and characteristics. Pyrography is a kind of folk art, and the inheritance is basically passed on to the disciples through the dictation of the pyrograph master. It is a kind of family workshop art, so there is no clear historical record about the origin, genre, style inheritance and changing characteristics of pyrography art, but it can be said to be another form of Chinese painting from the perspective of the genre style characteristics of contemporary pyrography art.

Both Chinese painting and pyrography require artists to have high artistic accomplishment and the ability to feel and recognize beauty. Of course, the "beauty" mentioned here is from the painting level. For example, Guo, a landscape painter and painting theorist in the mid-Northern Song Dynasty, wrote in Lin Zhi Ji that the four-season change of landscape is "Spring Mountain smiles lightly, Summer Mountain drops green, Autumn Mountain is bright and clean, and Winter Mountain sleeps bleak", which is still told by people today. When we look at contemporary pyrography, there are also many artistic works with strong aesthetic feeling, but most pyrography works do not leave the artist's name, only the names of the works, such as wealth and good fortune, national beauty and fragrance, bamboo news and peace. Some works are copied or created according to literary stories, such as Riverside Scene at Qingming Festival, Twelve Women in the Red Chamber, and Grand View Garden Atlas. The theme of pyrography is very popular among the people, and the name is easy to understand. All people engaged in painting should study the laws of beauty and conduct strict and continuous training on the skills of expressing beauty. Pyrography artist Zhao Xing San was good at painting, and his four apprentices also wrote and painted, each with his own specialties. Li Fanzhi, a great disciple, has vivid images of chopsticks, such as the ancient philosophers, the seven swords and thirteen chivalrous men, the eight immortals in the upper, middle and lower levels, Guan Ye's robe and the characters in the West Chamber. Therefore, pyrography art and Chinese painting art are in the same strain.

2. From the tools and materials of performing arts, pyrography is the innovation and development of Chinese painting.

The tools and materials of Chinese painting are brush, ink, rice paper or silk, and Chinese painting pigments. China painters should master the characteristics of various tools and materials, dip their pens in ink to hook, scratch, dot, dye and wipe rice paper or silk, and at the same time, control the shade, weight and change of ink, and whether the works are colored. The tools and materials for pyrography are pyrography (or iron string, fire pen), bamboo, rice paper or silk. Some still use Chinese painting pigments. Pyrographers should also master the characteristics of various tools and materials and use temperature control skills to sketch and bake on bamboo, rice paper, silk and other materials. Comparing the two, we found that the pyrography replaced the brush of traditional Chinese painting with a branding pen, and expanded the materials of performing arts from rice paper and silk to bamboo, wood, gourd, shells and other materials. Because the brand pen is a special tool, the materials of performing arts are more extensive.

Different artistic effects can be achieved by firing on different materials. Twelve Women in Jinling is a classic of Nanyang pyrography, which reflects the story of the characters in the classic Dream of Red Mansions. Although the characters are the same, baking on different materials has different charm. The "Twelve Hairpins" roasted on bamboo and wood are less charming and more generous. The "Twelve Hairpins" on silk reduce the heroism, but add a lot of aristocratic charm; Baking rice paper is the most difficult, but it can be somewhere in between. Therefore, pyrography art further enriches and develops Chinese painting.

Secondly, Nanyang pyrography is an art that appeals to both refined and popular tastes.

Pyrography is a kind of folk art, which is rooted in the people and condenses the wisdom of working people. Its painter is a farmer who can write and draw knowledge, so pyrography itself is loved by farmers and elites. In the early days of liberation, Nanyang pyrography was mainly developed with pyrography chopsticks, which is an essential tool for orientals to eat. Wooden pyrography chopsticks are made of holly medicinal wood, with excellent texture, exquisite craftsmanship, cold nature and white color. After soaking in sesame oil, it is milky yellow and fragrant, which is helpful for health preservation. On the surface of square chopsticks, the pictures drawn by craftsmen are elegant and exquisite, which can be appreciated, so they become collectors' favorite. Contemporary pyrography developed to silk and rice paper, forming works of art similar to traditional Chinese painting. These themes are deeply loved by people, because the intervention of the tool of fire pen adds an ancient and elegant bearing to the picture. According to the legend of the origin of pyrography, it was once a royal product of the imperial court. Today, pyrography has become an elegant artistic appreciation and a gift from international friends, and is loved by people all over the world.

Basic skills of pyrography

Composition: In the long-term development and evolution, pyrography has established many composition rules that meet its own aesthetic requirements. In composition, there is a general description of the "five-character method", in which the word "Zhi" is pushing the left and letting the right, the word "A" is emphasizing, the word "You" is emphasizing the up and down, the word "Ze" is left and right, and the word "Xu" is left and right. All kinds of laws make us have a clear thinking direction when studying and studying pyrography composition.

Layout: pyrography pays great attention to layout, that is, the so-called "look at its potential from a distance and look at its quality closely." Although some paintings are superb in technology, they look chaotic precisely because they don't have a good grasp of "potential". For example, the scattered coral branches in Wu Changshuo, the main branches and leaves constitute a big trend, and the drooping branchlets alone constitute a small trend. The more local images in the painting, the more complicated the situation, the more difficult it is to control, and the more important it becomes. The existing forms of potential can be divided into horizontal potential, vertical potential, bending potential, oblique potential, group potential and radiation potential.

Subject and object: the composition of the picture should have subject and object, and can't pretend to be the master. It is necessary to build a composition center, so as to achieve the effect of fully expressing the subject. The commonly used methods are topic first, topic middle, topic big and so on.

Trade-off: too much image material will complicate the picture, add superfluous words and weaken the theme; Too little is not enough to explain the theme. The choice is relative. How much to take, how much to give up, what to take and what to give up should be analyzed according to the painting style and the painter's personality. There are no hard and fast rules. Here, combined with specific illustrations, Kai Liang's "Taibai Yinhang Map" is illustrated. In this composition, except for the main characters, there is no other object to echo or explain, which strengthens Li Bai's personality and romantic feelings of being proud of the world and the powerful. At this time, it seems that there is no need to add anything. It is enough to express the theme incisively and vividly with abstract blur and "line".

Density: density is cohesion, which is the concentration of objects and lines in the picture; Sparse is the opposite. The composition of a painting, the arrangement of various objects and the lines drawn should be dense. Thereby producing rhythmic and elastic artistic effects. In the picture, Deng vividly describes the relationship between "sparseness" and "density". For example, the characters in Xu Beihong's Tagore have loose lines and are called "sparse"; The background is set off by dense branches and leaves, which is called "dense". Improper thinning will make the picture messy, slack and lifeless; Improper "secrets" will make the picture dull, dull and dull. Either it is dense and sparse; Or be dense and sparse. Whether it is the former or the latter, the key is to dare and be good at "sparse" and "secret". Sparse depends on the arrangement of dense, and dense depends on the foil of sparse. It is necessary to emphasize the gap between the two and form a strong contrast between density and density, so that the picture will come alive.

Reality: when space is gone, the picture will feel the space, thin and powerless, and it must be full of reality; If it is too real, it will cause the picture to be dignified and blocked, and it is difficult to have a chance to breathe. Empty space is needed to adjust the buffer. We should regard the weak as virtual and the strong as real. Sparse is empty, dense is real. Those who move are empty, and those who are quiet are real. Light is empty, heavy is true. The second one is empty, and the main one is real. White is empty and black is real. Pan Tianshou said: "In China, black and white are the main colors of painting, including painting, black, no painting and white. White is empty and black is real. The connection between reality and reality is that there are also gaps. " Far is empty, near is true. What is less is imaginary, and what is more is real.

Opening and closing: The composition of a painting is often "opening and closing". The so-called opening and closing is also called "opening and closing". "On" means the beginning and "Off" means the end. The opening and closing of the screen is a contradictory unity, just like using a pen, starting the pen is open and closing the pen; The picture cannot be opened or closed. For example, Qi Baishi's squirrel grapes spread from top to bottom, which determines the beginning and direction of the picture. This pen is open; The vines tilt slightly upward from the bottom, which feels like harvesting. A squirrel is more like a full stop at the end, which stops the trend of the picture and is called ending. There is a big opening and closing throughout the whole picture, and there are also several small openings and closing. Small opening and closing should obey the direction of large opening and closing, and play a role in enriching the picture composition. If there is a possibility of opening, there must be a possibility of closing. Only when the opening and closing are handled well can the picture be complete.

Blank: Blank doesn't mean "nothing" here, but the same shape, line and color, which constitute a special organic part of the picture. As the saying goes, "pen can't reach, heart can't reach." Almost all traditional gourd pyrography has left a blank. Deng Qing Shi Ru said: "Calligraphy and painting can be carried out in sparse places, but it is not ventilated in dense places. Black is always white, and I am curious. " For example, in Du Qian's "Landscape of People" album, the blank around the boat represents water. The "blank" in the picture can only be associated with "water", and it is impossible to cause any other image association except water. Gourd pyrography has a rich understanding of blank. Generally, there are the following ways of existence: places representing heaven and earth. For example, the autumn fan map of Tang Yin. Where there are clouds and streams, for example, Fan Kuan's Journey to the Western Hills. In a dense place. For example, in Yuanji's Journey to Huayang Mountain, there are looming gaps in the dense area of turquoise jungle, which makes the picture alternate with reality, breathable and smart. Around the theme. For example, in Lang Shining's Map of Song He, the white crane as the main body of the picture and the pine needles on the upper part are left blank to highlight the main body. Don't draw the background. For example, Poems on Taibai. The demand for formal beauty. For example, in Dong Qichang's Eight Scenes of Autumn, the author consciously uses blank space to squeeze out the linear body, forming a horizontal trend in vertical composition and pushing it away layer by layer, forming a lofty artistic conception of light, beautiful and elegant.

Contrast: Almost all elements on the screen are related to contrast, so pay attention to their changes in size, length, distance, height, rigidity, movement, light and shade, straightness and so on. The performance of contrast in composition: density contrast, such as Ren Xiong's "Flower Atlas", the large mosaic in the upper left corner, the restraint of the picture, a "leading" bird, density arrangement. The contrast between reality and reality, such as Fan Hui's distant view of the western hills. The contrast between gathering and scattering, such as Qi Baishi's Loofah Frog, shows that the loofah, vines and leaves at the top of the picture gather together, and the frogs at the bottom are scattered, which makes the picture rich and diverse. Size contrast, such as Guo Xu's "Cow's Back Flute Map", one cow and one child, one big and one small, forms a sharp image contrast. High and low contrast, such as Qi Baishi's "Fruit of Three Thousand Years", two big peaches, one high and one low, are scattered. If you put Xiantao flat, the picture will lose its rhythm. Color contrast, such as non-dark "Magnolia", is milky white Magnolia on a purple-dark blue background, plus two orange warblers. Strong color contrast makes the picture bright, lively and full of vitality. Dynamic and static contrast, such as Li Di's "Chickens to be Fed", two chicks are waiting to be fed, one is waiting, the other is lifted and turned around, a little fidgety, and the combination of dynamic and static is full of fun. The contrast between straightness and straightness, such as Qi Baishi's "Singing Birds", shows that the thick pine trunk is straight and the tiny pine branches are bent, which breaks the straightness of the trunk and makes the picture vivid and natural. Image contrast, such as Li's Wind Bamboo Map, in which bamboo leaves are points, bamboo poles are lines and stones are faces, and the combination of points, lines and faces increases the diversity of images.

Balance: Balance in plastic arts is to use different components of plastic factors such as shape, color and structure to achieve the balance of power on the screen, so as to achieve solemn, rigorous, peaceful and perfect artistic effects. There are many ways to achieve picture balance, such as using the properties of objects. Compared with inanimate objects, creatures are heavier and lighter. In composition, this property can be used to achieve picture balance. For example, in Gao's "The Bat Against the Wind", all the scenery in the picture-branches, moon shadows and artists' inscriptions are concentrated on the right, and there is only a bat in the upper left corner, but the picture still achieves a balanced effect. Use the specific gravity of color. When one side of the picture is rich in color and concentrated, it should echo the corresponding opposite direction. For example, in Qi Baishi's "Lotus Dragonfly Map", a little broken red of the seal in the lower right corner echoes the lotus flower in the upper left corner. Take advantage of the situation. When the trend of the main force in the picture is biased to one side, it can be pulled back by the trend of the auxiliary force to achieve equilibrium. Use movement and visual directions. For example, in Xu Beihong's Running Horse, the horse runs to the left. Due to the inertia of the motion direction, it is necessary to leave a certain space visually to maintain the balance of the picture. Use the size and complexity of the object. For example, Zhang Daqian's flowers and birds, large and complex objects in the picture, arranged on the left, and a bird and several bright red leaves on the right, are of different sizes, simple and elegant, which makes the composition rich and diverse.

Color: the use of color should be considered from the following aspects: color harmony. For example, Ren Yi's "The Shadow of Birds Singing" is simple and soft in color and subtle in contrast. Contrast of colors. Colors can be divided into cold and warm, bright and dark, dynamic and static, and flexible. Generally speaking, cool colors are static and convergent, while warm colors are the opposite. For example, Wu Changshuo's "Tianzhu Narcissus Map", with red Tianzhu flowers above and green daffodils below, makes the picture colorful and dynamic. The distribution of colors. The colors should echo. For example, in Wu Changshuo's Flowers, there are two yellow flowers in the lower right corner, which are large and rich in color blocks. There are some faint yellow dots scattered in the flower core of the daffodil above, which echoes from a distance and makes the color structure of the picture stable. The relationship between primary colors and secondary colors. For example, Qi Baishi's "Lotus Dragonfly Map" is dominated by ink and wash, with a slight bonus and a clean color layout. Ink color. The color of gourd pyrography consists of two elements: one is color, and the other is ink color. The ancients said, "Ink is divided into five colors." For example, Li's "The Catfish Map" is dominated by ink and wash, with distinct shades, interesting and expressive.

Background: The following problems should be paid attention to when dealing with the background: The material selection should meet the needs of the theme. Background is a supplementary part of the theme content, and it must be something that helps to create a typical meaning, a typical environment, and can best explain and extend the theme of the picture. Improper selection of materials will weaken the ideological content of the theme. Background information should be refined and purified in use, not as much as possible. Don't move all the material related to the theme into the picture. The layout should be reasonable. The background is usually arranged behind the main body of the picture. In specific use, the selected scenes will also extend to the left and right when connected with the main body, and even interweave with each other. At this time, we must pay attention to the primary and secondary relationship in the picture structure. For example, in Qi Baishi's Frog Rings Ten Miles Out of the Mountain Spring, tadpoles are small, but they are very eye-catching in the surrounding environment. Attention should be paid to the contrast between background and subject in painting, such as color contrast, black and white contrast, strong and weak contrast, virtual and real contrast, complex and simple contrast and so on. Pay attention to the subordinate position of the background in the picture, aiming at setting off the main body. For example, in Xu Beihong's Four Happiness Pictures, the background is willow branches swaying in the wind, which sets off the scene of magpies playing. Set it off with color. As the saying goes, "Red flowers must match green leaves." Against the green leaves, the flowers are more beautiful and redder. But the green leaves here are the background color of safflower after all, which has value and aesthetics because it sets off the main body. Background can be divided into two categories: one is the background with images and the other is the background without images. The so-called image background means that the picture space outside the main body is composed of concrete objects. The objects in the background can be people, animals and plants, or landscapes, which form an organic whole with the main body in the picture. A background without an image is the opposite of a background with an image. There is no specific image in the picture space outside the main picture, or the color is painted very flat, or it is all black and white, or it is set off by brush strokes and other abstract effects. The above two methods can be used flexibly in creative practice. In a work, a part of the image background and a part of the non-image background are used to set off the main image, which can also achieve good artistic effect. For example, Pan Tianshou's Orchid Map sets off orchids with rocks and moss spots, with an elephant background; The blank area outside the rocks and orchids is a background without elephants.

Material selection: Gourd pyrography is created with various gourds. Generally, the light-colored gourd without shadow is better. Gourd is delicate because of its white color, and its texture is not obvious. Suitable for brand promotion of various themes. In reality, defective gourds are generally the first choice for pyrography, and the defects on gourds are covered up by pyrography. The effect of gourd pyrography is different. You can choose the gourd quality needed for landscape and flower-and-bird painting according to your personal hobbies, habits and subject needs. Generally, the requirements are not strict, and all kinds of gourds can be used. When doing brand promotion for portraits or works with certain themes, we should carefully choose the right gourd. If you show a portrait of a person with a thicker skin color, you can choose a gourd with a slightly thicker texture and a calm tone; Gourd with fine texture and white color can be used to represent portraits of young women or children. For a painting with sketch effect, the gourd selected should be of good quality, and the gourd with no scar and the same color is the best.

Rubbing: For gourd pyrography lovers without a certain foundation, rubbing is the best way for them to make gourd pyrography manuscripts. You can print the selected pattern on paper, stick the carbon paper behind the pattern with glue, stick the prepared rubbings on the gourd that needs pyrography with adhesive tape, and draw the pattern with a pen, and the selected pattern will be easily copied to the gourd. It is best to spread the manuscript on the gourd with old carbon paper. The new carbon paper not only pollutes the gourd, but also leaves dark marks, which are difficult to erase when the gourd pyrography, which will affect the picture effect. New carbon paper can be used by gently wiping off the surface color with soft paper, and then exposing it to the sun before use. Another method is to paint lead powder evenly on a white newspaper with a sketch pencil. It is ideal to use it instead of carbon paper. Drawing with charcoal and brown charcoal stick is faster. After painting, gently wipe it with soft paper and cloth, and the carbon powder will be firm and uniform. You can also directly coat the back of the manuscript with carbon powder, but don't paint it too deep to avoid spoiling the gourd. The marks printed on this kind of carbon paper can be easily erased with an eraser after being branded. Match the draft with the gourd and stick it with tape to prevent it from moving. Rub with a hard pencil along the outline and structure of the painting. There is no need to describe it in detail, just indicate the exact location of the outlet, and be careful not to miss anything.