Classification of China's Landscape Paintings

The word freehand brushwork, written with a pen, means creating an environment, not doodling. Nor is it the so-called literati who deliberately write in words in the study. Painting is naturally bookish, but the foundation is still the most important. If you don't start from copying and sketching, then you don't understand the structure of the pen, so it's six big mistakes. So I have to work hard. To copy the ancients, we should learn from his pen and ink and understand his painstaking ideas. You should know how you feel about things when sketching. When painting, tick off the realm you want to vomit with a thick pen and light ink. Rocks, trees, houses, bridges and layout are all consistent. Then, with Jiao Mo's thirsty pen, separate the tree from the stone first, and finally put the statue of the house. After sketching and wiping, repeated rendering with ink painting will definitely show yin and yang, back, height and distance. The nearby stones are a little thicker, while those in the distance are lighter. There are endless twists and turns in the creation of the environment, so it is advisable for characters to use less pens. The simpler the better. The ancients said, "People far away have no eyes." If you want to be accompanied by care, you may wish to nod your head and not be persistent. The branches near the roots should be clear, and the branches far away should be slaughtered. There is no need to look at the branches. Great freehand brushwork was initiated by four schools in the Yuan Dynasty. By the end of the Ming Dynasty and the beginning of the Qing Dynasty, the changes of the four eminent monks Xi Shi, Jian Jiang, Shi Tao and the Eighth National Congress had always overshadowed their predecessors. Jian Jiang in the Eight Bamboo Slips used a pen to express his characteristics, while Xi Shi and Shi Tao used artistic conception to express his characteristics. As for Shi Tao, he is particularly remarkable. When talking about the Huangshan Mountain he painted himself, he said: "There is no need to designate a place to give Huangshan Mountain its temperament. He also said, "What you see in your eyes when you go out is a sketch." And he said, "Those who use light ink to draw bald pens are all half-dry. Write an empty hook straight on the paper, like insects eating leaves, and then add it again with Jiao Mo. When you see the yin and yang points, write a tree. It's best to pass a cone through with a pen. " This simple sentence simply tells the secret that the painter has not passed on.

2. Light crimson

Pale crimson scenery, mostly used in autumn scenery. It was founded in Huangdachi, and later Nanzong took it as the standard, with ochre as the main body and painted some flowers on the tree. The pale crimson color is not only used to express the autumn scenery, but also applies to all Rocky Mountains, such as painting Huangshan Mountain. In Chinese painting, light and color are used separately. Where color is the main body, it is expressed by color, regardless of light. So as long as you say a faint word of crimson, you can show the season of the mountain. The painting method of light crimson painting is still the same as that of ink and wash landscape. Draw thick with light ink first, then wipe it with deep ink and layer it. When it dries, it is colored. On the landscape, from shallow to deep rendering several times, wait until it is completely dry, and then wipe the outline with Jiao Mo's thirsty pen. The tree is covered with moss, so it is most important to take out the faint light blue or juice green one by one and wake it up with ochre in sunny places. The house is represented by light ink or light cyan, and the ochre represents adobe and straw houses.

Step 3 spill ink

The so-called landscape is the landscape of western painting and photography. The landscape of Chinese painting is the most important, but it also needs pen and ink assistance. There is a realm, but there is no pen and ink, or there is pen and ink, but there is no realm, and it will not work. Its structure and location must be particularly emphasized, such as painting temples. These places should not be like other people's houses, as if they were talking about Feng Shui. This statement, we should look at ancient monuments, as well as famous mountains and rivers, places of interest, and we will naturally understand it. If you draw a picture, it is mainly about people who live there. It is like a graveyard. Such a painting, hanging on nave, is it comfortable for others to look at? Can it still be charming? On painting, Guo Heyang should be able to observe, swim and live. What he said is that when people look at this painting, they will be interested, and they will look at it again and linger. The second step is to play, and the third step is to figure out how to move to live in such a good place! This kind of scenery is enough. Some people say that China's landscape paintings are flat and the trees seem to be sawed from the middle, which is absolutely incorrect. Since the Tang and Song Dynasties, there have been schools of literati painting, which are inevitably centered on pen and ink, but relatively neglected in painting theory. If we carefully observe the works of famous artists in Tang and Song Dynasties, we can see that the paintings are rigorous, and it is clear that it is rainy and sunny. Dong Yuan painted a tree with branches all around. The rocks look like sunset. Share weal and woe, draw a bunch of trees, one branch is nothing, is it flat? Painting landscapes must be practical. Look at the famous mountains and rivers, the strange peaks and steep cliffs, the steep peaks and flat slopes, the misty clouds, the waterfalls and the ever-changing world view. You can't reach the nib without seeing it with your own eyes. I have seen it in my eyes, and I will naturally have it in my chest. When I shake my pen, I will naturally run under your wrist together.

Painting mountains is the most important method. The ancients had various names, but they only realized it from the mountains and rivers they saw. What kind of method should be used to transmit words, what shape, so it is called XXX, and it is not forced to use this method. For example, Beiyuan is pushed by a horse, because there are more mountains and soil than stones in the south of the Yangtze River, and because the paintings are lush, this method is suitable. If Fan Hua originally painted mountains and rivers in the north, the royal family in the Taihang Mountains, with more stones and less soil, high terrain and less grass and moss, it is naturally suitable to use such techniques as pulling out mud nails, rain hitting the wall and ghost face. What is it like to set up two public schools and transform them into each other? So what I mean is that there is no need to stick to the method of landscape painting, as long as it suits a certain kind, use a certain kind of painting. The ancients listed several methods, such as lotus leaf, axe, horse, mud nail, Yun Toucun, folding belt, ghost face, Niu Maocun and horse teeth.

4. meticulous brushwork

Fine brushwork, that is, fine brushwork, ink painting, light crimson, turquoise, jade and boundary painting, are all included. Fine brushwork is no better than freehand brushwork. You must first make a manuscript, stick it on the wall, observe the deletion, distance and layout, and then hook the manuscript on the reverse side with willow charcoal line by line and pat it on paper silk. Pay special attention to the characters in the pavilion. Pavilions and pavilions should be transformed evenly, characters should be vivid and clothes should be fluttering. Draw the outline with light ink first, and then brush it out for rendering. The main points of drawing a tree are related. There are one or two turquoise leaves in the light crimson, or a mangrove tree, which is more interesting. You can't see the more obvious the color of a tree with leaves. Turquoise needs a solid foundation, so there is no need to polish it. Rocks are made of stone green. Take ochre as the bottom and add stone green for two or three times. It's better to be thinner, because it's too thick and dull. If azurite is used, use azurite to fill ochre once, and then add azurite two or three times. You can't use cyanine juice as the base material, because neither is clear. After the green is completed, outline the golden jade with the outline of the stone, then hook it with mud gold one by one, and the stone feet can also be lined with mud gold. Green or golden green landscape, water is suitable for color, and water is more suitable for rippling. There are many kinds of ancient paintings of water, among which mesh towel and fish scale are more suitable. The ancients said that "there is no wave in the far water", which means that you can't see clearly in a far place, so the farther you are, the lighter you are. Painting leaves a white line on the shore, which looks particularly spiritual. Painting should have charm, once it stagnates, it will not be rewarded in prison. The key point here is not only to make the picture clear, but also to be flexible and vivid in the use of color and water. Pay special attention to the bonding of kyanite, azurite and clay gold.