One is the image, which is expressed with the help of pen and ink under the grasp and guidance of the painter, which not only embodies the objective and natural beauty, but also reveals the painter's psychological world.
People who are good at painting pay attention to the freehand brushwork of their works and don't stick to form. Form is only the carrier of "meaning", as long as the purpose of "meaning" is achieved. Therefore, the abstraction, concreteness, simplicity and complexity of the form should be decided according to the spirit and artistic conception that the painter wants to express. Gu Kaizhi's viewpoint of "having both form and spirit" and "writing spirit with form" is a supplement and deepening of "preserving form", which requires not only drawing an image, but also drawing an air. The concept of painting in this period is still paying equal attention to form and spirit. Later, Sheikh's "Six Laws Theory" went further, emphasizing that painting should be "vivid", which laid a higher theoretical foundation for the development of meticulous painting. However, due to the excessive absorption of foreign art "forms" and the lack of traditional skills and spiritual accomplishment of some painters, contemporary meticulous figure painting has lost its aesthetic direction and value-it is considered that meticulous figure painting is only a "fine" word in spirit and core, and its effect is "tired, stiff, dull and flat" because it is too "real". As a result, we lost our most important feelings of "poetic" country and the spiritual destination of "meaning".
Chinese painting, the pen is real, and the line is used. As the most basic modeling method, line not only describes the contour line, but also conveys the texture, quantity, movement and spiritual and emotional feelings of the object. For example, in landscape painting, axe chopping gives people a strong and tough feeling; Pima gives people a soft feeling and so on. The use of lines reflects the ability of China painters to generalize, refine and understand objective images, and their great creativity in controlling objects. This feeling was well reflected in Ren Bonian, a painter in Qing Dynasty. He inherited the pen and ink of literati painting and skillfully applied it to the creation of meticulous figure painting. Line writing is fluent and natural, and at the same time, it boldly absorbs western painting techniques, forming an artistic expression form of perfect combination of shape, line and color. Created a style of appealing to both refined and popular tastes, and broadened the creative ways of figure painting. His works are Chinese in form and content, and the treatment of the body structure absorbed by western paintings is just right without showing traces. Indeed, it provides great enlightenment to contemporary figure painters. The combination of Chinese and western cultures reflects the separation of Chinese and western cultures.
Secondly, in meticulous painting, the relationship between line and its modeling is mainly reflected in the communication between the character of line itself and the author.
The lyrical freehand brushwork of lines is due to the various changes of the painter's brush strokes, which makes the lines themselves have an ever-changing posture. On the one hand, the painter's personal feelings, interests and thoughts are injected into the process of brushwork, so that the lines in Chinese painting have obvious characteristics of the painter's personality, achieving lyricism, fluency and freehand brushwork, and then expressing the painter's aesthetic ideal, temperament, mind and personality. This is what the ancients called "painting as a person". On the other hand, colorful line forms can arouse the appreciator's association with the physical beauty of similar objects in various images in real life, making abstract lines an indirect and tortuous reflection of the physical beauty of real things, thus causing people to feel differently.
In the Tang Dynasty, Zhang Yanyuan put forward the proposition that "the shapes of bones and gods are all based on meaning and belong to the use of pens", which took meaning as the "basis" of using pens and emphasized the relationship between using pens and the design of meaning. Conception needs modeling, and modeling needs a pen, which has become the basis of Chinese painting. "Yi" contains extremely complex cultural connotations and is a complex reflection of the painter's subjective world, that is, various feelings, ideals, cultivation, temperament and so on. "Meaning" is subjective, but it is not purely subjective fiction. It is through the use of lines that China painters realized this kind of "lyrical freehand brushwork".
As a subjective world activity, "meaning" itself cannot be directly "written". The main point of intentional pen-making in Chinese painting lies in the use of qi to draw inspiration, that is, the so-called "meaning with qi" and "qi with strength" "Make an idea before writing" means that the painter has formed an idea before writing, and once the pen is written on paper, the intention is in the pen. It is under this modality that China painters often grasp their ever-changing emotional process, seize the sudden and fleeting creative inspiration, keep the freshness and continuity of creative impulse, and never lose the painting machine in one go. Meticulous figure painting is the best line.
Using Qi to transport the pen requires the painter to devote all his energy to the pen end, and writing can naturally generate power. This is the "pen power". China painters created various strokes with different shapes and charms in the process of intentionally writing first and using Qi to make the pen work. The change of brush strokes is also reflected in the change of brush strokes. The diversity of nature and human life provides the creative source of brush strokes for China painters. Because the temperament, self-restraint, emotion and thought that constitute the painter's "meaning" are different, the spirit that runs through the pen will be different. The use of qi makes the "qi" of the pen different, which also causes the diversity, complexity and variability of the "pen power" of the pen.
Wang Xizhi realized the elastic change of brushwork from the rotation of the goose neck, Zhang Xu realized the brushwork of weeds from watching Gong Sundaniang's sword dance, and Su Shi and Huang Tingjian realized the mystery of brushwork from rowing against the current and rowing the boatman respectively. When China painters use pens, they rely on luck. Their pens follow the trend of the air, and the painter's genius naturally overflows intentionally or unintentionally. The king of Qing Dynasty said: "God meets heart, and heart meets qi. If you can't, you can't stop it. I have no intention of seeking work and meaning, but work is outside the pen and ink. " In the process of painting, China painters often say that to get rid of distractions and maintain a relaxed and natural state of mind and body is to make the pen end auspicious, use the pen smoothly and see the power with the pen. The lines of meticulous figure painting are outlined in this state of mind, and the craftsman spirit is hard to appear. "Wu Cheng Feng" and "A Grass Out of Water". These are not only formal, but also the unity of artistic conception and mental state, which is actually freehand brushwork.
Third, the ink color treatment of Chinese painting mainly uses the skills of ink color change. Due to the different ink content in the pen, it changes from dry to wet and from thick to light.
Replacing color with ink has produced the theory that ink is divided into five colors and ink is divided into six colors. In the Qing Dynasty, Tang Dai said in "A Brief Introduction to Painting" that ink is divided into six colors. What is six colors? Black, white, dry, wet, thick and light. There is another cloud: "ink has six colors, which makes black and white indistinguishable, and there is no yin and yang light and shade;" Dry and wet, without green and beauty; Shade is indistinguishable, there is no bump and distance. "It shows that the richness of ink color changes in Chinese painting can be imagined.
For a long time, the history of ink painting as a mainstream painting has weakened people's sense of color. At the same time, the old saying that "ink painting is the most important in painting" still dominates our value evaluation of Chinese painting. We should abandon the concept that color is regarded as "pink spirit" and "artisan spirit", but actually understand the aesthetic value of color in Chinese painting, carry forward and utilize the traditional resources of Chinese painting colorilogy, and at the same time properly absorb the rationality of foreign art in color application, so as to establish a new color system of modern Chinese painting.
The ancient name of Chinese painting "Danqing" is actually the "cold and warm" of color, which is the most basic and important color contrast relationship. Chinese painting pays attention to "color matching", but it also attaches great importance to the influence of space environment on objects. With the change of space environment, the color of objects will also change. Xiao Yi made a careful observation of this phenomenon in the Southern Dynasties, and said in Song of Mountains and Rivers: "It is cold when it is hot, and cool when it is warm." This is China's earliest explanation of the color changes of images caused by seasonal and climatic differences, especially the changes of cold and warm colors. In Song Dynasty, Guo's "Lin Gao Quan Zhi" summarized the influence of seasonal changes on water color and sky: "Water color: Chun Lv, Bi Xia, autumn green, winter black; Days: Spring shakes, summer is light, autumn is clear, and winter is dark. " In the Qing Dynasty, Tang Dai's "A Brief Introduction to Painting" described it vividly: "Mountains have the colors of four seasons, and the wind and rain are hazy, with different changes. Their colors are not like their appearance. The so-called spring mountain is bright as a smile, summer mountain is green as a drop, autumn mountain is bright as light, and winter mountain is bleak as sleep. This is also the spirit of the four seasons. " These all sum up the basic principles of Chinese painting color-the emotional reaction of the subject to the object, the cognition of intention and the expression of emotion.
China's paintings, especially meticulous figure paintings, have always attached great importance to the use of color. The use of color in Chinese painting is considered in combination with the inherent color of objects and the influence of environmental changes. This theory of giving different colors to different kinds of objects is the basis of Chinese painting color. In the Qing Dynasty, Shen Zongqian made an extremely detailed and practical discussion on the color of characters in the Painting of Mustard Boat: "The color of people, from childhood to old age, cannot be completely changed at any time, that is, people have their own nature and cannot be counted ... This makes the difference between pale color, yellow color, red color and white color." It reflects the observation habit of China people-observing things deeply and accumulating and summarizing them for a long time to form intentional knowledge. This * * * knowledge has an objective side, such as: the skin color characteristics formed by the age and gender differences of characters; There is also a subjective side, such as: different skin colors have a certain color matching relationship. The latter is more important in the use of color in Chinese painting, just like mustard seed garden's requirement for human skin color: "Red dominates blood and yellow dominates qi". If the skin color is red and yellow, the characters in the painting will have breath and blood, and people will come alive. This understanding itself is also freehand brushwork and romantic.
At the same time, the use of color is different in the form of lines, but it is mainly heavy color and light color respectively. In harmony with heavy colors, the lines are tall and straight, and the organization is rigorous and orderly; In harmony with the light color, the fine decoration of lines and the generalization of organization are loose. Emphasis on color is the mainstream of meticulous figure painting. In meticulous painting, lines are "bones and muscles" and colors are "flesh and blood". "flesh and blood" can be thin and thick, rich and thin, and "bones and muscles" must be solid and straight.
The interdependence, complementarity, coordination and integration between colors and lines are the most basic technical and ideological content of meticulous figure painting, which directly affects the style and taste of works. The transition state of lines provides agreement and support for the form and method of color blooming. In general, for works with varied lines and strong cadence, color serves the lines, and the composition of the lines is dominant, which dominates the whole work, while color echoes the rhythm of the lines as much as possible, and the auxiliary picture achieves a heavy and full artistic effect; There are few changes in lines, and if you don't pay attention to the expression of "writing", color is often in the main position. Lines only play the role of gathering colors and dividing blocks, and the colors are hazy and illusory, which has its own ethereal and dreamy meaning.