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Keywords: figure painting; Portrait painting; Realistic technology
Most of Zeng Whale's figure paintings belong to the third category. As the pioneer of Chen Bo Painting School, he undoubtedly played a great role in the obvious development of figure painting in Ming Dynasty. He pays attention to the realistic technique of painting ink bones and rendering facial structure layer by layer. In the portrayal and shaping of the image, the visual experience expressed comes from the traditional "convex and concave" rather than the light and shade of western painting. The method of the school of painting headed by Zeng Whale only increased the proportion of ink. As a new technique of figure painting in the late Ming Dynasty, the technique of his works is particularly prominent in the realistic characteristics of ancient figure painting. I took a keen interest in it during my study. Through the analysis of works and the inquiry of materials, a brief analysis of the realistic techniques of Zeng Whale's figure painting is formed.
1. The life, background and works of Zeng Whale.
(1) The Life of Zeng Whale
Zeng Jing, born in Putian, Fujian, was the founder of Chen Bo School of Painting. Born in 1564 and died in 1647 at the age of 83. Zeng whale left his hometown in Putian in his early years and lived in Jiangsu and Zhejiang for a long time. He increased painting activities in Hangzhou, Ningbo, Wuzhen and Yuyao, Zhejiang, and settled in Jinling, Jiangsu (now Nanjing) in his later years.
Zeng Whale was a very unique, creative and factional painter at that time. He tried to absorb the essence of ancient portraits as the basis and reference of his own creation and integrate them into his own paintings. In fact, there is no complete and systematic record of Zeng Whale's life, which is mainly scattered in articles and records at that time. For example, in the History of Silent Poetry, Jiang Shengyi made a detailed discussion on Zeng Whale, the main content of which was that Zeng Whale was good at it.
Portraits, such as taking pictures in front of a mirror, convey the spirit wonderfully, use fluent colors and are vivid and lifelike. Each painting has been rendered in dozens of layers, and it must be ingenious to stop. Its unique art forest is not accidental. Dong Qichang, Chen Jiru, Wang Shimin and Huang Daozhou, who were well-known in the literary world at that time, all asked him to take pictures of himself.
The realistic technique in Zeng Whale's portrait, as Zhou said: "It is a great contribution of Zeng Whale to emphasize the combination of Chinese painting and pen and ink, to learn from the achievements of western painting, to create our own concave-convex method and develop a portrait with China style and China style."
(2) The representative works and analysis of Zeng Whale.
Most of Zeng Whale's existing works are works after the age of 50, and his masterpiece "The Image of Wang Shimin" and so on. The following is a brief analysis of these two works.
The Image of Wang Shimin was written by Zeng Whale in the 44th year of Wanli in Ming Dynasty. This is a silk imitation, and it is colored. Zeng Whale painted a portrait of Wang Shimin at the age of 25, and used Gu Bingqian's seal script "Xun Bao's 25-year-old portrait". On the futon, the right hand sticks to the dusting handle, and the left hand touches the dusting end. The posture is like a Zen monk, and the picture depicts the face.
Painting, using traditional ink line sketching techniques, does not emphasize the change of concave and convex. It shows that Zeng whale attaches great importance to traditional techniques in painting. There are many curves in the clothing lines, which are properly combined with density, gentle and full, dyed with light color, showing a young and keen look. The ink lines of clothing lines are slightly painted with ochre, giving a soft feeling, and the neckline, cuffs and nails are painted with white. Finally, the clothes seem to be stained with a thin layer of white.
Zeng Whale added movement to the still portrait, in other words, he chose a fragment from his daily life instead of painting in a stiff posture, which added a relaxed and lively feeling to the traditional portrait and endowed the picture with spirit and spirituality. For this kind of painting with sports characteristics, it naturally comes from the heart of Zeng whale, which inevitably reminds people of a three-dimensional smudge.
Second, the realistic techniques of Zeng whale figure painting
Paying attention to ink bone, painting ink bone and then coloring it is a new realistic technique. It is a very traditional technique to outline the outline with ink lines first, then color according to the structure, and attach importance to the use of ink lines. "Every painting is like a painting, and dozens of layers of baking dye will definitely stop the heart." According to the structural level, it is the latest breakthrough of traditional figure painting to render a three-dimensional sense with ink or light color. This new technique is not as rich in color and rigid and realistic as the portraits popular in court and folk, but full of kindness, leaving a big gap in composition and putting the portraits in a fresh and clean atmosphere.
Zeng Whale's inheritance of traditional techniques is mainly manifested in that he always takes neat and clear line drawing as the basic point of portrait creation, which has the aesthetic characteristics of China's painting, especially the depiction of facial contour lines, and always contains the unique charm of Zeng Whale's painting. Zeng whale's lines are slender and powerful, so you can feel the exquisiteness of the characters in the painting as long as you draw one, which is qualitatively different from the rigid portrait.
The greatest charm of Zeng whale art lies in its exquisite skills. His works have a strong sense of intimacy, and the portraits depicted in the paintings always have a faint smile and a unique charm. That's because Zeng whale has always attached great importance to depicting the rich and delicate spiritual world of characters. Even depicting a hermit is not just expressing his loneliness, but depicting his elegant posture and natural generosity. In The Image of Wang Shimin by Zeng Whale, it can be seen that there is not too much emphasis on blooming in facial description, and some are flat. In Zhao Geng's portrait, in addition to depicting the face with accurate lines, there is a strong smudge and a clear outline, which shows that Zeng Whale has always changed on the basis of tradition.
The painting method of "The Portrait of Zhang Ziqing" is the ink bone dyeing method pioneered by Zeng Whale, which sets off the convexity and concavity of the characters' faces and has a strong three-dimensional effect. And the body structure is clear, the proportion is moderate, the movement is natural, the clothing lines are more concise, the lines are vertical and varied in many ways, and the lines are slightly rendered with light blue ink, which feels strong and straight. It not only strengthens the expression of characters' personality and different textures of skin and clothes, but also shows the vivid charm of pen and ink, which is exquisite. He is also good at sketching the outline with light ink, mainly the Jiangnan school of painting, in which Ge Yilong's portrait belongs.
This kind of works, vivid images, bright and dark pupils, smooth and stiff hair, skin color and depth, wrinkles and so on. , are described in detail according to different objects. In the expression of painting vocabulary, there is not much ink, mainly light ink. After sketching the outline with light ink, it was dyed with white powder, plant color and light mineral color layer by layer. In this rendering, the high and low bulges of the face are presented.
Third, the significance of Zeng whale figure painting
In the late Ming and early Qing dynasties, portrait painting had a new development, which was a popular painting with music pictures. This is also a new field of portrait painting based on Zeng Whale's portrait painting and drawing lessons from the elements of Chen Hongshou's portraits with many figures and postures. For Yu, the style of this music schema is fixed, and the factors of figure painting are strengthened.
The overseas influence of the "Bo School" represented by Zeng Whale began with the cultural relics brought to Japan in the eleventh year of Shunzhi. Among them, there are autobots' paintings, and it is still uncertain when Zeng Whale's "Su Cai's Records" will enter Japan. However, it is an indisputable fact that Japanese Berberian portraits are influenced by Zeng Whale's painting style. Zhang Qi's works of Chen Bo School of Painting also spread to wanfu temple, Kyoto, and became the basis of Japanese Berberis portrait. Under the influence of Zhang Qi and Yang Daozhen, many portraits of Berber monks appeared in the Edo period in Japan. The representative figures who faithfully inherit the realistic portraits of Chen Bo School are Sidor and his son.
Four. conclusion
Zeng Whale's portrait figure painting inherits the traditional "cross-dyeing method", and at the same time reduces the brightness of color through the support of ink and wash, thus creating the artistic conception of Jing Ya. Its techniques are all changed from traditional techniques, and it is far-fetched to say that middle schools serve western painting. However, there is a contradiction between the realistic secularity of the face of Zeng Whale and the quaint style of the literati's ideal, that is, the face of the character is depicted in a relatively realistic way, while the clothes and props are depicted in the pen and ink of the literati to reflect the popularity of worshipping the ancient. In fact, the contradiction between realism and brushwork has inevitably appeared in figure painting in the late Ming Dynasty, and it has become an insurmountable figure painter until today.
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