First, Li Yan said "source of infection" and "cage cover"
In his book Bamboo Spectrum, he said: "Inheriting and dyeing" is the most important point, which should be shallow and deep, positive (negative leaves, positive leaves) and cloudy. Avoid seeing traces when breaking with a pen. You have to add a paragraph (this is with two pens, one dipped in color and the other dipped in water). First draw the color where it should be heavy, and then dry it with a pen to make the color lighter and lighter. However, it is ok to dip the pen in water first and then dye the nib with color. This is all to give full play to the power of the brush. It doesn't make sense, it's a little bad, that is, all the previous efforts were in vain. The method uses' indigo naturalis in the middle of the fan' (like a wide flower, not a grape red. Produced in Nanyang, sold in China drugstore) or' Luo Qing' in Fujian (Huaqing) put it in a lamp ... You can see the water vein (that is, a bamboo leaf, which is the tip and bottom of the leaf), dip it in the middle (dye it in the middle of the leaf with a pen). Young leaves are lightly dyed and old leaves are heavily dyed. Deep branches and internodes are heavily dyed, shallow branches are lightly dyed, and temporary phase transition is light and heavy. (This paragraph is the first step of coloring after image inspection. Before it is dyed green, it is dyed with cyanine, giving people a strong and light foundation. During the Tang and Song Dynasties, all leaves were dyed in the same way. ) The way to adjust the green (azurite) is to grind the thick rubber evenly, and don't fry the water phase of Sophora japonica. ('get it' means appropriate and appropriate. It is also a method of mixing flowers with water handed down from Tang and Song Dynasties. Sophora japonica water replaced' lacquer glue juice'. See Zhang Yanyuan's On Color. ) use a pen according to law, paint it thin, not thick, and leave no trace. It must also be embedded in the ink knife to stop it, so as to avoid uneven access, especially not to expose the truth. ('Expose white' means that there is white paper between the ink knife and the color. This is a hook method, which fills Mo Dao with color, instead of covering Mo Dao with color first, and then drawing the outline after painting. ) ..................... The two cages are the result of painting, with special care. When the color is dry, look at the missing parts carefully and use a dry cloth: try to wipe them with a towel to avoid fading and make up casually. Except for the light color of the back of the leaves, they are all' grass juice' (cage refers to cover dyeing). Soak only the back of the leaves in the yellow cage. "("grass juice "grass green. Also known as "juice green", it is the green synthesized by sinomenine yellow. )
Li Yan's method-dyeing trapping. According to the author's experiment, this method can be used for dyeing not only bamboo leaves, but also any leaves. Whether it is silk or paper (cooked paper), it is dyed with cyanine first to separate the shade of the sun from the light in the opposite direction. Then dye with two greens and three greens, where the flowers are green, the stone green is thinner, and where the flowers are green, the stone green is thicker. This shows the colorful places. Stone green is thinner, and the place with green flowers-the place with bright light-is thicker. In this way, where the flowers are heavy, the azurite is obviously dark, and where the flowers are light or not, the azurite is obviously bright, which is the positive leaf. The back of leaves is generally lighter than the front, or lighter, and should be dyed with "green flowers" and the shoots are dyed with "green branches". When dyeing azurite, first mix azurite with glue and Sophora japonica water. This not only increases the vividness of color, but also increases its fixation rate. After drying, wipe with a clean cloth towel to see if azurite is fixed. If some colors fade, it is not only to remedy the faded parts, but also to cover all the parts painted with stone green with Sophora japonica hydrating glue, and then gently cover them with a soft wool pen. Wait until the stone green color stabilizes, and then cover the flowers with rattan grass green. If it is not enough, you can dye it again. The back needs foil. This is an important method of using stone green and cover dyeing in the excellent tradition of national painting.
Second, Wang Yi and Yan Lang said to use powder.
Wang said: "If you wear white flowers or fish, you must use powder in the front of the silk, and there will be lining in the back.". ..... powder method; The powder on the front should be light and thin, and it should conform to Mo Kuang. If one layer is uneven, add another layer, so it should be light and easy to add. Dyeing method: if peony lotus is infected, it must be dyed with pink again, so that it can be deep and shallow; The petals of flowers, if they want to be beautiful, must also be dyed before being powdered. Silk powder method: hibiscus flowers, okra and other flowers, petals with tendons, must be pink; Every petal of the dyed chrysanthemum also has long ribs, which are made of vermicelli. After inspection, color it again. Method of spotting powder: sketch the flower without ticking, just dip it in the shade ... If you spot the powder of the stamen, you must set the gamboge, not too deep, and the glue should be light, and point out the yellow stamen. The outer ring is concave and not dull. Powder lining method: every powder flower on silk must be lined with thick powder before it appears. If the front is all kinds of light colors, the back is only lined with white powder; If it is a thick color, it is still not obvious, but it is still lined with toner. If the back leaves are used, the front color is light green, and the back can only be pink green, not stone green. "
Tan Lang said: "The powder accumulation method, such as painting peony and hibiscus flowers, is to cover the powder book with plain silk and dye the powder one by one. The edge of each petal is thick with powder, and the other pen is dipped in water to dye the root. It is a daily powder accumulation. After accumulation, dye all kinds of colors from the root, leaving its white edge. It really hangs like a petal after dyeing. The wind is ready to start working. Light the beads and dip the pen in thick powder. Every point has a depression when it is dry. So can you. Therefore, red peony is a push painting, and there are also methods of cinnabar accumulation, such as powder accumulation. The edge of the petal is dyed with fat and magenta to the back of the root. The red color is fresh and heavy, with a light Zhu Biao background. "
Judging from the use of white powder, both of them advocate coating powder on both sides (priming). Only use clam powder, which is only suitable for frontal use. It is better to set off the back with titanium white and zinc white.
Third, everyone says cinnabar is used.
The king said, "Zhu Biao is wearing clothes. Good sand painting, maple leaf column crossing Liang temple, etc. ..... In the bright middle, dry it with glue. Use the red petals of camellia and pomegranate and dye them with rouge. The next weight can only be compared. "
Shen Zongqian: "Dump the yellow water ... to blend the flesh color of the characters with the yellow color of the clothes, which is more vivid than the ochre color." After the yellow fat comes out ... it can be taken for people, and it can be a red leaf in the middle of mountains and rivers. "
Tan Lang: "If you dye it red, take two vermicelli as the ground, dye it with light fat for six or seven times, and use thick fat to hook it, and it will naturally shine. ..... But baking and dyeing are enough. Alum is once or twice, and the silk paper is still fresh after rotten. The so-called manpower keeps it innocent. ..... all dyed red, with two Zhu as the front, impregnable. Others put it slightly red under yellow eyes and added it to Jules as a piece of land. I felt yellow at first, and I dyed it with magenta six or seven times. Extremely red and positive, and then tick it off with fat. If silk is backed with "three inks" (which should be the first ink) or aluminum powder, its red color is bright. ..... Cover rouge thick and deep, magenta thick and fresh. On cinnabar, I dyed it several times and felt bright and dazzling. "
According to these three schools, in the use of scarlet, we should not only use erzhu, but also use rouge and magenta for dyeing, and also use heavy glue, alum and primer. Tan Lang claims that dyeing with magenta is more vivid than dyeing with resin, which is quite correct.
Fourth, everyone says to use turquoise.
Wang Jian: "Anyone who uses turquoise on the front must use turquoise as a lining afterwards, and its color is full. ..... "Azurite" is light and clear. Only by dyeing the front leaves green can we get a dark color. Among them, the ones with straight thickness and moderate color depth use pure blue and white petals and the back of the bird's head. The bottom material is heavy and black. It uses the wings and tails of birds and is lined with dark green leaves. Where the petals of birds are worn, the shallow ones are dyed with indigo and the deep ones with rouge. Dark' stone green' should only be lined with thick green leaves and green grass slopes. Among them, those with lighter colors should be lined with grass flowers and green leaves, or covered with grass green or kingfisher. The lightest color should be covered with reverse leaves. Where the front is stone green, it is dyed grass green. Deep, grass green should be green, light. Grass green should be yellow. (Author's Press: Wang said that stone green' the color above is dark and the color above is light' should be the lightest on the top and the deepest on the bottom. For example, on silk, the front should be grass green, and only the back should be stone green; The bitter fan head and paper are very heavy in color. If you can't compare, use it on the front and dye it with grass green. Only in this way can they feel thick and moist. You can't pile it up at once, you might as well add several layers step by step. Then the color is even and there is no trace. "
Shen Zongqian: "All stone greens are inlaid with stone greens; If there is more green, use azurite to embed the moss in azurite. If the brushwork is sparse, the color should be light. Wrap the rocks in turquoise. Spread the grass slope with pale azurite, but don't embed moss. "
Tan Lang: "As for the use of green, it is also advisable to gradually add several layers instead of piling them up at once. The front of the paper is green, so it should be covered with grass green. Silk is grass green on the front and stone green on the back. Only use light, not thick. It is necessary to grasp the true color of grass and switch to sleep to reduce interest rates. Qing Er can be used as iris and dyed lotus leaves. Sanqing' can be used as morning glory, green eyebrows and other flowers, and it is also embedded with leafy grass and human coats, lined with silk. The dark green is dyed with rouge, and the light green is dyed with cyanine. In the past, clothes were folded with ink hooks, flowers and plants were folded with purple hooks, and ancient paintings can be carefully played. " (Author's press: Tan Lang reversed the blue of azurite's head and the third blue. He also quoted Li as saying that the application of azurite must be blended with Sophora japonica water, so it is omitted here. )
The use methods of the above three turquoise are as follows: First, there is a difference between paper and silk; Second, it is said that it is painted on the "painted silk" (the cooked silk with plain silk glued to alum), not on the "raw silk" (raw silk, round silk, non-beaten silk and non-glued alum). Turquoise was used in the Tang and Song Dynasties, so it was painted on the front, set off on the back and added on the front. This is not what Yi and others said: the front is grass green and the back is lined with stone green-although they also said that the front is stone green. (Li Yan also said "precursor"). Before people in the Tang and Song Dynasties used turquoise, some dyed it with cyanine (stone green), and some dyed it with ink (stone green), then dyed turquoise, and then dyed it separately. These three companies are limited to "drawing silk". But it is also very beautiful to draw silk and use the method of three links.
-Excerpted from Yu Feian's Pigments in Chinese Painting.