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Meilan bamboo chrysanthemum refers to: plum blossom, orchid, bamboo, chrysanthemum, the quality is: proud, quiet, firm, light, known as "the four gentlemen in the flower". Meilan Zhuju has become a symbol of Chinese senses and metaphors, and it is also the most common subject in poetry and literati paintings, which is rooted in the fascination with this aesthetic personality realm. Today, Xiaobian sorted out the basic painting method of Meilan Bamboo Chrysanthemum for everyone to learn.
plum blossom
Plum blossom is a small deciduous tree, the trunk is gray-brown, the leaves are ovate or round-ovate, the flower buds are born between the leaf axils of the long branches, each section has 1 to 2 flowers, fragrant, 5 petals, white to water red, there are also heavy petal varieties.
Structure of plum blossoms:
Flower head morphology:
The structure of plum blossoms includes petals, flower buds, flower peduncles, etc., learning to paint plum blossoms, it is advisable to sketch first, and have a specific understanding of plum blossoms.
Plum blossom branches are gray-brown, multi-longitudinal stripes, each section has one to two flowers, five petals, in addition to the common single-petal plum blossoms, also see the following double-petaled plum blossoms.
Step 1
Use light ink to outline the petals, heavy ink to hook the flower pedicle, thick ink to hook the branches; the bird uses heavy ink to hook the mouth, eyes, paws, and light ink to outline.
Step 2
Use flower blue and ink to paint gray flat as the base color, after drying plum blossoms with white flat coating two to three times; calyx with ochre flat coating, connecting the branches with grass green.
Step 3
Plum blossoms are stained with dark yellow (Garcinia garcinia plus ink), rouge is stained with calyx, and light ink is used to dye branches. The bird's chest is stained with garcinia and rouge, and the beak and paws are dyed with rouge and dawn.
Step 4
Plum blossoms are dyed with yellow-green (garcinia plus three greens), the vine yellow dots, white hook filaments; ochre color with ink cover to dye the branches; the bird's head part is dyed grass green, respectively, with ink and white silk hair, trimmed.
orchid
When people paint orchids, they generally rely on a kind of fragrant and noble sentiment.
For example, the Chu poet Qu Yuan used poems such as "Qiulan Xi Qing Qing, green leaves and purple stems, and full of beautiful people" to yonglan. However, orchids entered the painting later than plum blossoms, probably starting in the Tang Dynasty. In the Song Dynasty, there were more people painting orchids, and it is said that Su Shi once painted orchids, and the flowers were also mixed with thorns, implying that a gentleman can tolerate villains. At the beginning of the Southern Song Dynasty, people often painted orchids to indicate a kind of integrity that did not float with the world after the fall of the Song State, and Zhao Mengjian and Zheng Sixiao at that time were also known as Molan everyone.
Structure of the orchid:
In the Yuan Dynasty, Zheng Sonan's painting of orchids was the most famous, and the meaning was also the clearest. It is said that he sat to the south to show his remembrance of the previous dynasty and to be a courtier of the Yuan Dynasty; the orchids he painted never painted roots, just like floating in the air, and the reason for this in the human world, he replied: "The land has been taken away by the Fan people, will I land on the ground?" Therefore, to appreciate painting, it is also necessary to understand the historical background.
The Qing dynasty painting orchid is the most famous for Zheng Banqiao, one of the "Eight Monsters of Yangzhou". Zheng Banqiao is a person who pays attention to the nature of the teaching method, and he has painted Penn orchid. However, he is particularly fond of painting "chaotic" mountain orchids, for this reason, he has planted dozens of pots of orchids, and often transplanted them to the shade of the wild stone mountain after three springs, so that it can grow in the next year, watch its upright state, smell its rich and pure fragrance, and thus get the chastity essence of the mountain orchid "warm leaves and flowers and strong climate".
How to draw orchids
When painting leaves, it is necessary to have a long and short height, so that it has a sense of rhythm and cannot be leveled; orchids are generally five petals, and the structure is simple, but when painting, it should be noted that the flowers have changes such as leaning, forward and reverse, opening and hiding.
Dye with light ink and leave a thread.
Dye the leaves with a grass green cover.
The positive leaves are dyed with a stone green cover, and the reverse leaves are dyed with three greens. The flowers are powdered white with clam powder and dyed twice from the shoulders of the petals. Thick cinnabar dots are used, and the masked part of the positive leaf is stained with ink.
bamboo
Zheng Banqiao, one of the "Eight Monsters of Yangzhou" in the Qing Dynasty, was good at painting such subjects, of which bamboo and orchid were the most wonderful. At the end of the Ming Dynasty, Zheng Sixiao was good at painting orchids, and orchids had no roots, which means the rootless worry of broken rivers and mountains.
Bamboo leaves are alternate, the middle leaves are thin and wide, and each leaf is composed of two arcs on the left and right, and the lines should be straight with the pen. The combination of interspersed leaves between several groups should pay attention to the density.
Bamboo into the painting, roughly equivalent to orchids, also began in the Tang Dynasty. Emperor Xuanzong of the Tang Dynasty, painters Wang Wei and Wu Daozi all liked to paint bamboo. It is said that in the fifth generation, Lady Li also created the ink bamboo method, and it is said that she often sat at the head of the bed at night, saw the bamboo shadow reflected on the window paper, and created this method by imitating the window paper.
By the Song Dynasty, Su Shi developed the method of painting bamboo, abandoning the double-hook coloring method of the previous painters, and painting the branches and leaves with ink, with deep ink as the leaf surface and light ink as the leaf back. In the later Yuan, Ming, and Qing dynasties, famous bamboo painters emerged, as long as they were landscape or flower and bird painters, there was no one who did not paint bamboo, and began to emphasize the overall momentum of bamboo. However, among the many painters, Zheng Banqiao's painting bamboo is also a must.
For painting bamboo, Zheng Banqiao once wrote his own experience: "Jiangguan is in the autumn, looking at bamboo in the morning, the smoke and the sun and the shadow are exposed, all floating between the sparse branches and dense leaves." There is a pictorial idea in the chest. In fact, the bamboo in the chest is not the bamboo in the eye. Therefore, the ink is polished and the paper is displayed, and the pen is disguised, and the bamboo in the hand is not the bamboo in the chest. In short, the intention is to write first, the rule is also; the interest in the extralegal, this machine also. Draw alone! ”
Therefore, from the various natural scenes of bamboo, it is inspired to stimulate emotions, and through the "bamboo in the eyes", it is transformed into a "bamboo in the chest", and with the help of pen and ink, it is sprinkled into "bamboo in the hand" or "bamboo in the painting". Zheng Banqiao's works, which have survived more and are widely circulated, have been admired by experts in the world since the Qing Dynasty and have become the treasures of "people competing for treasures".
The growth law of bamboo is: new seedlings are drawn from the shoots; there are branches without leaves called new baskets, and the new baskets grow tall and then put leaves; when the bamboo is not out of the shoots, there are knots, the bamboo stems grow to more than seven sections before they branch, the branches grow left and right, each section grows two branches, and the outer nodes are long, and there are many branches, and to the bamboo tip head, there is one branch per section; the branches are leafy, there is a group of five leaves, seven leaves and more than a dozen leaves, and the bamboo leaves are stretched forward after the petiole is long enough to be wide; parallel leaf veins.
How to draw bamboo:
Heavy ink hooks ink leaves, and medium ink outlines bamboo poles, bamboo branches, and small support leaves.
The flower blue color stains the front and bamboo pole of the bamboo leaf, and the head and back are stained with light ink.
Paint the reverse leaves with yellow and green flats, divide the bamboo stems with grass green, paint the twigs with ochre green flat, and coat the small leaves with a little flower green flat with ochre.
The front of the leaves is dyed with a grass green cover, and some of the tips of the leaves are stained with ochre ink, ochre and rouge are stained on the head of the bird, and ochre and garcinia are stained on the back of the bird.
Step 5
Four green sub-dyeing anti-leaves, with ochre plus rouge to hook the leaf tendons, single pen silk bird feathers, the overall adjustment is completed.
chrysanthemum
Chrysanthemums entered the painting a little later, roughly starting from five generations, and there are relatively few works that express chrysanthemums compared to Meilan bamboo. According to the history of painting, the five generations of Xu Xi and Huang Xiao have all painted chrysanthemums, and very few Song people have painted chrysanthemums. In the Yuan Dynasty, Su Mingyuan and Ke Jiusi also had works by Ju. There were not many chrysanthemums painted in the Ming and Qing dynasties. A "Ammonite Drawing" by Chen Chun, the most famous painter in the Wumen School of the Ming Dynasty, is in the Capital Museum, which is a treasure in the originally rare chrysanthemum works.
Chrysanthemum structure analysis:
Chrysanthemum painting method
First, use heavy or medium ink to double-hook the petals, and draw the outline from the inside to the outside.
Dye the flowers with a light dawn red, to maintain the vivid change of the flowers, the flowers are straight and back, and the layers are clear. Stain the leaves and branches with light ink to obtain the changes and texture of the branches. Reverse leaves are stained with tender juice green.
The flowers are continued to be colored with akebode, adjusting the shades according to the yin and yang of the petals. To express the leaves, the positive leaves can be continued to be stained with heavy ink, and the reverse leaves can be stained with grass green.
Use light ink to outline the chrysanthemum flowers, the lines should be smooth and changeable, and the branches and leaves should be outlined with slightly thicker ink, and there should be layered and dense changes.
Render (lift) the flowers with white powder to keep the flowers vivid and natural. The front leaves are then stained with a juice green cover and the reverse leaves are stained with three greens. Finally, the overall relationship of the flower to the leaves and branches is carefully adjusted
Chrysanthemum painting method:
White chrysanthemum painting method:
Golden-backed red chrysanthemum painting method:
Long narrow petal pink chrysanthemum painting method:
Yellow chrysanthemum painting method:
Crimson and purple chrysanthemum painting:
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