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Landscape painting Zhongshan stone is often close together, and the painting method of mountain stone is also extremely exquisite, many beginners just do not understand some of the painting techniques of mountain stone, so many times they feel that the works they have completed are missing. Now let's look at the painting method of mountain stones.
Painting mountain stone method
The shape of the mountain can be divided into hills, ravines, peaks, peaks, hills, hills, peaks, etc., and there is a situation of undulating slopes or the natural beauty revealed by the change of wind and rain clouds and clouds, so before painting the mountain, you must first look at its potential from a distance, and then look closely at its quality. Due to the different geology of mountains, it can be divided into aquifer rocks, igneous rocks and metamorphic rocks. The texture of the mountain stone is different, the form and texture of the expression are also different, and chinese landscape painters have accumulated hundreds of years of comprehensive experience of observation and analysis, and gradually developed a variety of methods, using pen and ink lines to express the landscape feelings of different textures. Professor Li Lincan used the eight words of "mountain stone texture, pen and ink combination" to define the method, which can be said to be the most concise and appropriate explanation.
Snow White Stone works
Paint stones
Before talking about the various methods of painting, let's talk about painting stones, which are parts of mountains; Painting stones is the first part of painting mountains, and the so-called "three sides of stone" is to show the yin and yang of the mountain and draw the three-dimensional sense of stones. The part of the painting stone can be roughly divided into hooks, rubs (rubs), dyes, dots, or the process of adding "mention". The "hook" is to use the middle peak or side peak to draw the outline of the stone block, determine its shape, and the line of the hook can be flexibly applied according to the characteristics of the stone. "皴" is to draw the texture or three-dimensional sense of the stone with various lines (or dots) according to the texture of the mountain stone, and it can also be "wiped" with a partial sharp (pen belly) dry pen as appropriate to strengthen its convexity or texture. "Dyeing" is to paint the dark side of the stone with a large brush of light ink, and then do the second and third dyeing after the light ink is dried, until it feels full. "Point" is to use thick ink or scorched thick plus moss point, if the concentration of ink color is enough to complete, if it is insufficient, you can use thick ink or scorched ink to "mention" again according to the original hook and wrinkle; The lines mentioned are not redrawn in the same way, but slightly staggered. First teach the light ink hook or wrinkle, and then use the thick ink to teach, which can be saved and changed, and after the mention, it is thick and rich in change.
The way to draw mountain stones
The specific steps of the semi-freehand painting method of Chinese painting mountain stones are: first of all, before starting to brush, you must prepare the tools and materials to use, which is to prepare brushes, ink and raw rice paper. Secondly, the painting performance is started when the utensils and materials are prepared neatly. The specific performance of the painting is: first adjust the ink color (according to the requirements of the picture is dark or light), and then visually and with your fingers on the screen simply set the location of the mountain stone, and start to perform after setting the position. On the basis of the positioning, the painting begins, first using the center of the brush, the drag pen, the semi-flank and the counter-edge to outline the outer outline of the mountain stone, and then use the short center line to draw the mountain stone structure, and finally use the flank of the brush to rub out the thickness of the mountain stone. At this point, a picture of the mountain stone has been completed.
However, since ancient times, the painting method of Chinese painting mountains and stones is nothing more than outlining, rubbing, dotting, and dyeing. The method is the main means of expressing various stone textures; it is a unique painting technique and symbolic formal language of Chinese painting; it is both figurative and abstract; it can express the figurative mountains and rivers and landforms, and painters can also express their own unique aesthetic orientation and spiritual temperament through it; it is also one of the main characteristics of Chinese painting to distinguish other paintings from expressing natural landscapes. Five generations ago, when expressing mountain stones, there were already wrinkles, and they developed into the Song Dynasty, and all kinds of wrinkles became more and more mature, and were continuously improved by the Yuan, Ming and Qing Dynasties.
Phi Ma Chuan - is one of the painting methods of Chinese painting mountains and stones, Wang Wei and Dong Ju are the originators of their painting methods, and they are also commonly used in the painting methods of literati in previous generations. This method has its own unique features in the performance of the hills and mountains of Jiangnan, and the Four Kings of the Qing Dynasty used this method mostly in the Yuan Dynasty Huang Gongwang and the Four Kings of the Qing Dynasty. The essentials of its painting method: use more "medium" and "partial" edges (the pen contains less moisture), use the pen belly to go out of the flying white when writing, try to be ethereal and breathable, the pen is clear, and avoid stickiness. There are also masters who use Zhongfeng to draw a "mao" and ethereal feeling, such as Huang Gongwang of the Yuan Sijia, whose cloak is mostly painted by a center, which is very difficult.
Axe splitting - is one of the painting methods of Chinese painting mountain stones, the five generations of Wei Xian have begun to see the miaoduan, mature and popular in the Song Dynasty. Li Cheng and Li Tang were the masters of their painting methods, Ma Yuan and Xia Si in the Southern Song Dynasty were also outstanding representatives of their painting methods, and Tang Yin in the Ming Dynasty changed and developed. After the founding of New China, the painting method of this Chinese painting of mountains and stones flourished. The main reason why this method flourished during the Northern Song Dynasty was that the rulers asked painters to focus on the beauty of the country's prosperous mountains and rivers. The painting method of chinese painting mountain stone axe splitting method is conducive to expressing the great power of the northern mountains and rivers, which should be more in line with the needs of the national conditions of the Northern Song Dynasty, this period is the most brilliant chapter in the history of mainland painting, the establishment of the National Painting Academy, the prosperity of the academy painting style, the painter can enter the room, the reputation is prominent, by the imperial court, many masterpieces are mostly from this period.
The essentials of the painting method of this Chinese painting mountain stone: the center outlines the outer contour line, the side peak is rubbed and rendered, and there are also masters who skillfully combine with the contour line when sketching the contour line, and the virtual reality is combined, and there are many variations. Some people think that this fa has more than enough yang and lack of charm, but in fact, it is not, or it has not fully grasped its essentials. Use this method to remember: the outer contour line can not be too "real"; To be repeatedly stained, layer by layer breathable; Must be combined with rendering (not too "dry" too "dry"), while strengthening masculinity, to paint moist; It is recommended that it is best expressed in silk and cooked rice paper.
Commonly used method of seizure
Raindrops, also known as rain hitting the wall, were used by Fan Kuan of the Northern Song Dynasty to express the scenery of the Loess Plateau in the north. When painting, the vertical short line is drawn with the peak in the reverse brush, which is as dense as raindrops.
Small Axe Splitting Li Tang's "Ten Thousand Pine Winds" is the earliest and best work of small axe splitting, like raindrops, suitable for expressing the hard characteristics of mountain stones. Use the pen direction to change to the flank "listen" out, and the pen is heavy and light.
The great axe splitting evolved from the small axe splitting, and the entire Southern Song Dynasty (especially Ma Yuan, Xia Gui) and the Ming Dynasty Zhejiang school were popular in painting the big axe splitting. When painting, the pen is lying on its side like an axe chopping, the shape is flat head and tip tail, the lower pen is heavy and the pen is fast, which is most suitable for expressing the structure of igneous rock.
Created by Wang Meng in the Yuan Dynasty, the Cattle Hairy Cow Hairy Cake is layered with dense short pens, which is suitable for expressing the lush and lush summer hills. Originated from Phi Ma, it is also dominated by the center forward, thirsty pen light ink, layer by layer.
Folding belt folding belt wrinkle is created by Ni Yunlin in the Yuan Dynasty, which is suitable for painting flat slope mountain stones. The folding belt needs to be "flat and written sideways" in a grouping method, first drawn horizontally in the downwind, and the street turns to the flank and falls straight down.
Lotus leaf wrinkle Lotus leaf wrinkle takes the shape of lotus leaf tendons and is a landscape feature that expresses the soily mountains of Jiangnan and is formed after long-term rain. The painting lotus leaf wrinkle is also dominated by a feminine center, which has the characteristics of wearing a hemp and solving the problem.
Lotus leaf
Yuntou 皴 Yuntou 皴 was first seen in Guo Xi's "Early Spring Map" of the Northern Song Dynasty, which was created according to the shape of Yuntao, which is suitable for painting the scenery of Yanlan. When painting clouds, attention should be paid to the organization of curved lines, and the circle of the pen is full of variations.
Northern Song Dynasty Guo Xi's "Early Spring Map"
Skeleton In the paintings of Wang Meng and Wen Zhengming, we occasionally see mountains and stones that are as exquisite as skeletons. When painting skeletons, it is better to draw evil shapes and ugly monsters, just as the ancients revealed the five virtues of the stone "ugly, leaky, crepe, transparent, thin", cave skull is suitable for expressing limestone terrain or the strange stones of the seashore Taihu stone, etc.
Rice dot Rice dots, Mi Youren father and son change Dong Yuan's "piping" into rice dot dots, depicting the smoke and rain of Jiangnan Yunshan, plus the rendering of water is particularly beautiful. The rice dots should be painted with a horizontal brush, paying attention to the interweaving of thick and light, and the rice dots are also covered on the those who wear hemp.
In addition to the above ten kinds of wrinkles, there are also horse's tooth wrinkles, piped wrinkles, watercress, straight rubbing, ghost face wrinkles, dragging mud belt water wrinkles, chaotic hemp wrinkles, chaotic firewood, unsound wrinkles, cirrus and so on.
After the dot moss painting mountain stone, it is often necessary to go through the process of dotting moss, otherwise it feels too smooth and clean, and the moss dot symbolizes the small trees or weeds on the mountain stone, etc., and later gradually tends to be freehand and interesting. Before the Northern Song Dynasty, landscape paintings were mostly not moss, southern Song painters showed the wet and easy to grow berry moss mountain stones in Jiangnan, gradually using moss points, which were the most prosperous in the Yuan and Ming dynasties, such as Zhao Mengqian's "Standing Moss", Wang Meng's "Thirsty Moss", Ni Zhan's "Horizontal Moss", Shen Zhou's "Saving Moss" and Shi Tao's Moss have unique features, in addition to the use of mud moss dots and color moss dots.
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