Introduction to appreciation methods of Chinese painting

Chinese painting, especially landscape painting, does not complete a painting in a fixed range of real scenes. They often gather the real scenes of different places or different faces on the same picture, and arrange and merge with each other to form a kind of "artistic conception".

Therefore, "composition" of paper arrangement also includes data collection and "creation" of landscape harmony. The so-called "landscaping" is a "draft", and Search Qifeng is a draft.

The form and quality of pen and ink created by painting are well-founded, but the idea and emotion of creating mind are indescribable. The ancients often said that teachers are absent-minded, and the key to understanding bright colors lies in the cultivation of ideas and emotions. Therefore, there is a saying that "without brains, you can't do it". It can be seen that the situation will realize that what you get is the experience from the outside of the pen, and you are just a daydream without pen and ink ability.

In the Ming and Qing Dynasties, when it comes to painting and verve, people often admire Zhao Mengfu. But as long as there is a unique vivid and touching quality in painting, no matter what its meaning is.

Hanging oil paintings is exquisite.

In modern families, it is more and more common to decorate walls with oil paintings. How to hang oil paintings to make people happy?

Generally speaking, compared with other paintings, oil painting has its limitations in display. First of all, it is easy to reflect light. In addition, thick painting emphasizes the texture of the picture, because ups and downs are easy to accumulate dust. In order to achieve a better visual effect and protect the picture, there should be a downward tilt when hanging. When oil painting faces the front light, the effect is often poor. The front and upper light should be used, and the light source at the suspension should be as consistent as possible with the light source when painting. If the light source is on the left when painting, it should be consistent with this light source when hanging.

The height of the hanging picture should be adjusted according to the specific situation of the living room. Hanging too low is not conducive to the protection and appreciation of the picture; Hanging it too high is not convenient for the viewer to look up, and at the same time, the perspective of the picture is distorted, which affects the appreciation effect.

If you need to hang more than one oil painting, you should consider the distance between the paintings, not the dense ones. At the same time, it is necessary to take care of the great effect when viewed from a distance, and try to separate the picture frames with similar colors and contents instead of juxtaposing them, so that the picture frames on the whole wall have changes such as light and heavy, temperature fluctuation and so on.

For works of the same size, attention should be paid to neatness and consistent intervals. For works with different frame sizes, attention should be paid to the neatness of the bottom edge and the consistency of the screen inclination. If you hang a large frame, you should choose a suitable distance to watch it, in order to have a satisfactory effect.

The oil painting displayed with glass frame is beneficial to protect the picture, but the effect is worse than that without glass. In any case, sunlight reflection and strong light should be avoided. It is also very important to set up curtains in the room where oil paintings are displayed.

Hanging oil paintings should also have fixed painting hanging equipment, that is, a cross bar should be fixed on the wall, and oil paintings should be connected to the painting hanging line through a firm painting hanging rope and a painting hanging hook. If there is really no crossbar for painting, it needs to be hung with nails, and the nails should be stuck behind the frame. In wet areas, check whether the hung pictures are in danger of corrosion or decay.

In fact, Liu Haisu's colorful landscapes are rare in the market. There are so many imitations using Liu Haisu's name that Liu Haisu's reputation is ruined. Those fakes, some of which are poor in technology, can be seen through at a glance and are not easy to fool people; Some are slightly up to standard, which can confuse the audience. There is also a kind of work, which is suspected of ghostwriting and fake. Although it is rare, we should pay special attention to it.

White Dragon Pool in Huangshan Mountain (Figure 4, paper version, 136x67cm) was created in the year of "Ren Xu". Liu Haisu has several works with the theme of Huangshan Bailongtan, but this one is full of doubts: first, the picture lacks mottled texture formed by the collision of color and ink; Second, the paintings of rocks are rather loose, and there is no superposition of pen and ink levels. Although the color is heavy, the level of the picture is not rich; Third, the waterline is messy, the lines are short and thin, and there is no toughness. As the main part of the picture, the painter can't paint in such a hurry. But strangely, the inscription of this painting (Figure 5) is consistent with Liu Haisu's calligraphy style in his later years, and it is written in a flowing way, which is obviously impossible for counterfeiters. Let's look back at the colors of azurite and turquoise, which are exactly the same as those used in Liu Haisu. Can you speculate that this was painted by people around him and then added by the artist himself?

How to identify seals on paintings and calligraphy works

One feature that distinguishes China's calligraphy and painting from the West is that the author not only signs the inscription, but also seals it with a seal. Calligraphy and painting are like dragons, and printing is the finishing touch. This can be described as "China's independence" (Lu Xun's language).

The seal on calligraphy and painting works is not only used to identify the authenticity, but also an organic part of the whole work. Wu Changshuo, a famous painter in Qing Dynasty, said, "When calligraphy and painting are elegant, they must be reprinted. Those who are exquisite in calligraphy and painting will get a good print and a healthy color. " A good seal is the finishing touch and adds color to calligraphy and painting works.

The Lotus Reflection by Qi Baishi, a master of modern Chinese painting, is beautifully painted. In summer, ripples appear on the surface of the pond, half-opened lotus flowers are reflected in the water, and tadpoles compete for shadows. A scarlet seal of "Woodenhead" (named after the painter was a carpenter) happens to be in the ethereal place between the lotus stalk and the reflection. It shows that the master not only attaches importance to the inscription and postscript, but also is good at using seal characters to make it complement the whole picture.

In Tang Bohu's "Kucha Gugu Tu" in Ming Dynasty, there was a flat and leafless Kucha, inhabited by an ancient one who was eager to sing. The composition is elegant, there is not much pen and ink, and the upper right and lower left are blank. There are two lines of poems on the upper right, with the seal of "Tang Yin" behind the signature, and the black and red set each other off; There are two claw marks in the lower left corner, which echo the name marks from a distance, forming symmetry, making the composition stable and uneven, moving in silence.

Generally speaking, seals on paintings and calligraphy works play a balanced and stable role in composition. There are also some painters and calligraphers who put nicknames and nicknames on them according to their creative environment, life experience and hobbies, as well as the content and style of their works, which can make people associate. For example, Mi Fei, a great painter and calligrapher in the Song Dynasty, was originally from Xiangyang, Hubei Province, so his works are often stamped with seals such as "Full History of Xiangyang" and "Chu Mi Fei". Zhao Mengfu lived in the Yuan Dynasty surrounded by water, and his works were often stamped with the seal of "Taoist of Crystal Palace". Qi Baishi often calls himself "the rich man of three hundred stones", which means that he owns three hundred stone seals and is proud of it. Therefore, most painters and painters choose their seals according to their own pursuits, sources, contents and tastes, such as "Beautiful Jiangshan", "Dafuzhai", "Qingyazhai" and "Yougu Jushi".

Ink painting techniques: Five-color ink also needs good rice paper.

Immortal works must be artistic exhibitions based on good materials. But now many artists don't understand paper, ink and pen at all. They don't know that once they don't understand the characteristics of paper, the works they produce are different from what they imagined. Not long ago, when I talked with Lu Kang, a master of epigraphy, I agreed that China's paper, ink, pen and inkstone had promoted and supported the cause of calligraphy and painting in previous dynasties. Therefore, now we must restore the most traditional craft and bring forth the new on the basis of observing the rules.

Sadly, today only real people think that materials are important, while most artists think that painting is not the same thing. In fact, when an artist's skill reaches a certain level, good materials can improve his works by 25%-30%. This is why Li Houzhu spent so much time studying paper in Nantang. Of course, it cannot be ignored that such works must be based on high-end art.

Many painters who have painted for decades don't know that they have been using real Xuan paper. Of the 65,438+000 sheets of paper on the market, less than 20 are Xuan paper, and the remaining 80 are only calligraphy and painting paper. What is calligraphy and painting paper? It is made by adding a little straw and other things to the pulp. The price within 1000 yuan is mostly calligraphy and painting paper. The biggest defect of calligraphy and painting paper is that it does not smudge ink. You know, there is affection between ink and paper. After ink is painted on paper, it will grow in the paper. Therefore, ancient people can often write and draw with five colors, but it is difficult to reach this level now. Even seeing some people writing and drawing, every pen has to be dipped in napkins, which makes people laugh and cry.

In 20% of rice paper, at least 10 is not real rice paper, but can only be called painter's rice paper. Although the material may be the same as rice paper, chemicals are used in bleaching and processing. In the past, rice paper was naturally bleached by sunlight, which took half a year to make. Now it can be bleached by potassium permanganate in one and a half days.

Why don't painters pay attention to paper? First, it's not a big account. They thought that 100 yuan was enough to buy a knife, but they never imagined that their 8-foot work had sold for 200 thousand and 300 thousand yuan, but they still used a piece of paper with 1 yuan. They don't understand that this kind of paper will break after 50 or 60 years of storage, and they don't respect themselves or buyers and collectors. In fact, a really good piece of paper costs three or four thousand yuan a knife, and each piece of Zhang Cai costs tens of yuan, which is almost negligible compared with the value of the work.

China ink painting is suitable for good paper, with good brushwork effect, and heavy makeup and light touch are always suitable. Just as good porcelain becomes more and more beautiful after hundreds of years, it is because the material will continue to oxidize and grow after sintering. Art needs refinement, and artists should have the same requirements for materials as their own art.

Expansion: the color of Chinese painting

At present, the colors of Chinese paintings sold in China's market are mainly divided into minerals, plants and chemical synthesis. From the packaging point of view, there are mainly three forms: aqueous solution (tin tube), powder (bag and bottle) and block (combination).

(a), tin tube water color

Since the freehand brushwork in Daxing ink painting, the tools and materials of Chinese painting have gradually become simple, especially in color and pen and ink, everything is for convenience and quickness, so tin tube water-based ink and bottled ink have become popular. At present, the color of tin tube packaging on the market is mainly twelve-color combination Chinese painting color, which uses a variety of raw materials, including traditional minerals, plants and modern chemical synthetic colors. Although this water-based agent is easy to use, it is difficult to ensure the color quality, especially for some unqualified products, the proportion of color glue is uneven, and the glue extruded after opening is turbid, and it is scum when it is squeezed into color, which is difficult to use. Therefore, when using the tin tube to package colors, squeeze the tin tube back and forth with your fingers before opening, so that the glue and colors are mixed inside, so that the color extruded after opening will not be separated by glue. When using tin tube for coloring, it must be squeezed now and used up as soon as possible, otherwise it will be easy to agglomerate after drying and cannot be used again.

(2) Powder color

Powdered pigments are generally processed directly from raw materials, and chemical compounds are rarely used. They are exquisite in material selection, fine in production, good in color quality and high in color saturation. Pastel mainly comes from various minerals, shells, metals and so on. , and basically belongs to mineral pigments. In addition, charcoal, silk and other materials are burned, and their ashes are ground into black powder pigments with different shades of gray and black. This color is easy to feel fluffy when used on the screen. It can be used to draw small animals such as bees, butterflies, birds, chickens, cats and dogs, and can show special texture effects.

(3) Block color

Block color is actually the deep processing of pink. Pastel is a semi-finished product without glue. Be sure to add glue when using it, and the color of the block is the color with glue. When in use, it can be dipped in water for coloring. Unlike pastel, the block color is mainly mineral pigments, both mineral pigments and plant pigments, especially plant colors.

The glue mixing of Chinese painting pigments is more particular, because glue is the medium that directly bonds colors and pictures. Less glue is easy to fade, and more glue will reduce the brightness and saturation of color. Only just right can we give full play to the unique charm of Chinese painting color. There are two kinds of glues used in traditional Chinese painting pigments: peach gum and bone glue. Peach gum is the liquid from the wound of peach trees. This liquid has a certain viscosity and condenses into translucent crystals after drying. Peach gum can be picked by itself in the peach forest in spring or can be bought in the market; Bone glue is a translucent crystal, granular or strip-shaped, composed of animal bones and other colloidal parts. Because of the different raw materials, there are different kinds such as cow glue, deer glue and ordinary pig bone glue. Peach gum is not as sticky as bone glue and is not suitable for bonding mineral pigments. Bone glue is highly viscous, and both mineral pigments and plant pigments can be used. But bone glue is easy to deteriorate, especially in hot summer. It will rot and stink after a long time. In traditional Chinese painting pigments, powder pigments are the main ones that need sizing. There are two main ways to glue powder pigments: one is direct mixing, and the other is dry powder adhesion.

(A) direct rubber mixing method

Pour the powdery color into the palette, directly mix the glue into the toner, and press it with your fingers to form a tough color group for later use (if the dosage is small, just dip the pen in the glue and rub the toner). When in use, add a little warm water to adjust the color to the required consistency. If the adjusted color can't be used up at one time, the glue must be removed, otherwise the brightness and saturation of the color will be affected. The so-called glue withdrawal is to dilute the stuck pigment with clear water, and then pour the clear water on the color after precipitation, so that the glue will be poured out.

(b) dry powder adhesion method

This is a way to paste directly on the picture. When coloring, use glue to evenly brush the places on the picture that need to be colored, then use small color sieve (similar to the medicine sieve that cares about the dregs in Chinese medicine shops) to evenly spread the toner on the picture, and then gently sweep it back and forth with a clean bottom pen to make the toner firmly adhere to the picture. This bonding method does not need direct tone glue, which can keep the original color of the color to the maximum extent and give full play to the expressive force of the color.

Even if the mineral color is glued, the adhesion to the picture is still not enough, and it will often bring the background color when smearing stains repeatedly. In order to make the color firmly adhere to the picture, rubber alum cover can be used to solve it.

Minerals have strong color coverage, and when used, the method of repeated covering dyeing with light layers is generally adopted, so that the dyed color is thick and steady, with high saturation, and water marks are not easy to appear. The method of covering the color with alum is to brush the mineral color lightly with alum water. After the alum water dries, a protective film is formed, and the color is firmly fixed on the picture, so that no matter how many times the color is covered, it will not bring the background color. Attention should be paid to: the covering alum solution should be light, and it should not be thick. If the concentration is too high, a layer of frost will be formed on the color after drying, which will not only destroy the picture and reduce the brightness of the color, but also be irreparable. The method of masking color with rubber alum solution has existed since ancient times, which is called "three alum and nine dyes" method.

Although the freehand brushwork of ink and wash is popular today, the use of color in the picture is less and less, but in meticulous flower-and-bird painting and folk painting, color has always been in an irreplaceable position. Especially in the past twenty years, the rise of meticulous painting and modern flower-and-bird painting has made people more and more aware of the important role of color, and everyone is trying to find and explore color. Just when we are suffering from the lack of color varieties and single color forms, there are more and more color paintings in our neighboring Japan, and people invariably turn their attention to the pigments painted in Japan.

Methods of appreciating Chinese painting

Professional painter

A painter's work can show the author's achievements. The image of the picture is the concrete of the painter, and we often criticize the quality of the painting subjectively, which is the greatest influence of the painter.

calligraphy

One of the differences between Chinese painting and western painting is calligraphy. The picture of Chinese painting is often accompanied by poetry, which is the soul of painting. Sometimes a poem is the finishing touch, which makes the painting vivid, and the calligraphy in the painting also greatly affects the picture. Most painters with poor handwriting are afraid to sign, although they only have signatures. You can also get a glimpse of his basic skills.

stamp

The common seals on the screen are used in all aspects: painter's seal, signer's private seal, leisure seal, collection seal, appreciation seal, authentication seal and so on. The signer, printing content and seal position of various seals are all among the comments. Ancient paintings, in particular, often have the seals of emperors, famous artists, collectors and connoisseurs, which can help identify the authenticity.

Put it in the frame

The mounting of Chinese painting is unique, and there are two common mounting methods: paper mounting and silk mounting. The paper is thicker and the silk is thinner. The color, width, lining, connection and mounting of the mounting edge are very particular.

purpose

China people appreciate calligraphy and painting not only superficially, but also the relationship between the work and the author.

efficacy

The longer he is engaged in painting and calligraphy, the more skill he shows, which beginners can't master. Calligraphy, in particular, is powerful and vigorous for an old hand. In Chinese painting, its lines, patterns and scenery also show the author's skills. Therefore, artists with rich life experience often have different performances from young painters. This is skill.

general layout

Layout seems to be the design of the picture, but it is actually the heaven and earth in the author's mind, which is manifested in the picture layout. There are many differences between Chinese painting and western painting, the most obvious of which is "blank space". Traditional Chinese painting doesn't add background color, so there are many blanks, and sparse, dense, gathered and scattered are called blank layout. In the blank space, someone filled the blank space with calligraphy, poems, seals, etc. There are also blank spaces, so the uniqueness of the author can be seen from the layout.

knowledge

Skills and layout can be seen from the picture. As for the author's knowledge, it has a great influence on his works. Therefore, China is known as "literati painting". Famous literati, whose works are different, are a kind of "bookish". Knowledge is one of the conditions that distinguish a painter from a painter.

poetry

Poetry in calligraphy and painting often represents the master's voice. A good poem can express the author's connotation and knowledge, and a good poem can also play the role of making the finishing point.

seal

Whether writing or painting, there are often "corner pressing" chapters. The so-called leisure chapter is a blank corner of the picture or calligraphy. Printed words sometimes have a great influence on calligraphy and painting. We can also see the author's mentality or the environment at that time from the printed words. A good seal, combined with a good carving method, covers the calligraphy and painting and adds luster to the work.

exterior

When you first look at Chinese painting, don't appreciate the simplicity of the picture, but also see if several items are exquisite.