Analysis of Li Keran's Landscape Painting Techniques
1, composition.
Before painting, first brew emotions and then design methods. When you are skeptical about the object of the scene and the artistic conception is not very clear, sometimes you can get inspiration by sitting down and watching it carefully. That's what I did when I painted Jianhu. I'm not very interested in it, so I sit down and stare at it and enjoy it. Look, remembering what the ancients said: "The lake is as bright as a mirror", I feel very inspired and have a mature artistic conception. After finishing and processing, I finally drew a picture. The ancients said: "Everything is quiet and complacent."
Prejudice often makes people turn a deaf ear and turn a blind eye. If you look carefully, your heart should be like a mirror, and you will find that all the scenery is full of business. So it is important to calm down and observe carefully before painting. It's hard to draw when you are upset.
The best composition should be "whimsy anyway", as the ancients said, "justice is free from people's hearts, and it must be dangerous". The composition should be extremely varied and boldly organized, but it requires stability. There is an unstable feeling that there are only odd numbers. We should seriously see the strange, see the right in the strange, walk on two legs and seek unity in the contradiction. Badashanren's paintings have a strange composition, but they have a solemn feeling.
The main content on the screen must be put in the appropriate position. Generally speaking, the main things should not be placed in the middle, but should be moved to the side, but at the same time, people should feel the balance of the whole picture; Vividly said: "Be like a scale, not like a scale." In landscape painting, generally speaking, trees are heavier than mountains, man-made ones are heavier than nature, and people are heavier than everything. Knowing this is very helpful for composition.
Good painting requires "big" and "many". The so-called big is big feeling, a lot of things. Therefore, the composition should be good at interspersed and developed in depth, not tiled. The Riverside Scene at Qingming Festival not only extends to both sides of the strait, but also pays great attention to the depth and develops in depth. Shi Tao's paintings are very particular about interlude. He uses the middle scene to make the picture run through. The paintings of the four heavenly kings are often stacked layer by layer, with a weak sense of space.
Ren Bonian is good at composition, some draw trees to fill the picture, and figures are painted below, which is very well interspersed and strange. I painted the Jiading Giant Buddha, which almost occupied the whole picture, and then drew trees, stone steps, rivers, boats and so on with the surrounding corners, which not only highlighted the theme, but also enriched the picture.
Art must pay attention to form. Some people dare not talk about it and think it is formalism. This is a misunderstanding. It is necessary to distinguish between formalism that emphasizes form to express the theme and formalism that is art for art's sake. Some rules in composition should be paid attention to, such as two people's heads overlapping before and after the picture, and three trees crossing at one point, all of which should be avoided.
Mr. Huang said: He learned from China's paintings and calligraphy that the secret of the law of composition is an equilateral triangle, which is actually a law of change and unity. The abstract law of artistic beauty is often the highest realm. One of the most important laws is nature, and affectation is always to be avoided. Don't interpret "strangeness" as affectation.
2. Image.
Artistic style needs spirit, and artistic image can't be ordinary. Photographers can take hundreds of different photos of ships sailing from far to near and from near to far on Jialing River, but only a few of them are the most beautiful. A painting also has the most essential things (so-called "eye painting"), which must be paid special attention to and cannot be treated equally with other things. The main things can be emphasized, exaggerated and everything should be avoided.
Try to describe what you are most interested in, the most important thing, in order to be fascinating and touching. Beijing opera actors have a three-character formula called "stability, accuracy and reality". Firmness means that you dare to emphasize the most important things and show them mercilessly, depending on the artist's feelings. Artistic creation should be as emotional as writing a love letter. If a mother's child is killed, she will curse for life, which is caused by emotion.
I'm afraid art can't be caught. Artists not only show what they see, but also what they know and think (all their own experience and traditional knowledge, as well as speculation based on the development law of objective things). The picture of the pavilions and terraces of Xianshan depicted by ancient artists in China is to put the most beautiful buildings in the most beautiful environment, which is the artist's imagination according to reality and the combination of realism and romanticism.
When China painters painted Huangshan Mountain, they never stood in a fixed place and painted what they saw from a fixed angle, but expressed it after comprehensive observation and understanding, as if standing on Huangshan Mountain. That's what the ancients meant when they said, "See the small with the big".
When Shi Tao painted Huangshan Mountain, he painted "Shihu" and "Minghaiquan" two miles away, and wrote such a poem: "When will you come to Shihu, lie down and listen to Minghaiquan", which is completely allowed in art. Chairman Mao's words: "A thousand miles of ice is frozen, and snow is drifting in Wan Li" are by no means such a vast scenery seen from a fixed place, but it is integrated into the poet's imagination.
China painters painted chrysanthemums not only to express chrysanthemums, but also to express their feelings. Landscape painting is not a photo or a landscape illustration. Landscape painting is more beautiful than nature. People never say "beautiful scenery" instead of "beautiful scenery" Architects are asked to refer to the pavilions we painted. I have a seal called "Don't compete with the camera". Painters have more creative freedom than photographers, so we should make full use of this condition.
Sewers make clothes for people. Inappropriateness is the worst, but appropriateness is not enough. They should also make a picture that can highlight the beautiful parts of the body and hide the ugly parts. This is the best sewing teacher.
The same is true of painters painting natural scenery. Landscape sketch can also be called "creation of landscape". Objects are only creative materials, not all. It can come and go at any time, and it can be separated from the reality by three tenths according to the needs of the object and the picture itself. It is also wrong to rely entirely on facts. Art should be higher, more concentrated and more universal than truth. The image should be unified with truth and beauty, and the truth is convincing and the artistry is moving. We should use all our self-cultivation to promote nature to a better realm.
After the composition is designed, you can first pick out the most interesting and important things to draw, add them bit by bit, add them layer by layer, and add them until enough is enough. When Rodin was carving, he gradually peeled a person off the stone, sometimes without peeling his hands and feet, but when he felt that his artistic conception was enough, he stopped peeling.
Don't show everything clearly, for example, in my words "Crossing the Wushan River", if the sides are empty and the middle is clear, the main things in the painting will stand out. Clarity is to show the best and need to be emphasized most, and implication is to show richness; Light and clear, implicit, unsightly, light and hidden, unclear and weak. To combine the two well, Shen's paintings are not implicit, but implicit, which is the opposite at a glance.
When Wang Baochuan appeared in the Peking Opera Ping Hui Gui Kiln, Xue Pinggui stood motionless on the stage. In classical opera, the walk-on people don't talk or act, all to highlight the main body. Painters should have such means that a tree can sing bright spots, observe deeply, grasp details and enrich it. On the contrary, the whole city can be handled simply and implicitly.
Simplicity does not mean simplicity. Simplicity is often due to ignoring the details, revealing a glimpse, not observing in depth, and observing the house in depth is also a character. According to the characteristics of the object, exaggerate along the essence of the object, giving the object a distinctive personality. The characteristics can only be exaggerated, and if they are weakened, they will be dull.
Landscape painting should emphasize lightness, and before painting, it should be clear where the brightest place is and where the darkest place is. To find the brightness in the whole, the brightness cannot be determined locally, and the brightness does not depend entirely on the object, but more on the theme. Ma Sicong was right when he said that my painting was black to make it brighter.
The opposite is "eat" or "cancel". Several things are as heavy and bright as black and white, and they can't achieve the effect. This is often the reason why the picture is weak. The sense of wholeness is a matter of a painter's life. In order to grasp the whole, it is forbidden to draw another part after one part is finished, but to draw the whole.
To draw a mountain, we should first look at the big form, and then look at the big turning point, not piecemeal. When the big turning point is unclear, we should carefully understand its context. The painted mountain should be between Fiona Fang, too round will appear soft.
The relationship between trees is whether they are connected. Painting leaves should be subtle, not too clear, and not clear in the clear. The treatment of a tree should be between concrete and unspecific, often highlighting several main trees, which will be both vivid and endless.
Distant mountains, waters and trees should be handled as carefully as possible. Space and distance should be expressed by simple pen and ink, and there should be a sense of distance. You can't just scribble a few strokes. Don't be too straight, because if you are too straight, you will have no expression.
3. Level.
Drawing a good landscape painting has to go through two levels: lines and levels, and the level is the most difficult, because landscape painting often shows dozens of miles of space, and the level problem is particularly prominent. Many old painters in China have not solved this problem. Only by solving the problem of hierarchy can we achieve profundity. There is no great artist who does not pursue profundity. Artistic expression always requires "sufficiency" and full expression of one's feelings, just as the purpose of writing an article is to fully express one's thoughts.
Cutting, exaggerating, hinting and refining are just a means. You need to draw enough depth first, and don't be too late for beginners. If you have enough flowers, you need to add layers. Don't be afraid of breaking, but avoid flowers. On the basis of breaking, you should sort out your tone. The process of combing is adding layers and combing the master-slave relationship. You have to add it step by step, over and over again, and don't repeat it completely, just like printing a set of mesh patterns without registration.
Consciously emphasize the sense of space. When dealing with the relationship between near objects and far objects, we should pay attention to their junction, and express it with a little emphasis. It doesn't have to be near thick and high beam, it depends on the needs of the object and the picture itself. In art, the laws of science should obey the laws of art, so that science can serve art, and art cannot be lost because of the laws of science.
4. Atmosphere.
A painting must be enveloped in an atmosphere, and with an atmosphere, a painting can live. Qi Baishi said: "Pen is related to pen, and pen is related to pen."
It is also for the sake of a painting's connection, power and vividness. Painters are not vivid when they run, and they are not vivid when they are still. They can draw vividly when they take a nap, and vividness is coherence. China's ink painting always pays attention to the atmosphere. For example, "there are dragons and snakes in the mountains" means penetrating the air, and it also means "boundless air", "smoke brings rain", "throwing paper like a cloud" and "trying to see the pen penetrate the smoke" Proper blank space in landscape painting is also helpful to the expression of atmosphere.
5. color.
The designer of color has to decide, and he is most afraid of hesitation. The design color must take into account the artistic effect of the picture itself, and cannot be based entirely on objective objects. The color of ink painting should be simple and not too varied. After the design, we should highlight a tone as the tone, such as trying to render the red of the sunset and the green after the rain. Other colors can be reduced, the ones that need to be strong can be as strong as possible, and the ones that need to be light can be as light as possible. It is always based on contrasting artistic conception to enhance expressive force.
In ink painting, ink is the main thing. In order to draw enough, light and shade and brush strokes should be solved in ink and wash. Coloring is only an auxiliary means. Be sure to adjust more when coloring to avoid drying up. The old painter said that it is necessary to be "moist" to have a moisturizing effect.
6, pen and ink.
It is certainly good to fully express the object with the traditional ready-made pen and ink method. If there is no existing method, it depends on the object to be created. If the painter has his own profound understanding and true feelings about the object, he will create something. The style of a landscape painting should be unified, and a painting, like a piece of music, should have a unified melody.
A way of expression is a melody, either broad or beautiful. We can't simply rely on objects, for example, the pens for painting characters should be unified with those for painting landscapes, and the pens for painting distant scenes and close-up scenes should be unified. If the figure painting is meticulous and the style of the rocks is extensive, it will be very uncoordinated. Sometimes it is easy to be monotonous to express objects with only one brushwork, such as boundary mountains and point fields, which can be used centrally, but it needs a variety of brushwork to achieve unity.
The tone of the style itself represents a kind of mood. Emotional appeal includes not only concrete parts, but also abstract parts. It is wrong for some people to reject abstract parts. When the abstract and the concrete are combined, the emotional appeal is more distinct and prominent.
Chinese painting pays attention to brushwork, but also depends on the brushwork in pen and ink, and can't "combine mud". Painting a rain scene also depends on brushwork, which is powerful. We are opposed to "smoke and ink". It is not good for someone to wet the paper before painting. Unlike watercolor painting, Chinese painting cannot solve the problem by baking and dyeing alone. It requires painting 80% before baking and dyeing. Using a pen also requires both rigidity and softness. Pale but not moist, it is dry, moist but not pale, it is weak. Yuan people are very particular about wet painting and dry painting.
The most basic principle of lines is to draw slowly and maintain, and to send every stroke to the end and control it. The line should be controlled bit by bit, and every point should be controlled. The ancients said that "dots accumulate into lines" and "leaks" all mean this. Only by drawing lines in this way can we express objects subtly and perfectly, and one line can solve many problems.
Otherwise, it's just a rough performance, just like the concept of Lahuqin is good at controlling the bow, and the music played is rich in content and emotion. The same is true for musicians to control their own voices. China painters mainly rely on lines to shape their images. In order to make any stroke expressive and strive to show more things, they must be good at controlling lines. At the same time, we should also pay attention to the connection between each stroke and the whole.