Xu Fu drew inspiration from the lives of the women of the court, and the richly decorated concubines walked in the garden. The characters of the pen are plump www.biquge.info the movements are calm and slow, the expressions are serene and peaceful, and the identities and life characteristics of the concubines are fully expressed. The environment only borrows two cranes and a puppy to imply that the success of this painting lies in the profound portrayal of images and dynamics.

The most common theme in the paintings of ladies is the loneliness, idleness and boredom of the narrow and poor lives of ancient aristocratic women. It depicts their gorgeous appearance, and also reveals their emotional life through their demeanor, reflecting the feudal society's constraints on women.

Depicting the scene of everyone listening to the pipa, at this time the night banquet is about to begin, the wine and fruit are mixed on the case, the guests are sitting or standing, the men and women are wrong, a woman sits upright and plays the pipa, and most of the eyes of the people are focused on her. Depicting the dance scene during the banquet, the small and delicate famous prostitutes are dancing in response to the festival, and the rhythm is announced by the drum, and the five girls are playing the Xiao flute in unison with the clapper.

In the portrayal of the characters, Xu Fu strives to convey the spirit through form, reflecting their inner conditions through the dynamic performance of the characters, revealing a vivid and harmonious formal beauty. Xu Fu is good at using details to convey his feelings, listening to the pipa with the probe of a maid to imply the high performance skills, lighting the season with fruits on a plate, and showing the time with candles on the case, all of which are worth experiencing carefully. The lines are accurate and smooth, the work is fine and flexible, full of expressiveness, the color is beautiful and elegant, and it is rich in layering and charm.

The image of the ladies' paintings, including the shape of the whole figure, that is, the shape, movement, face shape, facial expressions, etc., Xu Fu created a lot of beautiful and vivid images of ladies, such as the fairies with clouds and hair, fairy robes fluttering, and powerful manners, and the ladies who play the pipa, play musical instruments and dance in various postures, all of which are vividly depicted. That light posture and preoccupied look can capture the moment of the butterfly's sneak attack, and only then can you create a character image that is higher than ordinary life.

The flying fairies, the streamers they wear are extremely exaggerated and vividly depicted, the long and curly ribbons flutter in the wind, making the flying body appear more light and elegant, as if flying arbitrarily in the blue sky, with a great future, free and unrestrained, full of infinite youthful vitality.

The goddesses were dignified, quiet and gorgeous, holding a smallpox in their hands, as if they were smiling. On the picture, a lady looks up at a shaving bird flying overhead, and another lady is looking down and catching a cicada on a tree with her hands.

The face shape of Chinese women is convex and symmetrical, the distance between the eyes and the eyebrows is far, and the arch of the eyebrows is not prominent, which is very different from the face shape of Western women with deep contours, and the face shape of Japanese and Korean women is also different.

The form of Chinese painting seems to be a means, not an end, to depict the gods, and the form and the gods are both. Xu Fu takes the line as the basis of modeling, the pen is the backbone, and the ink is subordinate. The use of pen is bone, ink is meat, the use of pen and ink is the relationship between bone and flesh, and the pen occupies a dominant position, and the relationship between the pen and ink used by ladies is no exception.

The use of ink refers to the shade of the pen used for outlining, which is different from the ink used to lay the base color and dye the hair when coloring. The hair, face, and hands of the ladies should not only be very thin, but also relatively light, and the shirts and clay skirts of the painted clothes should also be painted with light ink, but the collars, large belts, small belts, clay skirts, or dark clothes should be outlined with thick ink. If the relationship between thickness and ink is reversed, the pattern of the earthen skirt that should be hooked with light ink is outlined with thick ink, and the large waist skirt with heavy ink is hooked with light ink, the result will be ugly, and it can no longer be corrected.

Ladies painting in the pen can be divided into two kinds, both require the intention of the pen first, but the pen of the pen must be sent to the pen, and the freehand can not be the pen. However, if there is no solid foundation of fine brushwork, it is impossible to draw a freehand lady painting that you can't expect, and you can't refine the image of a freehand lady with less than more simple strokes.

Gongbi ladies are generally based on thin lines, mostly with gossamer drawings, but the lines of clothing lines can sometimes be thicker, and the lines of the face and arms must be outlined with thin lines. As for the use of hair and eyebrows, it is more necessary to be meticulous, because the hair should also pay attention to the pen, line and pen, especially the hairline of the forehead, the root hair is required to be like growing out of the flesh, so it must be treated with a very fine and powerful line drawing, otherwise it will make people feel that it is a wig.

Because women have more muscle fat, their skin is finer than men's, and they are not as frustrated as men's, so the face and hands are outlined with thin lines and light ink, and at the same time, the face, hands, and feet are also drawn with extremely round and even lines. As for the complete fine brushwork, the ladies' line drawing is even more so, the clothing pattern should be outlined with a fine line, the clothing pattern of the belt and skirt is mainly drawn with a gossamer, and sometimes some slightly frustrated nail head rat tail drawing, orchid leaf drawing and folding reed drawing are also used.

This is because the clothes worn by women in ancient times are mostly delicate and soft silk satin, and on the basis of gossamer drawings and iron line drawings, some frustration brushwork is added. This not only does not damage the delicate texture of the lady's clothes, but also increases the feeling of flowing clothes.

Strength, that is, there is pen power, the predecessors on the brush power can carry the tripod, that is, the pen to be strong. The force penetrates the back of the paper, that is, it means that the pen must be strong.

Old, refers to old, old and strong are the same, is the opposite of tender. How can we grow old? The main thing is that the painter experiences it in practice.

Live, that is, the spirit of change is not sluggish, that is, the pen must be based on the image of the painted object, dynamic, texture and other requirements, so that there are light and heavy, slow and fast, up and down, but also light and heavy, fast and slow, up and down. Life and the use of wrist strength is very related, if the wrist is empty, the painting can be changed, and the pen is not obsessed if it is intercepted, which refers to the use of wrist strength to live.

Loose is the meaning of briskness, the heart to be respectful, the pen to be loose, the pen is not loose, then there is no vivid momentum. It is required not to be timid and restrained when putting down the pen, and not to hold the pen too tightly and too rigidly.

Circle, is the opposite of flat, the ancients advocated that you can use the center to be round, but with the side can also be done round, it is considered kung fu home.

Thick, that is, not thin, thick and flavorful. Thickness and layout, pen, ink are related, requiring the use of brush hair but not light, heavy but not floating, in order to achieve the due effect of thickness. When using a pen to outline an object, it is necessary to outline not only the texture, but also the sense of volume. In other words, the feeling that a painting has a certain weight is intriguing.

Hairy, just not smooth. This is relatively easy to achieve in landscape painting, but it is not easy to achieve the long lines in lady painting. The use of calligraphy in the seal back to the front and the Tibetan front against the front of the penmanship to draw a thin line, can also achieve the effect of hair but not light.

Run, is the meaning of moisturizing, with the pen to talk about moisturizing, against barrenness.

Clever, clumsy, with the pen requires clumsy interchange, clumsy is thick, in short, clumsy is the rate, clumsy is stupid. It is easy to make people feel frivolous if they are too frank, and it is easy to be sluggish if they are too stupid, and they must be combined to make the picture both flexible and vivid, and have a dignified and solemn momentum.

Plate, refers to the pen is not alive. This problem is caused by not observing enough of the object to be depicted, and not being able to do the intention of the pen first.

Engraving, which means rigid, is due to the rigidity of the pen, the lack of lightness, weight, speed and slow changes.

knots, the pen cannot be untied, as if glued to paper. The main reason for this problem is that they dare not put down the pen, hesitate and delay in writing, and it is usually manifested as stagnation and stiffness.

Dry, is the opposite of moist, the pen contains too much moisture is easy to produce this problem.

Weak, that is, weak to write. Weak brushes have no backbone, thin, brittle and soft, such as wicker bamboo shoots, water wattle autumn peng, this kind of problem is not the same as the tender and weak rhyme when learning to paint.

The first requirement with the pen is to have the intention, and only the mature idea is brewed, so that the pen can be spiritual. More importantly, it is simple to replace complexity, for example, gongbi needs to be completed with four strokes, while freehand only needs to be simplified to one or two strokes.

Freehand lady painting is divided into two kinds of freehand and small freehand, small freehand and half work, this kind of painting method of combining fine brush and freehand, can not only meet the requirements of some details of the lady's character, but also can give people a vivid feeling of pen and ink, charm and vividness. It is in the use of the pen, thickness, slow, inhibition, frustration, shade, dry and wet changes are larger, so it is required to write quickly, with the pen bold.