Chapter 129 Theory of Landscape Painting

Zhao Ming's words made Xu Hong and the fat man Zhang Ze listen to them, and they all nodded yes!

Xu Hong listened to Zhao Ming's words, and couldn't help but shout: "Okay, this issue of 'New Star Art Garden' continues to paint landscapes." ”

Zhang Ze and the fat man listened, and naturally they didn't argue, since 'Boss Zhao' said that they were going to paint landscape paintings, what else could the two of them say!

Of course, what Zhao Ming said is also very reasonable, the meaning of painting landscape paintings is much more than painting other paintings!

"Okay, then let's paint some landscape paintings! In this way, it's still Brother Xu's fine paintings, let's paint some ordinary works!" Zhao Ming saw that Xu Hong also agreed to paint landscape paintings, so he naturally wanted to divide labor like before.

"Well, that's it, let's get to work! This twist and turn, will it affect the sales of our 'New Star Art Garden' is uncertain! This time, we must paint it well, and make the 'New Star Art Garden' more beautiful and moving after the storm!"

Xu Hong mobilized everyone again, and then returned to the editor-in-chief's office. When he sat back in his position as editor-in-chief, he felt that he was about to start a new struggle, hoping that he could still lead the 'New Star Art Garden'. Let her fly farther and higher.

If Xu Hong wanted to create some landscape paintings, he had to calm himself down, and then let the soul of his mind travel through the distant distance of parallel space, and then look for some 'inspiration' for his creation in the era before his death.

If you want to paint landscape painting well, you must first understand the history of Chinese landscape painting.

Compared with Western landscape paintings, Chinese landscape painting is at least 1,000 years earlier. The picture it presents is actually a history of Chinese thought. More than 7,000 years ago, the awakening of the ancients was recorded in a pictorial way.

The Neolithic Hemudu culture has expressed the connotation of conceptual culture with line carving, and the origin of settled agricultural civilization not only makes people recognize the beauty of tools, but also allows people to recognize the metaphysical beauty of tools.

Art is not only an imagination that conquers nature, but also a symbol of the conquest of natural imagination. From the very beginning, the ancients and nature used art to live, and the discovery of logic and the appreciation of art deduced people's eyes, so that a Chinese schema of the unity of heaven and man from chaos to clarity.

Since Yangshao culture, the relationship between man and nature has been symbolic. In the technique of geometric decoration, the concepts of symmetry and motion have been clearly applied to the expression of time and space. Particularly touching is the "Worship of the Gods".

The relationship between the crops, the fields, and the people in this picture conveys a simple understanding of the meaning of life by the ancestors. On the basis of precipitating the understanding of the natural relationship between humans, animals and plants, social consciousness has become the most critical origin of civilization. The "Village Map" of Cangyuan Culture uses rock paintings to describe human understanding of the "home" of agricultural settlement.

The most visually interesting aspect of this painting is the connection of the road centered on the village, as well as the gradient of the scenes of prisoner captivity, animal drive, sacrifice to the sky, and dancing gods around the front center, and the depth in the plane has been strongly reflected in this painting. The relationship between man and nature, and between man and society, is constantly deepened and developed along with the view of art.

With the development of the times, in ancient China, there was already a very detailed theory of landscape painting.

Every painter who likes to paint landscape paintings should learn the following painting methods of landscape painting.

The following are some theories of painting landscapes by Gu Kaizhi, a famous painter in ancient times.

The mountain has a light surface, the back, the water has a reflection, the auspicious clouds can become an important observation of the east and west, and the "empty blue" of the water sky can hold up the weather with the sun. The peaks are arranged in the order of east and west, creating a high and dangerous situation. The layout of the middle section mainly emphasizes the "confrontation" of gaining momentum, which is of relative significance.

The eastern, western, and central sections of the mountain should be linked with "compactness" to the long scroll. In more than one-third of the mountain, make a clear qi to divide it into two parts.

The reason why Gu's theory is important is that he proposed the linear shape of flowing clouds and water, the overlapping form of bird's-eye view, and the spatial pattern of three sections of mountains and thirds.

Known as the first treatise on landscape painting in China is Zong Bing's "Preface to Painting Landscapes". Zong put forward the famous law of perspective: "Three inches vertically should be as high as a thousand blades, and a few feet of horizontal ink should be a hundred miles away." Wang Wei, who was the same generation as Zong, was also a figure who indulged in hills and ravines, and he put forward the pleasant theory of "looking at the autumn clouds, the gods flying in the field, and the spring breeze, thinking about the mighty", and "a pipe of brushes, imitating the body of the void, judging the shape of the body, and the clarity of the eyes". It can be said that since the Wei and Jin dynasties, the core confession of Chinese landscape painting has established a logical starting point, and the principle of spatial vision has also been logically deepened.

It can be seen from these theories of landscape painting in ancient China that the painting methods of landscape painting have been very well understood in ancient times, and some famous theoretical painting methods have also been formed.

When we modern people learn landscape painting, we can refer to these theories of the ancients, and with our own diligence and efforts, we will definitely be able to become a master of landscape painting.

Xu Hong is a reborn person, and he knows very well that in this world parallel to the earth, although there are various painting schools and painting methods, there is no one that can be compared with the painting methods on the parallel earth during his lifetime.

He wanted to paint some landscape paintings, just think about some of the famous landscape paintings he knew during his lifetime, and then 'copy' them.

Of course, for Xu Hong, it is not a complete 'copying'. He himself will also add some elements he wants when painting. Make your 'copying' your own 'original' work.

This time, as before, he also has to draw a masterpiece first, and then put it in the editor-in-chief's boutique column on the homepage of 'New Star Art Garden'.

But what kind of landscape painting do you have to paint in order to be called a masterpiece! Xu Hong still has to spend a lot of time pondering it!

Xu Hong thought about it, and thought of the most famous landscape masterpiece in ancient times, "Fuchun Mountain Residence Map".

Fuchun Mountain Residence is a calligraphy and painting of the Yuan Dynasty, painted by the painter Huang Gongwang (useless teacher), with the Fuchun River in Zhejiang Province as the background, the whole picture is light and elegant with ink, the arrangement of mountains and water is sparse and dense, the ink color is dry and wet at the same time, it is very rich in changes, it is Huang Gongwang's representative work, and is known as one of the "top ten famous paintings in China". At the end of the Ming Dynasty, it was passed to the collector Wu Hongyu, who loved this painting very much, and even ordered the painting to be burned and buried before he died, and was rescued from the fire by Wu Hongyu's nephew, but at this time the painting had been burned into two sections, one large and one small. The longer latter part is called "Useless Master Scroll", and the first paragraph is called "Leftover Mountain Map".