"When I was a child, my family asked me to push and grind, and I didn't like to push. Lap after lap, it's a road with no end. I smuggled food into a rat hole, and my mother found out and beat me. Later practice proved that without me, the family would not have developed, and if it was pushed well by grinding alone, the fart would not be useful. ”

A child whose parents thought that he was naughty and unruly, and was so angry that he wanted to throw it away, with the courage to play cards that did not follow common sense, created a precedent for Longshang branded noodles, and filled the gap in the northwest region.

In 197, at a small exhibition and trade fair on the west side of Lanzhou Dongfanghong Square, there was a booth that was unique and eye-catching. The products on display in this booth are large pieces of plywood and plywood. With puzzled people, I found that there is a degree of virtuality and reality on each board, and I talk about suitable landscapes, birds and beasts.

"It's not a painting, it's a branding painting."

He took the trouble to introduce his masterpiece. Not many people know about ink Chinese painting, and almost everyone knows about ink painting.

After more than 20 years of painstaking study of the skills, it still has not been recognized on the big platform of the provincial capital. Wang Ji's subordinates were somewhat discouraged. I really can't figure out what the problem is.

Wang Jizhi was born in a carpenter family in a small village in Beicheng Township, Tongwei County, but he never learned carpenter's craft seriously. After the death of his grandfather and father, Wang Jizhi was forced to make a living and went to Lanzhou to work as a boy under collective ownership, so he started making furniture with the memory of his grandfather and father as a carpenter.

Simple products such as small benches and small dining tables are aimed at retired cadres in Lanzhou. This is the era of cooperativeization, and China does not yet have a developed commodity market. Retired veteran cadres with a stable income are the main body of consumption, but they are accustomed to "picking the door" to live. The money earned by Wang Ji's subordinates from working was not enough to make ends meet, and the old leaders sympathized with him and called the county, and the county greeted the production team, "Don't withhold the grain of Wang Ji's subordinates." The production captain was very surprised at how the "capacity" of Wang's successor to a mountain wasa had increased.

When he was a child, Wang Ji's subordinates had seen some cigarette sticks and pen sticks with scalding patterns. After receiving this spontaneous work, he used the fire skewers to produce some patterns to form decorative patterns. On the monotonous and dull furniture, there is suddenly a trace of vitality. Until one day, he realized that this kind of creative technique of Huo Kaizi painting should be called brand painting.

Later, Wang Jizhi was called back by the production team. The county established a carpentry factory, and he became a sophisticated new worker in the factory. The new and old furniture of the wood factory are made, Wang Ji's family loves to imitate, love to think, love to innovate, and the new furniture is basically completed by him.

In the tide of the market activated by reform and opening up, the small factories of collectivization in the inland could not compete with the private enterprises in the southeast coast, and the factory where Wang Ji's subordinate was located closed down. Wang Jizhi gave up carpentry and continued to dry fire skewers and hot painting. He saw that people's enthusiasm for decorating houses was gradually high, and he wanted to make a fortune by drawing on wooden boards.

He consulted materials, learned art knowledge, and went deeper and deeper, and became more and more obsessed. On the plywood, plywood, fiberboard, gourd, and cabinet of different sizes, he is allowed to open his imagination and burn all kinds of characters.

After finishing the fifth grade, it is only one person who has graduated from elementary school. Buried, plagued by hunger, he personally went on the "lobbying" on crutches, "the hungry ghost was so hungry that he staggered, the lobbying did not work, and he could not continue his studies. The old principal felt that Wang Ji was temporary, and if he didn't study, he would be delayed for a lifetime." The principal was also drunk, and Wang's bowl of noodles was born in the national calligraphy and painting, and went back. Tongwei County, the hometown of Tongwei County, was formed, and the people of this county contributed to the traditional power of painting and calligraphy to help Wang Ji's subordinates learn art. His love and connoisseurship and level of appreciation.

The content of the painting is completely used in the initial calculation of the Lanzhou Exhibition, and with the harvest, Wang Ji's confidence in the painting has greatly increased. The ground is similar, from tools to creative carriers, he repeatedly tried to open a shop in the county, specializing in micro-grid painting. From the creative experience, we have made continuous improvements. At first, the brushes were fire skewers, but smoky and not very clean. Wang Jizhi switched to an electric soldering iron, and the effect was surprisingly good.

He made a new burnt iron, from 15 watts to 0 watts, close to 10 pieces. The creative techniques, imaging principles, and virtual and real rules of "burnt, thick, heavy, night, clear", "outline, strangle, dot, dye, rub, and white drawing" ink paintings are all revealed in experience and techniques. The tiny ones are like the tip of a needle. The coarse one is like a chisel,+ to apply the soldering iron freely in his hand.

At first, the creative medium was plywood and plywood, but it was really inconvenient to transport. Wang Jizhi tried to brand the face on the rice paper, but the pen on the rice paper is heavy and easy to burn through, and the pen is light and difficult to color.

He also pasted the rice paper to increase the thickness, and then opened the sear, but the paste was easy to burn when it was hot. The experiment failed again. After thinking about it, Wang Jizi invented a paste mixed with honey, and the rice paper pasted with such a paste made the painting neither burn nor easy to color, and this experiment was a great success. Thick ink and color, light description, easy to brand.

"Branding works are the embodiment of a person's character, and to do it well, talent and character are very important. When the hot soldering iron and objects are replaced, the test is the hand style, and the start should be fast. It must be steady, accurate, and wolf" Wang Ji's essential monologue is full of confidence.

Before and after more than 20 paintings, the neighbors on the street watched forever, the letter resounded to him, and the soil subordinates said that everyone is warmly welcome to see, you look at it, it is better. People say, are you performing? Wang Jizi said, people want to have a sense of accomplishment, and you have seen me brand harder.

"I started to get it first, I was a carpenter, and then someone imitated it, it was difficult to make money by doing this, and it was impossible to turn this into money."

People are rare in their seventies, and Wang Jiji, who is just 70 years old in 2016, looks back on his life and is full of philosophy. He is confident in his branding skills, and he is even more proud of his life experience.

Wang Jizhi has been naughty than other children since he was a child, and every amazing act he creates always makes adults cry and laugh. After finishing his studies, Wang Ji's production team became a small laborer. Suffering from rheumatism and unable to do heavy work, the production team leader assigned him a light word to catch voles. Folk rumors of death.

Kill a vole, homemade and front tools: installed in the hole section of the national eye, "as long as the vole bites and eats the lure, it must be the envy of many people in the production team." I can basically earn the work of an adult. This live example can not only satisfy the child's interest,", and can support themselves, Wang Ji's subordinate to a doctor, the old Chinese medicine doctor in the countryside said: catch voles, should, so the health is not good.

Wang Gangfeng decided to make sauce. The old-fashioned No. 1 can be equipped with a steel wire to catch the field, and the vole can be caught alive with bait. Wang Ji's subordinates handed over the vole's tail to the production team, and letting go of the vole can also mix the work. However, as time passed, the conspiracy of the successor was revealed. The captain of the production team angrily announced: the post of catching voles will be abandoned.

Once, the mother assigned Wang Jizi and two younger sisters to push and grind, and the two sisters said that the three of them took turns to push together, but Wang Jizi resolutely objected. The successor of the worker asked that all the grain be divided into three equal parts, and the two younger sisters pushed it first, and they pushed it last. The two younger sisters couldn't resist it, so they could only follow their brother's opinion. While they were working hard, Wang Ji's subordinates were playing lifelessly. When it was the king's turn to grind. The grain went into the rat hole. He's just pretending to be grinding. Several times in a row, my mother discovered the tricks of Wang Ji's subordinates, and the punishment for wasting food in difficult times is self-evident.

"My parents once scolded me, saying they regretted not throwing me away. I thought, why should I throw away someone as good as me? However, as a child, I was indeed a mischievous child. ”

There is a tile kiln in the production team, and burning the tiles and selling them can increase the income of the whole team. The production team called on each household to make a clay bucket and burn it on the public tile. The clay bucket can be used to boil medicine and make tea, which is a practical object. The production team did this, which can be regarded as a benefit for the members.

The members of the club have made clay buckets, but Wang Sheng's family has increased the speed of Buddha Peihe, and the rotation is empty. Yu Texian heard Yin and Yang say that a certain side of the house is not good in feng shui, and you can collect a tower. Gao Jing: "That place is not good, there is it (tower) to suppress disasters". When my father saw this, he was beaten severely. Wang Ji's subordinates fled outside the village with the stupa in his arms. The mother's father finally agreed that Wang would burn the pagoda. Grandpa Qinhe repeatedly persuaded that year, Wang Jizi was only 15 years old.

In the countryside of Longzhong, children who disobey the wishes of adults, or deviate from the laws of survival, are regarded as evil deeds. Wang Jizhi never forgot his own experience of creating pagodas. thinks that it is his own talent and intelligence, and it is also the beginning of success. "The pagoda is broken and destroyed, but the Sun Pavilion is superior to others, and the love has been preserved for more than 50 years, almost 60 years."

"The key to life is to have a sense of innovation, and there is absolutely no future if you follow the rules." Wang Jizhi analyzed himself and believed that he could become a branding craftsman, and relied on the branding business to live an easy life without hard work, all thanks to his innovative spirit.

His father died when he was 44 years old, and Xing's successor had just reached adulthood. An older brother, two brothers and two sisters. The father left, and the sister-in-law proposed to split the family. As the second in the family, Wang's subordinates led his four younger siblings to live alone.

All people have to grow up and start a family. Wang Jizhi led the growth and development of the siblings. Even in the northern city of the 21st century, marrying a wife is still the most burdensome burden for farmers. Wang Jizhi was able to marry a wife for himself and his two younger brothers in the last century, and he was very admired by his neighbors. "Wang Ji's efforts and dedication for half his life have been appreciated by his neighbors.

In his early years, he went to Lanzhou to work as a furniture maker, and then returned to the county wood factory to make a living, and then painstakingly studied painting. His efforts revolve around how to get rid of hard work and live a relaxed life.

Wang Jizhi admitted that his playful personality is unacceptable to ordinary people, but it is precisely because he is playful, aggressive, and risk-taking that he has improved the lives of his brothers and sisters.

"When I was a child, I was honest, and I didn't develop in my life. I don't like to push, circle after circle, without later practice to prove, without me, the family will not develop. I don't want to go on the road to the end by pushing and grinding. It's good to be useful. ”

Wang Ji's subordinates have repeatedly emphasized that only progress can be made. Playing cards that don't follow common sense will have a reward that goes beyond the norm.

When he was a carpenter, the apprentice asked Wang Jizhi a question, but Wang Jizi not only did not answer, but also did not have a head of cold water: "The ancients thought about making a table and putting four roots, because they couldn't stand." If you can stand a table with one leg, you will surpass the ancients, what is the same old age? You have to think about everything by yourself, think about it, there are multiple ways to do everything, and you don't understand it?"

At the end of the 20th century and the beginning of the 21st century, it was the most glorious years of Wang's painting business. With the support of the county leaders, they frequently appeared on TV, newspapers, and trade fairs, and the collection of people became better and better. Since the leader who cared about the painting was gone, the brand painting business has returned to its normal state.

Wang Jizi does branding, so he naturally has a soft spot for branding, but he has open-minded and pragmatic genes in his personality. "I feel tasteful, but ordinary people don't look down on me." Wang Jizhi has a clear awareness of the promotion and spread of the brand back in Longzhong, and does not have the narrow-mindedness of loving the house and Wu, "No one learns brand painting, because brand painting cannot become the climate." ”

In addition to being enlightened, Tuji also has the courage to reflect on himself. Wang Jizhi kept Sun Qingkong, who he had made when he was 15 years old, with him all the time, and removed the golden paint. For 55 years, the artistic impulse at the age of 15 has always inspired me. "Every time I look at my + five-year-old Monkey King, I reflect and complain about myself, I haven't improved when I grow up, I should do better. At that time, I could only drink two or two sides of soup a day, and I was able to raise one Sun Qingkong, but now the conditions are good, and there is no progress. ”

The inheritance of Nengyuan's craftsmanship does not exist at all in the eyes of Wang Ji's subordinates. Seeing his son working in the administrative unit, Wang Jizhi was full of joy. "My son's unit is busy, and I often tell my son that honesty has been vacated for half a lifetime, and my hands can't be deep. My thing is a good thing, thousands of things to work, fold that is to support the family Hukou, my son wants to yuan, and I will talk about it when I am old. "It's a net money, no one learns. The people who used Pingqian to make noodles were all closed to the lake because they didn't have money, but Wang Ji's subordinates have been insisting. Wang Jiyan said that he never considered inheritance.

"Raising a child is like an uncle, and raising a daughter is like an aunt." The degree of belief in this dogma among the people in the courtyard was resolutely disapproved of by the subordinates, "When I was a foreign citizen, I spent 18 silver dollars in Tibet to buy a pen, and Uncle Yi could write on flax with that pen. But my character can't be a good woman, my son and his uncle can only help the plow, and my son is obviously like me. ”

Once, Wang Ji's subordinates were fiddling with pots and pots in the earthen courtyard of his hometown in the countryside, and his son bumped into him and said, you are a person who loves cleanliness, why do you make such a mess of things?" The son dislikes Lao Tzu, because the traditional subordinates don't think so, but he thinks that his son is promising. "If a person doesn't pay attention to hygiene, he doesn't talk about art, he has no future. Dongfeng car can run, relying on the engine, how hard do people work, can they always do hard work?"

"Branding can now earn tens of thousands of yuan a year, and sometimes I can't get any intention after ten days and a half of guarding." However, Wang Jizhi sticks to the shop every day, firmly believing that brand painting is an elegant art.

No one has collected water bills for Wang Ji's shop for three consecutive years, but as soon as he moved over, the person who collected the water bill came, "The water bill for three years is more than 800 yuan in total." "Wang's subordinate pro-Chengdu said that it was a bit of an army. Talk to the landlord about it. Wang Jizi said that he blamed himself for not reading the meter when he rented the house, and generously paid the water bill for others, "It is a blessing to suffer, if you take advantage of it, you will have to sleep for several nights." ”

Branding painting, also known as hot painting, fire brush painting, is a kind of traditional arts and crafts with a long history. It originated in Nanyang City, Henan Province, a famous historical and cultural city in China. It is known as one of the "Three Treasures of Nanyang". It is written with an iron skewer with a temperature of 300 to 800 degrees Celsius, and uses the principle of carbonization to paint on bamboo, silk, rice paper and other materials.

Branding painting, also known as hot painting, fire brush painting, is known as one of the "three treasures of Nanyang".

It is written with an iron skewer with a temperature of 300 to 800 degrees Celsius, and uses the principle of carbonization to paint on bamboo, silk, rice paper and other materials.

According to historical records, brand painting originated in the Western Han Dynasty and flourished in the Eastern Han Dynasty. Later, due to successive disasters and wars, it was once lost. In the third year of Guangxu, it was rediscovered and sorted out by Zhao Xingsan, a folk artist in Nanyang, and continues to this day. Regarding the origin and development of Nanyang brand painting, there are still many beautiful and beautiful stories left in the folk.

At the end of the Western Han Dynasty, there was a branding craftsman surnamed Li Mingwen in Nanyang City, who was a well-known branding expert, known as "Li Branding Flower". The old couple made a living from branding flowers. One day, "Li Xuanhua" was resting under a big tree by the Purple Mountain, (the Purple Mountain is about 30 miles northwest of Nanyang City) suddenly a boy ran towards him and knelt in front of him, saying that there were bad people chasing and killing. begging him for help, this child is Liu Xiu, who is only twelve years old, who was chased and killed by Wang Mang. "Li Xuanhua" pretended Liu Xiu to be a mute who escaped from food, led him to a hidden large stone slab, let him sleep on it, and escaped the pursuit of the reckless soldiers. When they were about to break up, "Li Branding" saw that he was pitiful and gave him a beautiful branding gourd as a coil. After Liu Xiu and "Li Xuanhua" broke up, after a lot of hardships, they finally established the Eastern Han Dynasty in 25 AD, with the capital Luoyang, known as Emperor Guangwu. At this time, as the emperor, Liu Xiu did not forget the life-saving grace of "Li Xuanhua" in the past, and sent his henchmen to carry a gourd to secretly investigate, and after finding "Li Xuanhua", he immediately announced that he would enter Beijing and give a thousand taels of silver and seal the "King of Branding Flowers". And the Nanyang brand painting was listed as a tribute for the royal court. Since then, Nanyang brand flowers have flourished and become famous all over the world. And the big stone slab that Liu Xiu slept on back then, people later called him "Liu Xiu's bed" and continues to this day.

According to the chronicles, in the third year of Guangxu in the Qing Dynasty (1877 AD), Zhao Xing, a person from Nanyang who was good at painting, was in a cigarette smoking opium. Later, he performed his art on other wooden toys, all of which were successful. With the study of painstaking research, over time, a complete set of branding painting technology has been developed one by one. His brand paintings have gradually become a good gift for gifts between high-ranking officials and nobles. So much so that it entered the Qing court as a tribute to Nanyang, and some of the top grades of the brand paintings were favored by the emperor's relatives. Later, Zhao Xingsan accepted four more disciples: the eldest apprentice Li Panzhi can write and paint, is proficient in various colors and colors, and is skilled; The second apprentice, Qiu Yiting, is good at Bogu; three apprentices, Yang Diankui, specializes in flowers and birds; The fourth apprentice, Zhang Xifan, is proficient in landscapes.

In the twenties of the twentieth century, branding has become a special handicraft industry, and branding flowers have also become a well-known folk art in Nanyang and are well-known in China.

In its long-term development and evolution, brand painting has established many composition rules that meet its own aesthetic requirements, and there is a figurative summary description of the "five-character method" in the composition, the word "zhi" is to push left and right, the word "A" is heavy on the top and light on the bottom, the word "by" is light on the top and heavy on the bottom, the word "then" is the left real and the right is virtual, and the word "must" is the left virtual and the right is real. All kinds of rules make us have a clearer direction of thinking when studying and learning the composition of branding.

Branding painting is very particular about the cloth potential, that is, the so-called "distant view of its potential, close view of its quality". Although some paintings are technically sophisticated, they look disorganized, which is precisely due to the lack of grasp of the "potential". For example, in Wu Changshuo's "Scattered Coral Branches", the main branches and leaves form the general trend, and the drooping branches alone constitute the small trend. The more local images in the painting, the more complex and difficult it is to control the potential, and the more important it becomes. The existence of potential can be divided into horizontal potential, vertical potential, curvature potential, oblique potential, group potential, and radial potential.

The composition of the picture should have the main and the guest, let alone dominate, and it is necessary to create a compositional center, so as to achieve the fullest expression of the main effect. Commonly used methods include the main body in the front, the main body in the middle, and the main body in the largest.

Too many image materials will make the picture complicated and instigated, add snakes to the painting, and weaken the theme; Too little is not enough to illustrate the topic. The trade-offs are relative, how much to take, how much to give, what to take, what to give up, according to the style of painting and the personality of the painter to pursue a specific analysis, there is no hard and fast rule.

Density is condensation, which is the concentration of objects and lines in the picture; Sparseness is the opposite. The composition of a painting, the arrangement of various objects and lines should be sparse and dense. The result is a rhythmic, elastic artistic effect. "Dense and impermeable, sparse can run horses", Deng Shiru, a Qing scholar, very vividly described the relationship between "sparse" and "dense" in the picture. If the "sparse" is improper, the picture will be messy, relaxed, and spiritless; If the "density" is not enough, it will make the picture dull, dull, and dull. Either the point is dense, and the surface is sparse; Either the surface is dense and the point is sparse. "Sparse" depends on the arrangement of "dense", and "dense" depends on the foil of "sparse", and the gap between the two should be emphasized to form a strong contrast between sparse and dense, so that the picture will be vibrant.

If it is too empty, the picture will feel space, weak and weak, floating lightly and with no place to return, and must be fixed with real supplements; If it is too real, it will cause the picture to be solemn and blocked, and it is difficult to have a place to breathe, so it is necessary to adjust the buffer with virtuality. The light should be false, and the thick should be real. The sparse is false, and the dense is real. Those who move are virtual, and those who are still are real. The light is false, and the heavy is real. The second is false, and the main is real. The white is false, and the black is real.

Pan Tianshou said: "In our country's painting, black and white are the main colors, and there are paintings, black, and white. White is virtual, black is real. The relationship between the virtual and the real, that is, the blank space shows the real existence. "Those who are far away are false, and those who are near are real. The less is false, and the more is real.

The chapter of a painting is often based on "opening and closing" as the compositional layout. The so-called opening and closing, also called "opening and closing". "Open" is the beginning, and "close" is the end. Opening and closing in the picture is the unity of contradictions, just like using a pen, starting the pen is open, and closing the pen is closed; It is not possible to open and close in a painting. —There are large openings and closures that run through the whole picture, as well as a number of smaller openings and closures. The small opening and closing should obey the direction of the large opening and closing, and play a role in enriching the composition of the picture. If there is an opening potential, there must be a closing potential, and only when the opening and closing are handled well, the picture will have integrity.

Blank space here does not mean "nothing", but the same shape, line, color, etc., which constitute a special organic part of the picture. As the saying goes, "the pen can't be realized and the god is not realized". Traditional gourd paintings are almost always blank. Qing Deng Shiru said: "The sparse place of calligraphy and painting can go to the horse, the dense place does not make ventilation, and the white is often counted as black, and the fun is out." "The gourd painting has a very rich understanding of blank space. - There are generally the following ways of existence: the need to represent the beauty of heaven and earth, in dense places, around the subject, and without painting the background form.

Almost all the components of the picture are related to contrast, and it is necessary to pay attention to their changes in size, length, distance, height, rigidity and softness, movement and stillness, light and shade, and straightness. Contrast in composition: dense contrast, scattered contrast, size contrast, high and low contrast, ? Color contrast, dynamic and static contrast, curved and straight contrast, image contrast, etc.

Balance in plastic arts is to use different components of shape, color, structure and other modeling factors to achieve a balance of force on the picture, in order to achieve a solemn, rigorous, peaceful and perfect artistic effect. There are many ways to achieve balance in the picture, such as using the properties of objects. Living bodies are heavier than inanimate beings and the latter are lighter.

In composition, this property can be used to achieve image balance. Take advantage of the specific gravity of color. When one side of the picture is rich and concentrated, it should be echoed in the corresponding opposite direction. Take advantage of the movement of force. When the trend of the main force of the picture is biased to one side, the trend of the auxiliary force can be pulled back to achieve balance. Take advantage of movement and visual direction. Take advantage of the size and complexity of the object.

The use of color should be considered from the following aspects: the harmony of color, the contrast of color, the difference between cold and warm, light and dark, movement and stillness, and retraction. Generally speaking, cool colors are quieter and more astringent, and warm colors are the opposite. , the relationship between the primary color and the secondary color. The color of gourd painting is composed of two major elements: one is color, and the other is ink. The ancients said: "Ink is divided into five colors." For example, Li Fangying's "Catfish Picture", the whole picture is based on ink color, dark and real, full of interest, and has strong expressiveness.

Attention should be paid to the following aspects in the handling of background: the selection of materials should meet the needs of the theme idea. The background is a complementary part of the thematic content, and it must be content that contributes to the creation of a typical meaning, a typical environment, and the best way to illustrate and extend the theme of the picture. The amount of background materials used should be refined and purified, not more is better, and do not transfer all the materials related to the theme to the picture.

The layout should be reasonable. The background is usually arranged behind the main body of the picture. Backgrounds can be divided into two categories: those with an image and those without an image. The so-called imaged background refers to the fact that the picture space outside the subject is composed of specific objects. The unrepresented background is the opposite of the imaged background, and there is no concrete image in the picture space outside the main image, or the color is flat, or all white and black, or the brush touches other abstract effects as a foil.

For gourd painting lovers who do not have a certain foundation, rubbing is the best way for them to carry out gourd branding sketches, you can print the selected pattern on the paper, glue the carbon paper behind the pattern, use tape to glue the finished rubbing on the gourd that needs to be branded, and trace the pattern with a pen, and the selected pattern will be easily copied to the gourd. Stretch the manuscript onto the gourd, preferably on old carbon paper.

First of all, it both inherited and developed Chinese painting.

Whether it is the art of branding or Chinese painting, in essence, they are paintings. The definition of painting should be grasped from two aspects: one is the artist's artistic accomplishment, including the ability to feel, recognize and express beauty. The second is the selection and application of tools and materials.

Chinese painting is a traditional Chinese painting form, and from the perspective of the genre and style characteristics of contemporary brand painting art, it can be said that it is another form of expression of Chinese painting.

Whether it is Chinese painting or brand painting art, it requires the artist to have a high level of artistic accomplishment, the ability to feel and recognize beauty. For example, Guo Xi, a landscape painter and painting theorist in the middle of the Northern Song Dynasty, wrote in his "Collection of Forests and Springs" about the changes in the landscape of the four seasons: "The spring mountains are light and smiling, the summer mountains are green and dripping, the autumn mountains are clear and clean like makeup, and the winter mountains are bleak and sleepy."

Contemporary brand painting works, there is no lack of works of art with a strong feeling of beauty, but most of the brand paintings do not leave the name of the artist, only the name of the work, such as "Wealth and Auspiciousness", "National Color and Heavenly Fragrance", "Bamboo Newspaper Peace", etc., some works are copied or created according to literary stories, such as "Qingming Riverside Picture", "Twelve Hairpins of the Red Chamber", "Grand View Garden Picture Scroll", "Ten Thousand Miles of Great Wall", "Ten Thousand Miles of Mountains and Rivers" and so on. The subject matter of the brand painting is popular among the people, and the name is easy to understand. Therefore, the art of branding painting is in the same vein as the art of Chinese painting.

From the perspective of the tools and materials used to perform art, the art of branding is the innovation and development of Chinese painting art.

The tools and materials of Chinese painting are brushes, ink, rice paper or silk, and Chinese painting paints. Chinese painters should master the characteristics of various tools and materials, and use a pen dipped in ink to hook, scratch, point, dye, rub, and rub on rice paper or silk, and at the same time control the changes in the shade, weight, and urgency of the ink, and the works may or may not be colored. The tools and materials for painting are soldering pens (or iron skewers, fire pens), bamboo and wood, rice paper or silk, etc., and some also use Chinese painting paints.

Branding artists also need to master the characteristics of various tools and materials, and use temperature control techniques to draw and bake on bamboo, wood, rice paper, silk and other materials. Comparing the two, we find that the soldering brush replaces the brush of Chinese painting with a branding brush, and expands the materials of the art from rice paper and silk to bamboo, wood, gourd, shell and other materials. Because of the special tool of the soldering pen, the materials used in the art are more extensive. Therefore, the art of branding further enriched and developed Chinese painting.

Secondly, the art of Nanyang brand painting is an art that is appreciated by both the elegant and the vulgar.

In the early days of liberation, Nanyang brand painting was mainly developed with chopsticks, which were essential tools for people to eat. The wood chopsticks are made of holly medicinal wood, with excellent texture, exquisite workmanship, cold sex, white color, soaked in sesame oil, ivory yellow, fragrant smell, and help to maintain health. On the square chopsticks noodles, the artisans painted the picture by hand, which is elegant and exquisite, and can be admired, so it has become a favorite of collectors.

Contemporary branding has developed into silk and rice paper, forming works of art similar to Chinese painting. The subject matter is popular among the people, because the intervention of the fire pen as a tool adds a simple and elegant bearing to the picture. Therefore, the art of Nanyang brand painting is an art that is appreciated by both the elegant and the vulgar.

As I'm going to talk about today, it's very inspirational, and she's also focused on one thing, and she's been doing it for almost 20 years, which is really remarkable. From a laid-off worker to a branding artist, she uses her efforts to tell us the meaning of chasing and the uncompromising nature of reality.

This person is Yang Jinting, in the winter of 1999, on the way home from work, he picked up a plywood. It was such a wooden board that made her an indissoluble bond with branding. Who said that after 30 years of age, you can't start your own business, especially in the 90s. But Mr. Yang, who has long passed the age of establishment, is determined to find a way out of the branding painting.

However, it turns out. Only what you can't think of, you can't do without it. Teacher Yang Jinting's success today is by no means accidental, but it is also inevitable.

In fact, we all know that mastering a new skill requires continuous effort to understand more and deeper, and branding is no exception. In order to master various branding skills, Ms. Yang Jinting devoted all her efforts and energy to the creation of branding paintings. Day after day, year after year, I can't remember how many days and nights I got up early and worked hard to study and explore diligently.

As the saying goes, hard work pays off, as long as you pay, you will reap, and opportunities are always reserved for those who are prepared.

In this way, with her dedication and love for brand painting, in 2002, Ms. Yang Jinting created her first batch of brand paintings, and was invited to exhibit at the 20th Luoyang Peony Flower Festival. These paintings are lifelike and unique, and have been appreciated and loved by many people.

In 2004, after continuous efforts and exploration, she had mastered various branding techniques, and on the road of her own creation, the branding works created became more and more delicate and delicate. It has won many awards in many tourist attractions and art competitions, and has attracted much attention, and has also been valued by the art collection industry, and its sales have been rising and growing day by day.

In 2005, when Song County National Forest Park Baiyun Mountain won the title of "the most beautiful place in China", the beautiful scenery of the hometown, for Mr. Yang to find inspiration for the creation of brand paintings, she has created a large number of brand paintings reflecting the beautiful scenery of Song County, such as "The Sun Breaks the Clouds and Ten Thousand Miles Red", "Tianchi Scenery", "Zhang Liang Seclusion" and a large number of brand paintings reflecting the beautiful scenery of Song County, these brand paintings are accurate, meticulously show the beautiful scenery of the hometown, praised by experts and scholars, known as Song County brand painting artists.

In Ms. Yang Jinting's home, the two bedrooms are where she uses for her creation. The walls are full of her works, each of which is fascinating and expressive. The award certificates, trophies, calligraphy and paintings, as well as pen, ink, paper and inkstone all interpret the rich atmosphere and atmosphere of the artist.

Watching the moment she picked up the hot soldering iron to create, I admired from the bottom of my heart, and it was not easy to condense the huge dedication and hard work behind each work. Today, Ms. Yang Jinting is already the principal of several art training schools, and we also hope and wish her to cultivate more artists like herself in the future, and contribute to the folk art of branding.

Branding has a very long history in China, with the continuous improvement of people's material living standards, the folk art of branding is loved by more and more people. Folk branding is also constantly developing, and branding artists are constantly emerging. In many ancient towns, you can occasionally see the figure of brand painting.

In ancient times, it was called "fire brush painting", "hot painting", etc., and it is a kind of precious folk art in ancient China. While grasping the heat and strength, the creation of brand painting pays attention to "the intention is to put the pen first and the pen to form".

According to historical records, brand painting first appeared in the Western Han Dynasty, and later after a series of wars caused such folk art to be lost, the Qing Dynasty Guangxu was proudly revived, and gradually formed several major factions represented by Henan, Hebei and other places.

After the founding of the People's Republic of China, brand painting became a representative of folk art, which was valued by the state and developed rapidly. In recent years, with the joint efforts of many masters of branding, the ancient art form of branding has been put back on the right track.

At present, the master of Luoyang brand painting with the highest achievement is Yang Jinting, a teacher from Song County, whose works have been widely praised and have become a business card of Luoyang City.

Branding is a bit like printmaking, and it is more delicate and expressive than printmaking; It is a bit like a Chinese painting, and it is more elegant and simple than a Chinese painting. It not only has the fineness of the brushstrokes of Chinese painting, but also the level and perception of Western painting.

Nowadays, the subject matter of brand painting has expanded from traditional landscapes, pavilions, figures, flowers and birds to scenes in real life, etc., which greatly enriches the content, which undoubtedly provides more materials for the creation of modern brand painters with national style.

Just like Yang Jinting's works, each one is so moving and lifelike. Looking at those pictures that are close to life, I can't help but fall into contemplation, and I am instantly brought into the scenes in the picture.

As a kind of folk art, folk brand painting has the artistic characteristics of both elegance and vulgarity. The artistic value of brand painting is mainly reflected in the cultural exchange and cultural inheritance, in today's rapid development of high technology, how can we better and more comprehensively inherit and protect?

In today's vigorous development of tourism, brand painting can also be used as a product of tourism, which can well reflect the local cultural customs. As more and more people travel, people want to be able to "take home" the sights they see and the places they experience.

Therefore, the brand painting can not only promote the local tourism industry, but also bring tourists a memorial of the journey.

In the artistic creation of Yang Jinting, she boldly and skillfully integrates modern painting techniques into the branded painting, and the style of the works is unique, noble and elegant, and the landscape, birds and beasts, people, animals, flowers, etc. are vivid and vivid.

I wonder if this kind of branding art culture will disappear in a few years as time goes by.

Perhaps, not only me, but each of us has the obligation to publicize and protect the things of national culture and folk art, so that they can be better inherited and carried forward.

On the road of chasing her dreams, Ms. Yang's love for the art of branding, her spirit of not being discouraged and not giving up have also made her artistic life. From a laid-off worker to a brand painting artist, Ms. Yang Jinting's experience has set an example for all of us young people!

Thus telling us that as long as we persevere, nothing is impossible.

If you like to travel, then you might as well walk into Song County this summer, walk into the cool Funiu Mountain to escape the heat, watch the sunrise, watch the sea of clouds, enjoy the beautiful scenery, and read history. However, there are not only beautiful natural scenery, strong cultural history, simple folk customs, and the food characteristics of the Central Plains. And, of course, the art of branding.

You can take your family, relatives and friends, and children to a study tour, in Song County Baiyun Mountain, Muzhaling summer at the same time, you can experience the charm and edification of the art of branding, if you are fortunate to get Yang Jinting teacher personal guidance.

The art of branding can not only exercise and cultivate children's thinking ability, hands-on ability and aesthetic ability. Moreover, the art of branding is a great test of the artist's patience and painting skills, from which he not only learned the skills of painting, but also learned to be careful and focused. Through the practice of making branding paintings, children's fun for branding learning and enthusiasm for traditional folk art can be increased.

Then, don't hesitate, the coolness of the study tour is all in the cool Funiu Mountain. This summer, make an appointment.......

Branding is also known as hot painting, fire brush painting, that is, using a hot soldering iron to iron out the brand marks on the object to paint. While grasping the heat and strength, the creation of brand painting pays attention to "the intention is to put the pen first and the pen to form".

Branding not only has the techniques of Chinese painting, such as outline, strangle, point, dyeing, rubbing, and white drawing, but also can burn out rich layers and tones, with a strong sense of three-dimensionality, similar to brown sketches and lithographs, so branding can not only maintain the national style of traditional Chinese painting, but also achieve the rigorous realistic effect of Western painting. It has a unique artistic charm, so it gives people a simple and elegant, endless aftertaste of artistic enjoyment.

Nanyang, known as Wan in ancient times, is a famous historical and cultural city in China. More than 5,000 years ago, our ancestors created an ancient civilization here. Since then, it has become the hinterland of the Xia people, the southern land of Shang, and the country of Shenlu of Zhou. In the Spring and Autumn Period, Wanyi has become an iron-smelting center and one of the five major metropolises in the country? One. Qinzhi Nanyang County.

Because Liu Xiu, Emperor Guangwu of the Han Dynasty, was born in Nanyang and became the capital of Luoyang, and has the reputation of "Southern Capital" and "Emperor's Township" in history. Historically, the Nanyang calendar is the seat of the county government (county), "according to Jingxiang in the south, Ruluo in the north", "business all over the world, rich crown in the sea". Thus laying a deep material foundation for the production and development of the art of branding.

Branding painting, also known as branding, hot flowering, fire brush painting, "fire needle embroidery", it is the use of carbonization principle, through temperature control techniques, without any pigment to brand as the main set of color supplemented by the expression of the technique, in bamboo, rice paper, silk and other materials on the sketching and baking painting, ingenious and natural painting art of various expression techniques and the art of painting into one, forming their own artistic style.

According to legend, the brand painting originated in the Qin Dynasty, but there is no evidence or historical data. According to folklore, it was first seen in the late Western Han Dynasty and has a history of more than 2,000 years. Legend has it that there was a branding craftsman surnamed Li Mingwen in Nanyang City at that time, who was a well-known branding master, whether it was a ruler, chopsticks, or a walking stick, a fan pendant, after he was branded, all kinds of characters, flowers and birds, landscapes, and beasts, lifelike, leaping on the paper, exquisite, ingenious, known as the king of branding flowers.

He was loyal and kind-hearted, and opened a façade in the city, which was well known and well-known within a radius of hundreds of miles. Legend has it that "Wang Mang chased Liu Xiu" (Nanyang folklore), Li Wen once saved Liu Xiu and sent him a brand gourd to be entangled, Liu Xiu was not grateful, and after a lot of hardships, he never sold the brand flower gourd. In 25 A.D., after Liu Xiu became the emperor, he still did not forget the life-saving grace of the King of Branded Flowers, and after visiting him, he immediately announced that he entered Beijing, gave a thousand taels of silver, and crowned the "King of Branding Paintings", and put the? Nanyang brand flowers are listed as tributes for the royal court.

Since then, Nanyang brand flowers have flourished and become famous all over the world. The story of "Branded Flower King" has also been passed down to this day. There are many stories and folklore about the origin of Nanyang branding, but here is just one of them.

According to the chronicles, in the third year of Guangxu in the Qing Dynasty (1877 AD), Zhao Xingsan, a native of Nanyang who was good at painting, was addicted to opium once, and after being addicted to smoking, he suddenly became a painter, and painted with a red-hot cigarette on the cigarette stick, got a sketch, and was overjoyed, and then performed art on other wooden toys, all of which were successful.

His brand paintings have gradually become a good gift between dignitaries and nobles, so that they entered the Qing court as a tribute to Nanyang, and some of the top brand paintings were favored by the emperor's relatives. Later, Zhao Xingsan accepted four more apprentices, the eldest apprentice Li Fanzhi can write and paint, proficient in various colors, skilled, specializing in characters; The second apprentice, Qiu Yiting, is good at Bogu; The third apprentice, Yang Diankui, specializes in flowers and birds; The fourth apprentice, Zhang Xifan, led the coquettish landscape.

In the twenties of the twentieth century, brand painting has formed a special handicraft industry, and brand painting has also become a well-known folk art in Nanyang and is well-known in China. At that time, there were six or seven shops specializing in brand painting in Nanyang City, among which Fang Yutang's "Fu Ju Heng" chopstick shop was the most famous, and Zhao Xingsan's four apprentices became the pillars of "Fu Ju Heng".

"Fu Juheng" business is prosperous, the day into the gold, the products are well-known, exported to Beijing, Xi'an, Tianjin, Kaifeng and other places. By the early 40s, the "Fu Juheng" family alone, the staff and artists had grown to more than 30 people, and they began to take shape.

In addition to Nanyang, Henan, Guangdong, Zhejiang, Jiangsu, Anhui and other places are also very active in the art of branding, which can be said to be a master of many masters. In the Qing Dynasty, Wu Tian, a famous craftsman in Wuding County, Yunnan Province, was able to paint the famous painter Yan Liben's "Yingzhou Ancient Eight Bachelors" on the chopsticks that were not too long.

In the 13th year of Tongzhi in the Qing Dynasty (1874), the painter Chen Wan of Guangdong Xinhui created a fire painting fan and painted it on the surface of the fan with an iron needle. Chen Wan passed on his discipleship to Zhong Heng, and has been passed down in the Zhao family since then.

For example, Zhao Zhaoming, who was alive in the early years of the Republic of China, was able to paint "Seven Sages of the Bamboo Forest" and "Dongshan Annunciation" and other characters and complex backgrounds on the Kwai fan. Zhao's younger brother, Zhao Huang, died in 1960 and had been engaged in branding for 50 years. Zhao Zhaoming's son, Zhao Yuan, is also a household name in Xinhui County, Guangdong Province, and his fifth generation is still engaged in the production of fire painting fans.

Jiangsu, Hangzhou, and Nanjing have also seen many famous painters, such as Zhang Youqin, Liu Jintang, Qian Huaijin, Pan Sansi, etc. Liu Jintang has exquisite skills, mainly fan bones and comb grates, and is good at scalding flowers, birds and ladies; Qian Huaijin is good at calligraphy and painting, and his works are mainly fan bones and pen holders, without drafting, and his soldering thread is as thin as hair, and he is good at branding Coats characters. Li Huanqing, a student of Qian Huaijin, is also good at branding character Coats patterns. At the beginning of the reform and opening up, Gong Fuqi, a famous Suzhou brand painter, was a student of Liu Jintang.

After the liberation, the party and the government attached great importance to the excavation, sorting and development of this traditional folk art, and organized the flower artists scattered in various parts of Nanyang, and successively established mutual aid groups and cooperatives. Under the correct leadership of the party and the government, the flower artists continue to inherit and carry forward the excellent traditions of their predecessors, bring forth the new, and improve the craftsmanship and tools, so as to push the art of brand painting onto a broader road of development.

Most of the early brand painting works used a combination of Chinese painting and folk painting, but through the continuous exploration and practice of later generations of artists, they made bold attempts to absorb the expression techniques of Western painting, and received ideal results. The postures, tools, materials, techniques, and content of the painting have all been developed.

In the past, the brand painting artist was a posture of smoking a big cigarette, lying on the side bed using the cigarette lamp heating for branding processing, this method is called "lying branding", this method can only brand some small handicrafts, and it is not easy to master, to a certain extent, the development of the art of branding is limited. By the 40s, the soldering pen was supported by a pen holder, and the "sitting branding" technique was formed, which had the advantages of being flexible and easy to learn. It has opened up a new world for the research and development of the art of branding.

In the beginning, the artists used iron needles as tools to roast on oil lamps for branding, mainly as decorations for chopsticks, rulers, wooden combs and other small daily necessities. Later, the production process and tools were constantly reformed, from "oil lamp branding" to "electric branding", a single soldering needle or soldering iron was replaced with a special electric soldering pen, and the more advanced electric soldering pen can be adjusted at will, so that this ancient creative method has an unprecedented expressive ability.

In the past, it was limited to painting on wood, bark, gourd and other materials, and the texture changes on the picture naturally produced convex and uneven textures, with a certain relief effect, and the color was dark, light brown and even black. Now he boldly uses materials such as rice paper and silk, thus enriching the art form of branding. In the early days, the gourd and bamboo were made of hard and thick materials, so the branding was easier to control.

The rice paper and silk are thinner, but they do not lose the changes in the shade, shade, and virtual reality formed by the different degrees of carbonization of the painting itself. If the temperature is too high and the technique is too heavy, the paper and silk will zoom; The temperature is too low and there are no marks. Moreover, it is necessary to carry out artistic recreation according to the content of the picture, so as to make ? Silk branding painting, rice paper branding painting becoming? The best of Nanyang brand paintings.

Branding techniques have also developed such as polishing, hot stamping, fine drawing and stunting, rendering, etc. The brand painting works are generally dark and light brown, simple and elegant, clear and beautiful, and its unique uneven texture changes have a certain relief effect, which is unique. After rendering and coloring, it can produce a stronger artistic appeal.

In addition, there are also "color branding" and "color branding" to add to the traditional art of branding. Therefore, according to the different themes of creation, different techniques can be adopted, plus color considerations, or a little light color can be applied to form a fresh and elegant style; Or recolor to create a strong decorative effect.

The forms of expression are more diverse, ranging from small Buddhist beads with a diameter of less than one centimeter, to long scrolls of several meters or even tens of meters, and even large-scale hall murals, such as "Qingming Riverside Picture", "Grand View Garden Picture Scroll", "Great Wall of Ten Thousand Miles" and so on. The works can fully reflect the style of different painting genres such as Chinese landscape, fine brushwork, freehand, as well as portraits, New Year paintings, calligraphy, oil paintings, abstract paintings, etc.

The content of the work is constantly enriched and innovated on the basis of inheriting the traditional colors, mostly classical, mythological stories, auspicious patterns, and landscape landscapes, etc., the patterns are fresh, beautiful and generous, and never fade.

It not only inherited Chinese painting, but also developed Chinese painting.

Whether it is the art of branding or Chinese painting, in essence, they are paintings. The definition of painting should be grasped from two aspects.

After more than 2,000 years of history, it gradually developed and matured. From figure painting to landscape painting, flower and bird painting, pommel horse painting, etc., each genre of painting has its own evolution, development process and characteristics. Branding is a kind of folk art, and its inheritance is basically passed on to apprentices through the oral teaching of the branding master, which is a kind of family workshop-style art, so there is no clear historical record of the origin, genre, and style inheritance and change characteristics of the branding art. However, judging from the characteristics of the genre and style of contemporary brand painting art, it can be said that it is another form of expression of Chinese painting.

Whether it is Chinese painting or brand painting art, it requires the artist to have a high level of artistic accomplishment, the ability to feel and recognize beauty, of course, the "beauty" mentioned here is from the level of painting.

For example, Guo Xi, a landscape painter and painting theorist in the middle of the Northern Song Dynasty, wrote in his "Collection of Forests and Springs" about the changes in the landscape of the four seasons: "The spring mountains are light and smiling, the summer mountains are green and dripping, the autumn mountains are clear and clean like makeup, and the winter mountains are bleak and sleepy", which is still recited by people today.

We look at the contemporary brand paintings, there is no lack of works of art that contain a strong sense of beauty, but most of the brand paintings do not leave the name of the artist, only the name of the work, such as "Wealth and Auspiciousness", "National Color and Heavenly Fragrance", "Bamboo Newspaper Peace", etc., some works are copied or created according to literary stories, such as "Qingming Riverside Picture", "Twelve Hairpins of the Red Mansion", "Grand View Garden Picture Scroll", "Ten Thousand Miles of Great Wall", "Ten Thousand Miles of Mountains and Rivers", etc.

The subject matter of the brand painting is popular among the people, and the name is easy to understand. All those engaged in painting should study and study the laws of beauty, and carry out strict and continuous training in the skills of expressing beauty. Zhao Xingsan, a brand painting artist, was originally good at painting, and the four apprentices he accepted could also write and paint, and each had his own specialty. The big apprentice Li Fanzhi's chopsticks branded "Hundred Sons", "Seven Swords and Thirteen Heroes", "Upper, Middle and Lower Eight Immortals", "Guan Ye Picks Robes", "West Chamber Characters" and so on are all extremely vivid. Therefore, the art of branding painting is in the same vein as the art of Chinese painting.

The tools and materials of Chinese painting are brushes, ink, rice paper or silk, and Chinese painting paints. Chinese painters should master the characteristics of various tools and materials, and use a pen dipped in ink to hook, scratch, point, dye, rub, and rub on rice paper or silk, and at the same time control the changes in the shade, weight, and urgency of the ink, and the works may or may not be colored. The tools and materials for painting are soldering pens (or iron skewers, fire pens), bamboo and wood, rice paper or silk, etc., and some also use Chinese painting paints.

Branding artists should also master the characteristics of various tools and materials, and use temperature control techniques to draw and bake on bamboo, rice paper, silk and other materials. Comparing the two, we find that the soldering brush replaces the brush of Chinese painting with a branding brush, and expands the materials of the art from rice paper and silk to bamboo, wood, gourd, shell and other materials. Because of the special tool of the soldering pen, the materials used in the art are more extensive.

Branding on different materials can achieve different artistic effects. "The Twelve Hairpins of Jinling" is a classic work of Nanyang brand painting, reflecting the stories of the characters in the classical masterpiece "Dream of Red Mansions". Although the characters are the same, they are branded on different materials, but they have different charms, and the "twelve hairpins" branded on bamboo and wood are less charming and a little more bold; The "twelve hairpins" on the silk reduce the pride, but add a lot of aristocratic charm; Baking on rice paper is the most difficult, but it can be somewhere in between. Therefore, the art of branding further enriched and developed Chinese painting.

Secondly, the art of Nanyang brand painting is an art that is appreciated by both the elegant and the vulgar.

Branding art is a kind of folk art, it is rooted in the folk, condenses the wisdom of the working people, its branding painter is a farmer who can write and paint knowledge, so the branding itself is not only loved by the peasants, but also favored by the upper class of society. In the early days of liberation, Nanyang brand painting was mainly developed with chopsticks, which were an essential tool for Oriental people to eat. The wood chopsticks are made of holly medicinal wood, with excellent texture, exquisite workmanship, cold sex, white color, soaked in sesame oil, ivory yellow, fragrant smell, and help to maintain health.

On the square chopsticks noodles, the artisans painted the picture by hand, which is elegant and exquisite, and can be admired, so it has become a favorite of collectors. Contemporary branding has developed into silk and rice paper, forming works of art similar to Chinese painting. The subject matter is popular among the people, because the intervention of the fire pen as a tool adds a simple and elegant bearing to the picture. From the legend of the origin of the brand, it is known that it was once a royal item of the imperial court. Today, it has become an elegant art appreciation and a gift from international friends, and is loved by people all over the world.

In its long-term development and evolution, brand painting has established many composition rules that meet its own aesthetic requirements, and there is a figurative summary description of the "five-character method" in the composition, the word "zhi" is to push left and right, the word "A" is heavy on the top and light on the bottom, the word "by" is light on the top and heavy on the bottom, the word "then" is the left real and the right is virtual, and the word "must" is the left virtual and the right is real. All kinds of rules make us have a clearer direction of thinking when studying and learning the composition of branding.

Branding painting is very particular about the cloth potential, that is, the so-called "distant view of its potential, close view of its quality". Although some paintings are technically sophisticated, they look disorganized, which is precisely due to the lack of grasp of the "potential". For example, in Wu Changshuo's "Scattered Coral Branches", the main branches and leaves form the general trend, and the drooping branches alone constitute the small trend.

The more local images in the painting, the more complex and difficult it is to control the potential, and the more important it becomes. The existence of potential can be divided into horizontal potential, vertical potential, curvature potential, oblique potential, group potential, and radial potential.

The composition of the picture should have the main and the guest, let alone dominate, and it is necessary to create a compositional center, so as to achieve the fullest expression of the main effect. Commonly used methods include the main body in the front, the main body in the middle, and the main body in the largest.

Too many image materials will make the picture complicated and instigated, add snakes to the painting, and weaken the theme; Too little is not enough to illustrate the topic. The trade-offs are relative, how much to take, how much to give, what to take, what to give up, according to the style of painting and the personality of the painter to pursue a specific analysis, there is no hard and fast rule. The following is combined with the specific legend to illustrate, Liang Kai's "Taibai Xingyin Picture".

In the composition of this work, except for the main figure, there is no other echo or explanation of the object, which strengthens Li Bai's personality quality and romantic feelings of being world-minded and arrogant to the powerful. At this time, it seems that it is superfluous to add anything, and the use of abstract blurring processing and the word "line chanting" is enough to express the theme idea vividly.

Density is condensation, which is the concentration of objects and lines in the picture; Sparseness is the opposite. The composition of a painting, the arrangement of various objects and lines should be sparse and dense. The result is a rhythmic, elastic artistic effect. "Dense and impermeable, sparse can run horses", Deng Shiru, a Qing scholar, very vividly described the relationship between "sparse" and "dense" in the picture.

For example, Xu Beihong's "Tagore" has loose lines of clothing, which is called "sparse"; The background is set off with denser foliage, which is called "dense". If the "sparse" is improper, the picture will be messy, relaxed, and spiritless; If the "density" is not enough, it will make the picture dull, dull, and dull.

Either the point is dense, and the surface is sparse; Either the surface is dense and the point is sparse. Whether it is the former or the latter, the key is to dare and be good at "sparse" and "dense". "Sparse" depends on the arrangement of "dense", and "dense" depends on the foil of "sparse", and the gap between the two should be emphasized to form a strong contrast between sparse and dense, so that the picture will be vibrant.

If it is too empty, the picture will feel space, weak and weak, floating lightly and with no place to return, and must be fixed with real supplements; If it is too real, it will cause the picture to be solemn and blocked, and it is difficult to have a place to breathe, so it is necessary to adjust the buffer with virtuality. The light should be false, and the thick should be real. The sparse is false, and the dense is real. Those who move are virtual, and those who are still are real.

The light is false, and the heavy is real. The second is false, and the main is real. The white is false, and the black is real. Pan Tianshou said: "In our country's painting, black and white are the main colors, and there are paintings, black, and white. White is virtual, black is real. The relationship between the virtual and the real, that is, the blank space shows the real existence. "Those who are far away are false, and those who are near are real. The less is false, and the more is real.

The chapter of a painting is often based on "opening and closing" as the compositional layout. The so-called opening and closing, also called "opening and closing". "Open" is the beginning, and "close" is the end. Opening and closing in the picture is the unity of contradictions, just like using a pen, starting the pen is open, and closing the pen is closed; It is not possible to open and close in a painting.

For example, in Qi Baishi's "Squirrel Grapes", the grapes unfolding from top to bottom determine the beginning and trend of the picture. This is where the pen begins; The vine is slightly upward to the bottom, and there is a feeling of harvesting, and a squirrel is more like a full stop at the end, and the trend of the picture is closed, which is called a combination.

—There are large openings and closures that run through the whole picture, as well as a number of smaller openings and closures. The small opening and closing should obey the direction of the large opening and closing, and play a role in enriching the composition of the picture. If there is an opening potential, there must be a closing potential, and only when the opening and closing are handled well, the picture will have integrity.

Blank space here does not mean "nothing", but the same shape, line, color, etc., which constitute a special organic part of the picture. As the saying goes, "the pen can't be realized and the god is not realized". Traditional gourd paintings are almost always blank.

Qing Deng Shiru said: "The sparse place of calligraphy and painting can go to the horse, the dense place does not make ventilation, and the white is often counted as black, and the fun is out." For example, in Chandu's album "Landscape of People", the blank space around the boat represents water. The "blank" in the picture can only be associated with "water", and it is impossible to evoke any other image associations other than water.

The gourd brand painting has a very rich understanding of blank space. - There are generally several ways of existence: the place that represents heaven and earth. Such as Tang Yin's "Autumn Wind Fan Picture". Where there are clouds and mist, such as Fan Kuan's "Traveling in Streams and Mountains". in dense places.

For example, in Yuan Ji's "Traveling to Huayang Mountain", there is a looming blank space in the dense turquoise jungle, so that the picture is virtual and real, breathable and flexible. around the main body. For example, in Lang Shining's "Pine Crane", the white crane as the main body of the picture and the pine needles in the upper part are left blank around to highlight the subject. Do not draw the background. Such as "Taibai Xingyin Map". The need for formal beauty. For example, in Dong Qichang's "Eight Scenes of Autumn Xing", the author consciously uses blank space to squeeze out the linear shape, forming a horizontal trend in the vertical composition, and pushing it out layer by layer to form a lofty artistic conception of beauty and elegance.

Almost all the components of the picture are related to contrast, and it is necessary to pay attention to their changes in size, length, distance, height, rigidity and softness, movement and stillness, light and shade, and straightness. The performance of contrast in the composition: sparse contrast, such as Ren Xiong's "Flower Atlas", a large flower and leaf in the upper left corner, calming the picture, a branch "pulling" out the bird, sparse arrangement.

The contrast between virtual and real, such as Fan Hui's "Distant View of Streams and Mountains". Gathering and dispersing contrasts, such as Qi Baishi's "Luffa Frog", the loofahs, vines, and leaves at the top of the picture are gathered together, and the frogs below are scattered, making the composition of the picture rich and varied. The contrast between the sizes, such as Guo Xu's "Bull's Back Flute Picture", one cow and one child, one big and one small, form a sharp image contrast.

The contrast between high and low, such as Qi Baishi's "Fruit of Three Thousand Years", two big immortal peaches, one high and one low, are scattered. If you lay the peach flat, the picture will lose its rhythm. Color contrast, such as Yu Feiyan's "Magnolia", the purple dark blue background is milky white magnolia flowers, and then two orange warblers, the strong color contrast makes the picture bright and full of vitality.

The contrast between movement and static, such as Li Di's "Chicken Chicks to be Feeded", two chicken chicks are waiting to be fed, one is waiting, and the other is turning his head, slightly restless, combining movement and static, full of fun. The contrast between curved and straight, such as Qi Baishi's "Pine Bird", the thick pine trunk is straight, and the small pine branches bend over, breaking the straightness of the trunk, making the picture vivid and natural. Image contrast, such as Li Fangying's "Wind Bamboo Picture", bamboo leaves as points, bamboo poles as lines, stone as surfaces, the combination of points, lines, and surfaces increases the diversity of the picture image.

Balance in plastic arts is to use different components of shape, color, structure and other modeling factors to achieve a balance of force on the picture, in order to achieve a solemn, rigorous, peaceful and perfect artistic effect. There are many ways to achieve balance in the picture, such as using the properties of objects. Living bodies are heavier than inanimate beings and the latter are lighter.

In composition, this property can be used to achieve image balance. For example, in Gao Jianfu's "Bat Facing the Wind", the scenery in the picture - tree branches, moon shadows and the artist's inscription - are all concentrated on the right, and there is only one bat in the upper left corner, but the picture still achieves a balanced effect. Take advantage of the specific gravity of color.

When one side of the picture is rich and concentrated, it should be echoed in the corresponding opposite direction. For example, in Qi Baishi's "Lotus Dragonfly Picture", a little red of the seal in the lower right corner echoes the lotus flower in the upper left corner. Take advantage of the movement of force. When the trend of the main force of the picture is biased to one side, the trend of the auxiliary force can be pulled back to achieve balance. Take advantage of movement and visual direction.

For example, in Xu Beihong's "Galloping Horse", the horse gallops to the left front, and due to the inertia of the direction of movement, it is necessary to leave a certain amount of space visually in order to keep the picture balanced. Take advantage of the size and complexity of the object. For example, in Zhang Daqian's "Flowers and Birds", the large and complex objects in the picture are arranged on the left, and the "scales" on the right are a small bird and a few bright red leaves, which are different in size and complex, making the composition full of variety.

The use of color should be considered from the following aspects: the harmony of colors. For example, Ren Yi's "Shadow of the Bird's Voice" is simple and soft in color, and the contrast is subtle. Contrast of colors. The colors are divided into warm and cold, light and dark, and there is a difference between movement and stillness, and retraction. Generally speaking, cool colors are quieter and more astringent, and warm colors are the opposite.

For example, Wu Changshuo's "Narcissus of Heavenly Bamboo and Narcissus", the top is a red bamboo flower, and the bottom is a large green daffodil, one cold and one warm, so that the picture is gorgeous in color and dynamic and static. The distribution of colors. The colors should be echoed. For example, Wu Changshuo's "Flowers", there are two yellow flowers in the lower right corner, the color block is large and intense, and the flower core of the narcissus above is scattered with some faint yellow dots to echo it, so that the color structure of the picture is stable.

The relationship between the primary color and the secondary color. For example, Qi Baishi's "Lotus Dragonfly Picture", with ink as the main color, holds up a little red, and the color layout is clean and neat. Ink. The color of gourd painting is composed of two major elements: one is color, and the other is ink. The ancients said: "Ink is divided into five colors." For example, Li Fangying's "Catfish Picture", the whole picture is based on ink color, dark and real, full of interest, and has strong expressiveness.

Attention should be paid to the following aspects in the handling of background: the selection of materials should meet the needs of the theme idea. The background is a complementary part of the thematic content, and it must be content that contributes to the creation of a typical meaning, a typical environment, and the best way to illustrate and extend the theme of the picture. Improper selection of materials will weaken the idea of the theme.

The amount of background materials used should be refined and purified, not more is better, and do not transfer all the materials related to the theme to the picture. The layout should be reasonable. The background is usually arranged behind the main body of the picture. In specific use, when the selected scenery and the subject are connected, they will also extend to the left and right, and even interweave and penetrate each other, at this time, we must pay attention to the primary and secondary relationship in the structure of the picture.

For example, Qi Baishi's "Frog Sound Ten Miles Out of the Mountain Spring", although the tadpoles are small, they are very eye-catching in the surrounding environment. Pay attention to the contrast between the background and the subject in the painting factors, such as color contrast, black and white contrast, strong and weak contrast, virtual and real contrast, complex and simple contrast, etc.

Note the subordinate position of the background to the non-subject in the picture, and the purpose should be to set off the subject. For example, in Xu Beihong's "Four Joys", the background is willow branches swaying in the wind, which sets off the scene of magpies playing. Set off with color. As the saying goes, "Safflower has to be matched with green leaves." "With the backdrop of green leaves, the beauty and red of the flowers are even more revealed.

But after all, the green leaves here are the background of the safflowers, because they have value and aesthetics because they set off the subject. Backgrounds can be divided into two categories: those with an image and those without an image. The so-called imaged background refers to the fact that the picture space outside the subject is composed of specific objects. The objects in the background can be people, animals and plants, or landscapes, and they form an organic whole together with the subject in the picture.

The unrepresented background is the opposite of the imaged background, and there is no concrete image in the picture space outside the main image, or the color is flat, or all white and black, or the brush touches other abstract effects as a foil. The above two methods can be flexibly used in creative practice.

In a work, some of the images are used to set off the main image, and some are used to set off the main image, which can also achieve a very good artistic effect. For example, Pan Tianshou's "Orchid Picture", with mountain rocks and moss dots to set off orchids, this is an elephant background; The large blank space outside the rocks and orchids is the imageless background.

Unlike Western painting, which realistically reproduces objective objects, branding is based on real objects, and is not limited to the authenticity of shapes and colors in life. Exaggeration, deformation, stereotyping, regularity and a distinct sense of rhythm are the basic characteristics of the expression of gourd painting. These decorative features are also reflected in the composition: the ornamentality of the composition.

For example, in Ren Xun's "Boudoir Buddha Picture", decorative factors such as balance, symmetry, plane, and regularity are perfectly used in the composition. The ornamentality of the combination of characters. For example, in the Song Dynasty's anonymous "Eighty-Seven Immortal Scrolls", the figures in the painting form a regular dynamic combination, thus showing a strong sense of decorative beauty.

The ornamentality of the line organization. For example, in "Eighty-Seven Immortal Scrolls", there are regular vertical lines in the painting, which also strengthens the decorative beauty of the composition. The decorative nature of the color composition. For example, Yu Feiyan's "Magnolia" is painted with bright and heavy pure primary colors (or close to primary colors) and contrasting colors, making the picture simple and bright, with a strong decorative effect.

The details are described. For example, in Song Anonymous's "Peach Blossom Mountain Bird Picture", the outline of the petals, the veins of the leaves and the structure of the bird's feathers are regularly outlined, which fully reflects the subtle decorative meaning. The decorative nature of the pattern. For example, Zhou Fang's "Hairpin Lady" does not consider the perspective changes formed by the transformation and overlap of the patterns on the women's clothes in the painting, but uses the decorative means of plane composition, which has a unique charm.

The sense of decoration in the composition also lies in the clever distribution of the position of each piece of the size of the picture and the various decorative elements that make the rhythm of the picture more bright. Take a look at the latest chapters of "Dream Claw Book House in the Great Era" and read it for free for the first time.