Wood-stone chapping method for ink landscape painting

Abstract

The invention provides a wood-stone chapping method for an ink landscape painting. The wood-stone chapping method comprises the following steps: step 1, manufacturing a painting wall; step 2, selecting a picture scene; 3, drawing tools are selected, wherein the tools comprise Chinese art paper, a writing brush, ink, a cotton willow carbon strip, traditional Chinese painting pigment and a glaze pot; 4, selecting a glaze pot and mixing ink; 5, drawing: (1) drawing an effect picture; and (2) before the effect picture in the step (1) is not dried, a writing brush is used for dipping the ink prepared in the step (4) to continue chapping and wiping according to the strength relation of the shape structure of the picture in the step (2), then the traditional Chinese painting pigment and the ink in the step (3) are used for applying writing and ink layers, and the ink colors are mutually permeated and fused in the repeated chapping and wiping process and naturally aired. The glaze pot is used for spraying clear water, the clear water is sprayed on the Chinese art paper like raindrops, the area can be large, small, sparse and dense, on the basis, a writing brush is used for inking and chapping, ink can be rapidly absorbed at the water spots, time and labor are saved, and the picture effect is rapidly formed.

Description

Technical Field

[0001] The present invention relates to a painting method, and particularly to a wood and stone texture method for Chinese ink landscape paintings. Background Art

[0002] "Texture method" is one of the Chinese painting techniques. In the art practice of ancient painters, according to the different geological structures of various mountain rocks and the states of tree barks, the performance programs were created through generalization. The types of texture methods are all named after their respective shapes. The main performance method of early landscape paintings was to outline the contours with lines and then apply colors. With the development of painting, in order to show the veins, patterns, textures, yin and yang concavities and convexities, and the back and forth of mountain rocks and trees in the mountains and waters, the brushwork of texture rubbing gradually formed, forming a unique technical term in Chinese painting. Historically, there were "hemp fiber texture method", "rolled cloud texture method", "axe cut texture method", "broken belt texture method", "raindrop texture method", etc.

[0003] These texture methods have been widely used by later generations, but they are only limited to showing mountain rocks and cannot be used for trees, flowers, waterfalls, etc. Moreover, it is necessary to texture rub little by little, which is slow and difficult to learn. It must go through a long time of learning and practice to be better mastered. Summary of the Invention

[0004] In view of the deficiencies of the prior art, the present invention provides a method for painting Chinese ink landscape paintings combined with texture methods.

[0005] In order to solve the deficiencies of the prior art, the technical solution adopted by the present invention to solve its technical problems is as follows: A wood and stone texture method for Chinese ink landscape paintings, comprising the following steps: Step 1, making a painting wall: The painting wall is successively a felt, a metal plate, and a wall from top to bottom. The felt is pasted on the metal plate, and the metal plate is installed on the wall; Step 2, selecting a painting scene: The painting scene is a photo; Step 3, selecting painting tools, the tools are rice paper, writing brushes, ink, cotton willow charcoal sticks, Chinese painting pigments, and glaze pots; Step 4, selecting a large-sized glaze pot and preparing the ink. Using ink liquid with a blackness of 95%, five kinds of ink are prepared, namely, concentrated ink with a water-to-ink ratio of 0:10, thick ink with a ratio of 2:8, heavy ink with a ratio of 4:6, light ink with a ratio of 6:4, and clear ink with a ratio of 8:2; Step 5, painting: (1) Paste the rice paper selected in Step 3 on the felt. First, use the cotton willow charcoal stick to outline the overall composition of the painting scene in Step 2. Then, according to the needs of the picture, spray water droplets on the rice paper with the glaze pot in Step 4, and use the writing brush in Step 3 to quickly texture rub the sprayed water droplets from dark to light with the ink prepared in Step 4, and draw an effect picture on the rice paper according to the painting scene in Step 2; (2) Before the effect picture in Step 5(1) dries, use the writing brush to dip the ink prepared in Step 4 and continue to texture rub according to the strength relationship of the physical structure of the painting scene in Step 2. Then, use the Chinese painting pigments and ink in Step 3 to apply the levels of brushwork and ink, so that the ink colors penetrate and blend with each other during repeated texture rubbing, and dry naturally to complete.

[0006] The present invention further provides a wood and stone texture method for ink-wash landscape paintings. In step five (2) of the method, the drawing of layers requires repeated rubbing and adjustment. That is, after the first spraying of water dots for rubbing, secondary or multiple spraying of water dots for rubbing is carried out according to the requirements of the picture.

[0007] The present invention further provides a wood and stone texture method for ink-wash landscape paintings. The size of the water dots ejected from the selected glaze pot is between 1 mm and 3 mm.

[0008] The present invention further provides a wood and stone texture method for ink-wash landscape paintings. The selected rice paper is thickened pure bark rice paper with a thickness of 0.15 mm and the amount of wingceltis bark contained therein is 60% to 80%.

[0009] The present invention further provides a wood and stone texture method for ink-wash landscape paintings. The writing brush used is a goat hair writing brush.

[0010] The beneficial technical effects of the present invention are as follows: The present invention sprays clear water with a glaze pot, which is sprayed on the rice paper like raindrops, and the area can be large or small, sparse or dense. On this basis, the writing brush is used to apply ink for rubbing. The ink is quickly absorbed at the raindrop points, saving time and effort and quickly forming the picture effect. Its advantages are as follows:

[0011] (1) Wide range of expression; It can not only draw mountains and rocks, but also draw trees, flowers and plants, falling waterfalls, etc. It can represent northern mountains and rocks, northern snow scenes, as well as southern dense forests or tropical jungles. The content of the painting can be completely completed with the wood and stone texture technique.

[0012] (2) High creation efficiency; Due to the special tool of the glaze pot for quickly spraying water dots, while the water dots are not dry, quickly use the writing brush to dip the ink and rub from top to bottom with the side of the brush, so the efficiency is extremely high and the picture effect is quickly formed.

[0013] (3) Low learning difficulty; For the wood and stone texture technique, after spraying water dots, use the side of the writing brush to rub from top to bottom, without the use of other complex brush techniques, which is easy to understand, simple to learn and quick to get started.

[0014] (4) The painting size can be large or small; Through a large number of practices, the wood and stone texture technique can draw delicate and small fan surfaces, and can also draw paintings with huge sizes such as four meters high and eight meters wide. It can truly draw both delicate and small sketches and express magnificent masterpieces, and can well express and create paintings of various sizes. BRIEF DESCRIPTION OF THE DRAWINGS

[0015] Figure 1 It is a picture of the painting scene of Embodiment 1 of the present invention;

[0016] Figure 2 It is a sketch of the painting scene of Embodiment 1 of the present invention;

[0017] Figure 3 This is the preliminary rendering of the painting scene in Embodiment 1 of the present invention;

[0018] Figure 4 This is the completed rendering of the painting scene in Embodiment 1 of the present invention;

[0019] Figure 5 This is the painting scene photo in Embodiment 2 of the present invention;

[0020] Figure 6 This is the sketch of the painting scene in Embodiment 2 of the present invention;

[0021] Figure 7 This is the preliminary rendering of the painting scene in Embodiment 2 of the present invention;

[0022] Figure 8 This is the completed rendering of the painting scene in Embodiment 2 of the present invention. Detailed implementation manners

[0023] Embodiment 1

[0024] Taking "Spring Melting Picture" as an example:

[0025] Step 1, make a painting wall: Since the work is large in size, it is drawn on the painting wall. The painting wall is successively a felt, a metal plate and a wall from top to bottom. The felt is pasted on the metal plate, and the metal plate is installed on the wall;

[0026] Step 2, select a painting scene: The painting scene is a photo of the winter snow scene in the Taihang Mountains as Figure 1 shown;

[0027] Step 3, select painting tools. The tools are rice paper, writing brushes, ink, cotton willow charcoal sticks, Chinese painting pigments, and glaze pots; Step 4, select a large-sized glaze pot and prepare the ink. Use ink liquid with a blackness of 95% to prepare five kinds of ink, namely, concentrated ink with a water-ink ratio of 0:10, thick ink with a ratio of 2:8, heavy ink with a ratio of 4:6, light ink with a ratio of 6:4, and clear ink with a ratio of 8:2;

[0028] Step 5, drawing: (1) Lay the rice paper selected in Step 3 on the felt. First, use the cotton willow charcoal stick to outline the overall composition of the painting scene in Step 2, as Figure 2 shown, and outline the general shapes of the mountains, trees, clouds, animals, etc. and the overall composition of the picture on the rice paper through the cotton willow charcoal stick; then, according to the needs of the picture, spray water droplets on the rice paper with the glaze pot in Step 4, and use the writing brush in Step 3 to quickly scrub the sprayed water droplets with the ink prepared in Step 4 from dark to light, and draw the rendering on the rice paper according to the painting scene in Step 2, as Figure 3As shown in; (2) Before the effect picture in Step Five (1) dries, dip a writing brush in the ink prepared in Step Four and continue to scrub according to the strength relationship of the body structure of the painting scene in Step Two. Then, apply the Chinese painting pigments and ink in Step Three to create ink levels, so that the ink colors seep and blend with each other during repeated scrubbing, and let it dry naturally to complete, as Figure 4 shown.

[0029] The steps for drawing levels in Step Five (2) need to be adjusted through repeated scrubbing, that is, after the first spraying of water dots for scrubbing, spray water dots for scrubbing more than once according to the needs of the picture; the size of the water outlet points of the selected glaze pot is 3mm; the selected rice paper is thickened pure bark rice paper, with a thickness of 0.15mm and the amount of wingceltis bark contained is 60% to 80%. The writing brush is a large-sized goat hair brush.

[0030] Example 2

[0031] Taking "Clouds Drifting in Spring Like Brocade" as an example:

[0032] Step One, make a painting wall: Since the work is large in size, it is drawn on a painting wall. The painting wall from top to bottom is a felt, a metal plate, and a wall in sequence. The felt is pasted on the metal plate, and the metal plate is installed on the wall;

[0033] Step Two, select a painting scene: The painting scene is a photo of the winter snow scene in the Taihang Mountains, as Figure 5 shown;

[0034] Step Three, select painting tools. The tools are rice paper, writing brush, ink, cotton willow charcoal stick, Chinese painting pigments, and glaze pot;

[0035] Step Four, select a large-sized glaze pot and prepare ink. Use ink liquid with a blackness of 95% to prepare five kinds of ink: concentrated ink with a water-ink ratio of 0:10, thick ink with a ratio of 2:8, heavy ink with a ratio of 4:6, light ink with a ratio of 6:4, and clear ink with a ratio of 8:2;

[0036] Step Five, draw: (1) Lay the rice paper selected in Step Three on the felt. First, use the cotton willow charcoal stick to outline the overall composition of the painting scene in Step Two, as Figure 6 shown, and outline the general shapes of the mountains, trees, clouds, animals, etc. and the overall composition of the picture on the rice paper through the cotton willow charcoal stick; then, according to the needs of the picture, use the glaze pot in Step Four to spray water dots on the rice paper, and use the writing brush in Step Three to quickly scrub the sprayed water dots with the ink prepared in Step Four from dark to light, and draw the effect picture on the rice paper according to the painting scene in Step Two, as Figure 7As shown in; (2) Before the effect picture in Step Five (1) dries, dip a writing brush in the ink prepared in Step Four and continue to apply rubbing according to the strength relationship of the body structure of the painted scene in Step Two. Then, use the Chinese painting pigments and ink in Step Three to apply the levels of brushstrokes and ink, so that the ink colors seep and blend with each other during repeated rubbing, and then let it dry naturally to form, as Figure 8 shown.

[0037] For the drawing of levels in Step Five (2), repeated rubbing and adjustment are required, that is, after the first spraying of water dots for rubbing, spray water dots for rubbing more than once according to the needs of the picture; the size of the water dots from the selected glaze pot is 3mm; the selected rice paper is thickened pure bark rice paper, with a thickness of 0.15mm and the amount of Qingtan bark contained is 60% to 80%. The writing brush is a large-sized goat hair writing brush.

[0038] The burnt ink: Its characteristics are that the ink color is the darkest, almost pure black, and it is often used to outline the contours or emphasize the key points; the ratio of ink to water is 10:0, pure ink, without adding water; usage method: directly use ink juice or thick ink ground, and the brushstrokes are dry and powerful.

[0039] The thick ink: Its characteristics are that the ink color is darker, slightly lighter than the burnt ink, and it is suitable for showing the dark parts or the sense of heaviness of objects; the ratio of ink to water is 8:2, 8 parts of ink and 2 parts of water; usage method: slightly dilute the ink juice, the brushstrokes are full, and it is suitable for large-area rendering.

[0040] The heavy ink: Its characteristics are that it has a medium black ink color and is often used to fill the main part or show the middle level of objects; the ratio of ink to water is 6:4, 6 parts of ink and 4 parts of water; usage method: the ink color is moderate, the brushstrokes are smooth, and it is suitable for showing the main part of objects.

[0041] The light ink: Its characteristics are that the ink color is lighter and is suitable for showing light scenes such as distant mountains and clouds; the ratio of ink to water is 4:6, 4 parts of ink and 6 parts of water; usage method: the ink color is light, the brushstrokes are light, and it is suitable for rendering the background or showing the sense of space.

[0042] The clear ink: Its characteristics are that the ink color is the lightest, almost transparent, and is often used to render the background or create a hazy feeling; the ratio of ink to water is 2:8, 2 parts of ink and 8 parts of water; usage method: the ink color is extremely light, the brushstrokes are gentle, and it is suitable for showing distant scenes or creating an atmosphere.

[0043] For the preparation of the above-mentioned ink juice, ink liquids with a blackness of 95% or more are selected.

[0044] The large-sized goat hair writing brush has a tip length between 5.8 cm and 10.2 cm and a caliber within the range of 1.2 cm to 3 cm.

[0045] The large-sized glaze pot has a diameter of 7.5 cm, a height of 10.5 cm, a mouth diameter of 4 cm, a nozzle length of 16 cm, and a volume of 380 ml; the medium-sized glaze pot has a diameter of 6.5 cm, a height of 9 cm, a mouth diameter of 3.5 cm, a nozzle length of 14 cm, and a volume of 250 ml; the small-sized glaze pot has a diameter of 5.8 cm, a height of 8 cm, a mouth diameter of 3.2 cm, a nozzle length of 12 cm, and a volume of 150 ml;

[0046] Usage method of the glaze pot:

[0047] (1) Add clean water into the glaze pot and directly blow out according to the desired density of water droplets when spraying water droplets.

[0048] (2) Select a glaze pot of appropriate size according to the size of the picture or the size of the object to be depicted. Choose a small-sized glaze pot for small-scale spraying. If the paper size is large or the range of the object to be depicted is large, then choose a medium-sized or large-sized glaze pot.

[0049] The thickened pure bark rice paper has the following physical performance indicators: the size of the thickened rice paper is about 50 g / ㎡, and the thickness is 0.15 mm; ink absorption: the ink color has distinct layers, is moist but does not bleed, and the diffusion speed is moderate, suitable for various techniques such as splashing ink and freehand brushwork; tensile strength: high longitudinal tensile strength, can withstand repeated rubbing and stretching during mounting; aging resistance: the pH value is close to neutral (about 7 - 8), does not contain acidic substances, and can be preserved for thousands of years without decay.

[0050] This wood and stone rubbing method for ink-wash landscape paintings of the present invention can not only paint mountains and rocks, but also paint trees, etc. It can show the majestic beauty of northern mountains and rocks, and also the gentle and delicate beauty of southern mountains and rocks; it can show the vast snow-covered forests in the north, and also the lush and green forests in the south. By using the glaze pot to spray clean water, the clean water is sprayed on the rice paper like raindrops, with the area being able to be large or small, and sparse or dense. On this basis, then use a writing brush to apply ink and rub, and the water droplet areas will quickly absorb the ink, saving time and effort and quickly forming the picture effect. The mountains and rocks or trees shown are more natural, giving a unique style of being vigorous, thick, with thick peaks and a majestic momentum.

[0051] The key point of the present invention is the expression of northern ice and snow landscape paintings. It is very difficult to show the mountain and water snow scenes with traditional techniques. Either alum is added for painting, or white pigment is used for modification later. This is not only time-consuming and laborious, but also the picture effect is rigid and dull. The painting method of the present invention can quickly and directly show the profound and vast artistic conception with floating snowflakes in northern mountain and water snow scenes. By spraying large areas of water droplets and then rubbing, natural different textures are formed between the water droplet areas and the blank areas, which well shows the artistic conception of floating snowflakes among the vast mountains and rocks and trees. No other materials and techniques are needed for assistance. Compared with the currently used techniques, it has great practical significance and fills the gap in ice and snow landscape painting techniques.

Claims

1. A wood and stone texture method for ink landscape painting, characterized in that: The following steps are involved: Step 1: Make a painting wall: the painting wall is composed of felt, metal plate and wall from top to bottom, the felt is pasted on the metal plate, and the metal plate is installed on the wall; Step 2: Select a painting scene: the painting scene is a photo; Step 3: Select painting tools, the tools are rice paper, brush, ink, cotton willow charcoal strips, Chinese painting pigments, and glaze pot; Step 4: Select a large glaze pot and mix ink, use 95% black ink, mix five kinds of ink, namely, burnt ink with a water-ink ratio of 0:10, thick ink with a ratio of 2:8, heavy ink with a ratio of 4:6, light ink with a ratio of 6:4, and clear ink with a ratio of 8:2; Step 5: Draw: (1) The rice paper selected in step 3 is spread on the felt, and the overall composition of the painting scene in step 2 is first outlined with a cotton willow charcoal strip. Then, according to the needs of the picture, water spots are sprayed on the rice paper with the glaze pot in step 4, and the ink prepared in step 4 is used to quickly rub the sprayed water spots from deep to shallow with the brush in step 3, and the effect picture of the painting scene in step 2 is drawn on the rice paper; (2) before the effect picture of step 5 (1) is dry, the brush is dipped in the ink prepared in step 4 and continues to rub according to the strength relationship of the shape structure of the painting scene in step 2, and then the Chinese painting pigment and ink in step 3 are used to apply the brush and ink layers, so that the ink colors penetrate and blend into each other during repeated rubbing, and the painting is naturally dried.

2. The wood and stone texture method of ink landscape painting according to claim 1, characterized in that: The drawing layers in step five (2) need to be adjusted by repeated rubbing and rubbing, that is, after the first spraying and rubbing, spraying and rubbing water dots are performed a second time or more times according to the needs of the picture.

3. The wood and stone texture method of ink landscape painting according to claim 1, characterized in that: The size of the water outlet point of the selected glaze pot is between 1mm-3mm.

4. The wood and stone texture method of ink landscape painting according to claim 1, characterized in that: The selected Xuan paper is thickened pure skin Xuan paper, the thickness of which is 0.15mm and the amount of Pteris palustris bark it contains is 60% to 80%.

5. The wood and stone texture method of ink landscape painting according to claim 1, characterized in that: The writing brush is a sheep-hair writing brush.

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