On the Painting of Sketching Characters

Sketch figure painting refers to a form of figure painting that uses ink lines to outline the image without dyeing. The history of figure painting can be traced back to the primitive stage of figure painting (primitive society). During the Tang and Song Dynasties, the art form of sketch was widely used, and it became an independent art category of Chinese painting with its unique artistic charm, and many excellent sketches were created. After the rise of literati painting, it began to pay attention to the interest of pen and ink, so freehand figure painting became popular, but the aesthetic pursuit of lines did not weaken.

After 1980s, with the exchange of eastern and western cultures, the introduction of sketch modeling concepts and color concepts led to the rise of realism, and meticulous painting catered to the aesthetic needs of this era and achieved unprecedented development. In the past 20 years, meticulous painting has made great progress in both modeling accuracy and color richness. However, the use of lines with the most China characteristics is obviously weak, that is, ink painting only tries to use more water and ink, and does not pay more attention to lines. As Mr. Xue Yongnian said in an article entitled "Carry Forward the Past and Create Brilliance" about the revitalization of meticulous painting from the founding of New China to the new era: "Meticulous painting and meticulous painting have developed rapidly, but meticulous painting and meticulous painting have yet to be developed ... I think one of the important reasons for this situation is that in the teaching of figure painting, we have not paid enough attention to the course, the positioning is not clear, and we have not fully understood the subject status of figure painting.

One is an important course to cultivate students' line modeling ability.

The modeling feature of Chinese painting is line modeling, which is the biggest difference between Chinese painting and western painting. The figure modeling of western painting is mainly through the description of the block structure relationship presented by figures under different light sources, and its main modeling training is sketching. The students of our art college are all selected through strict sketch training, so they have a basic grasp of the proportion and structure of the characters.

However, only sketch can not meet the needs of Chinese painting teaching. When facing the model, students always fall into the inherent sketch observation method consciously or unconsciously, which requires students to first change their concepts and cultivate the concept of line modeling in Chinese painting. Sketch class is an important link to realize this transformation. The teaching purpose of sketch class is to establish the concept of line modeling, exclude the role of light and not be disturbed by the relationship between light and shade. We can't take this problem lightly, because "it is more difficult to forget to sketch than to learn to sketch." This requires students to carefully observe the existence of lines on the model when sketching, and draw the observed lines as much as possible. Through careful observation, we can distinguish which lines are inevitable and which lines are accidental, and we can not be disturbed by the changes of lines after the model is stopped accidentally. After a period of practice, I can basically master contour lines, structural lines and accidental lines. In addition, in order to accurately model with lines, we must have a clear understanding of the human anatomical structure, which changes with the changes of character structure and dynamics, but there are rules to follow. To master the starting and ending law of lines and the shaping effect of lines on shapes, we can not only copy several works, but also achieve it without solid sketch training.

Second, figure painting is a platform to cultivate students' understanding and creating the aesthetic feeling of lines.

Sketch class should not only solve the problem of modeling ability, but also have its own aesthetic feeling, as well as the organizational aesthetic feeling of a group of lines and the corresponding aesthetic feeling of multiple groups of lines.

The beauty of the line itself. The lines in Chinese painting are different from those in the general sense, and they are written first. The homology between Chinese painting and China's calligraphy is reflected in the consistency of line expression. When a line is drawn, it should have the characteristics of reality, massiness and urgency ... It requires both line writing and line form, and can actively express the painter's thoughts and feelings. Specific to the expression structure, whether it is virtual or real, whether it is real or virtual depends on the specific situation. Moreover, different characters, different ages and different clothes should use different lines. The "eighteen strokes" were summed up by the ancients through long-term practice. In practice, we should learn more, ponder more and summarize more. Only in this way can we better inherit and carry forward the essence of traditional thread use.

The organizational beauty of a set of lines. Lines generally appear in groups, and in structural performance, they are often the result of the simultaneous action of a main line and several sub-lines. The juxtaposition of lines can be divided into length, thickness and straightness. Its application should not only accurately express the structure, but also conform to a certain sense of organizational beauty, that is, multiple lines do not meet at one point, avoiding parallelism and equal length, and so on. The hair growth of lines should also pay attention to the hidden relationship between them when expressing the human body structure. Things that embody these laws seem simple, but they are difficult and subtle to apply in practice. They will appear repeatedly in the study of sketching and must be carefully compared and scrutinized.

The aesthetic feeling corresponding to multiple groups of lines. The appearance of multiple groups of lines in a painting needs to be coordinated with each other to produce aesthetic feeling, just like a symphony, in which the painter is the conductor. Whether you can play beautiful music is the embodiment of the macro-coordination ability and control ability of the conductor. The distribution of multiple groups of lines in different directions divides the picture into "white" with different sizes. Chinese painting pays the most attention to white cloth. The shape and size of white blocks depend on the length, straightness and alternation of lines, and the distribution of lines should take into account the interaction of all aspects. Good line organization will make every line in the picture get its place, and the increase or decrease of any line may cause the imbalance of the whole picture relationship.

Organizing the use of lines is a manifestation of comprehensive ability. It not only reflects students' modeling ability, but also reflects students' ability to control the writing brush (that is, writing ability), and also reflects students' mastery of plane composition knowledge, Chinese painting techniques and theoretical knowledge. Therefore, sketch course is a systematic and comprehensive application course, which can not be ignored. It can't be replaced by copying class alone, nor can it be required by general sketch class. Otherwise, the unresolved problems in sketch class will bring difficulties to other related Chinese painting classes. The line modeling ability and the ability to create the aesthetic feeling of lines cultivated by line drawing figure painting have established their unique disciplinary position in China figure painting.

Sketch figure painting is the basis of meticulous figure painting. For a long time, freehand brushwork figure painting mainly exists as the powder of meticulous figure painting, and the success or failure of meticulous figure painting largely depends on the quality of freehand brushwork. A meticulous figure painting, no matter how magnificent and harmonious the colors are, can't hide the lack of shape and line. Some people say that I paint "deformation" and think that I can not pursue shape accuracy, which is a misinterpretation of "deformation". This is caused by glass fragments, exposing the weakness of its foundation. The so-called "abstraction" and "deformation" should be based on a high understanding and generalization of form. For example, Picasso can draw a lifelike running cow with a few lines, which is achieved after mastering the body structure, anatomy and movement law of the cow, and it is a leap from regularity to impossibility. To achieve this result, it is impossible without a long-term experience of "from impossible to legal". Sketching figure painting is the only way for China figure painting to realize the process of "from impossible to legal". Only by laying a good foundation for modeling and line use can we create all kinds of meticulous paintings.

Sketch figure painting is the basis of ink figure painting. Ink figure painting is an art form about the relationship between line, pen and ink, color and figure modeling. It is based on the aesthetic tradition of vivid form and both form and spirit and the literati's freehand brushwork interest. Ink figure painting is based on sketch figure painting and supported by lines. If ink figure painting is compared to running script and cursive script in calligraphy, then sketching figure painting is equivalent to regular script, official script and seal script in calligraphy, and its appreciation and training in one stroke is the best preparation for free expression and image expression from official script to line script.

Sketching figure painting is also an independent category of Chinese painting. In addition to the functions of basic disciplines, figure painting has its own aesthetic characteristics, and a good figure painting itself is a complete work of art. Sketch figure painting can give full play to the expressive force of lines with its concise and lively artistic language, rich and varied line expression, far-reaching implication and full charm.

Thus it has the aesthetic core of Chinese painting. The beauty of sketching characters is full of beauty. Only the depth, length, straightness, rigidity, pressure and frustration of lines. , can do its best, can properly show the character, structure, expression, dynamics, etc. We have to admire them. Ru Tang. Wu Daozi's Born of Gautama Buddha and Song Dynasty. Wu Zongyuan's masterpiece The Battle of the Immortals in Yuan Dynasty is a well-known sketch. Our forefathers have created such exquisite and unique artistic expressions for us, so we should inherit and develop them and create excellent figure paintings with the characteristics of the times.

In a word, under the call of "sketch is the foundation of all plastic arts", the basic function of sketch figure painting has been recognized, which makes up for the lack and helplessness of sketch in China figure painting modeling. Because it has both the unique vocabulary of Chinese painting and some characteristics of western line drawing, it undertakes the mission of Chinese painting modeling. Whoever can master it well will have a powerful cornerstone to build a free kingdom of figure painting in China. At the same time, sketch figure painting also has the dual characteristics of inheriting traditional techniques and unique forms of Chinese painting, and the importance of sketch figure painting is becoming more and more prominent in practice. With more and more people's attention and exploration, sketch figure painting, as a unique form of artistic expression, will surely bloom more brilliantly in the new era.