Chinese style drawing technique. Drawing lessons - "Chinese painting" - MK from Alexey Malkova

Today I will tell you about the beautiful (and show, of course).
I am not an artist and nothing understands in painting, so you do not need to consider my story from a professional point of view. I just want to give a general idea of \u200b\u200btraditional Chinese painting, which is very much similar to our school.

Painting in China began to emerge in the V-VII centuries. The first artists wrote in mascara, believing that it was the mascara that helps the artist to reveal the essence of things and "finish the act of the Creator."
The main genres and themes originated at the time:

Shanshway landscapes (Translated - "Mountains and Water". This topic was so important in Chinese culture, that not only artists were created in the Shansuyui genre, but the poets wrote their poets in it);
- Flowers and plants, mainly peonies, chrysanthemums, plum and bamboo;
- animals and birds (tigers and cranes);
- Religious topic and portraits (Buddha, Botchisatvia, plots from testes and books, dragons, etc.)

From the very beginning of painting, it began to write in a car, not only on bamboo or rice paper, but also on silk. And in our time, the skill of some artists has reached such a high level that they paint, for example, the inner part of a small glass vase with a narrow neck, encouraging a thin brush.

The people of Chinese painting are considered "Four Founder Father" - artists who lived in the V-VI centuries. They also introduced the obligatory elements of each picture: an image, calligraphic inscription and printing with the name of the artist, which was necessary to pre-cut their wood or bone.

Chinese painting was unthinkable without calligraphy. Each good artist was also an excellent calligrapher. And calligraphy, I must say, this is a whole science. After all, the hieroglyph is not just written in the way God will put on the soul (as some particularly gifted "craftsmen" are doing now in tattoo salons), and in a certain sequence, according to special laws: from left to right, from the upper features to the bottom. Moreover, the thickness of the trail in different ends is also important in calligraphy. Everything matters, therefore, as you now understand, Caligraphy is not very easy science.

This is a hieroglyph "Love". You see, some thickens at the ends are thicker, some thinner, everything is in science :)

But here it looks like a set for calligraphy:

Ancient Chinese artists were very gifted people. Most of them also wrote poems, as the ability to do it distinguished the scientist of a person from the progress. And many paintings were decorated with calligraphically written poems of their own essay. Also, most artists were high-ranking officials and occupied important posts in the public service. That is, in China, artists have always been highly educated people (this is due to a special system of state exams, but some other time).

Pictures of Chinese artists are always full of symbolism. For example, the work in the genre of Shanshuway is not an image of some existing location, but a poetic image that arose in the head of the artist. And this image he described in verses and on paper.

In the genre of "Flowers-Birds", another philosophical idea was displayed - a great in small (Buddhists believe that even the universe particle was enclosed). Peony, for example, symbolizes wealth, plum (Mayhua) - vitality, bamboo - wisdom, pine - longevity, chrysanthemum - chastity.

Shanshway.

Flowers and plants.

This is a plum - Majahu.

Lotus and cranes.

Animals and birds.

Religious topic and portraits.
Goddess Guanin.

The heroine of some novel in the lotus.

Chinese artists had a huge impact on world art, and their amazing works performed on rice paper and silk, for several centuries for several centuries admire a concise artistic language.

The aesthetic canons of the living heritage, which has a thousand-year history, were influenced by the philosophical traditions of Taoism, Buddhism and Confucianism. It is believed that Nature teaches people to see beautiful, and it is this truth that is the main theme of the traditional painting of China. Unique masterpieces created by masters in different era are an important contribution to world visual art.

Traditional painting China

Gokhua is a Chinese painting, which is different from the Western features of the drawing technique: on silk or special finest paper with a brush, an image is applied. Artists use mineral, vegetable black mascara, and their works often have the shape of horizontal or vertical scrolls.

Having held a central place among different directions of art of the Middle Kingdom Gokhua (Chinese painting) originated in the VII-VIII centuries BC, and from the end of the XIX century the style gets a second breathing.

"Four treasures"

To write traditional paintings, the authors use a limited set of funds: black mascara (or watercolor), a Chinese brush from natural wool, paper and a device for rubbing paint. Many artists still prefer believing that it will "reveal the essence of nature."

Much attention in the country is given to the quality of carcasses, and tiles with black lacquer are used for work. The masters are rubbing them with water, getting the necessary consistency and creating a variety of shades. As Chinese artists are recognized, because of the poor quality of the European carcass, it is impossible to achieve the necessary effects.

For painting, a special paper is used (rice) with a specific texture. Sometimes drawings are performed on silk or cotton fabric.

The steels are very high, and many are transmitted from generation to generation. These devices are sometimes exquisitely decorated, performed from jade or burned clay.

Linear drawing

If we consider the European canvas written by watercolor, then they can not be noticed in them as such. In Chinese painting, all images are created by linear pattern. This is distinguished by the traditional style of Gokhua, strongly resembling the calligraphy successfully developing in the country, the elements of which artists necessarily contribute to their works.

It is impossible not to note the excellent tasteless technique, which is improved over several centuries. With the help of a fine or thick line, artists using the same tools as the calligraphs transmit space, volume, movement, without using the familiar receptions of lighting. The beauty of Chinese painting lies in the master of possession of a special technique of Bi-Mo, the name of which is translated as "brush-mascara." Black paint, applied to rice paper, instantly absorbed, and one awkward movement, the wrong line can change the common mood of the picture, distorting the truth of life. Each smear must be accurate and clear, after all, either erase nor correct the drawing the author will no longer be able to.

Image application technique with fingers

It is curious that Chinese paintings in the technique of Gokhua are not always written with a brush. Often the masters use hands, withdrawing lines and cutting paint. Painters apply contour lines with nail, and wide strokes perform a thumb with a pillow.

Poetic inscription

Traditional Chinese painting differs from European in the way that there is a poetic inscription in the picture, made in a calligraphic style. So the masters expressed their attitude to the work, and the hieroglyphs complemented its figurative content. The famous calligrapher, the writer and the artist Suchi, who lived in the XI century, fought for a poetry in painting. Such inscriptions reflect the opinion of the author and become his handwriting.

Scroves

Gokhua is a Chinese painting, in which there is an unusual view of paintings. They are coagulated on a wand in the scroll and stored in oblong cases. Works are written on special paper not only ink, but also paints from mineral and vegetable raw materials. Pictures in rolls that were not intended for the mass spectator are stored here for more than a thousand years, without losing the brightness and saturation of the shades. And nowadays you can admire the masterpieces written several centuries ago by famous masters.

Allegority

Painting with water colors and internally differs with conciseness, and such a language of characters is understandable to the real connoisseur of Chinese art. For example, plants and poetic lines depict times of the year, and the moon or a burning candle point out the night.

Filled emptiness in pictures

Another feature that distinguishes Chinese painting from Western is that on the works the authors leave unfilled areas that can be masked under the images of a light cloud or whiten fog. Sometimes the empty place is left so that the viewer remains freedom for fantasy, because Chinese paintings are an amazing type of art that is impossible without the unity of the author and the audience.

Mandatory print

According to the tradition of the Master, they definitely put a red print on the works, making their identity in this way.

Having considered the features of the traditional one to say that Gokhua is a Chinese painting, in which poetry, calligraphy and manifesting in print printing, are harmoniously combined.

Genres of painting

In traditional Chinese painting, several genres are distinguished. First - Shanshui (landscape). The country has gained widespread the philosophical concept, according to which people and nature are united and there are no obstacles between them. The landscaped work causes the appropriate mood at the viewer.

Second Genre - Huanio (Image of Flora and Fauna). Chinese masters peer into perfect forms of animals, stones, plants and transmit their true entity that it is impossible to express in words.

Third genre - Henu (portrait). Even in ancient times, artists who worked with people knew one immutable rule: on a par with the external similarity, the creator must convey the spiritual state and character of a person, stressing the beauty of his inner world. All painters clearly followed this principle, and even at the early stage of the development of Chinese art, the skill of the portrait genre reached an incredibly high level.

Styles Gokhua

Two traditional style are known: GUNBI, prevailing in the early stages, and se-and, which has been widespread at the end of the XIX century. We analyze the features of these directions.

The Chinese style of Gongbi is a certain style manner, in which paint is carefully applied (including color) and the smallest details are prescribed. The main goal of the artist is to accurately depict reality, and such an idea of \u200b\u200bnaturalism is closely related to the influence of Taoism. Gunbi is considered official academic painting. In the style of clear lines worked masters, drawn up the interiors of the Imperial Palace.

However, after the distribution of Buddhism in the territory of the country, artists rethought this idea, and a new Chinese style of se-and, characterized by free manner of the letter appeared. Creators depict not the external similarity of the subject or object, but take care of the transfer of mood. They seek to show sincere emotions, operating with images. It is believed that this is the painting of philosophers and poets, and the creators work in this style under the influence of a momentum mood.

A variety of se-and is Shuimo (only black mascara is used for writing patterns).

Many Chinese artists successfully combine in their works techniques of one and other style using mixed techniques. Lee Cajans, Qi Bayshi, Fu Baoshun, Yang Ifeng, Juan Binhun, Pan Tianshow and other masters managed to achieve expressive effects in their works, passing images of nature and fixing even the most minor details.

"Reading" paintings

National painting by water colors is characterized by an elegant figurative language, and the artists lay a certain subtext in their works. If Europeans consider the canvas, then the Chinese read them. Pictures are filled with a positive attitude and give your owner a good mood.

Chinese works are full of symbolism and allegories. For example, the mountains personify the male bright start, and the water is dark female. The painter conveys lyrical sentiment, experiences that arise after communication with nature, and does not seek naturalism and external similarity.

Against the background of majestic landscapes, miniature figures of people symbolize that a person is a slight link of the universe, which is completely subordinated to her power. But in European art, people have always been depicted as a powerful force, able to manage the elements, and such ideas about a person radically different from Western Chinese painting.

Flowers are a separate topic for conversation. There is painting that is called "four noble":

• orchid, symbolizing purity;
• chrysanthemum embodulating modesty and chastity;
• wild plum Majahua - resistance and disabilities;
• bamboo is a human symbol.

Often artists depict the IVI, which embodies beauty and exquisite refinement. She personifies the spring and female grace. But Pine is the idea of \u200b\u200beternal youth and Confucian restraint.

Such a language of characters is very clear to the Chinese, and those who cannot solve allegory, comprehend the national painting is incredibly difficult.

Masters Gokhua

Xu Bay-Hong perfectly owned the main skills of European art and combined them in his work with Chinese traditions. His magnificent portraits in which the painter skillfully opened the psychological features of people, are considered masterpieces of Chinese art.

Yang Ifeng, which is a laureate of many national awards, deserves traditionally produced by the centuries of tradition.

Gu Yinzhi, who received the title of "Queen of Cats", works in the style of se-and. She is masterfully depicting pets, and her canvas Chinese ambassadors give to foreign guests.

Qi Bay-Shea is one of the most vivid style representatives. The supervisory creator who can catch the main features, writes the original paintings, connecting high skill with the art of calligraphy and expressive lines.

Training painting

Many want to master the secrets of Gokhua, but learn how to create in this technique is not so simple. Artists train a lot of time before proceeding to work, which is conducted in one breath to avoid mistakes.

The Chinese appreciate not only the external beauty of paintings, but also inner, their strength and energy. In many countries in the country, special albums for coloring, where the sequence of drawing is shown. Such learning painting gives its fruits, and almost anyone can draw paintings in a traditional style. So hurt a good taste and brought up love for art.

Poetry

I must say that now Gokhua follows time. She has long come out of the narrow framework of Chinese national traditions. Fine art appears plots for modern topics, and such pictures are filled with new content. Let us agree with the classic who noticed that "Painting is poetry that has found the form."

Good day! Today we will continue the topic of dragons on our website, a new drawing lesson on this topic is already ready for you. At some point, we suddenly decided that the dragons on our site are catastrophically a little, and now we slowly fill your favorite resource about drawing by these reptiles and at the same time with these flying creatures. And at the moment we have a charming Chinese dragon in turn, let's draw it!

Step 1

If you wanted to know, you definitely need to start with such a sketch. Carefully redraw all the bends of our lizard's body. An important point - torso should not have random narrowings or extensions, it is equally in thickness other than the moment when it starts smoothly and evenly narrowed toward the tail.

Step 2.

From my head to my feet, we usually move in terms of the direction of the drawing, if you draw someone who has legs. In our dragon, they, of course, are, but the body does not end, and it ends, as you can see, tail. Therefore, according to the Chinese dragon, we will be from the head to the tail. And in this step, they will make out the contours of the ears, horns, and designate the eye position and draw the veil, twisted mustache.

Step 3.

Our artists offer us in this step to draw the face of the dragon, erase all the guide lines and ends the mustache - each mustache is significantly narrowed from the nostrils to the tip. In general, a simple stage, probably, eyes can cause small difficulties. And so the eyes we decided to make a closeup:

The general plan will be the following:

Step 4.

The mouth must be littered with small, sharp teeth, draw them. Next, draw ear sink, the tips of the ears with pointed hair edges. Here I draw the horns of our Chinese dragon, it should have a smooth, elegant bend. Yes, Chinese dragons have a very specific appearance. Have you been looking for a classic medieval dragon from European countries? Not a problem, we have and such a mercy we ask for a lesson about the lesson.

Step 5.

Born crawling can not fly? We do not know about whom it is, because our dragon knows how to walk perfectly. And to show it, it is necessary to draw his paws. More precisely, do not draw, but only outline. By the way, in shape in this step, they are very similar to chicken.

Step 6.

Chinese Dragon Slick and Ugly? Not at all, it is a soft and fluffy nyashka, the same cool as hopes for a bright future with an old man Mao. The upper body of our dragon is really fluffy and covered with fur, it is necessary to designate it. The most upper body of the body makes "fluffy" with the help of long strokes that slightly depart from the contour. Draw a brush on the tail.

Step 7.

Draw horizontal segments of the inside of the Dragon body. Pay attention to the tail segments should be very frequent.

Step 8.

During the step in which we have planned the contours of the Chinese dragon's paws, they were very similar to chicken paws. So, now they will become similar to them even more, because we draw sharp, bent down claws and make skin folds.

Step 9.

We will apply a small shadow on the surface, as well as the plots of the body, the closest to the paws. Yes, the complex shadow structure is not observed here, the necessary places you just need to slightly shade moderately soft (not so soft as the character of the old man Mao) pencil.

Correct branches with beautiful pink colors are a traditional motive in oriental painting. I am pleased to offer you a master class from your own experience of painting Gokhua.

In Japan, he paints Sakura - wild cherry. In China - wild plum.

I confess, I feel bad first from the second. Even in the botanical sense.

And to distinguish the Chinese painting go Hua from the Japanese Sumi, I, too, is not so easy. I hope that I will come to this knowledge.

Master Classes on Eastern Painting:

In the meantime, the difference I observe is that Chinese painting is more saturated with elements, everything is "bright and a lot" in it. As in life.

Japanese art is more conventionally filled with symbolic meanings. It is often minimalistic. One branch, several buds are very simple compositions in opposition to Chinese pomp and luxury.

However, this option taken by me from the Chinese manual for drawing wild plums is quite simple and similar to the Japanese plot with the image of Sakura.

This book is written in Chinese, so I apologize to her creators, which I can not specify the authors.

Painting Gokhua: write sink mei

1. Draw the main branch.

The movement of the brush is fast, with stops on the corners of the branch. The brush is pressed against the paper with all its surface, moving the end.

2. Add thin branches.

Thin branches are drawn by the tip of the brush. Movement from the main branch. Each small branch "grow" from the main one - i.e. The brush is placed in a large branch and moves to the side with a decrease in pressure. Thus, the twig becomes thinner at its end. Someone leave the gap between the lines to insert flowers.

3. Add flowers.

Their logic - at the base of the branch, the flowers are larger, whipped, then semi-abussed, then the points are the buds.

More detailed analysis of colors.
First draw pink petals. As you dry up - stamens and sewers.

4. Drawing flowers.

Blackcases, spikes on branches, cozovy flower, drawn black ink.

5. The final part is calligraphy and print.

In traditional painting of the Far East, calligraphy is valued higher than painting.
Signature, poetic line or statement added in the final.
Finishes the author's printing.
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