Technique Modes of Chinese Painting


Technique Modes of Chinese Painting 　 Meticulous Brushwork
Is also called “Fine Brush”, requires drawing with fine lines, adds washes of ink and color layer by layer, so as to approach the perfection of exquisiteness and fine art. It is the opposite of “Free Sketch”, is a kind of neat and elaborate meticulous technique. Examples are the Song Dynasty’s court academy paintings, Figure paintings by Qiu Ying from the Ming Dynasty, and flower, bird, and beast paintings by Shen Quan in the Qing Dynasty.
Free Sketch
Is commonly known as “Rough Brush”, opposite to “Meticulous”, is a kind of curt technique. It requires putting the emphasis on portraying the mien and verve of the subjects with concise and recapitulative brush strokes. Artists Liang Kai and Fa Chang in the Southern Song Dynasty, Chen Chun and Xu Wei in the Ming Dynasty, and Zhu Da from the Qing Dynasty were all masters of this technique.
中国画技法工笔顾名思义，工笔就是笔法工整细致的水墨画，也称为细笔。工笔的出现比写意要早，隋唐以前的绘画更以工笔为主流。画工笔时要先以细笔临摹出对象的轮廓，层层晕染敷色，最后使线与色融为一体。工笔适宜描绘人物、花鸟、山水画中的青绿、金碧及以楼阁建筑为题材的界画。由于工笔技法相对复杂，学习起来也颇为困难，因此长时间内一直只为专业画家所青睐，如宋代画院几乎所有画家的作品都是工笔。写意与工笔相对，写意不重形似，但求传神，以纵放简练的手法写情记意，如南宋梁楷的《泼墨仙人图》就是典型的写意作品。写意的出现与文人画的兴起渊源颇深。宋以前写意画只是凤毛麟角，宋以后才逐渐兴盛，到了明清，写意逐渐成为中国画的主流，从中也诞生了不少绘画名家，如徐渭、朱耷、石涛等。在写意画里，一棵树也许并不是一棵树该有的样子，而是画家想把它画成的模样。同样的，自然世界里也找不到一条鱼像清代画家朱耷笔下的鱼。无论是工笔还是写意，对画家来说，怎样把描绘对象的气韵表现出来才是更重要的。有时为了达到这一目的，同一幅画里会同时用到工笔和写意两种技法。