The emotional character of color in green landscape painting

To the holiday to see the scenery to the immediate affirmation.

When I first met him, I looked like a Sven person, but after I got acquainted, I didn't know which neurological hospital released it. This is you, my dear.

A type of landscape painting. Landscape painting with minerals limestone and lime green as the main colors. There are big green and small green green. The former has more hooks, less brushwork, heavy coloring, and strong decoration; The latter is a thin cover of green on the basis of ink and light color.

Tang Yuan Dynasty said: "Li Sixun is beautiful in the landscape, with gold and green, and he is a family." ”

In the Southern Song Dynasty, there were two Zhao (Boju, Boqi), who were known for their green landscapes.

In the Ming Dynasty, Qiu Ying and Zhang Hong were famous for their real-life green landscapes, creating a new pattern of green landscape painting.

From the Ming Dynasty to the Ming Dynasty, a number of outstanding landscape painters emerged, and the painting methods continued to innovate, so that the traditional theme of green landscape has been greatly developed.

In Chinese landscape painting, there is first color, and then there is ink. In the color painting, there are heavy colors first, and then there are light colors.

Zhang Geng, a crack in the Qing Dynasty, said: "Painting, painting things, all of them have been colored in ancient times, and they are more green." ”

Green. In the mountains and forests, a black and brown stone is obsessed.

Always make serious eye contact with passers-by.

Derived from the definition of shape.

From the beginning, worldly judgments were doubted.

Light and shadow crushed by the lush foliage.

Invisible air.

Mossy and half-lying dead wood in the grass.

Repeatedly admired.

The slow trickle of old age in the forest.

It is regarded as a thousand-year-old spring.

A few small purple flowers abruptly on the greenery.

Attract people to stop and move forward.

The rope of the gaze.

I always want to pull away the green bonds.

The wheel pulls out a blue of the sky.

Green is not only humble to flowers.

and humbly in colors other than themselves.

In the landscape of manufacture, its own role is buried.

Even, to make way for white space.

Perhaps, the desert can recognize the color of hail frontal green.

The snowy mountains, with a higher profile.

The vivid color of the green.

Like a ruler.

With green, the existence of life is engraved sacredly.

Summary. Kiss, green landscape painting and literati landscape painting are both oil paintings with the theme of landscape. The style of painting in both is dominated by natural scenery.

Both focus on concise brushstrokes to express emotions about the beauty of nature. Both pay attention to creating a fresh and natural atmosphere in terms of color expression, and both like to use elegant turquoise to express landscape landscapes. In addition, both emphasize the blending of landscapes and rivers, creating a fresh and serene landscape picture through delicate compositions and meticulous brushstrokes.

Kiss, green landscape painting and literati landscape painting are both oil paintings with the theme of landscape. The painting style of the two or dusters is dominated by natural scenery. Both focus on concise brushstrokes to express emotions about the beauty of nature.

Both pay attention to creating a fresh and natural atmosphere in terms of color expression, and both like to use elegant turquoise to express landscape landscapes. In addition, both emphasize the blending of mountains and rivers, and through exquisite compositions and meticulous brushstrokes, they create a fresh and tranquil landscape picture.

Qinqin, and the Warring States Period, the Western Han culture was introduced to China, thus forming the precursor of Chinese literati landscape painting. Based on the Buddhist depiction of the landscape of all things in nature and the worship of nature by ancient thinkers, it has integrated the unique landscape thinking of the Chinese nation, developed into a unique painting art, and has become an integral part of ancient Chinese culture. During the Qing Dynasty, the Qing Dynasty court scholars formed a new style of painting envy shirts based on traditional Chinese landscape painting and the influence of the European painting technique of Pai Lu.

It emphasizes expressive depictions of natural scenes, as well as the use of abstract techniques to express specific themes. Its unique feature is the abstraction of landscape scenes and abstract themes, which make the picture more vivid and more rustic. Both green landscape painting and literati landscape painting are valuable assets of traditional Chinese culture, and the two are inextricably linked in history, both of which have evolved on the basis of ancient culture, and are both important parts of traditional Chinese culture.

The different place is the green landscape, which is mainly biased towards some actual situations, and can also be used for collection, but the freehand landscape is mainly to express one's inner thoughts and some of its own ideals.

The freehand style of these two kinds of painting is completely different, the green landscape generally uses mineral pigments, mainly to draw shapes, the patterns painted are generally colored landscapes, the colors are more bright, and the other uses plant-type pigments, and then it is mainly freehand.

It has different properties and different meanings, the green landscape is mainly realistic, while the freehand landscape is mainly to describe the meaning of the landscape, with different concepts, different collection values, and different color proportions.

The difference is that the emotions expressed are different, the feelings narrated are different, the techniques of narrating feelings are different, the way of describing the situation is different, and the process of narration is different.

Green is color, freehand is brushwork, the two are different. The green painting can be freehand, and the freehand painting can be green or colorful, or it can be all black and white.

Which of the following auspicious colors can be painted as light as water, thick as oil painting-like effect? () Elimination hall.

a.Watercolor. b.Color ink.

c.Ink. d.Propylene.

Correct answer: d

Luo Ying's book "Imagery and Color: A Study on the Problem of Landscape Painting and Coloring" clarifies the philosophical background of green landscapes and shallow landscapes through the analysis of imagery and coloring in traditional landscape paintings. In addition, he analyzes the color design techniques in traditional painting and the use of color in modern painting, and adheres to the argument of combining brush and ink and color. On this basis, this paper explores the problem of the "fusion" of color and ink that has not been perfected by predecessors, discusses the proportion of color in the picture, its primary and secondary relationship with ink, and the relationship between its position and space, points out the possibility and direction of using color to create the environment, and comprehensively analyzes the importance of imagery and color in the creation of contemporary landscape painting from the perspective of painter's practice.

While adhering to the spirit of Chinese painting, combined with the style of the times, he has embarked on a road of landscape painting image and color.

Chinese landscape painting has its unique emphasis on "meaning", from the most basic form of expression to the higher level of spiritual connotation advocated by the emphasis on a "meaning" character, image modeling and imagery color is the content related to "meaning" to be covered in this article. Luo Ying's book "Imagery and Color: Research on the Coloring of Landscape Painting" starts from the two major systems of landscape painting coloring, blue and green coloring and light silk coloring, and systematically analyzes the coloring problem of landscape painting on the basis of imagery modeling. Studying the philosophical basis of each other, looking at the landscape painting and coloring works of the past dynasties, until the modern period?

The works of the green landscape and the light Jiang landscape are all analyzed. It is pointed out that the freehand characteristics of blue and green color and the characteristics of "light for beauty" and "rhyme" of light color are pointed out. "The color does not hinder the ink, and the ink does not hinder the color; It is also necessary to have color in ink, and ink in color" as the pursuit of ink and color at the technical level, and the visual effect of "muddy" color and brush and ink as the ideal state that can be achieved by the fusion of color and ink.

While paying attention to the small space constructed by brush, ink and color, he also pays attention to the overall spatial layout of the work, striving to balance the subtle relationship between brushwork, color and space, and fully expressing the creative idea of color creation. It is hoped that the study of the imagery and color of landscape painting in "Image and Color: Research on the Coloring of Landscape Painting" can provide an idea for the creation of contemporary landscape painting.