How does traditional Chinese painting express the sense of three dimensionality?

Traditional Chinese painting uses lines to express the three-dimensional sense of a painting, which is thick, heavy, light, and clear. Ink is divided into six colors: black, white, dry, wet, thick, and light. Traditional Chinese painting does not distinguish between black and white, there is no yin and yang, light and dark; Dry and wet are not prepared, it is not verdant and beautiful; The shade is not distinguished, and there is no concave and convex distance.

In traditional Chinese painting, the most important thing is the expression of the human spirit, that is, to present a three-dimensional human China, usually using the combination of colors and the outline to express the three-dimensional sense. <>

Traditional painting is expressed through different ink colors, three-dimensional at the same time, but also with some different painting methods, and then there are ordinary time periods to analyze a painting differently, and the most important thing is the person who paints.

"Three-dimensionality" itself is an illusion, traditional Chinese painting does not take three-dimensionality as a thing at all, and must not take it too seriously, it can be a little three-dimensional, limited to visual comfort.

Traditional Chinese painting expresses the three-dimensional sense through a virtual and real painting method, in fact, the three-dimensional sense we see with the naked eye is an illusion of our, which is a kind of illusion in our vision, relying on our senses.

Traditional Chinese painting mainly uses lines to express three-dimensionality, which includes the tightness of the lines, the degree of light and shade, and the perspective of shadows, which give people a three-dimensional feeling from deep to shallow.

By rendering and outlining the shadows on different parts of the picture, or by drawing some auxiliary pictures on the side, such as leaves, insects, etc., to increase the three-dimensional effect.

To bring out the three-dimensionality of the main object by outlining things in some details, or by drawing minor lines or things with a few light strokes.

Traditional Chinese painting uses shadows and overlapping strokes, plus blank space in techniques, etc., to set off a three-dimensional sense in traditional painting, which may generally be relatively abstract.

1. Writing the gods in form and having both form and spirit is an important principle in the creation of Chinese painting. Chinese calligraphy and painting pay attention to charm and pursue artistic conception. A painter should have the skill of "painting like".

However, if the work has a form and no spirit, then even if the painting is like it, it is not the goal of Chinese painting. A painting with a form without a god exists, while a painting with a god without a god does not exist. Writing is for the sake of conveying the spirit, for the sake of refreshing the mind.

The form can be "between similar and unlike".

2. Chinese painting is mainly based on line and ink, pays attention to brushwork, pursues the artistic effect of "fine pen and ink", and pays attention to the bone method of using brushes. These are all requirements for the connotation of pen and ink. "Bone method" is also known as "bone power", which refers to the pen power contained in writing dot painting.

It is the pillar of dot painting and form, and it is also the basis for expressing expression. The painter pours his feelings into the image with vigorous brushwork, making it more vibrant. In the process of modeling, the painter's feelings have always been integrated with the power of the brush.

Everywhere the pen goes, all traces of the painter's emotional activities are left.

3. Chinese painting is dominated by ink in color. Although Chinese painting also pays attention to the color of the class, the most important thing is the overall effect of the picture. For the sake of the whole, the color of the object can be changed drastically.

In Chinese painting, ink is an indispensable basic color in Chinese painting. Ink is divided into five types: burnt ink, thick ink, heavy ink, light ink, and clear ink. Each ink color, when used skillfully and appropriately, can present a wealth of variations.

Traditional Chinese painting generally uses perspective, layout, color, line, and texture to represent space.

1. The way of expression is different, China is scattered, and the West is perspective.

The expression of Chinese painting has the characteristics of his national tradition. In terms of perspective performance, he has his special treatment method, he not only follows the basic principles and laws of perspective, but also does not stick to the general laws and laws. That is to say, the painter can break the field of view of focus and perspective according to his own creative intention, so that the content of the picture is more comprehensive and vivid.

This is the scattered perspective method of Chinese painting.

From the perspective of artistic expression, after getting rid of the shackles of scientific rationality, scattered perspective has a more unique artistic space expression, and leaves more artistic conception space for painters and appreciators to browse. This is one of the characteristics of oriental painting.

Western traditional painting is different from traditional Chinese painting, which is characterized by the pursuit of objective rationality, the true and idealized representation of objects, and the revelation of visual reality. From Renaissance classicism to Baroque painting, realism, neoclassicism, romantic painting, and then to impressionist painting, this development trajectory has formed the performance characteristics of reproducing real space, and taking the true reproduction of real space as the purpose of painting expression.

2. The philosophical outlook on the way of dealing with space is not the same, China is the idea of the unity of nature and man, and the West is the imitation theory.

The fundamental difference between Chinese and Western paintings in terms of space creation is that Chinese and Western painters have different ideas and philosophies. Western painters use and rely on color, light, and perspective to create real nature when describing landscapes. The birth of the philosophical concept of "imitation theory" became the foundation for the creation and development of Western realistic painting.

Chinese painters, on the other hand, understand the world based on the philosophical concept of "the unity of heaven and man" in Lao Zhuang's thought, and use this as the ideological basis to create art.

In terms of the relationship between black, white and gray, it is subdivided into 5 pieces. Small gray surface, bright surface, gray surface, dark surface and reflective surface. Another key is highlights and projections, which are things that you can't live without.

Generally, the draft with the boundary line between light and dark, a large piece of the dark part, the line is basically completed, we must pay attention to the light and dark junction line in front, to lead the picture, so that we can better deal with the relationship between black, white and gray, the dark part should be drawn out of the layer, you can use the method of covering the bright part to see, if the dark part has been stuffy, then you have to see if you have a reflective side, do not use a pencil drawing, easy to get tired. The small gray surface must be painted so that the picture can look natural.

The draft is not exactly just a few lines, you should understand it by looking at the structural sketch, so there is no light and dark step in the absolute sense, the painting should be neat, and the whole is a good painting.

Light and shade should follow the structure. Because chiaroscuro is originally a way to make the whole form a good expression, if you don't have the form, or only pay attention to the so-called light and shade of chiaroscuro, the meaning of the painting itself will be gone. Here's my opinion on shading.

And my idea is, if you want to have a three-dimensional effect, first of all, you can't rely on the black, white, and gray of the picture alone, and if something doesn't have black, white, and gray, and there's no three-dimensionality, then it's not done well. Look at the structural sketch and you should understand. Structure is the way in which objects exist in three dimensions.

Black and white is a better expression of this three-dimensional concept. Again, it's important to follow the structure and understand what the object is, not just draw it when you see it, and you have to understand the structure.

At an angle of about 45° (just like the sun shining down from your upper left corner), use the form of a crescent moon to cast a shadow along the bottom of the object, use different lines to enhance the three-dimensional effect, and pay attention to the white space!

In addition to drawing more, you should also think more.

The three-dimensional sense is not just a blind shadow!

Actually, you should learn structural sketching first.

From ancient times to the present, the traditional art of painting pursues the consistency between the work and the real thing, and the more similar the painting, the better the painting. Cubism, on the other hand, abandoned this elaborate form, and pursued a bold and abstract godlikeness. It focuses on grasping the most fundamental meaning and deepest characteristics of the painting object, and has obvious reality, rather than blindly deforming and not knowing what to do.

The traditional form of Chinese painting is to use a brush dipped in water, ink, and color to paint on silk or paper, and this type of painting is called "Chinese painting", or "Chinese painting" for short. Tools and materials include brushes, ink, Chinese painting paints, rice paper, silk, etc.

Personally, I believe that because the political development, economic development, humanistic development, and literary and artistic development around the world will not be balanced, everyone has a love for beauty, and all parts of the world will use the local resources at that time to express beauty, and constantly enrich and improve, forming their own unique art style characteristics, after a long period of development, forming their own national art style system.

Do you say yes?

The materials of the paintings are different, and the cultural and historical environments are also different.

"Three-dimensionality" itself is an illusion, allowing you to feel three-dimensional on a flat surface, and the method of producing this illusion is very scientific, which is nothing more than dealing with lines, light and shade, and perspective, which is done in ancient and modern times.

But the fact is that traditional Chinese painting does not take "three-dimensionality" seriously at all, and must not take it too seriously, it can have a little three-dimensionality, limited to visual comfort, and once the pursuit of three-dimensionality, it will be inferior. After all, the "three-dimensional" thing is too realistic and too technical. For those ancients with a high realm, this thing is just a trick, a little magic, fighting music, and special ingenuity.

It is said that when Oriental paintings spread to the West and Western paintings spread to the East, the reaction of the locals was "They are too good at painting!" ”