At the beginning of the formation of landscape painting, the decorative aesthetic emotion of nature was mainly formed in green, and it did not have a strong philosophical color. Since the Five Dynasties and the Song Dynasty, with the intervention of literati's aesthetic concepts and ideals, ink and wash landscape painting has become the mainstream of landscape painting development in China for thousands of years. We bypass the performance state of traditional literati color and return to the green performance period. We use green to transform literati color, make color exert its own advantages, reconstruct tradition subjectively, refine and integrate the essence of traditional ink and color, and form a new landscape style with modern concepts, which is both freehand brushwork in ink and free emotional expression of color. Therefore, it is necessary to promote the development of contemporary landscape painting by inheriting the color expression of traditional green landscape.
First, the performance characteristics of green landscape painting color
1. Blue-green decoration
Turquoise landscape commonly uses kyanite, turquoise, cinnabar, gold and other mineral colors. These stone powders have strong coverage, bright colors, strong and unrestrained, and produce rich and brilliant visual effects. In the Tang and Song Dynasties, the green landscape was mainly painted after drawing lines. Compared with paper, the material property of cooked silk can't realize the fast blooming of color, which is more suitable for the plane painting of color and enhances the sense of heaviness of the picture. The nature of materials and coloring methods make turquoise landscape painting have a very strong decorative effect.
2. Blue freehand brushwork
Since the Yuan Dynasty, the expression of turquoise has decreased. Due to the prosperity of literati ink painting, turquoise declined. Although some people made turquoise landscapes in various dynasties, they mostly relied on ink painting, mainly ink painting. On the basis of ink rendering, cyan is applied. Most landscape painters use cyan when they want to preserve their ink. The application of rice paper makes cyan lose the condition of flat coating, and also produces the effect of blooming and infiltration on color. The expression of color is integrated into the expression of ink painting, and the color achieves the unity of the picture with the infiltration of ink painting, so the color also produces the same freehand brushwork as ink painting.
Second, the analysis of the combination of turquoise decoration and ink painting in contemporary painters' works.
Traditional turquoise color has decorative visual effect in landscape because of its color nature and material characteristics. The decorative effect makes the color appear dull and heavy. Contemporary painters, while inheriting this cyan decoration, combined it with pen and ink, realized the contemporary transformation of color and innovated the expression technique of landscape painting.
Professor Zhuo of China Academy of Art said: The traditional meandering lines of pen and ink have changed into the landscape images interwoven with straight lines, which reduces the sense of depth brought by the bending of lines and enhances the black, white and gray ink blocks composed of straight lines and pen and ink. This kind of expression makes the image of mountains and rivers more holistic and general, and tends to the decorative plane sense of visual schema. Fill the flat linear pen and ink space with traditional colors such as turquoise, stone green and gold, forming a dynamic stretch of ink charm and color aggregation. The painter enhanced the modernity of the picture through the plane geometric expression of color. If the color wants to stand out from the ink painting and form a contrast with the ink painting, it is necessary to paint the color in a shade, so that the color will not change in depth and then form a dull state of color. The plane of color depends on ink painting to make the color not bright and impetuous, and the color reaches a saturated, calm and moist state. The flowing charm of ink and wash and the rich blue-green blocks finally achieve harmony and unity in the picture, leading the traditional literati ink and wash to a new height.
Painter Xu Jun: Xu Jun's turquoise landscape has inherited the traditional coloring method, and combined with pen and ink language, it has formed a new turquoise expression method with modern characteristics. Painters use colored rice paper as the base, and the pavilions of mountains and rivers outline their shapes with thick ink, which changes the way of early green and empty hooks, increases the brush and ink skills of rubbing, rubbing, polishing and dyeing, and gives priority to extensive, thick, square and vigorous lines and full and moist coloring, showing space and texture, making the rocks full of layers and lines full of elasticity. On this basis, the application of blue-green heavy color to plane painting has changed the subordinate position of the color space produced by the light color of traditional ink landscape, and the color will inevitably produce a plane state of color and form a decorative color from the local to the whole. At the same time, the color flattening strengthens the pen and ink language, and the emphasis on the rock structure level deepens the sense of space of the scenery. The nearby rocks are represented by the pen and ink modeling before painting and the pen and ink level after painting, which makes the mountains and rivers feel spatial. At the same time, the stone green heavy color of the nearby rocks and the slightly lighter blue color of the distant mountains form the contrast of distance and thickness, which makes the contrast of plane color blocks change spatially, thus producing a new landscape schema. The painter extracts the plane expression of color from the traditional green landscape and draws lessons from the formal language of pen and ink from the traditional ink painting, so that pen and ink have rich hierarchical expression within the range of color, and the color is fully enlarged in the modeling space of pen and ink. The painter adopted the creative concept of parallel development of pen and ink and color, which formed a strong visual contrast.
Thirdly, the analysis of the combination of cyan color and ink freehand brushwork in contemporary painters' works.
A group of artists, such as Lu Yushun, a contemporary landscape painter, created a new form of landscape painting by blending traditional cyan with ink and painting.
Lu Yushun is very original in traditional brushwork and color expression. Painters get inspiration from the application of traditional heavy colors of big green, and their works fully combine the freehand brushwork of color with ink painting, which not only inherits the traditional interest of ink painting, but also enhances the spiritual connotation of color, making color melt into the artistic conception of ink painting and become a visual subject. In the performance of landscape painting, the opposition between pen and ink and modeling is changed, so that pen and ink modeling are integrated and the overall sense of ink image is enhanced. Cross-dyeing is used to reduce the expression of the depth of rock space, so that color can enter the main space of the picture and form a unified visual relationship with pen and ink modeling. The spatial depth of rocks in the picture is weakened, which is subject to the overall performance of pen and ink. Through the sketch of nearby rocks and the faint dyeing of distant thick ink, the connection and strong contrast of landscape space are formed, and only the outline of the mountain is drawn, and the spatial expression is not made on the details of rocks. Therefore, color enters the structure of rock and forms a plane expression of color. A painting should have not only contrast, but also unity. The painter strengthened the freehand expression of cyan, let the color go out of the range of rock structure, actively connect with ink painting, and form the verve flow of color. Cyan produced the same rendering effect as ink painting, and also formed the change of shade and dryness, so color gained the initiative of expression. The freehand brushwork and decoration of color produced by the transcendence of color over form finally achieve perfect integration with ink painting, which not only embodies the nobility and elegance of traditional literati, but also expresses the spiritual emotion and implication of modern color.
Fourthly, the inheritance and transformation of turquoise color has expanded the color expression of contemporary landscape painting.
Contemporary landscape painters have realized the freehand brushwork change of cyan when they borrow cyan to express innovation, and the expression of color has risen to the same theoretical height as ink painting. In the new era, painters seek the basis of innovation from tradition, find the advantages and disadvantages of color, and make up for the shortcomings of ink painting with the advantages of color. At the same time, they give color to the spirit and emotion of ink painting, let color surpass itself, inherit the decorative and freehand expression of color, and realize the integration and transformation with ink painting. In this way, color transcends its own physical attributes, realizes emotional catharsis, and finally sublimates the spirit of mountains and rivers.