Fine brushwork is to describe objects in a neat, meticulous and meticulous way. Fine brushwork is divided into two categories: fine brushwork and fine brushwork. Meticulous brushwork is a complete description of objects with ink lines, without coloring. Sketch was originally used for painting, but Li, a painter in Song Dynasty, developed it into an independent painting. His sketches, like flowing water, are endless and expressive. His "Five Horses Map" is a first-class sketch in ancient times. Figures and horses are drawn with single lines, with accurate proportions, clear musculoskeletal structure, and even the luster of horse coat is shown in detail. Heavy color meticulous painting means that meticulous painting is neat, fine and lays a heavy color. In the early days of China's painting, meticulous painting played a major role. The silk paintings found in Mawangdui Han Tomb in Changsha, Hunan Province are full of genuine meticulous colors, especially the T-shaped "non-clothing" in Fei Fei's tomb, with ingenious composition, fine line drawing and gorgeous colors, which shows that the meticulous colors reached a high level at that time. In ancient painting, heavy-colored pigments such as cinnabar and turquoise were widely used, so painting was called "Danqing", which shows the important position of meticulous heavy color in ancient painting. You can study hard and practice ~ just watch and copy ~ of course, you still have to learn some basic skills. Before drawing meticulous painting, draw some sketch homework and practice your hand feeling and brushwork. When you start sketching, you'd better choose some famous flower sketches, such as mustard seed garden, cover it with rice paper and draw it with a pencil. Note that pencil drawing is also an exercise for lines. After painting, you can start dipping Gou Xianbi in ink, such as red beans. After more practice, you can directly describe Gou Xianbi. After practicing sketching for a period of time, you can copy some meticulous paintings. It's best to choose some simple flowers first, then flowers, birds, fish and insects, and finally people. Of course you can't practice blindly. Actually, reading some books is helpful. Many meticulous painting books will teach some special painting techniques, which is very interesting. That's how I learned these techniques before. Different people will have different skills, and only by learning from others can we learn more. As for some basic things, I think Garnet has done something very specific: buy cooked rice paper, first tick the lines with a page-reinforced pen, then take two pens in your hand, a little red brush and a big white cloud, color it with little red hair, and the big white cloud is white water, and then buy a book to copy. I would also like to add that it is also my own experience. When I get dizzy again, I'd rather lighten it first. If it's not deep enough, I can dye it again. If it's too deep at once, I can't fade it ~ especially some flowers and characters' faces. Having said that, it's actually just an armchair strategist. The key is to practice and draw more pictures. In the past, many people in our class couldn't draw, and their hands were shaking, but after 1 month, they could produce results, as long as they were quiet. Fine brushwork is meditation. In addition, after copying for a period of time, you can sketch something and go home to create it yourself! Chinese painting is one of the traditional plastic arts in China. It has its own system in the world art field, and it is also the most complicated painting, and its internal classification is even more complicated. Zhang Yanyuan's Record of Famous Paintings in Past Dynasties in Tang Dynasty is divided into six chapters. In the Northern Song Dynasty, Xuanhe Huapu was divided into ten branches. Deng Chun's painting in the Southern Song Dynasty is divided into eight categories. According to pen and ink techniques, it can be divided into meticulous brushwork, large freehand brushwork and small freehand brushwork (that is, writing with work), and according to color setting, it can be divided into three categories: line drawing, ink painting and color painting. According to their functions and uses, they can be divided into temple murals, easel paintings, folk paintings and decorative paintings. According to the theme of the works, it can be divided into Buddhist paintings, genre paintings, historical paintings, folk New Year paintings and literati paintings. According to the tool materials, it can be divided into painting, coloring and ink painting. But the most popular ones are divided into three categories according to the subject matter: figures, landscapes and flowers and birds. Landscape painting is called "landscape" for short. Painting with natural scenery as the main body. The Wei, Jin, Southern and Northern Dynasties gradually developed, but it was still attached to figure painting, which was mostly used as a background. Independence began in Sui and Tang Dynasties, such as Zhan Ziqian's colorful landscape, Li Sixun's Jinbi landscape and Wang Wei's ink landscape. Wang Qia's splash-ink landscapes, etc. ; During the Five Dynasties and the Northern Song Dynasty, landscape painting flourished, with a large number of painters such as Hao Jing, Guan Tong, Li Cheng, Dong Yuan, Ju Ran, Fan Kuan, Xu Daoning, Yan Wengui, Song Di, Wang Shen, Mi Fei, Mi Youren, Wang Ximeng, Zhao Boju and Zhao Bojun competing with each other between the north and the south, reaching a peak and becoming a major painting genre in China. Landscape painting in Yuan Dynasty tends to be freehand brushwork, taking virtual as reality, focusing on the charm of pen and ink, and creating a new style; Ming and Qing dynasties and modern times, continuous development, a new look. Pay attention to the professional position and artistic conception in the performance. The traditional methods are ink painting, turquoise, resplendent, boneless, light red, light color and so on. Portrait painting is a general term for paintings with characters as the main body. China's figure painting, referred to as "figure" for short, appeared before landscape painting and flower-and-bird painting. Generally, it can be divided into Taoist painting, lady painting, portrait painting, genre painting and historical story painting. Figure painting strives to portray the characters' personalities vividly, with vivid charm and both form and spirit. His vivid techniques are often reflected in the environment, atmosphere, characters, and the performance of characters in dynamic rendering. Therefore, Chinese painting is also called "vivid" in theory. The famous figure paintings in the past dynasties include Gu Kaizhi's The Goddess of Luo in the Eastern Jin Dynasty, Wen Yuan in the Tang Dynasty, Han Xizai's Banquet in the Southern Tang Dynasty, Wei Mo by Li in the Northern Song Dynasty, Wei Tu by Li Baixing in the Southern Song Dynasty, Yin Tu by Li Baixing and Yang Zhuxi by Liang Kai in the Yuan Dynasty. In modern times, it emphasizes "learning from nature" and absorbs western techniques, and has developed in modeling and color distribution. There are many flower and bird painters in the past dynasties, such as the crane in Snow Ji in the Tang Dynasty, the peacock in Bian Luan and the flower bamboo in Diao Guang Yin. The eagle of Guo in the Five Dynasties, the flower and bird in the grave; Flowers in Zhao Chang, birds in cypress and flowers and birds in Wu in the Northern Song Dynasty; Branches of Wu Bing in Southern Song Dynasty, flowers and fruits of Lin Chun, birds of Li Di; In Yuan Dynasty, Li Li's Bamboo, Zhang Shouzhong's Yuanyang and Wang Mian's Mei; Birds in Lin Liang in Ming Dynasty, ink flowers of Chen Chun and Xu Wei; Fish, lotus in the clouds and birds in the Qing dynasty; Modern Wu Changshuo, Huadu and so on are all famous flowers of a generation. Techniques include meticulous brushwork, freehand brushwork, sketching, coloring and ink painting. And the coloring can also be resplendent, large and small turquoise, boneless, splash color, light color, light crimson color and so on. Mainly using the changes of lines and ink color, using hook, left, dot, dye, thick, light, dry, wet, yin, yang, direction, back, virtual, real, sparse, dense, blank and other means to describe the image and business premises; View layout, wide field of vision, not limited to focus perspective. There are murals, screens, scrolls, picture albums, fans and other picture frames, supplemented by traditional mounting techniques. Traditional Chinese painting emphasizes "the nature of foreign teachers is the source of China's heart", requires "meaning to save the pen first, and draw as best as possible", and emphasizes the integration of things and the creation of artistic conception, so as to achieve the purpose of describing the spirit with form, having both form and spirit and vivid charm. Because calligraphy and painting are of the same origin, they are closely related to the operation of bone and line, so the seal cutting of calligraphy and painting affects each other and forms a remarkable artistic feature. The tool materials for painting are pens, ink, paper, inkstone and silk specially made in China. Modern Chinese painting has made a breakthrough and development in inheriting tradition and absorbing foreign techniques. The development history of Chinese painting before the Six Dynasties: the germination of ink painting and heavy color painting. The earliest remains of China's paintings can be traced back to ancient rock paintings and decorative patterns of Neolithic painted pottery. Neolithic pottery paintings were made by coating natural minerals on the pottery blank and then firing it in a kiln. On the orange-red tire ground, there are beautiful patterns of ochre, black and white, which form a high degree of unity with the modeling of utensils, achieving the effect of beautification and decoration. Painting in Shang, Zhou, Warring States and Spring and Autumn Period has made great progress. In addition to the popularity of murals, we can also see that the development of painting skills at this time has reached a considerable level from the decorative patterns of bronzes and jades and lacquer paintings in the Warring States period. In particular, the silk paintings unearthed from the Chu Tomb of the Warring States Period in Changsha, Hunan Province, became an outstanding representative of the development of painting techniques in this period. At this time, painting has gradually separated from the decorative position attached to arts and crafts, and has become the forerunner of scroll painting in later generations. The development of painting techniques in Qin and Han Dynasties-murals and portraits of Han tombs: In addition to looking for stones and portrait bricks, silk paintings unearthed in various places provided the most powerful information for understanding the painting techniques at that time. The situation of the Warring States Exhibition provided the Western Han Dynasty with "simple and simple trace" silk painting, ink painting with prominent line function and outline coloring painting with high-purity decorative color painted by lines, which laid the foundation for the two basic painting styles of scroll painting later. Six Dynasties: The maturity of hook line and the appearance of concave-convex method are important stages in the development of painting techniques. A large number of well-known painters with high cultural accomplishment have emerged. During this period, the first batch of masters of one hundred generations and the first batch of great works with replicas in the history of painting were produced, and the first batch of famous paintings were produced. The painting method of figure painting is from completion to exquisiteness, from "simple and elegant" to "exquisite and beautiful", and then the style of "rough but thoughtful" appears, which clearly shows the times of Sui and Tang Dynasties. Landscape painting, which originated from figure painting and ancient map background, began to enter the historical stage independently during this period. Around the Eastern Jin, Liu and Song Dynasties, independent landscape paintings appeared. During this period, many painters who were good at painting flowers and birds appeared, and there were also records of single works, but none of them were handed down. Sui and Tang dynasties: the high development of line drawing and ink painting and the perfection of golden jade color. With the overall prosperity of social economy, culture and art, the painting of Sui and Tang Dynasties has made great achievements in expression techniques. Figure painting still occupies a major position in the Sui and Tang Dynasties. It not only inherited the native Han and Wei Chuantong, but also absorbed the painting methods of the western regions, and its artistic development became more mature. During the Sui and Tang Dynasties, landscape painting became more and more mature, including bright green landscape and five-color ink landscape, which formed different artistic styles. During this period, the green landscape has become more and more mature and prosperous. Its painting style, like figure painting, belongs to outline and color setting, and the difference lies in the simplicity of image outline and the strong richness of color assignment. The colors used are mainly blue, green, ochre, white powder and other stone colors (covering colors), even supplemented by gold powder, which is bright and eye-catching, with high purity and quite magnificent. Song people called it "green landscape" or "Jinshan water". This colorful landscape painting with realistic decorative techniques is the earliest style of China landscape painting. The appearance of ink landscape painting was mainly after the middle and late Tang Dynasty. From the green landscape to the prosperous Tang Dynasty, the predecessor of ink landscape "broken ink landscape" began to sprout. Since the middle and late Tang Dynasty, the theme of landscape painting has been further expanded. In terms of techniques, there is a kind of wild painting style of "not following ink". At this time, some painters developed "splashing ink" in addition to the ink-breaking technique in the prosperous Tang Dynasty. In the middle and late Tang Dynasty, landscape painters paid attention to using ink instead of writing, and the rich variation of ink method in turn liberated the brushwork. The role of ink painting has aroused widespread concern and created conditions for the prosperity of ink painting in the Five Dynasties. A number of famous flower and bird painters also appeared in the Tang Dynasty. The theme of flower-and-bird painting is popular in the court and the upper class, which is used to decorate the environment and appreciate the needs. Most of them draw realistic sketches with meticulous brushwork. Five Dynasties: Paintings of the Five Dynasties and Ten Countries, whether in the Central Plains, Western Shu or Southern Tang Dynasty, or figures, landscapes or flowers and birds, all developed while inheriting the traditions of the Tang Dynasty. In landscape painting, at this time, the ink and wash style of Tang Dynasty was developed prominently. The emergence of "Jing (Hao), Guan (Shan), Dong (Yuan) and Ju (Ran)" and the two schools of landscape painting in the north and south have become important milestones in the development of landscape painting. In the works of the two schools of painting, the "painting method" used to present the texture and structure of landscape has been greatly developed and the ink painting method has been enriched. Having a pen and ink has become the painter's conscious requirement, and the development of light-colored landscape painting based on ink and wash has matured so far. In the field of flower-and-bird painting, the situation of "Huang Jiafu, Xu Xiye" appeared in the Five Dynasties. The appearance of two techniques and styles marks the maturity of China's flower-and-bird painting. During the Five Dynasties, the green landscape continued with a colorful outline. Song dynasty: the perfection of meticulous brushwork, the beginning of concurrent brushwork and the breakthrough of composition. Painting in Song Dynasty achieved new development on the basis of Sui, Tang and Five Dynasties, with increasingly diverse styles and more complete techniques. The rise of literati painting and the prosperity of palace painting became the new characteristics of this period. In the middle of the Northern Song Dynasty, the conscious pursuit of "literati painting", which is different from the painter in art, arose. Genre painting, historical stories and realistic figure painting have all become subjects of interest to painters, and famous works have appeared. During the Northern Song Dynasty, landscape painting made the most outstanding achievements, and developed in breadth and depth on the basis of the Tang and Five Dynasties. The "Song Personality Method" in the history of painting mainly refers to the creation of landscape paintings in this period. The mainstream of landscape painting in the Southern Song Dynasty is the delicate and lyrical style shown by the vigorous brushwork of ink and wash. During this period, with the emergence of a large number of scroll paintings and the concern for real life, religious paintings began to withdraw from the main position of painting circles, and painters and painters were obviously separated. Flower-and-bird painting in Song Dynasty greatly surpassed that in Tang Dynasty in artistic skills. After the Five Dynasties, the flower-and-bird paintings in the early Northern Song Dynasty flourished with the changes in the needs of the ruling and opposition parties, leaping above the figure paintings and keeping pace with the landscape paintings. The meticulous observation and detailed description of flower-and-bird painters in Song Dynasty made their sketching level reach the realm of "innate". Yuan Dynasty: The development and enrichment of brushwork and ink painting in Yuan Dynasty further developed on the basis of inheriting Tang, Song and Five Dynasties. Its notable feature is that literati painted Sheng Xing, with relatively few figure paintings, mainly landscape and flower-and-bird paintings. In painting art, it emphasizes "morale" and "ancient meaning", opposes "literati spirit", abandons the tradition of Southern Song Dynasty, and advocates learning from Tang, Five Dynasties and Northern Song Dynasty. In his creation, he pursues appearance, expresses emotion subjectively, emphasizes change and ignores description, preferring plain but not gorgeous. The ink painting technique of wiping paper books with dry brush has made great progress. Landscape painting is the most prosperous painting in Yuan Dynasty. In flower-and-bird painting, with the prevalence of Chinese ink bamboo and wood and stone, Chinese cymbidium and Chinese ink plum developed simultaneously. In the Yuan Dynasty, ink-and-wash flower-and-bird and ink-play prevailed. In meticulous flower-and-bird painting, all colors were changed to ink. After China's flower-and-bird painting techniques were fully developed in the Song Dynasty, Yuan Dynasty went deep into the field of ink painting. Ming dynasty: the prosperity of ink freehand brushwork. Paintings of Ming Dynasty's style changed repeatedly, and the school of painting flourished. Mountains and rivers, people and flowers and birds have all developed. In terms of painting methods, ink and wash landscapes and freehand brushwork flowers and birds flourished, with the most remarkable achievements. Paintings of Ming Dynasty can be roughly divided into three periods: early, middle and late. In the early Ming Dynasty, the court painting and Zhejiang school prevailed in the painting circle, which formed the trend of the times to inherit and carry forward the painting style of the Southern Song Dynasty. After that, Wu Pai, represented by Shen Zhou, mainly inherited the tradition of literati painting in Song and Yuan Dynasties and became the mainstream of painting. After the middle of Ming Dynasty, successful flower-and-bird painters were mainly literati painters in the wild. After Wanli, there was a new turning point in later painting. Songjiang School, represented by Dong Qichang, took a different approach and advocated the theory of Southern and Northern Schools, which had great influence and became the dominant painting circle. In the late Ming Dynasty, there were many regional landscape painting schools besides Songjiang School represented by Dong Qichang. In the field of flower-and-bird painting, Qing Teng and Bai Yang's freehand brushwork in ink and wash, and in the field of figure painting, Cui's deformed figure painting has a far-reaching influence on later generations. The techniques of figure painting are varied, including simple and elegant line drawing, heavy and fine meticulous painting in the courtyard, bold and heroic freehand brushwork in ink painting, and a new figure painting with strange and ancient deformation and decoration. Qing dynasty: the prosperity of ink freehand brushwork painting and its integration with western painting continued the trend of painting in Qing dynasty since Yuan and Ming dynasties. Literati painting prevailed, landscape painting flourished, and court painting developed new. The integration of Chinese and western painting appeared in Kang and Gan periods. Generally speaking, ink freehand brushwork is popular in technique. In the early painting world, there were two thoughts of "Four Kings" and "Wu Yun" and "Four Monks" in the field of literati painting. In the landscape painting in the early Qing Dynasty, painters paid more attention to brushwork and pen and ink, and their styles and techniques competed with each other. Under the influence of western painting, the new exploration of traditional techniques of China landscape painting. Although the figure painting in Qing Dynasty didn't improve much in artistry, it was more prosperous than that in Ming Dynasty and developed in freehand figure painting. The painting academy flourished in Kanggan period of Qing dynasty, and the techniques of the painters in the painting academy were obviously different from those of the literati painters in cloth. Being neat and colorful is the ability of court painters, but the artistic conception is relatively dull. Wild Chinese cloth painters are mainly freehand brushwork in ink and wash, but also bring meticulous figures, and are good at pursuing the artistic conception of ink and wash. In the early Qing Dynasty, the painting world developed a technique of "finger painting", which used fingers instead of brushes to paint on Xuan paper and silk. Among the techniques of flower-and-bird painting in Qing Dynasty, meticulous brushwork, freehand brushwork and boneless techniques are very popular, which not only inherits the tradition, but also innovates. Flower-and-bird painting in Qing Dynasty flourished in Kang and Gan dynasties, and was mainly used for decoration. 20th century: epigraphy calligraphy introduced painting, combined Chinese and western styles, and incorporated the brushwork of calligraphy seal cutting into painting, which has the flavor of epigraphy. In the use of color, it breaks through the tradition of the ancients and absorbs the characteristics of folk colors, with bright colors and strong contrast. In the past hundred years, China's modern painting has developed in the cultural environment influenced by western artistic thoughts. Under the influence and impact of western art, China's painting techniques broke through the traditional mode and a new situation appeared. According to different views of painting, the exploration of techniques basically follows two roads: one is the traditional road of "borrowing the past to open up the present", which is less influenced by the west and seeks changes from the tradition itself. Break through the limitations of literati painting, expand the scope of study, draw nutrition from stone tablets and folk art, and realize the revival and development of modern Chinese painting on the basis of traditional technique schema. Qi Baishi, Huang, Pan Tianshou and Fu Baoshi are the most outstanding painters of this kind. The other is the combination of Chinese and Western art, represented by Gao, Xu Beihong, Liu Haisu, Lin Fengmian and Li Keran. )