The Creative Practice Research Of The Ink Accumulation Method In The Series Of Landscape Painting "Rain Ji"

The method of accumulating ink originated from the Five Dynasties.To the Northern Song Dynasty,Guo Xi wrote the method of accumulating ink in Lin Quan Gaozhi:"Deepening with light ink 67,that is,the ink is moist but not dull."During the Song and Yuan Dynasties,Fan Kuan and Mi's father and son made great progress in ink-accumulating method.During the Ming and Qing Dynasties,Gong Xian became a master of ink-accumulating methods,and was famous for "Black Gong".The ink-accumulating method showed its unique charm in his works,which made the application of ink-accumulating in landscape painting reach a peak.More modern and contemporary painters Huang Binhong and Li Keran made ink-accumulating method breathe and rebirth again,which promoted the further development of ink-accumulating method.This paper discusses the exploration and practice of ink-accumulating method in the series of creative works of Rainbow,focusing on the study and exploration of stone-accumulating points,forest-accumulating lines and rhyme-forming areas.The practice of point-by-point lithogenesis makes use of raindrops skillfully to merge ink dots,showing the thick and hard of rocks and the quiet and tranquil scenery of mountain roads;the exploration of line-by-line forestation,trying to lay-by-line in an overlapping way,with a sense of freshness in plain,makes the forest of the picture tend to be unified as a whole;the study of the rhyme of the area-by-line,uses rich expression of the structure of rocks and mountains.Changing thick and light ink accumulation,dyeing successively,will eventually run through the whole picture in a unified rhyme,to create an elegant and elegant mood of ink.The artistic aesthetic feeling brought by ink-accumulating method in the series of creative works of Rainbow is shown in four aspects:gray tone,heavy brush and ink,spatial level and ambiguous artistic conception.The gray tone formed by ink accumulation method makes the ink color uniform and abundant,and fills the picture with a quiet and simple atmosphere;the heavy brush and ink it presents appropriately reflects the natural beauty of nature;the spatial level it produces makes the picture show a strong,far-reaching,empty and real degree of spiritual beauty;the artistic conception it creates is fragile,in the process of water-ink breaking and dry-wet blending,The vigor of ink springs up between the pen and ink,and eventually presents the overall aesthetic feeling of ink accumulation.The practice of landscape painting creation is the basis of discussion.In the study of combining theory with practice,it is found that there is still a lack of reflection on the gains and losses of the relationship between virtual and real lines in the picture,and the rich and rich language charm of ink-accumulating method is further realized.From this point of view,artistic creation can only be innovated and developed if it is applied and integrated into the new life of the new era.