Rich Peony Painting
The painting of the rich and noble peony had a rich meaning. It was not just a painting, but more like a symbol of life attitude. From the content of the painting, some of the flowers in the peony painting were budding, while others were blooming like gold. The details were handled very exquisitely. The golden lines outlined the outline of the peony flower, and every petal was lifelike. Its unique gold tone gave the entire painting a sense of nobility and luxury. In terms of meaning, peonies had symbolized wealth, good fortune, beauty, nobility, love, romance, beauty, and purity since ancient times. Hanging a painting of a rich peony in the living room or study could not only enhance the atmosphere of the home, but also bring good luck and wealth to the occupants, just like the expression of "when the peony blooms, wealth comes naturally" and "when the flowers bloom, wealth comes, good luck comes again and again". " Fairy Dream of Tang Shi: Fate of Peony " is equally wonderful. Everyone is welcome to click and read it!
Rich and Auspicious Peony Painting
Peonies had another name for "rich flowers", which symbolized wealth and good fortune in China culture. Many artists were good at painting peonies, and they might create peony paintings called "wealth and good fortune". From the perspective of painting techniques, there were artists who created techniques such as "stained peony" to express the shape, nature, emotion, appearance, and god of the peony. There were also different painting techniques that could be used to create peony paintings, such as the crystal peony painting technique demonstrated by Xiao Xian. There were many varieties of peonies, such as Zhao Fen, Yao Huang, etc. When artists created "rich and auspicious peony paintings", they might focus on depicting the magnificent and gorgeous characteristics of peonies to reflect the meaning of wealth and good fortune. " Fairy Dream of Tang Shi: Fate of Peony " is equally wonderful. Everyone is welcome to click and read it!
Tang Bohu's Painting of Rich Peony
Tang Bohu had paintings with peonies as the theme, such as the painting "Flowers Bloom and Riches". This painting was owned by Mr. Li from the Harbin City. It was an ancestral item from Sanxi Hall. When the last emperor, Pu Yi, went to the northeast to establish Manchuria, he spent a lot of money. He brought some of the collection from the Qing Palace for a charity sale. Mr. Li's grandfather, Li Liandi, was the manager of the bank's accounts. He spent 200 yuan to buy this painting at the charity sale. The painting used the peony as the theme, using thick and thin iron line drawing techniques to outline the peony, and then using rich colors to set off the beauty and wealth of the flowers. There were famous paintings such as Tang Yin, the ancient rare emperor, the fine seal of Sanxi Hall, the treasure of Qianlong Emperor, and the gourd seal of Demi (Xiang Yuanbian). In addition, Tang Bohu also had peony paintings such as "Peony Painting". "Fairy Dream of Tang Shi: Fate of Peony" is equally wonderful. Everyone is welcome to click and read it!
Painting of Peony
There were many ways to draw peony, and the following were some common ones: - ** White-line drawing method **: Start from the stamen part, the ink is thick but not burnt, moist but not slippery, the center of the pen, the line is sharp and smooth, the fine force hook stop, start and turn secretly take the momentum, change the pen heart, need to be meticulous. - ** Fine brush light color method **: First use lines to outline or draw. - ** Fine brush dyeing method **: First, draw out the outline, then use light green to paint from the root of the petal to the tip of the petal, and then use darker green dots to dye the root and stamen of the petal to enhance the three-dimensional effect. - [Fine Brush Cover Dyeing Method: Use a simple brush to draw a picture.] - [Fine Brushwork Dyeing Method: Draw a picture with a simple brush.] Some of the painting techniques for freehand peony were as follows: - ** Flower bud painting method **: First, use a brush to adjust the white powder. The brush belly is saturated with water. The tip of the brush is dipped in ebony and mixed evenly. The tip of the brush is slightly rouge. The tip of the brush is downward and the brush belly is upward. The brush is placed from left to right. It can be drawn in two or three strokes. Then, add a strong color to point out the top of the flower bud to show the volume and level. Finally, use ochre or juice green. The tip of the brush is adjusted to draw the calyx and the flower holder. - ** Painting of half-opened and full-opened peony **: Toning the same flower bud. First, he drew the bright part of the flower petal, using his brush to make subtle changes and decisively draw it, leaving white. There were changes in the open petals. The inner petals were tight and the outer petals were loose. The outer petals were closer to the center, and the center was heavier to show the three-dimensional feeling. Finally, the calyx and the flower holder were pointed out. - ** Pink Peony Painting Method **: Mix white powder and light ebony, use the side edge to draw the bright part, use the brush size, the brush marks have changes and rhythms, when drawing the center of the flower, sweep a little rouge with the tip of the pen to draw out the layers, so that the color naturally seeps through, the brush strokes can be seen, and after drying, the flower stamen is added. - ** Purple Peony Painting **: Purple is blended with rouge and cyan. It can be red or green, thick or light according to your preference. First adjust the white powder (the brush is vertical so that it doesn't drip). Dip the tip of the brush in purple and mix it in a white porcelain plate. From thick to light, naturally transition from thick to light on the brush. The tip of the brush is pointed down with the side edge. Use different sizes of brush strokes to point out the front part of the petals. After the color on the brush is used up, continue to paint. Pay attention to the outer outline of the petals to the center part tightly wrapped, layer by layer, the brush has changes. In the specific painting process, different colors of peony also had their own unique painting methods. For example, orange peony, first use a medium-sized sheep-hair brush to dip in the garcinia and eos to blend. After the color is evenly mixed, use the tip of the brush to lightly dip in the red to start painting. Use the side of the brush to draw the middle petal.(Painting a peony usually starts from the middle), continue to add side petals (some loose and some tight), follow the growth of the flower head when painting the back petals, generally draw three or four layers, and then dip in the red fat to draw the small petal in the center.(Pay attention to the rules of color depth change), draw the outer petals from right to left with the momentum of twisting the pen to draw the big petals and point out the small petals on both sides. When dipping the red fat to draw the middle petals, pay attention to the water in the color, the color in the water, and the combination of virtual and real. According to the method, carefully draw the relationship of the petals along the center of the flower. Finally, use the brush to dip in the thick ink to draw the stamen (pay attention to the density, perspective, and the relationship between the petals). There are several scales at the base of the purple peony twigs, which are distributed in the middle and high altitude mountains of western China. When painting, use a brush to mix rouge and indigo (the shade depends on preference). First, adjust the white powder to control the moisture of the brush.(It's better to draw it vertically without dripping water). Dip the tip of the pen in purple and mix it in a white porcelain plate. Draw the main petals with the tip of the pen down. Draw the back petals first (some loose and some tight). Use different sizes of brush strokes to point out the front of the petals. Draw the front petals with a slightly thicker color. Draw three or four layers according to the growth of the flower head. Draw the outer petals from right to left with the pen to draw the big petals and point the small petals around them. Add the small petals around the big petals. The outer petals wrap tightly towards the center. Layer by layer, when the petals are not dry, use a brush to dip in heavy color to supplement the color of the roots. The dark part and white space are appropriate to make the shape of the flower head natural. Finally, use a small pen to dip in garcinia to draw the stamen. The painting technique of bumping into pink peony was to use the brush to slightly tilt the painting while the painting was still wet, so that the color would gather on one side. After the painting, the fog would naturally not dry and the effect would be transparent. There were also techniques such as using a big white cloud to first adjust the titanium white to the base of the pen, using the tip of the pen to adjust the color of the brush to pink, using a two-color brush to draw the petals, pressing the side peak to draw layers of petals, slowly adding the color of the ebony, cutting off the front and back petals, paying attention to the size of the petals and the changes in the front and back of the petals when drawing, and drawing a rich half-opened picture beside it. The flower green and a little garcinia to draw the leaves, the tip of the pen to draw the petiole, pressing the side peak of the brush to sweep out the leaves, and paying attention to the tip when drawing the pen (peony leaves have three and nine tops, pay attention to the relationship of concealment). "Fairy Dream of Tang Shi: Fate of Peony" is equally wonderful. Everyone is welcome to click and read it!
Appreciation of the Peony Painting
The portrait of the Chinese painting peony had a unique artistic charm. For example, Mr. Ding Ke's four-foot vertical freehand peony painting,"Wealth in the Jade Hall," was set off by an archaic rice paper. The warm and subtle peony was embellished with elegant begonia flowers. Between the contrast of thick and light, the work exuded elegance and the demeanor of a king. There were also two small birds on the branches, which made the whole painting full of vitality. Teacher Ding Ke's four-foot vertical painting of the peony golden pheasant,"Beautiful Future," showed the gorgeous peony blooming in freehand style. Two golden pheasants stood on top, and the picture was auspicious and beautiful. Teacher Ding Ke's four-foot-long freehand peony work,"Rich and White-Headed Head," in the picture, the peonies were colorful and elegant. Together with the fresh and elegant magnolias, the whole picture became elegant and elegant, showing a romantic and warm atmosphere. These vertical paintings of peonies were very valuable. " Fairy Dream of Tang Shi: Fate of Peony " is equally wonderful. Everyone is welcome to click and read it!
The Painting of Peony and Crane
In traditional China culture, peonies symbolized wealth, fortune, and magnificence. They were known as the " national beauty and heavenly fragrance " and were known as the king of flowers. Red cranes represented longevity, fortune, and nobility, symbolizing fortune, wealth, and purity. The combination of the two symbolized luxury, purity, and beauty. It also symbolized auspicious, wealth, and a happy life. It could also express longevity, wealth, and good luck, such as pine age, crane longevity, wealth, and longevity. " Fairy Dream of Tang Shi: Fate of Peony " is equally wonderful. Everyone is welcome to click and read it!
Peony Freehand Painting
There were many ways to draw peony freehand paintings. The following were some common points: ** 1. Color adjustment ** 1. ** Red Flower ** - Vermilion could be used as the main color, mixed with bright red to form the basic color, and the tip of the pen dipped in ebony to draw. You can also use peony red on the pen belly and dip the tip of the pen in rouge to draw. This way, the red color drawn will be thick and thick to avoid appearing thin after drying. 2. ** Pink * - The color mixing method was white at the base of the pen, peony red at the belly of the pen, and rouge at the tip of the pen. 3. ** Yellow Flower ** - With yellow and white, the tip of the pen is dipped in the color of ochre and vermilion. The flower core can be painted with white or rouge. It can also be painted with white powder at the base of the pen, camboge at the belly of the pen, and green at the tip of the pen. When cleaning up, the tip of the pen should be painted with vermilion or rouge. 4. ** Orange * - Color for the pen root ochre, pen belly vermilion, pen tip rouge. 5. ** Blue Flower ** - You can use indigo, white and a small amount of eos as the basic color, the tip of the pen dipped in indigo painting, or the tip of the pen is white powder, the belly of the pen is blue, and the tip of the pen is painted with rouge. 6. ** Purple Flower ** - White, rouge, and indigo were mixed into the basic color. The tip of the pen was dipped in rouge. After it was roughly completed, it could be used to deepen the depth of the flower core and make the petals more abundant. It could also be white powder, rouge, and a little peptide-cyan. 7. ** White Flower ** - He used grass green, a little ochre, and a small amount of ink to adjust the basic color. When painting, he dipped it in pure white, and the tip of the pen dipped in the basic color. After he was done, he could use green to dye the dark parts and the heart of the flower, and pure white to emphasize the bright petals. 8. ** Ink Flower ** - The writing speed should be fast and decisive. It should have a fresh and carefree feeling. Don't repeat the revision. After the ink dried, you can use stone cyan, stone green, cinnabar and other opaque mineral colors to dot the flower core. When painting the petals, you must use a bold pen and do not leave white. 9. ** Black Peony ** - He used peony red, rouge, and ink to make it black and purple. 10. ** Green * - White, grass green, and a little vermilion were mixed into the basic color. The tip of the pen was dipped in grass green and painted from the reverse petal. Shi Qing was more suitable for painting the petal. 11. ** Dark red ** - Using bright red and a little eos to make the basic color, the tip of the pen was dipped in rouge, and the brush was clean and neat. It was to avoid repeating the brush to avoid "burning" the painting. The difficulty lay in the control of water content. If there was too much water content, the color would not feel heavy. If there was too little water content, it would easily appear dry and dull. Only with appropriate water content could it be thick and moist. ** 2. Drawing Steps ** 1. ** Flower Head Drawing ** - For example, when using the No. 3 Goat Hair Pen to draw a pink flower head, the pen belly was dipped in a little white powder, and the tip of the pen was mixed with a light red. Then, the reverse petal was drawn with the dotting brush method. After that, a slightly thicker red was added in front of the brush, and after mixing evenly, the tip of the pen was dipped in a thick ebony red. Then, the dotting brush method was used to draw the positive petal. The color of the outermost petal was darker. In the darkest part near the greenhouse, a little ink red was added to the tip of the pen to draw deeply. The drawing technique of the light red flower head at the bottom was similar. The color of the reverse petal was white powder mixed with ebony red, the color of the positive petal was ebony red, the tip of the pen was dipped in rouge and the ink was written in the darkest place. The reverse petal of the yellow flower head is the white powder of the pen belly, and the tip of the pen is garcinia. The positive petal is on the basis of the original reverse petal, and the tip of the pen is mixed with eos. - The flower bud was mainly drawn with a dotting stroke, but each dotting stroke had a certain stroke method, such as from top to bottom, from bottom to top, from left to right, from right to left, etc. The flower bud was divided into front, side, front and side, and other forms of expression. The flower buds on the front were mostly completed with four or five strokes, and the center was added with heavy colors; Some of the flower buds on the side were completed directly with one stroke, and some were completed with two or three strokes; The flower buds on the front side were completed with five or six strokes, and then one or two strokes were used to extend the petals to complete the shape. 2. ** Drawing of torus and leaves ** - Use No. 2 and No. 3 wolf-hair brush or stone badger bucket brush, fill the belly of the brush with garcinia and cyanine, dip the tip of the brush in rouge, and draw the tender leaves and flower holders according to the growth law and the needs of the composition. Then, use garcinia cambogia and indigo to adjust the pen belly, dip it in thick ink to draw deeper leaves. When the water content on the pen is insufficient, dip the tip of the pen in water and continue to draw the leaves. It is best to draw the gradual effect. Pay attention to the layout of the leaves and the shade of the leaves. 3. ** Hook leaf tendons and tender branches ** - He used a small brush or a leaf tendon pen. He used rouge and ink for the tender leaves and leaf tendons, and thick ink for the old leaves. He used the traditional nail head and mouse tail method to outline the direction of the leaves. Using garcinia and indigo, the tip of the pen was dipped in rouge to draw out the tender branches to connect the leaves. This step required strength in the brush. 4. ** Old stem and tender shoot drawing ** - Use No.2 and No.3 wolf hair bucket pen, Lao Gan uses vermilion and light ink or ochre to adjust the pen belly evenly, dip both sides of the pen in thick ink to draw. Garcinia cambogia and indigo, the tip of the pen dipped in rouge to point out the tender buds. Pay attention to the interweaving of the branches. 5. ** Drawing with stamens ** - You can use the small sheep hair to adjust the titanium white to draw the stamen, pay attention to the size and direction, and then use the bucket pen to adjust the light stone blue and light ink to clean up the entire layout. You can also adjust the color of garcinia and Taibai with a pen to point out the pistil. The pistil should be high or low, long or short. You can also point out the pistil in the middle (such as using three green dots to point out the pistil in the middle). When creating peony freehand paintings, the permeating effect of the rice paper should be fully exerted. The color of the flowers mainly depended on the water to mediate, and could not rely too much on the white color to avoid the effect of hardening and drying. At the same time, we should pay attention to the shape and charm of peony flowers. Don't copy its type mechanically. From "getting its shape to losing its shape, then getting its charm", we should truly understand the true essence of peony beauty and use appropriate techniques to describe it. "Fairy Dream of Tang Shi: Fate of Peony" is equally wonderful. Everyone is welcome to click and read it!
Chinese Painting of Phoenix and Peony
The Chinese painting of a phoenix and a peony was a traditional Chinese art work. It usually depicted a phoenix and a peony together. The phoenix was an auspicious pattern in traditional Chinese culture, symbolizing beauty, light, and happiness. Peony was the king of flowers and also a symbol of wealth in Chinese traditional culture. The combination of phoenix and peony symbolized wealth, prosperity, and happiness. In Chinese art, phoenix and peony patterns often appeared in jade carvings, murals, paintings, and other art forms. The creation process of this kind of pattern required attention to the composition of the symmetrical and overall harmony. At the same time, he also had to pay attention to the direction of the phoenix's wings and the details of the peony. The painting of phoenix and peony was one of the most important artistic expressions in Chinese traditional culture. It showed the Chinese people's yearning and pursuit for a better life.
Qing Dynasty Peony Painting
In the Qing Dynasty, there were many situations related to peony paintings. Jiang Tingxi had the "Hundred Peonies List", which was painted and presented to Emperor Yongzheng during the internal court. It was sold for 173 million yuan in the 2016 Kuangshi International Spring Auction, setting an auction record for Jiang Tingxi's personal work. At that time, the bidding was fierce. The starting price was 15 million yuan, and the final price was 173 million yuan. From the perspective of painting creators, there were many famous painters of peony in the Qing Dynasty, such as Shen Quan's "Wealth in the Jade Hall", Shi Tao's "Wealth Painting", Bada Shanren's "Songshi Peony Painting", Gao Xiang's "New Year Wealth Ruyi Painting", and Yun Shouping's many paintings related to peony, such as "Peony Book".(collected by the National Palace Museum in Taibei), Painting of National Fragrance in Spring (collected by Nanjing Museum), Painting of Huachun Wealth and Riches, etc. Gao Fenghan has Painting of Peony Wealth and Riches, Li Wei has Painting of Wealth and Riches, Li Fangying has Painting of Peony, Hua Wei has Painting of Peony Bamboo and Stone (collected by Tianjin Museum), Fan Qi has Painting of Peony (collected by Lushun Museum), Ma Yi has Painting of National Beauty and Heavenly Fragrance, Yun Bing has Painting of Flowers and Flowers, and Qian Weicheng has Painting of National Beauty and Heavenly Fragrance. Lang Shining had the peonies and lily peonies in the Fairy Calyx Changchun Atlas, Xu Yang had the Peony Mountain Painting, and Yu Sheng had the Peonies Waiting in the Valley Rain.(collected by the National Palace Museum in Taiwan),"Flowers Blossoms and Riches", Shen Quan also had "Five Lun Quan Tu","Peony Flowers and Birds","Peony", Chen Mei had "Peony", Zou Yigui had "Yutang Wealth Tu"(collected by the Museum of Liaoning Province),"Flowers", Wang Chengpei had "Peony Butterfly","Peony Tu","Three Spring Shao Peony Tu", Yu Wei had "Peony", Ren Bonian had "Wealth and Riches Whitehead Tu" made in 1880, Wu Changshuo had "Year's Qing Gong", Cixi had "Wealth and Riches Tu","Peony Painting","Wealth Prolonging Years"(collected by the Palace Museum in Beijing), etc. In addition, there are Oriental Paintings·Flowers and Birds of Qing Dynasty: Peony Painting published by Cultural Relics Press, and the colorful peony pattern pots collected by the Museum of Qingdao City, all of which reflect the cultural and artistic situation related to the peony painting of Qing Dynasty from different aspects. "Fairy Dream of Tang Shi: Fate of Peony" is equally wonderful. Everyone is welcome to click and read it!
Luoyang Peony Porcelain Painting
As for the Luoyang peony porcelain painting, there was a Luoyang peony porcelain painting from at least 40 years ago on sale. The shipping fee varied according to the express delivery or hanging method. In addition, during the 41st China Luoyang Peony Culture Festival, nearly 200 porcelain paintings were exhibited on the spot during the "Ru Kiln Porcelain Painting Canal City Culture Tour". These works were themed with "Luoyang Landscape·Peony·Canal Culture", including peony-related porcelain paintings. " Fairy Dream of Tang Shi: Fate of Peony " is equally wonderful. Everyone is welcome to click and read it!
The best freehand peony painting
The quality of a work of art was very subjective. Different people might have different standards for judging the best. However, there were some painters who were highly praised for their freehand peony paintings. For example, Zhu Qizhan's freehand peony paintings were bright and resounding in color, with a strong sense of rhythm, power, and layering. The more he got older, the more vigorous and unrefined they became. The peony paintings under his pen were the performance of "clusters". Several huge flowers were blooming, graceful and magnanimous. The branches were "unkempt" but charming. The dark green branches and leaves were only a few strokes but had a meaningful charm. Shi Guozhi was also good at painting peonies with freehand painting techniques. His "Only Peonies Are the True Colors of the Country" showed the blooming scene of peonies through freehand painting. Peonies were especially beautiful under the heavy ink and heavy color rendering. Through freehand painting, he painted the peony with heavy makeup and light colors, thick black and green leaves, and the theme was distinct and prominent. " Fairy Dream of Tang Shi: Fate of Peony " is equally wonderful. Everyone is welcome to click and read it!