On the ontological language of watercolor art

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On the noumenon language of watercolor art

Abstract: This paper analyzes the connotation of the noumenon language of watercolor art, which has entered the market early and is technologically advanced, from three aspects: the media, techniques and cultural regulations behind watercolor art, and points out that the development of contemporary Chinese watercolor art is increasingly divorced from the watercolor noumenon language in order to obtain the best resonance frequency and hydraulic natural frequency required by the system. Key words: media, techniques, cultural prescriptiveness. Noumenon language watercolor painting, as an independent printing and painting species, its existence is based on the unique aesthetic value and aesthetic purport of watercolor ink, that is, the noumenon language of watercolor painting. The noumenon language of watercolor painting is the special media structure, techniques and the cultural prescriptive system behind it. It determines the difference between watercolor painting and other kinds of painting, and is the basis for the existence of watercolor painting. In contemporary times, with the diversified development of art, the boundaries of various painting types are increasingly blurred, and watercolor painting is losing its own characteristics. Therefore, it is of certain value to re-examine the ontology language of watercolor painting today

1. From the perspective of media, the definition of watercolor noumenon language

painting species first lies in the performance of media materials. Different media materials and different skills create different effects, so as to form the respective styles of different painting species. As an independent kind of painting, watercolor painting is first of all based on materials: water, transparent pigments dissolved in water, special paper with water absorption performance and soft wool pen that can be fully dipped in water. It is this unique material medium, watercolor painting, that constitutes the material beauty of watercolor painting different from other kinds of painting, the transparency of water flowing color, the chance of water color blending, resulting in transparency, fluency and lightness, Moistening and other artistic interests are not only the unique charm of watercolor painting, but also the primary factor of watercolor ontology language. In the winter of the 19th century, the British literary and art review tsura Ruskin once described the characteristics of watercolor as follows: watercolor in the painter's treatment five, the illusion and creation formed by water droplets and its bright nature, splashing traces, condensed color blocks and speckled granules, and the dream like memory that it occasionally produces, fresh interest, bright and beautiful tone and soft feeling, which are not available in other materials

2. From the perspective of techniques, the ontological language of watercolor painting

if we only look at the ontological language of a painting from the characteristics of media, it is obviously not enough. Chinese ink painting, Japanese painting and Persian fine painting all have the same or similar tools and media as today's watercolor painting, but we don't call them watercolor painting. The reason why watercolor painting becomes watercolor painting is not only its material characteristics, but also its special technical system. This technique system is not only derived from media, but also formed by history. Since the 15th century, some oil painters have found that water-soluble pigments are easy to dissolve and dry, and the materials are light, so they use them as sketches to collect materials, or use them to draw sketches of oil paintings. Such as Durer, holyu Bain and Rubens. During this period, watercolor daytime technique was quite consistent with oil painting technique, and it was a vassal of oil painting. However, watercolor painting eventually became an independent kind of painting because of its separation from oil painting techniques. 15、 In the 16th century, the British colonists asked painters to draw military topographic maps for military needs, and watercolor paintings just adapted to this need. Due to the small variety of pigments and simple paper, the watercolor technique at that time was mainly to draw lines with pens or ink pens, but later, simple colors such as blue, Xin and ochre were flat painted, with rigorous composition, clear outline and simple coloring. In the 18th century, Paul Sandby, known as the father of modern watercolor painting, broke through the limitations of watercolor Materials, used different dry and wet strokes, and used a variety of colors to dot, thin paint and overlap, giving watercolor painting the ability to express air and sunshine, and greatly advancing the skills of watercolor painting. Lyric Watercolor Painters in the middle of the 18th century broke the coloring sketch watercolor that pays attention to form and has a definite outline in topographic painting, and made great efforts to expand the effect of color. They developed techniques such as rendering, scrubbing, brush strokes, splashing, stippling, and shadow painting, which made a great contribution to deepening the handsome performance of watercolor art. Gerdin, Turner and other watercolor masters further broadened the expressive ability of watercolor painting. Turner pays attention to the study of nature. He makes full use of water and the natural color of paper, and uses watercolor pigments to naturally mix on wet paper to achieve unexpected results. The long-term historical accumulation has formed a unique technical system of watercolor painting. Watercolor Painters through the drying and wetting of the paper; Control of water content; Through the methods of painting, dyeing, washing, wiping, pointing, splashing and the degree of using the pen, a complete set of techniques that are different from other kinds of paintings such as oil painting, board painting and ink painting are constructed

this technical system and its aesthetic value have become an important part of watercolor ontology

3. From the cultural regulation behind watercolor painting, there is a third factor in the composition of watercolor ontology language. That is, the cultural regulation behind watercolor painting. As a foreign painting, watercolor painting is the product of western culture and Western art tradition. It belongs to the realistic painting system. Lin Fengmian said in his article "the future of eastern and Western art": Western art focuses on imitating nature, and the result tends to be realistic, while eastern art focuses on describing imagination, and the result tends to be freehand. Western art, seeking its fundamental spirit, description and composition methods in history, is all centered on nature. Indeed, before Impressionism, realism has always been the main body of Western plastic arts, whether oil painting, watercolor, or sculpture. This realistic art was born and grew on the cultural soil of Western painting philosophy, aesthetic thought and painting concept. Since watercolor painting belongs to the Xiwan painting system, it naturally also depends on such a cultural soil. Naturally, we must respect the principles and rules of realistic painting and the value orientation and thinking mode of western culture. It is also the third connotation of watercolor ontology language

the noumenon language of watercolor painting consists of three aspects: watercolor painting, techniques and the western painting concepts on which it depends. To a certain extent, the medium determines the technique, which is suitable for the medium. On the other hand, the technique and the medium serve the painting concept. The three are an organic whole and inseparable

it should be noted that the media, techniques and concepts of watercolor painting will develop with the changes of the times, and the connotation of watercolor ontology language will expand. However, no matter how watercolor painting develops, the personality creation and aesthetic orientation of watercolor painting should be built on the basic formal framework of its own language. Without this framework, watercolor painting will lose the premise of its unique existence. Therefore, watercolor painting has been widely used and developed in auto parts, so we must adhere to its unique ontology language. However, in contemporary China, the development of watercolor painting also shows some phenomena that are divorced from the ontology language. The traditional media system and techniques of watercolor painting are gradually abandoned, and new materials and techniques emerge in endlessly. Many works that boast Yan watercolor paintings are unbelievable if they are not explained in words. The moist, fresh, bright and lively characteristics of watercolor painting are hard to find. This is a departure from watercolor ontology language media and techniques. Some Watercolor Painters simply transplanted the pen and color skills of Chinese painting into watercolor painting and. Indulged in the so-called artistic conception of carefree brushwork, they lost the strict sense of adaptability and space of watercolor painting, washed away the great expressiveness of watercolor painting in the field of color, and it is a departure from the cultural regulations behind watercolor painting. This trafficking in the surface form of Chinese painting will only make watercolor painting in form, The connotation is pale and weak, dissociating from reality and contemporary culture

Shen roujian, a famous watercolor artist, once said: any painting has its own characteristics. We emphasize characteristics in order to better understand and master its regularity and give full play to its special effects. To develop watercolor painting, we must adhere to the noumenon of watercolor painting and strengthen this boundary of watercolor painting. Strengthen the purity of watercolor language. Only in this way can watercolor painting achieve the status of standing shoulder to shoulder with other painting types

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