"Coating" and "grinding" are actually two processes in lacquer decoration. During production, "texturing" tools such as paint scrapers, roller balls, leaves, and brushes are used to stain the paint in the middle. High, low, thick and thin texture patterns are formed on the painted board. Due to the different degrees of grinding, the formation of richer colors and texture effects may be hidden or visible. Li Lao's "grinding red treasure sand" is made by this method, and its specific production method has gone through two stages.
The original production method is to paint a thick layer of paint on the medium-coat paint board, evenly Sprinkle broken lotus leaves on the ground. The broken lotus leaves are warped and uneven. After being dried in the shade, they are covered by the broken lotus leaves. At this time, the paint is still not dry, and they are washed with kerosene. The wet paint will show irregular concave and convex patterns, and then be thoroughly scrubbed with tile dust, then painted with gold primer, covered with silver foil, covered with red transparent paint, polished, and polished to obtain a hidden effect. The natural texture under the paint layer is like the brilliance of a red gem, which is called "Red Treasure Sand" (if it is covered with green transparent paint, it is called "Green Treasure Sand").
The original production method is ground. The requirements are quite strict and demanding, because the texture effect of the pattern is completely dependent on the reflection of the silver foil under the paint layer. Once it is excessively worn through the paint layer, water will penetrate between the silver foil and the paint layer, and the silver foil will deform, like wet. The old paper will swell up - you can only grind it all off and start over. Later, Mr. Li improved the original method. First, the "texturing" method was more diverse, and any method that can cause uneven patterns can be used. ; Secondly, the silver foil is changed to silver powder, which enhances the adhesion between the silver base and the paint surface; finally, the method of active grinding is adopted to enhance the spatial layering of the pattern. At this time, the pattern revealed is the brightest part, followed by The patterns where the paint layer is ground thinner are the patterns hidden deep in the paint layer. Here, "coating" and "grinding" are no longer an ordinary process in lacquer art, but an active expression of object art. "Painting" is the most common expression technique in traditional lacquer painting. It is widely used in Chu and Han lacquer decorations. Generally, lines are drawn first, and then the color blocks are painted flat; and the color blocks are painted flat first. , and then outline the lines. With the further development of "lacquer painting", various forms such as gold painting, lacquer painting, and oil painting appeared. There is a special description of this in "Painting Record-Kun Collection". : Painting gold: "Every object in the text is prepared with colors, and the pink color is as brilliant as brocade." The fine hooks and wrinkles are painted with black paint or scratched. And for those with rich textures, it is most skillful to first outline them with black lacquer."
Lacquer paintings "are the literary decorations of ancient times, and most of them are pure color paintings. There are also those who apply egg white and are like what painters call boneless people. Painting with oil "is also painting with oil colors." He writes about birds, animals, insects, and flowers. The clouds and characters are all full of innocence. ""Painting and Decoration Record·Kun Collection" specially introduces "Lan", "Composite Decoration" and "Gunjian" to conduct an inductive analysis of the comprehensive application of various decoration techniques on the basis of "painting and painting".
Li Lao's "lacquer painting" incorporates the expression techniques of traditional Chinese painting. On the white push lacquer surface (finely grind the push gloss paint with titanium self-powder, paint the middle coat surface, and after drying, Smooth, polish, wipe), use black paint (black polish plus black smoke) as burnt ink to outline, after drying, use blue paint (push paint plus transparent blue) to blend (use thumb Ball dyeing), which produces an effect similar to that of traditional Chinese painting. The painting is elegant and simple. Mr. Li often used this method to express landscapes. Later generations called it "Colored Ink Landscape" lacquer painting. (1961) and "Autumn Colors of Mountains and Streams" (1954). Due to historical reasons, it is difficult for us to see these two original works anymore, but Mr. Li's "technique model" includes the "Colored Ink Landscape" method. We can get a glimpse of the original appearance of this painting: the painting depicts towering mountains, the mountainside is filled with clouds, and the foot of the mountain is a shallow slope facing the water. There are several pine trees in the lower left corner with lush branches and leaves. The "Four Kings of the Early Qing Dynasty" pursued legal standards, but they were unique in using the blue brush and the ink and the green color, which showed their skill. Mr. Huang Binhong once commented on Li Lao's "Ink Color Landscape": "It is simple and beautiful, and combines the strengths of the ancients. , to achieve the full meaning of the brushwork."
Li Lao's traditional Chinese painting landscape skills are quite profound (just as Mr. Shen Roujian praised: "The brush is thin and straight, the skill is very deep, the Danyan is ethereal, and unique.", but it is not Food remains unchanged.
In his creation, he attaches great importance to "learning from nature", emphasizing writing about cows and using life to inspire creative inspiration. Go to nature to collect materials for landscape paintings. Whether it is Wuyi in the south, Gushan in Fuzhou or Jiuli Lake in Xianyou, they all have wonderful expressions in his works.
If "Colored Ink Landscape" is just Li Lao's attempt to transform the too rigid stylized model of traditional "lacquer painting" through painterly language, then his "Wuyi Sunset" lacquer screen, Let us see Mr. Li's exploration and efforts to integrate the unique language of lacquer art into "traditional lacquer painting". "Imitation of piled-up sculptures" refers to the imitation of antique decoration on the surface of piled patterns. The techniques of "imitation of imitation" include imitation of copper, imitation of Tang Sancai, imitation of jade, imitation of agate, etc. It is discontinued if it can imitate the style of the object without losing the characteristics of lacquer decoration. The technique of "piling up plastic" is even richer. From a formal point of view, it has a flat shape. Linear pile, low relief, high relief, etc.; from the material point of view, it can be divided into paint pile, ash pile, powder pile, etc.
Li Lao's "archaic sculpture" method became an instant hit when he copied "Simuxu Dafang Ding" for the Nanjing Museum in 1957. The key technology is to realistically express the "rust copper spots" formed on the surface of the bronze tripod due to its age. He creatively used tile ash as a matting agent. When the green paint on the surface was about to dry, he lightly brushed it with tile ash to remove its luster. He then sprinkled some yellow paint locally to imitate the "buried" or "exposed" effects of bronze. The mottled rust color formed; finally, use your fingers to dip your fingers in bronze paint and lightly smear the parts of the tripod (the highest point of the pattern on the surface of the tripod, the turning points of the tripod, etc.), as if these parts are particularly bright because the viewer often touches them with their hands. . Mr. Li created many works using the "archaic sculpture" method throughout his life, such as "Busts of Great Men in the Contemporary World" (1938), Relief of Chairman Mao (1950), "Fighting Sparrow" (1959), "Relief of Lu Xun" (1963), etc. Mr. Li also used this technique to create lacquer paintings, and his representative works include "Confucius Xingzeng's Teaching Picture" (1930) and "Eagle of the Sea"
Lacquer. The painting "Eagle of the Sea" shows the heroic posture of the eagle standing on the sea cliff, with the sea foaming in the background. Mr. Li used clay to sculpt the eagle and the cliff, and used plaster to create a brocade mold; Mix raw lacquer (70) and push lacquer (30, the purpose is to increase the hardness) with white clay and shell ash (so that it does not produce oil and is easy to dry) to make the brocade material; then use the brocade mold to print the pattern (eagle and sea) Cliff), split it thinly with a knife blade, and stick it on the painted surface. Use a dry brush to dip it into tile dust to draw the sea and splashing waves; then paint the whole body with bronze paint, and then lightly brush it with tile dust to remove the surface gloss. Make local adjustments, use tile ash to matte the parts that are too bright, and lightly apply bronze paint to the parts that need to be brightened. From this work, we can see the masterful style of Li Lao's lacquer painting creation - the eagle and the sea cliff. The shape is rough, powerful, vivid and natural; the waves in the background are free and unrestrained, which can be said to be a masterpiece that integrates sculpture and painting. The term "silver inlaid flower" in the Fuzhou lacquer art circle is called "table flower", and its prototype. In the Han Dynasty, "gold and silver foil inlay" was first inlaid with gold and silver foil on the paint surface, and then the patterns were carved. In the Tang Dynasty, "gold and silver foil inlay" evolved into "gold and silver flat stripping", that is, gold and silver foil was first inlaid on the paint surface. , then painted, and polished after drying to reveal the pattern. It was widely used in the decoration of bronze mirrors, quilt surfaces, piano bodies, and carriage and horse equipment in the Tang Dynasty. During the reign of Emperors Heng) and Wuzong (Li Yan), the use of "gold and silver leveling tools" was explicitly prohibited, making the once popular "gold and silver leveling tools" gradually disappear. Inspired by traditional techniques, Mr. Li developed them in the 19th year of the Republic of China (1930). The invention of the "Taihua" technique has greatly enriched the decorative techniques of Fuzhou lacquer art.
The specific crafts of the "Taihua" technique include foiling (the key is to make the tin foil evenly embedded on the paint surface. Use a spatula to scrape outwards from the center of the foil to remove excess paint and make it smooth), set the manuscript, and carve (when engraving, you must tilt the blade slightly outward, and use the blade to carve through the foil to remove the The artistic effect is bright and pleasing to the eye, which is the same as that of silver inlay. "Techniques are subdivided into three categories: "Taiwan Lottery", "Taiwan Filling" and "Taiwan Banking".
The successful implementation of Mr. Li's "Taihua" technique depends crucially on two technological breakthroughs. One is to use tin instead of silver. In terms of artistic effect and operational feasibility (flatness, softness), tin foil is superior to silver foil. The second is to use isinglass as the adhesive (it is made by boiling fish maw and then mixing it with tizhuang lacquer and water glue, the ratio of the three is 10, 70, 20). Its advantage is that it has an excellent bonding effect with metal and is an adhesive for traditional wood crafts. It dries slower than raw paint and is very strong after drying. It ensures that when the tin foil is attached and inserted into the knife for engraving, the tin foil will not move with the operation of the knife, affecting the operation; and its slow-drying performance can be used to smoothly remove excess tin foil. However, the bonding performance between raw lacquer and metal is not good. When the lacquer is not cured, when the knife is used for carving, the foil will follow the knife and cannot be operated; once it dries, it is impossible to use the knife for carving, let alone remove the excess silver foil.
The "Taihua" lacquerware made by Mr. Li was later promoted by "Shen Shaoan Lan Ji" and gradually became a brand product of Fuzhou lacquer art. "Drifting paint" refers to adding thinners such as gasoline or camphor oil to the paint liquid to allow the color to drift naturally on the paint surface to form patterns. It is a new expression technique formed by Mr. Li on the basis of inheriting the traditional "Zhao Painting" method and absorbing the Japanese "Variation Painting" technology. Since the patterns made by this technique have a certain degree of "accidentality" and "unpredictability", the effect is often "mixed between man and nature, interesting and interesting".
Li Lao originally used this technique to imitate the "kiln transformation" effect of ceramics on the surface of lacquerware. The specific method is: take two colors of push paint and add diluent such as gasoline to make garrison drift paint. First, apply one color of push paint on the paint surface, and then immediately apply the other color of drift paint, and then use "drift" and "brush" methods. Techniques such as "silking", "scraping", and "scattering" are used to make the paint colors flow freely and infiltrate into each other. They are then dried in the shade and then polished to reveal them. The water patterns in Mr. Li's lacquer painting "Wuyi Sunset" were expressed using the technique of "drifting paint and flowing colors".