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Description

Qin Yulan wore a flying bun and a green and white dress, swaying like an inverted morning glory flower on the ground. She folded her sleeves and looked back sideways, graceful and charming; There was a maid carrying a lamp and walking forward, dressed in a blue dress and red clothes, also beautiful and charming. Several tables and a corner in front were adorned with potted flowers, seemingly suggesting that Tao Gu was on the other end of the painting. [Ladies] Ladies first use a dry brush to shape their sideburns, with a slight movement in and out. When starting the brush, gently press down to create a graceful and smooth movement. When finishing, gently lift up to ensure accuracy. Then, use light ink to dry and dye the hair. The color of the hair changes through the intensity of the ink, giving it a richer and more elastic appearance. For example, in the eyes, he first used light ink to outline the upper and lower eyelids, distinguishing between light and heavy, and then outlined the contours of the eyes, paying special attention to the turning changes of the pupils. He used a dry light ink pen to outline the eyeballs, and rendered them several times with light ink. In the hazy atmosphere, he emphasized the pupil part with scattered sharp and thick ink, while the upper eyelids emphasized the contour with deeper ink, presenting a strong sense of three dimensionality. Coupled with thick eyelashes, the virtual and real complement each other, with clear layers, fully conveying the exquisite and translucent effect A reserved and profound expression. The character images in Fu Baoshi's works are ancient, but they have a new era atmosphere. They can not only uphold traditional laws and continue to operate creative concepts and techniques on the track of the ancients, but also help the public understand the personalities of historical figures, moving viewers with their ancient beauty and vitality.