On Ontology Language of Watercolor Art

Abstract : This article analyzes the connotation of the ontology language of watercolor art from the three aspects of the arts of watercolor and fine arts, the technique and the cultural stipulations behind the art of watercolor. It also points out that the development of contemporary Chinese watercolor art has benefited from the language of watercolor art. trend. Keywords: media, techniques, cultural regulations. Ontology language watercolor as an independent printing and painting is based on the unique aesthetic value and aesthetic purport of watercolor ink, which is the ontology language of watercolor painting. The watercolor ontology language is the specific body and technique of the watercolor, and the cultural and regulatory body behind it. It determines the difference between the watercolor and other types of painting and is the basis for the existence of watercolor. In the contemporary era, with the diversified development of art, the boundaries of paintings are ambiguous, and watercolors are losing their own characteristics. Therefore, re-examining the ontology language of watercolors has a certain value today.

1. Ontology language of watercolor from the perspective of media

The defining aspect of painting is to display media, different media, and different techniques to create different effects, so as to form different styles of each painting. Watercolour as an independent painting species, its appearance first is to take G-materials: water, transparent paint dissolved in water, special paper with water absorption properties, and a soft-bristle pen that can fully dip water, it is the unique material medium of watercolor painting. The composition of watercolors is different from the material aesthetics of other types of paintings, the transparency of water's fluidity and color, and the contingency of the blending of water, resulting in transparent, smooth, brisk, moist and other artistic interests. It is not only the unique charm of watercolor, but also The primary element of the watercolor ontology language. In the nineteenth century, the British literary critic Ruskin once described the characteristics of watercolor as follows: Watercolour Treatment in the Painter 5. The illusions and creations formed by water droplets and its bright nature, the traces of splashes, and the condensation of color blocks. The granularity of the stains,... The memory of the memories, the fresh taste, and the softer colors of the dreams, which were accidentally created by it, are not found in other materials.

2. The Ontology Language of Watercolour from the Perspective of Techniques

If we only look at the ontology of a painting species from the characteristics of media, it is obviously not enough. Chinese ink paintings, Japanese paintings, and Persian miniature paintings all have the same or similar tool media as today's watercolors, but we do not call them watercolors. The reason why watercolors become watercolors, in addition to material characteristics, there are special techniques. This technique system is derived from both media and history. From the fifteenth century, some oil painters discovered that water-soluble pigments were fast-drying and light-weight materials, so they used the sketches that had been collected as materials for collection, or used them to draw sketches of oil paintings. Like Dürer, Rainie, and Rubens. During this period, there was a considerable degree of consistency between watercolor techniques and oil painting techniques, and they were the vassals of oil paintings. However, the watercolor painting eventually became an independent painting type, which lies in its separation from the oil painting technique. In the fifteenth and sixteenth centuries, British colonists demanded that painters draw military topographic maps for military needs. Watercolours adapt to this need. Due to the small variety of pigments, the paper was shabby. At that time, the technique of watercolour painting was mainly based on a pen or ink pen. However, simple colors such as blue, enamel, and neon were painted flat. The composition was rigorous, the outline was clear, and the coloring was simple. In the eighteenth century, Paul Sandby, known as the father of modern watercolors, broke through the limitations of watercolor materials, used wet and dry different brushstrokes, and used various colors to dye, thin-coat, and overlap, giving watercolors a sense of air and sunlight. Ability to advance the watercolor painting technique a great step forward. The sensational watercolorist in the mid-18th century broke the “coloring sketch” style watercolor with emphasis on shape and contour, and strived to expand the effect of color. They developed “rendering”, “washing”, “stroke”, “ The technique of “splashing”, “spotting”, “painting”, and other techniques have made great contributions to deepening the performance of the watercolor artist. Watercolor masters such as Gerdin, Turner and others have further broadened the performance of watercolors. Turner pays attention to the study of nature. He uses the true colors of water and paper and uses watercolor pigments to mix naturally on wet paper to achieve unexpected results. Long-term historical accumulation has formed a unique technique system for watercolors. The watercolour painter builds paintings, plate paintings, and ink paintings by controlling the wet and dryness of the paper; the control of the amount of water; painting, dyeing, washing, rubbing, spotting, splashing, and the severity of strokes with a pen. The whole set of techniques for painting and distinguishing.

This technique system and the aesthetic value it contains become an important part of the Ontology of watercolor paintings.
3. Ontology language of watercolor from the perspective of cultural regulation behind watercolor

The composition of the watercolor ontology language, as well as the third factor. That is, the cultural stipulation behind watercolor painting. As an exotic painting, watercolor is a product of western culture and western art tradition. It belongs to realistic painting system. Lin Fengmian said in the article “The Way Forward for Eastern and Western Art”: “Western art centers on the imitation of nature, and the result tends to be realistic. Oriental art focuses on depicting imagination, and the result tends to be freehand.” Art of the West, in history In pursuit of its fundamental spirit, description and method of composition, the entire department is centered on nature. Indeed, before the Impressionists, whether oil painting, watercolor, or sculpture, realistic painting has always been the subject of Western plastic art. This kind of realistic art was born and grew up in The Western painting philosophy, aesthetic thoughts, and cultural concept of painting are above the cultural standard.Since the watercolor painting belongs to Xi Wan's painting system, it naturally depends on such a cultural soil, naturally respects the principles and rules of realistic painting, and respects Western culture. The value orientation and way of thinking, or constitute the third connotation of watercolor ontology language.

The ontology language of watercolor is composed of three aspects: watercolour, technique and the Western painting concepts it depends on. The medium determines the techniques and techniques to a certain extent, and the techniques adapt to the medium. On the other hand, the techniques and materials serve the concept of painting. The three are organic and inseparable.

What needs to be pointed out in particular is that the media, techniques, and concepts of watercolors will advance along with the changes of the times, and the connotation of the language of watercolor paintings will expand. However, no matter how watercolors develop, the individuality and aesthetic orientation of watercolors should be constructed. On top of this basic form of ontological language, leaving this framework, watercolors lose the premise of independent existence. Therefore, the development of watercolor must adhere to its unique ontological language. However, in contemporary China, the development of watercolor has also emerged from the phenomenon of ontological language. Traditional media systems and techniques for watercolors have been gradually abandoned. New materials and new techniques have emerged one after another. Many of the works singling out watercolors are unbelievably watercoloured if they are not written. The watercolour is moist, fresh and bright. Lively and other features are hard to find. This is a departure from the watercolor language and ontology media and techniques. Some watercolor painters simply transplant Chinese paintings with pens, coloring techniques, and watercolors. Indulging in the sophistication of the pen and the so-called “artistic conception” of the pen and the loss of the rigorous sense of fit and space in the watercolor paintings, washed away the enormous expressive power of watercolors in the field of color, which is a deviation from the cultural stipulations behind the watercolor paintings. Traffic on the surface of the painting will only cause the watercolour to be inconceivable in its form, its intension is pale and incompetent, and it is outside of reality and free from contemporary culture.

The famous watercolor art master Shen Roujian once said that any painting species has its own characteristics. We emphasize the characteristics so that we can better understand and master its current legality and achieve a fuller effect of its special effects. . To develop watercolors, it is necessary to adhere to the ontological rhetoric of watercolors and to strengthen this boundary of watercolors. Strengthen the purity of the watercolor language. Only in this way can watercolors stand in line with other paintings.