Content introduction Style and techniques are created by painters. The history of Chinese painting develops through inheritance and progresses through inheritance. Compared with the history of color painting that has thousands of years, the real revival of modern heavy color painting has only lasted in the past ten years. However, the changes caused by historical accumulation and the development of the times have produced huge explosive power and vitality, making it In just ten years, miracles of the times were created. With the diversification of value orientations and cultural composition, it has become an indisputable fact that modern people pay more attention to and like "colorful" paintings. Heavy-color paintings are no longer on the margins because of being left aside, but have become the core of the development of Chinese painting together with ink paintings. mainstream, and assume the important task of transforming Chinese painting from tradition to modernity. In the past ten years, we have re-examined China's heavy-color tradition and re-learned and mastered techniques and materials that have been lost for hundreds of years: we invited Mr. Ichikawa Homichi, Mr. Ueno Taro, Mr. Uemura Junyuki, etc. from Japan, so that we can Drawing nutrients from the Chinese heavy-color painting techniques preserved in Japanese paintings and the new styles created during its development and evolution, we have an open mind to learn from all other painting types and techniques that can be used in modern heavy-color paintings. Modern heavy-color techniques have changed from a traditional fixed number to a variable - techniques vary from person to person, techniques emerge in an endless stream, techniques can be used at will, and techniques are more expressive. We learn, we create, we create a large number of works through exploration and research, and constantly summarize and improve the technical expression language focusing on color painting. Tang Xiuling's works 2 About the author Tang Xiuling, pen name Yike, female, was born in Zibo, Shandong in 1956. He graduated from the Fine Arts Department of Shandong Normal University in 1983, graduated from the advanced training class of the Chinese Painting Department of the Central Academy of Fine Arts in 1994, and graduated from the Advanced Research Class of Heavy Color Painting of the Ministry of Culture in 1998. He is currently a member of the Art Branch of the Art Teaching Steering Committee of the Ministry of Education, a member of the Chinese Artists Association, Vice Chairman of the Shandong Artists Association, Vice Chairman of the Zibo Federation of Literary and Art Circles, Chairman of the Zibo Artists Association, professor of the Academy of Fine Arts of Shandong University of Technology, and Director of the Academic Committee. Master tutor, one of the first batch of academic leaders in key disciplines of art science in Shandong Province, guest professor at Jiang Caiping Studio of the Graduate School of the China Academy of Arts, and young and middle-aged artist with both virtue and art in Shandong Province. For many years, he has devoted himself to the research on the painting materials and techniques of gongbi and heavy-color paintings, and at the same time devoted himself to the creation of modern heavy-color paintings. His works have wide influence in the domestic gongbi painting circle. Her works have been selected into the 7th, 8th, 9th, and 10th National Art Exhibitions sponsored by the Ministry of Culture and the China Artists Association, as well as the "Exhibition of Works of Chinese Female Artists", "Chinese Art Exhibition", and "The First National China Art Exhibition". Art Exhibition" and other national exhibitions. He has won the Silver Medal of the "10th National Art Exhibition", the Bronze Medal of the "3rd Meticulous Painting Exhibition", the Bronze Medal of the "4th Meticulous Painting Exhibition", the Academic Award of the "First Chinese Heavy Color Painting Exhibition", and the "First National Meticulous Painting Exhibition". "Figure Painting Exhibition" Excellence Award, "Micro and Exquisite - The First China Fine Brushwork and Heavy Color Small Works Art Exhibition" Gold Award, Shandong Province Art Creation Contribution Award and First Prize, etc. Three works are collected by the National Art Museum of China. Among them, the representative work "Golden Beach" was included in the collection of "Chinese Art in the 20th Century - Selections from the Collection of the National Art Museum of China", and became one of the representative figures in the field of meticulous and heavy-color Chinese painting at the end of the 20th century. He has been invited for many times to serve as the "Advanced Research Class of Heavy Color Painting of the Ministry of Culture", the "Advanced Research Class of Heavy Color Painting" of the Department of Traditional Chinese Painting of the Central Academy of Fine Arts, Jiang Caiping's Studio (Master's Course) of the Graduate School of the Chinese Academy of Arts, the Academy of Fine Arts of Tsinghua University, and the Central Academy of Nationalities. Universities and others teach courses on modern heavy color painting materials and techniques. His works have been selected and exhibited abroad by the External Relations Bureau of the Ministry of Culture for many times. His works have been published in "Art", "Art Research", "Chinese Painting and Calligraphy", "Chinese Painting Research", "Traditional Chinese Painters", "Jiangsu Pictorial Magazine", etc. Cooperated with Chinese and Japanese experts to write the book "Techniques of Heavy Color Painting by Famous Masters", and edited monographs and albums such as "New Compilation of Techniques of Meticulous Painting of Figures", "Style of Heavy Color Painting - Essence of Works from the First Chinese Heavy Color Painting Exhibition". Published the CD "Tang Xiuling's Heavy Color Painting Techniques" and presided over the provincial key art projects under study. Tang Xiuling's Works 4 Table of Contents Public Comments The Evolution of Heavy Color Painting One, Traditional Meticulous Brush Painting Two, Modern Heavy Color/Inheritance and Development Painting Materials and Tools Heavy Color Technique Style One, Brush Color Two, Non-Brush Color Modern Heavy Color Painting Language Expression One, Production Two, Expression of Modern Heavy Color Painting Techniques Language Appreciation Postscript Excerpts Illustrations Public Comments Heavy Color Meticulous Brushwork Heavy Color Painting is an important part of our country’s national painting. In the long years of its formation, development, maturity, and transformation, it has formed a set of styles that are completely different from those in the West. The aesthetic viewpoint, aesthetic orientation and artistic system of expression techniques of painting. It is the earliest and most mature type of Chinese painting. It is characterized by neatness and meticulousness, using lines as a modeling method and advocating color expression. It uses natural mineral colors and metallic colors in its works and pays attention to techniques and production, thus forming its own unique appearance and style. From the painted pottery of the Neolithic Age and from the rock paintings remaining in our country, we can see the use of natural mineral colors by our ancestors. Perhaps this should be the earliest source of using natural mineral colors to make Chinese heavy-color paintings. Judging from the archaeological data currently available, the materials used to carry paintings have evolved from pottery, mountain rocks, etc. to silk fabrics. The earliest silk paintings were from the Warring States Period. If this is regarded as the complete form of Chinese painting, the development of meticulous and heavy-color paintings has so far After a long process of more than two thousand years, a large number of precious works have been left behind. The various information conveyed in these works provide important basis for our research and study.

Meticulous brushwork and heavy color painting have an aesthetic quality that is both refined and popular. Over the past hundred years, there have been many groups of painters and fans in our country. This is an important reason why it has endured for a long time but has not become extinct. The aesthetic orientation of traditional Chinese culture determines the development trajectory and style of Chinese painting, while the living environment and era determine the style and style of Chinese painting in a specific period. For thousands of years, the development of Chinese painting has always followed the philosophical principle of the integration of man and nature, and continues to thrive in "great happiness and the harmony of heaven and earth." Chinese painting, which originated during the Warring States Period, appeared in the form of meticulous and heavy-color paintings.

Traditional meticulous and heavy-color painting has an extremely important position and artistic value in the history of the development of Chinese painting. Its existence and development determine the prosperity of Chinese painting