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home·artworks·Buddhist Temple in Moutain
Buddhist Temple in Moutain by Li Cheng

plate no. 4004

Buddhist Temple in Moutain

Li Cheng

oilInk and wash paintinglandscapemountainstempletreeslandscapearchitecture
some experience helpful

Recreating this painting will help students understand atmospheric perspective and how to create depth using subtle value changes. It also provides practice in rendering intricate details with fine brushstrokes.

technical profile

palette complexity
2
brushwork visibility
4
value contrast
3
compositional simplicity
3

study guide

est. 8 hrs

approach — 8 steps

  1. step 01

    Prepare a toned ground on your paper or canvas with a light wash of diluted brown or ochre.

  2. step 02

    Lightly sketch the basic shapes of the mountains, temple, and trees, paying attention to their relative sizes and positions.

  3. step 03

    Begin with the background mountains, using diluted ink or paint to create a soft, hazy effect. Use lighter values for distant areas.

  4. step 04

    Gradually build up the values in the foreground mountains, adding more detail and texture with dry brush techniques.

  5. step 05

    Carefully render the temple, paying attention to its architectural details. Use a fine brush for precise lines.

  6. step 06

    Add the trees and branches, varying the thickness and direction of the lines to create a natural look.

  7. step 07

    Add subtle washes of color to enhance the atmosphere and create a sense of depth.

  8. step 08

    Add final details and highlights to complete the painting.

color palette

primary · sepia · ivory black · raw umber

secondary · yellow ochre · burnt umber

Achieve the various shades by diluting the primary colors with water or a clear medium. Mix small amounts of yellow ochre or burnt umber to warm the tones.

techniques

  • ·dry brush
  • ·atmospheric perspective
  • ·value gradation
  • ·ink wash
  • ·linear perspective

common pitfalls

  • →Overworking the details and losing the overall sense of atmosphere.
  • →Creating too much contrast, which can flatten the image.
  • →Making the lines too uniform and lacking variation.
  • →Not diluting the paint enough for the background washes.

materials

surface · watercolor paper or stretched canvas

required

  • ·watercolor paper or canvas
  • ·sepia ink or paint
  • ·ivory black paint
  • ·raw umber paint
  • ·round brushes (various sizes)
  • ·water or clear medium
  • ·palette

optional

  • ·rigger brush
  • ·palette knife
  • ·kneaded eraser

Use high-quality materials for best results. Experiment with different types of paper or canvas to find what works best for you.

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