The aesthetic characteristics of China's traditional painting can be summarized as a word "image". The development and realistic expression of Chinese painting, but what about him? Really? They failed to form the mainstream and image morphology, which can be said to be the essence of China's traditional painting, the natural view of China's traditional painting and the western traditional painting concept. The difference between Chinese painting is that it expresses meaning and emphasizes the main characteristics, but it focuses on imitating western painting and clearly emphasizes the source of the object. We talk about China's sage thought and think rationally about the spirit of Chinese painting, which is the main basis for the emergence and development of Chinese painting. From ancient times to the present, although these views are different, the purpose of painting theory is the same. Chinese painting has always advocated the creation of images.
Taoism believes that saints have a great influence on China's Chinese paintings, and the image of China Taoism in the so-called "image" is degraded. Chinese paintings discuss the relationship between Yin and Yang, and at the same time, they "enter people's subjective consciousness like Chinese painting art." According to the sacred image of this law, it fully represents the "everything is wrong" cloud, the scarcity of raw materials and other sources of raw materials. Gu Tu also emphasized that China's ancient Confucian classic "The Book of Changes" hoped that the cause of accidents among its students would be called "We have been able to understand", which refers to objective and subjective thoughts and images. Imagine that Liu Xie put forward the concept of "image" at the end of The First Beam, pointing out that Gu Kaizhi, a painter in the Eastern Jin Dynasty, advocated "thinking strangely" in his artistic creation, which can be said to be the most appropriate explanation of "image" in Chinese painting. Pictures because they not only describe the shape, but also show the interior, which is in their imagination. This is the so-called inner experience, "imagination". After some twists and turns, we can grasp the real image of a moving object "accidentally" falling on the cheek. You can say "bring unexpected imagination"-the real function of the object, the inner spiritual expression of the object "③ The painter creates the picture subjectively to reflect the inner spirit of the image. As a "six-person journey", the theory of Xie He in the post-Southern Qi Dynasty involves almost all the problems of painting, and the "image" of Chinese painting is self-evident. The external source code generated by Zhang Yun in the Tang Dynasty, and even Su Dongpo's beautiful poems in the Northern Song Dynasty depicted by the painter's chest imaging, can you see the painting by appearance? O "Children and painters have designed limited forms to express infinite gods and pursue the image fairyland of" the unity of heaven and man ". Later, Ni Yunlin's "casual brush strokes" did not seek to look like a "rainbow". However, just because we like it doesn't mean that the images are similar. This is really the original intention of painting and Qi Baishi's "absurd likes and dislikes don't like cheating, too kitsch". ④
Sage's painting and direction, the purpose of doing so is the same, but this is different in the painting method of Chinese painting, but not the same. Between the similarities and differences of ink painting, freehand brushwork embodies natural images and interesting details. This kind of painting is its strict performance object to express its own temperament, so it is mainly its unique decoration, showing its unique charm, not imperceptibly.
The ink composition, frame shape and image pressure of China's ink paintings and pen blanks. A painter's stroke is called a main branch point on some problems of leaves, plus a few strokes. "Fa" and "Xiang" are an artistic form between China's ink painting, which fully embodies the artist's subjective understanding of objective things, rather than the freehand brushwork of the basic shape of objects. The artistic expression of the so-called "colored ink" and "ink painting" is fully embodied in the concept of image color-artistic Chinese painting. China's ink painting is not only subjective, but also makes rich and gorgeous color images, which will be complicated and dark, and turn the color images into black and white. China's ancient ink painting pays attention to "cherishing ink as gold". "When composing black or white, it often focuses on the blank, highlighting other things and leaving a large area. It is said that the unique image of China artists created technology to realize the" finger ratio "of fairyland pen. For example, Ma Yuan and Xia Gui in the Southern Song Dynasty were called "wildebeests". In half a summer, they made bold choices, depicting a corner of the local water and mountains, leaving a lot of blank screens and giving people rich reverie. Ink landscape painting is not limited to talented China painters. The skill of painting scenes is often divided into four seasons, which is simple and interesting. It can be said that Wang Wei painted flowers. They often don't ask one of the founders of the four seasons, apricot flowers, peach blossoms and lotus flowers are arranged on the same screen. Yuan An is lying on the snow map. He also put snow and green plantains on the side. And their descendants came from the snow scene of Banana. The snow scene painters' vision is not limited to a specific natural object, but through artistic conception, they intelligently re-recognize nature. ⑤ His extraordinary creative thinking with images instead of "freehand brushwork" has been completely externalized.
Detail images are mainly used for decorative interest, and decorative interest, and put forward various expressions, simple painting forms, rhythmic lines, comprehensive treatment of planes, main colors and abstract modeling, refinement of subjective images of lines, and transfer the purpose of generalization and expression according to their own subjective modeling. This paper introduces the fine lines of Chinese painting online, the continuous form and spirit of the upper class, and the natural expression of objective images, which have reached a fairly high artistic level and are full of strong sense of rhythm, rhythm and interesting pictures. Detailed decorative pictures of the main components that were razed to the ground. "The unity of heaven and man" visually breaks the boundary between time and space in the traditional Chinese painting of "great unity" of spirit and matter in philosophy and aesthetics. The overall situation of the detailed composition pursued by art is balanced and comprehensive, which does not completely conform to the performance of objective objects in the realistic state. Focus on how to faithfully reproduce the objective truth, objective truth, and how to meet the needs of the whole picture, satisfy the subjective charm, enhance the decorative taste of the picture, and expand the artistic conception of the picture. Patterns, as well as the size of real space images, form a majority at a point on the screen based on the relationship between different time and space, or the organization of the protagonist constitutes the image. From the point of view, it also ignores two products of subjective consciousness, namely, the principle of "image", the freedom and flexibility of China's meticulous color processing, and the emphasis on subjectivity and pure decoration. The "ode color" of Chinese painting shows the inherent color of an object, instead of emphasizing the characteristics of the object in a purely objective naturalistic description, or when expressing the selected artistic effects and themes, under appropriate circumstances, it may change color. (5) Unlike western painting, the traditional surface and detailed light emphasize the color of the light source, showing the inherent color, environmental color and light color, and it is necessary for the painter to describe the object and mix colors at will, rather than taking pictures. Meticulous colors show strong national decoration, fresh, simple, elegant and quiet personality. The delicate and soft colors are in sharp contrast with the decorative taste. The meticulous and incomplete binding object contains more subjective factors, which naturally strengthens the image and image fusion, thus achieving a better picture. Often stylized natural images, even combined with clever artistic techniques of subjective feelings, reflect meticulous decoration. For example, in the Ming Dynasty, people also advocated "the rich and beautiful portrait of Reno, tangyin county phoenix eye, oval face, willow leaves, beautiful cherry mouth and two beauties". The famous figures painted by Ms. Fei in Qing Dynasty are all enchanting, but thinner and more decorative. Of course, portraits or landscape flower-and-bird paintings have some shortcomings besides powerful images and interesting stylized images. The figure painting of Jiashan flowers and trees is the same, lacking in individual description, which is exactly what we need to inherit and improve, but the high-level overview of similar pictures and refined advantages, we nodded seriously for research and study.
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China's painting art has experienced a long development process, and its unique aesthetic expression has had a far-reaching impact on the development of contemporary Chinese painting. In essence, the philosophical foundation is closely related. Understanding and grasping the image characteristics of Chinese painting will help us to see more clearly, have a better cultural level, fully understand Chinese painting, understand its uniqueness and immanence, thank the profundity and extensiveness of Chinese painting, and then find new ideas and external styles that keep pace with the times to score points for the college entrance examination, and finally promote the healthy development of contemporary art in China.
Chinese painting emphasizes the nature and inner origin of foreign teachers. I asked that "this painting was designed to preserve the first one" and emphasized what the melt created. My mood is both physical and mental. The expression of sketch and oil painting, as well as the close relationship between lyric bone brush lines, painting, calligraphy and seal cutting, have influenced each other and formed remarkable artistic characteristics.
"In order to save IX pens, the purpose of painting is to' remember Zhang Yanyuan's famous paintings of the Tang Dynasty'. Did he praise it? What about the intention described by Gu Kaizhi? The theme image of calligraphy, pen and ink, paper and pen has been considered mature, so when you put pen to paper, you can stand out, painting, oil painting, accurate and profound penetration of painting intentions will disappear forever. This sentence also illustrates the idea that once it is mature, writing "means that the first book" has not stopped in your hand, and you have not analyzed the hearts of your family coherently ",and" draw as much as you can, like a god. "
The source of the heart is the immortal word "the nature of foreign teachers" remembered by Zhang Zao, a painter in the Tang Dynasty. It records: "On behalf of the early bastard Macro, he impatiently praised a different kind of CD deputy magistrate for his bald pen or touching silk, and impatiently said," External heart. "Complete the pen macro, so the court." The nature of a foreign teacher, the source of heart, eight words sum up the objective phenomenon-state of mind-the artistic image of the whole process. Art should continue, beauty should proceed from reality, and beauty is the source of reality. However, before beauty, it must become the subjective feeling of realistic artistic beauty, and after actors, painters and recycling, the organic unity of the subjective feelings of God and painters must be objective and realistic. The works reflect the objective reality, the inevitable imprint of the painter's subjective feelings, and the secret of impatient words, which have even been passed down to this day and are fresh for ever. about
In addition to the artistic image of nature, it is pointed out in the Heart of the Origin that artists must learn from life, society and nature. Taking the mountain gods as an example, the true connotation and essence of the track is "wonderful feeling, knowing art". It is important for a good artist to read widely, but it is more important to take the Wan Li road.
The word "painting" is an abstract consciousness of a concept. Understanding a specific image, a specific artistic creation, or destruction, such as China's landscape painting as an abstract art can change dead ends, birds, portraits and so on. The existence of art is permanent, and it is a cultural layer. I said, "Wu Jun has fallen, and the most important thing is," I don't like shape, but as I said, it is easy (colorless), hopeful (dumb) and intangible, and there is no specific plan to induce the implementation and whether there is a heart disease. The foreign teacher's natural heart is wonderful. Is there a fleeting real-time service for painters when they put pen to paper? From the perspective of Riverside Scene at Qingming Festival, there is no real death, which is not real-time. A fetus without gestalt will disappear forever and be infinite forever. Painting, painter, and goal are freely mastered by the painter consciously.
Is the goal of painting the heart lucky? What kind of drama "broadens" my actions, "the creator of the mind created in the environment, the materials for transformation, and the problem of dealing with time? The formation of environmental and cultural levels has not only promoted the material, restraint and spirit of people's personality since ancient times, but also promoted the traditional painting circle in China-the pond, and attached importance to the heavy inheritance supported by the school. I have seen a lot about the importance of Wan Li Road's "external work map", which can be said to be the loss of Sri Lanka.
Changes in history, things, knowledge, and the form and content of people's weight are all obvious and controlled by the ancients. The image of painting is not a fixed style, no matter the difference of age or painter, the result of this change, although vision may not assert that Chinese painting has the will to complete and prosper. Theory constitutes Chinese painting. As long as the universe exists, it will not disappear.
Art history, as a whole, has been far away from the era of painting monk's concave-convex paintings, Cao's fashion illustrations and Buddhism. There were not only exchanges at that time, but also some famous painters. Ignatius Szicher Barthes combines Chinese and Western culture, and Tang Dai, Chen Mei and nazarov are in Wuli. In his later years, he believed that Jesus taught him to paint on the Gregorian calendar. He objected that he still despised the western significance of painting. He said, "In my works, he used a pen instead of focusing on supporting or opposing Yin and Yang-the old road. Although Lang Shining tried to absorb the freehand brushwork of Chinese painting, China people were not the origin of foreigners. It is a historical fact that there is no established tradition in painting between China and the West.
Reflecting China's historical painting, Chinese painting is changing, but it is not unified to change a country's tradition around a central axis, Wei, Jin, Southern and Northern Dynasties, and politics, thus activating various academic thoughts and promoting the development of Buddhist painting art, but becoming a vibrant flower, leading to many brilliant and commendable painters in history. In this process, such a big place happened, which is the biggest. He not only has many landscape paintings, but also has the idea of "painting Yuntai Mountain"? Introduce and leave valuable comments. The history of the female seismogram in "The Goddess of Luo". Including Dunhuang murals, because of the great landscape creation, "Landscape Zong Bing" and "Painting Narration Draft" are all vertical paintings with silver ratio, while thousands of feet is tall and horizontal ink? A few feet of water makes the body travel thousands of miles. "The pen is invalid. Aesthetic thoughts of "long spirit" and "love painting" These independent landscape paintings have played an important role in paving the way.
And the transition stage of landscape maturity. The Tang Dynasty is the strongest and most prosperous era in the history of our country, and the painting art is unprecedentedly prosperous. The Wrinkles and Development of Landscape Painting is a master of the large and small landscape paintings of Li and his son. Wang Wei's ink and wash landscape paintings in Wu Daozi have opened up a new development direction. Later, he played another king of performance in Exposing Splash Water. Zhang Chaoyang created a new rendering method with bald pen, and put forward a far-reaching creed of "natural origin", which was based on the evidence between China's painting and subjectivity, objective dialectics, beautiful and mature landscape painting, and turned it into his own. Wang Wei's theory of landscape tactical angle proportion embodies the improvement of the artistic realm of Chinese painting in Wang Weizhuang's calligraphy of painting poems and opens up later literati painting. The colors of pen, ink and water in the Tang Dynasty constitute the essence of Chinese painting, and this technology is fully mature. Foreign teachers are naturally the source of the heart. "The husband's feet are at the foot of the mountain, and there are no branches in the distance. There is no stone eyebrow in the mountain, and it is faint and high. The development track, theoretical peak, scientific and practical concept of Chinese painting theory and technology caused by this state. After more than a thousand years, it has established its image, lofty oriental art and lofty status in the field of painting poetry and calligraphy. Painting in the Tang Dynasty enjoyed a rich and precious heritage, which laid a solid foundation for the rise, song and maturity of flowers and birds.
The political division of the Five Dynasties, the same style of traditional Chinese painting, strong northern style and far-reaching influence, is a spiritual book. Suggest that qi, rhyme, thought, scenery, pen and ink 6 "and" 6 ",are they close? Hao Jing's successor influenced the dull ink and wash style of Jiangnan in the past, while Ju Ran and Dong Yuan inherited the mantle. After each era, it has been affected, as has the development of the South and the North.
Mr. Zheng Zhenduo Song talks about the historical center of Chinese painting, and the theme is completed. In the Song Dynasty, Chinese paintings were in full bloom, competing for novelty and beauty, with unprecedented pomp. Song Huizong studied a painting for the artist; Is the world's first national art college, the hospital's school-running philosophy, from the beginning, in the hospital? Avantgarde.
In the early Song Dynasty, Li Zheng, Guan Tong and Fan Kuan formulated artistic rules. Process evaluation of EMI standard of "three pillars" of Chinese painting in world history. Scholars and painters in the Northern Song Dynasty appeared like mushrooms after rain, advocating freehand brushwork in ink and painting, and confronting the academy. On behalf of Su Shi and Mi Fei. Su Shi's motto "Do you think there are any children about the shape of the painting?" Neighbors write the image of God in an interesting way, which has influenced it to this day. From this perspective, the slogan of the innovation revolution is to draw Chinese paintings. Su 2m's artistic thought has become a model and guide for literati painting. Hong Kong Academy for Performing Arts, the formation of painting styles of Li Gan, Liu Songnian, Ma Yuan and Xia Gui in the Southern Song Dynasty, and the opposition and leap of Kai Liang's freehand literati painting. However, the Soviet Union, rice, is not just learning and summing up. Collection of Lin Quan's Life, Collection of Pure Landscape Works, and Two Views on Artists' Art Schools.
Zhao Meng was the most important figure in literati painting in Yuan Dynasty? #92; His sketches and oil paintings, drama, calligraphy, painting, pen and ink techniques, calligraphers that artists can book can learn from the traditional hand-painted boundaries, and some people say that this book ranges from painting to painting works. The Yuan Dynasty is a turning point, with a sudden change in painting style, ink paintings by literati, green heavy colors full of vitality like mushrooms after rain, meticulous departments, gorgeous fuselage, exquisite Yongle Palace murals and so on. But in the early Ming Dynasty, Zhejiang began to be active in the art world, and the painter Wu changed. Dong Qichang said: North and South, vivid and balanced for more than two centuries, are fighting between right and wrong, but the school thought is his main achievement. Wei is an iconic figure and deeply influenced by Xu. Zheng Banqiao and Qi Baishi worship him very much. From the Ming Dynasty to the Qing Dynasty, books, in appropriate picture books, poems and calligraphy walls: golden stone flourishes, poetry, calligraphy, painting, sealed and mixed, the great and brilliant China folk art is comprehensive and enterprising, the first category, toilets, Mo and the rest of the mysterious painting world.
From a historical point of view, we should be clear about the road of development, but at this time, the road of literati painting is developing, but it is the internal and external relationship between the masters of an era, the artist's life, world outlook, art, technology and academics, which has left us precious and realistic artistic treasures and experience, as well as comprehensive and rich artistic schools, countless masters, such as "the next four years" and "Four Heavenly Kings". Its wear resistance, the creators of our country's culture, their dedication, and the martyrs of personal sacrifice.
From a historical perspective, the transformation and development of Chinese painting is wrong? Things are constantly changing and developing. In the future, there are new things, but there are also many old things. Zhuangzi said: "Good development, the nature of inheritance, another point, is also the price, which also undermines the development of traditional painting in China and plays a positive role. Traditional things are not based on research and development. Some were eliminated. Destroy the "changed natural law", and people can understand and use it in the process of legal change. However, Chinese painting has become a bright color today. Wang Wei, Li and his son, Xu Wei provided a foundation, which is not concrete-"son of success" painting as a practice, as a tangible and intangible concept. Tangible and intangible, intangible is tangible transformation. In the process of sports, the painter can freely grasp, "the wonderful creative sports effect will be an accident, leading to invisibility and no painter." "The heart of bamboo is not the bamboo in the hand, the paper in the hand of bamboo, bamboo, paper, bamboo, original bamboo."