1. Putting the intention first and being confident - the conception of Chinese painting

Chinese painting creation puts the intention first. Many painting theorists first emphasize this point, whether it is painting landscapes or figures. , or painting flowers and birds. There is a relevant discussion in the "Six Methods" mentioned in Zhang Yanyuan's "Records of Famous Paintings of the Past Dynasties" in the Tang Dynasty: "An image must be similar in shape, and the shape must be complete with its bones. Similarity in bones, shape, and shape are all based on the intention and return to the use of the brush." Only when the intention comes first can there be strange forms and strange ideas in the painting.

Monk Huaguang, who was famous for painting plum blossoms in the Song Dynasty, wrote a section of "The Complete Tips for Painting Plum Blossoms" in his book "Plum Blossom Painting Fingertips", which begins with "There are tips for painting plum blossoms, and the intention comes first."

Fang Xun of the Qing Dynasty also emphasized the relationship between conception and painting in "Mountain Quiet Residence Painting Theory": "When painting, you must first establish the conception to determine the position. If you want to be strange, you will be strange, if you want to be high, you will be high, if you want to be far, you will be far. , The meaning is profound, and the ancient meaning is ancient." He believes that mediocre people will paint mediocre paintings, and tacky people will paint tacky paintings. Because they lack the most precious "concept" of the painter, their works are mediocre.

The Italian Renaissance painter Leonardo da Vinci had a similar argument. He once said: "A painter should depict the two most important things-people and people's thoughts and intentions." This is consistent with The Chinese painter Gu Kaizhi of the Jin Dynasty put forward the idea that "skill comes from careful thinking".

"Ideology" refers to the artist's rich understanding of real life and the full accumulation of creative experience; the other point is the artist's own cultivation, so that before creating, what to draw and how to draw are formed in the mind Mature concept.

Wen Yuke, a painter of the Song Dynasty, painted bamboo "with the bamboo in his mind", that is, before he started painting bamboo, he already had the image of bamboo in his mind. Just put pen to paper.

Before Zhang Yanyuan proposed "intention", Qi Xiehe in the Southern Dynasties had already talked about "creativity" and "intention". Creative paintings do not fall into clichés, have precise intentions, borrow scenes to create a sense of place, and use fewer strokes but more meaning. In this sense, as a painter, you must not only practice brushwork and hone your personal expression skills in daily life, but more importantly, , it is also necessary to strengthen the practice of mind.

2. Use lines to shape and use shapes to express the spirit - the modeling rules of Chinese painting

Chinese painting uses lines to store shapes, and uses lines to outline outlines, textures and volumes. The German poet Goethe said that art has the ability to use light to express expressions vividly, which shows that Western paintings use light as one of the modeling methods.

However, Chinese painting is mainly based on lines as the basis of modeling, which makes there a clear distinction between Chinese and Western painting in terms of modeling methods. This does not mean that Western painting completely rejects the use of lines, but that light can be used as a painting The main language used for painting.

The French Rodin once emphasized that "a prescribed line runs through the universe", which refers to the issue of how plastic art is separated from the universe, and it is not regarded as the main expression method of painting. . Whether it is the rough lines of landscapes or the lines of clothes, Chinese paintings have accumulated a very rich line type and skillfully depict various images.

“Using form to describe spirit” is the core point of Jin Dynasty painter Gu Kaizhi’s painting theory, which established the artistic concept of “spirit is higher than form” in Chinese art. It is very different from the modern European aesthetics that is purely abstract. That is to say, painting people is not only limited to physical resemblance, but also goes beyond spiritual resemblance. Painting people's spiritual outlook does not stop at the simulation of appearance. Not sticking to the reality of nature,

This view has established a high-level theory for artists that art should strive for. Under the guidance of this theory, many "lively portrayal" masterpieces have appeared in the past dynasties. Theory has also become an important criterion for guiding painting.

3. Multi-point perspective, calculating white and treating black - the composition rules of Chinese painting

Chinese painting uses both focus perspective and scattered perspective, which strictly adheres to the true picture. The space and cloth also break the reality and are arranged in parallel according to the needs of the composition, so that the objects appear in the picture.

The object can be stretched or shortened to change its image and position according to the artistic needs on the screen. A peony that is lower than the eye level can also be placed higher than the eye level to achieve the best perspective effect.

Chinese painting pays special attention to the management of blank spaces, often borrowing the calligraphy trick of using white as black. "Everywhere without painting becomes a wonderful scene", that is, the parts without pictures also need to be carefully considered and processed.

4. Apply colors according to categories and harmonize colors - the color rules of Chinese painting

The colors of Chinese painting are not limited to the limitations of warm and cold tones of the light source, but pay attention to the inherent characteristics of the object itself Color, less emphasis on conditional color under special light. Whichever item is painted, the basic color of that item is given to achieve the harmony of color and object, color and line, color and ink, and color and color.

5. The blending of scenes and vivid charm - the artistic conception of Chinese painting

Chinese painting requires the blending of brush and ink, and the blending of emotion and scenery. The infinitely rich scenes in reality give the painter a strong image appeal. Relying on this feeling, the painter aroused the passion to depict these scenes, so the works reappeared as a copy of the scenes, making the scenes blend together.

As for the vivid charm, it is the artistic spiritual realm created by the painter. It is different from ordinary sketches. It should be full of vitality, fresh and lively, and have a poetic charm, which makes the viewer fascinated. If it does not express such vivid and rich connotations, it will not be able to give people these feelings, and it will not be able to achieve the rich and attractive artistic conception of Chinese painting.

6. Poetry, calligraphy, painting, seal, paper, pen - the unique form of Chinese painting

Chinese painting has always had the practice of inscriptions and seals, which not only literati paintings can also show their poetry The paintings, calligraphy and paintings are exquisite. Even ordinary paintings are often inscribed and sealed, reflecting the strong flavor of traditional art. This further enriches the perfection of the expression form of Chinese painting. The seamless combination of poetry, calligraphy, painting and seal establishes the basic characteristics of Chinese national painting.

Inscriptions and poems can enhance or supplement the recipient’s appreciation and understanding of the work, and can also enrich the changes in the composition, playing a multi-faceted role in setting off, highlighting, embellishing and balancing the composition. .

The performance of Chinese painting tools and materials also determines the characteristics of Chinese painting. Chinese painting uses silk and paper, especially the emergence of raw rice paper, which gives full play to the interest of brushwork and the charm of ink.

The permeability of the paper and the sharp taper of the brush allow the brush tip to change infinitely, producing wonderful effects. At the same time, various techniques and tracing methods, painting methods and brushwork methods have been formed. Pursuing the natural complex changes and unexpected interest of pen and ink on rice paper.

Extended information

Forms of Chinese painting

1. Zhongtang

The middle wall of the living room is suitable for hanging a huge calligraphy and painting, called " Nave".

2. Banners

Banners can be horizontal or straight, and the horizontal ones are similar to plaques. Regardless of calligraphy or Chinese painting, it can be designed as one banner or four or even multiple banners. Common ones include spring, summer, autumn and winter banners. Each painting depicts flowers, birds or landscapes of the four seasons, and is a group of four.

3. Sketch

refers to calligraphy and painting that are smaller in size. It can be used horizontally or vertically. After being framed, it is suitable for hanging on thin walls or rooms. It is very delicate.

4. Mirror frame

The calligraphy and painting are framed in a wooden or metal frame, and glass or film is pressed on it to become a pressed mirror.

5. Scroll

It is unique to Chinese painting. The calligraphy and painting are framed into a banner, with logs underneath as a shaft, and the calligraphy and painting are rolled outside the shaft for easy collection.

6. Fan surface

Take the inscriptions and paintings on the folding fan or circular fan and frame it to make a pressed mirror. Because the circular or fan-shaped form is beautiful, some people cut the picture into a fan shape before painting, and then framed it in a unique style.

7. Album

Bind the calligraphy and painting into a book.

8. Long scroll

Mount the painting into a long scroll to form a long scroll, which is mostly viewed horizontally, with continuous pictures.

9. Doufang

Framing the sketch into a calligraphy and painting of about a square foot to become a doufang. Can be mirrored and mounted flat.

10. Screens

There are single or folded screens, and they can be used as screens when sitting on the ground.

Baidu Encyclopedia-Chinese Painting