from the perspective of artistic disciplines, Chinese painting can be divided into three major painting disciplines: figures, landscapes and flowers and birds, which are mainly divided according to the different objects depicted. The animals, pommel horses, insects, fruits and vegetables in Chinese paintings can be classified into these three categories respectively.
Chinese painting also has its own characteristics in composition, pen, ink and coloring. Generally speaking, the composition of Chinese painting does not follow the Huang Jinlv of western painting, but is either a long scroll or a vertical axis, and the ratio of length to width is "out of balance". But it can well express the special artistic conception and the painter's subjective interest. At the same time, Chinese painting is different from western painting in perspective. Perspective is the term of painting, that is, when painting, all objects are correctly represented on the plane, so that they have a sense of space and three-dimensional sense. This method is called perspective. Because the phenomenon of perspective is that the near is big and the far is small, it is often called "near-far method". Western painting generally uses focus perspective, which is just like taking pictures. It is fixed at a foothold. Due to the limitation of space, what is taken into the lens will be photographed truthfully, otherwise it will not be photographed. Chinese painting is not necessarily fixed in a foothold, nor is it limited by a fixed horizon. It can move the foothold to paint according to the feelings and needs of the painter, and absorb all the visible and invisible scenes into its own picture. This method of perspective is called scatter perspective or multipoint perspective. As we all know, the famous paintings of the Northern Song Dynasty and Zhang Zeduan's The Riverside Scene at Qingming Festival use scattered perspective. The Riverside Scene at Qingming Festival reflects the rich, complicated and colorful scenes inside and outside Bianliang, the capital of the Northern Song Dynasty. It takes the Bianhe River as the center, from the distant country painting to the lively "Hongqiao"; The viewer can see both the city and the countryside; You can see both pedestrians on the bridge and ships under the bridge; You can see not only the nearby balcony trees, but also the streets and river ports in the distance. Moreover, no matter where you stand, the proportion of scenery is similar. If you draw according to the method of focusing on the machine in western painting, many places can't be drawn at all. This is a unique perspective method created by ancient painters in China according to the needs of content and artistic expression.
in terms of pen and ink, it is an important part of Chinese painting modeling. Use the pen to emphasize thickness, slowness, frustration, turning, Fiona Fang and other changes to express the texture of the object. Generally speaking, both the pen start and the pen stop should be hard, the wrist should be stiff, the gas in the middle should not be broken, and the pen should not be lightly picked. When using a pen, the force is light, it floats, the force is heavy, it is slippery, the movement is sluggish, the use is thin, and the board is being used. To bend like a bow and go straight like a ruler, this is all about using a pen. The ancients summed up the eighteen strokes of the hook line, which can be said to be the experience summary of Chinese painting pen. As for the use of ink, it emphasizes the interaction of rubbing, rubbing, lighting and dyeing, and the reasonable allocation of dry, wet, thick and light to shape the body and dry the atmosphere. Generally speaking, the beauty of using ink in Chinese painting lies in the combination of shades. All shades have no spirit, and there must be shades, the shades must be wonderful but not stagnant, and the shades must be graceful but not gloomy. Using ink is also like using color. In ancient times, there was the experience of dividing ink into colorful colors, and there was also a painting style that cherished ink as gold. When using ink, there must be a strong talk about the combination of life and harmony, so that there is a light in the thick and a strong in the light; There should be the strongest and the second strongest, and the lighter and lighter, which are all flexible ways to use the pen in Chinese painting. Because Chinese painting and calligraphy have many similarities in tools and brushstrokes, they have forged an indissoluble bond, and the ancients have long said that "calligraphy and painting are of the same origin." However, there are also differences between the two. Calligraphy is changeable, especially cursive script, which is better than painting, and the ink used in painting is rich and colorful, which exceeds calligraphy. The word pen and ink is regarded as the general name of Chinese painting techniques. It is not only a means of shaping images, but also has independent aesthetic value.
Chinese painting also has its own emphasis on coloring. Most of the pigments used are natural minerals or powder from animal shells, which are resistant to wind and sun and will last for a long time. The coloring method is mostly flat painting, which pursues the effect of the inherent color of the object and rarely changes the light and shadow.
General characteristics of Chinese painting
It is not easy to answer the above questions concisely in a few sentences. Traditional Chinese painting has a long history. It has taken root and blossomed to adapt to China's cultural soil, and has its own characteristics in conception, composition, techniques and stylized expression. These characteristics are exactly what Chinese painting theorists are discussing and summarizing at present. Here's a few examples.
First, the concept of Chinese painting is well-thought-out.
In the creation of Chinese painting, the concept comes first, and many painting theorists first emphasize this point, whether it is painting landscapes, figures or flowers and birds.
in the Tang dynasty, Zhang yanyuan wrote a passage about the "six methods" in the famous paintings of the past dynasties: "The husband's image must be shaped, and the shape must be full of backbone. "The backbone is similar. It all stems from the general idea and depends on the pen." He believes that the intention is the end. Only in painting can there be abnormal and strange meaning.
A famous Hua Guang monk in the Song Dynasty, whose method number is Zhong Ren, passed down as Hua Guang's book "Painting Plum Fingers", has a passage "Painting Plum Completely", which begins with "Painting Plum Completely, Business First". In the Qing Dynasty, Fang Xun wrote "On Painting in a Quiet Mountain". Here, he also emphasized the relationship between conception and painting. He said: "When painting, you must first define your position, meaning is strange, meaning is high, meaning is far away, meaning is deep, and meaning is ancient." He believes that the mediocre painting will be mediocre, and the vulgar painting will be vulgar, because the painting lacks the most precious "conception" of the painter, so the work is mediocre.
Leonardo da Vinci, an Italian painter in the period of Renaissance, is similar. He once said, "A painter should describe two most important things, people and people's thoughts and intentions." This is very consistent with Gu Xiaozhi, a figure painter in the Jin Dynasty in China, who put forward the idea of "being clever and dense in thought".
where did the meaning come from? First, the painter's rich observation of real life and full accumulation of creative experience; Another point is the painter's self-cultivation, so that before creation, what to draw and how to draw have formed a mature idea in his mind.
Wen Keke, a painter in the Song Dynasty, was praised by others as "well-thought-out", that is, he had the image of bamboo in his mind before he started to write, and he could start writing at this moment. "'Have a plan'" has become an idiom praised by our country for being good at planning and arranging things.
before Zhang yanyuan put forward "conception", Sheikh in the southern production era had the theory of "creativity" and "clear intention". Creative painting is unconventional, with precise intention, taking advantage of scenery to live in, with few strokes but many meanings. In this sense, as a painter, he should not only pay attention to practicing his pen and honing his personal performance skills in peacetime, but also, more importantly, seriously strengthen the skill of practicing his intentions. It is worth noting that many painters often only pay attention to practicing pen and neglect practicing intention.
2. Modeling with lines to convey the spirit with form-the modeling law of Chinese painting
Chinese painting is based on lines, and outlines, textures and volumes are drawn through lines. Goethe, a German poet, said that art uses light to express its vivid expression, which shows that light is one of the modeling means in western painting. However, Chinese painting is mainly based on line modeling, which makes a clear distinction between Chinese and western painting in modeling means. However, this does not mean that western painting completely rejects the use of line, but that light can be used as the main language of painting. Rodin of France once emphasized that "a prescribed line runs through the universe", which means how plastic arts are separated from the universe, and it is not regarded as the main means of expression of painting. Chinese painting, however, has accumulated a very rich line type, depicting various images skillfully, regardless of the broken lines of mountains and rivers or the lines of clothes.
"Writing God in Form" is a famous saying of Gu Kaizhi, a painter in Jin Dynasty, thus establishing China's aesthetic view that artistic god is superior to form. It is very different from the modern European aesthetic view, which is purely abstract, that is, painting people is not only similar in shape, but also higher in spirit, painting people's mental outlook, not stopping at the simulation of shape, not sticking to the truth of nature. This theory is the height that artists should strive for when establishing art. Under the guidance of this theory, many excellent works with vivid portrayal have appeared in past dynasties, which has become an important criterion for guiding painting.
3. Multi-point perspective is white when black-the composition rules of Chinese painting
Chinese painting uses both focus perspective and scattered perspective, which not only strictly adhere to the real picture space and cloth white, but also break the real space and cloth white according to the needs of composition, so that when the object appears in the picture, it can change its image and change its position according to the artistic needs of the object on the picture. A peony flower that is lower than apparent horizon can also be placed above Zhuping Line to achieve the best perspective.
Chinese paintings pay special attention to management in the blank space, and often use the calligraphy to treat white as black, that is, the parts without pictures should be carefully scrutinized and treated like the parts with pictures.
Fourth, color matching with the class-the color rule of Chinese painting
The color of Chinese painting is not limited by the cold and warm colors of the light source, but pays more attention to the inherent color of the object itself, rather than emphasizing the conditional color under special light. When painting an object, it gives it the basic color, and achieves the harmony between color and object, color and line, color and ink, and color and color.
five, the scene is vivid and vivid-the artistic conception of Chinese painting
Chinese painting requires the combination of pen and ink, emotion and scene, and the infinite rich scenes in reality, and the painter has a strong image appeal. With this feeling, the painter aroused the passion of describing these scenes, so the work reappeared as a copy of the scenes, blending the scenes together.
As for the vivid charm, that is, the artistic spirit created by the painter, which is different from ordinary sketch painting, should be full of vitality, fresh and lively, with poetic charm, which makes the viewer fascinated. If it doesn't show such vivid and rich connotation, of course, it can't give people these feelings, and it can't reach the fascinating artistic conception of Chinese painting.
six, poetry, calligraphy and painting, printing paper and pen-a unique form of Chinese painting
It can be said that only Chinese painting can have the practice of inscription stamping. Not only literati painting can show the three unique skills of poetry, calligraphy and painting, but even ordinary paintings always need inscription stamping, so that there is a strong flavor of traditional art.
Inscriptions and poems can improve or supplement the viewer's appreciation and understanding of the works, and also enrich the changes of the structure, which play a variety of roles in setting each other off, highlighting each other, embellishing and balancing the composition.
the performance of tools and materials in Chinese painting also determines the characteristics of Chinese painting. Chinese painting uses silk and paper for painting, especially the appearance of raw rice paper, which gives full play to the pen interest and ink color. The permeability of Xuan paper and the sharp cone of the brush make the pen tip change endlessly, which produces wonderful effects. At the same time, various imitations and descriptions, painting and brushwork have been formed.
A: Contents of Chinese Painting
Chinese painting (also known as Chinese painting) is a unique painting in China. Due to the differences in national character, historical and cultural traditions, aesthetics and painting materials and tools, it is a painting with national characteristics formed through the efforts of countless painters and is an important part of world art.
1 Chinese painting is one of the traditional plastic arts in China.
2 what are the tools of Chinese painting: pen, ink, paper and inkstone?
3 Chinese paintings can be divided into three categories: figures, landscapes and flowers and birds, and can be divided into two types: meticulous painting and freehand brushwork.
4 Chinese paintings pay attention to formal beauty and require works to have artistic effects of "both form and spirit" and "vivid charm". At the same time, it also attaches great importance to the use of pen and ink. Composition is not limited by time and space, nor is it bound by focus perspective. The use of blank screen is unique. Chinese painting emphasizes the perfect overall artistic effect of poetry, calligraphy, painting and printing.
5 ink is divided into five colors: burnt, thick, heavy, light and clear.
Chinese painting ink has the saying that "ink is divided into five colors", that is, Jiao Mo, thick ink, heavy ink, light ink and clear ink.
according to the amount of water in the pen, there are dry and wet points, which can be summarized into four words: dry, wet, thick and light.
There are three methods about ink: dipping ink, splashing ink and accumulating ink.
6 Chinese painting tools: raw rice paper, brush, lining paper, pen washing, palette, calligraphy and painting ink, Chinese painting or watercolor color.
7 brushwork in Chinese painting: center, flank, reverse and forward. The brushwork of landscape painting: brush, brush, dot and dye.
8 Chinese painting mainly uses the following methods: center, flank and counter-attack. In addition, there are many ways to use pen, such as hidden front, exposed front, scattered front and gathering front.