Whether Chinese and western painting can be integrated, we must first understand the essence of Chinese and western painting. The nature of western painting is very complicated. In nature, western painting can be roughly divided into western classical painting, medieval painting and modern western painting. China's "fusion school" is the so-called "fusion" of Chinese painting by western classical painting and western modern painting. This requires scientific and detailed analysis.
Painting is more than just a painting method. From the fundamental relationship between "painting and nature", the nature of "nature" determines the nature of painting, and determines the natural view, artistic view, painting method and painting method of painting. Among them, the concept of nature and art in painting is fundamental and the "core" of painting, which determines the way and method of painting; The ways and means of painting only obey and serve the views of nature and art, and are the "protective belt" of the "core". The natural view of painting determines the artistic view of painting.
The "nature" that painting pays attention to, the closest and most practical nature should be the nature studied by physics. In today's physics, there are Newton physics nature, Einstein relativity physics nature, quantum physics nature and so on. , but also the "physical properties of strings" are developing. This paper discusses the essence of Chinese and western painting with "Newton's Nature" and "Einstein's Nature".
The painting in Newton's Physics and Nature is based on Newton's view of nature.
"Nature view" is people's fundamental view of nature. Newton's view of physical nature represents a fundamental view of nature of physicists, including absolute space view, absolute time view and absolute matter view.
In Newton's nature, absolute space is like a "container" or "stage". It just provides an activity place for objects to toss in. It won't be affected by objects anyway. In it, absolute time passes proudly and evenly with a constant rhythm. An object in absolute space and absolute time is self-pitying, it only exists for itself, its size, shape and color are determined by its own nature, and it is "inherent". No matter what others think, that's it, so people say that "Newton landscape" is "objective existence" For example, Newton's bamboo is always "cylindrical" in shape and "green" in color. Absolute time, absolute space, absolute matter and energy are four lonely ascetics without any communication. They form "Newtonian properties".
When painting Newton's nature, the painter must be painting Newton's landscape, Newton's absolute space and Newton's absolute time. And it must be painted "according to their appearance", imitating their appearance. The painter's painting based on Newton's nature is a painting that imitates Newton's nature. Paintings that imitate Newton's nature are "imitation paintings". The essence of imitation painting is: its view of nature is Newton's view of physics; His artistic view is "painting imitates Newton's nature" or "art imitates Newton's nature", or "painting imitates nature" or "art imitates nature" for short. Its painting method is "imitation"; Its painting method is "imitation"
Western classical painting is called the best imitation painting.
Western classical painting originated in ancient Greece and reached its peak during the Renaissance, and it is still developing today. The artistic view of western ancient painting is "art imitates nature", which was put forward as early as ancient Greece. It can be inferred that its view of nature is Newton's view of physics, and its imitation of nature is "Newton's nature". From ancient Greece to the Renaissance, after more than 2,000 years of efforts and exploration, western artists finally found the best way to imitate Newton's nature in their paintings, that is, "perspective", that is, "the way to see Newton's nature through glass, windows (real or imaginary) and meshes." In other words, the way to illuminate Newton's essence with a "mirror" (. At the same time, they also invented or discovered the best way to imitate Newton's nature, that is, "perspective", including "geometric perspective (called" focus perspective "by Chinese people), light and shadow perspective or light and shade perspective, and air perspective". Mirror perspective comprehensively uses these three perspectives.
To sum up, the essence of western classical painting is: its view of nature is Newton's view of physics; His artistic view is "art imitates nature"; Its painting is "perspective"; Its painting method is perspective.
The inherent shape of Newton's scenery imitated by perspective method is a three-dimensional, shortened perspective, light and dark, light and shadow imitation shape, which is called "perspective shape" and is similar to the shape seen in people's daily life. The Newton absolute space imitated by geometric perspective is a "pyramid" shaped visual space on the screen, which is called "visual pyramid", and painting composition is carried out in it. Newton's absolute time is mainly imitated by light and shadow perspective. The inherent color of Newton's scenery is imitated by light and shadow perspective or light and shade perspective and air perspective, and the imitated color is called "perspective color". Westerners say perspective is the best way to imitate Newton's nature, perspective is the best way to imitate Newton's scenery, perspective shape and color are the best ways to imitate Newton's absolute space, and "visual pyramid" is the best way to imitate Newton's absolute space-time.
Einstein's relativistic view of nature is completely opposite to Newton's view of nature. In Einstein's nature, matter, energy, time and space are four conjoined partners. As long as any one groans, others will be induced. General relativity tells us that a mass object or a place with gravity will bend the surrounding space and delay the time. The curved space changes the shape of the object, and the delay of gravitational time changes and shifts the color of the object. Objects with different masses produce different shapes of bending spaces and different delay times, and different gravitational delay times and bending spaces produce objects with different shapes and colors. The shape of the object is an "empty curved shape" that changes with the bending space, and the color is a "slow color during gravity" that delays with the gravity time. According to the special theory of relativity, the length of a moving object (or a moving observer) will become shorter, because it shrinks the surrounding space, makes the space thinner and delays the time. At the same time, space contraction compresses the object to make it "flat" and thin, and the delay of motion time makes the color of the object change and shift. Different moving objects produce different delay times and different contraction spaces, and different moving delay times and different contraction spaces produce different objects. The shape of an object is "empty shrinkage" that changes with the movement, and the color is "slow color when moving" that delays with the movement time.
In Einstein's nature, the shapes of objects are constantly changing "empty contraction shape" and "empty curvature shape", and the colors are constantly changing "slow color in motion" and "slow color in gravity". Time is delayed with the changes of motion and gravity, space shrinks with the changes of motion and bends with the changes of object quality or gravity. For example, when a painter looks at a bamboo in different ways and at different speeds (which is equivalent to the bamboo moving relative to the painter in the same way and speed), the bamboo is deformed from the original cylinder into a "flat shape", which can always be flattened into a thin sheet, or even a curved surface (the shape at the speed of light). The shape of Einstein's bamboo can be any of the countless shapes in the series of "flat-sheet-light speed plane", and its color can be any of the countless visible colors in the series of "red, orange, yellow, green, blue, indigo and purple", or even one of the countless ink colors in the series of "five colors in ink". Similarly, bamboo can also be any kind of "empty curve" and any kind of "slow color when gravity"
Painting in Einstein's nature, the painter is no longer Einstein's landscape, time, space and energy "bystander". At this time, he is also one of their "conjoined partners". Anything he does will change the situation of his partners. In other words, any action or arbitrary behavior of the painter will produce or create new scenery, time and space. In this way, of course, the painter can only paint with the scenery and time and space created by his "qi" or "emotion" very happily. Because he can freely create what he likes and do what he likes, what a happy thing it is! In Einstein's Nature, the landscape created by the painter is "sky scenery", the time created is "air time" and the space created is "air space". Angry time and angry space are collectively called "angry time and space". The scenery in the air, the time in the air and the space in the air have become Einstein's nature, which is called "the nature in the air". The way to generate nature by qi is the "angry method".
The painting carried out in Einstein's nature is the painting of "Qi begets nature", and the painting carried out by the painter gave birth to a new Einstein's nature. Einstein's natural painting is called "gas painting". The essence of gas painting is: its view of nature is Einstein's view of relativistic physics; His artistic view is "painting gives birth to Einstein" or "art gives birth to Einstein", which is called "painting gives birth to nature" or "art gives birth to nature" for short. Its painting method is "vigorous", that is, Einstein's view of nature or Einstein's view of flow, such as Einstein's imagination of "light beam travel"; Its drawing method is "air generation method", which consists of four relativistic physics methods: length contraction method or space contraction method and motion time delay method of moving objects in special relativity, space bending method and gravity time delay method in general relativity.
The history of Chinese painting itself makes Chinese painting a kind of gas painting, not a kind of imitation painting, which is the inevitable result of natural selection and development of Chinese painting. Only by treating Chinese painting as an air painting can we make it clear. The essence of Chinese painting is that its view of nature is Einstein's view of relativistic physics; His view of art is "art gives birth to nature"; His painting style is "chorus"; Its painting method is "chorus method". The characteristics of Chinese painting are completely determined by the nature of its gas painting.
There are two ways of "living with qi" in Chinese painting: one is "Einstein's concept of flow", such as the Southern Dynasties and the Song Dynasty? Zong Bing said that "the body is lingering and the eyes are prepared" ("Preface to Painting Mountains and Rivers"); Second, in the studio, in a virtual static state, the painter creatively imagined Einstein's concept of flow, and then painted in a "undressed" way.
The painting method of Chinese painting is "Qi-sheng method", that is, the four methods of relativistic physics. Relatively divided into three types: aerial scenery (aerial modeling and aerial color), aerial time and aerial space. Air-generated space-time method, that is, air-generated space-time method, is the "management position" method of Chinese painting. The original method of Chinese painting belongs to gas generation method, which can be explained by gas generation method.
Imitation painting is a painting in Newton's Nature, which imitates Newton's nature. Its nature and characteristics are determined by Newton's view of nature in physics. Air painting is a painting in Einstein's nature, that is, air produces nature, and its nature and characteristics are determined by Einstein's relativistic view of physics and nature. Because "Newton's nature" and "Einstein's nature" are two completely different natures, which cannot coexist and merge with each other. Therefore, imitation painting and air painting cannot coexist and blend with each other. Western classical painting is a kind of imitation painting, while China traditional painting is a kind of gas painting, so it is concluded that western classical painting and China traditional painting cannot coexist and merge into one painting. Whether it is "harmonious" or "oil-water layered blending", it is impossible to have a painting that can blend two kinds of paintings. In a painting, you must never use two painting methods at the same time. Because doing so violates the nature and laws of both properties. Painting is either imitation painting or air painting, not both. Because you can't be "Newton's nature" and "Einstein's nature" at the same time, you can't have both.
According to the nature of Chinese and western ancient paintings, "the fusion of Chinese and western ancient paintings" is wrong, and the "fusion school" is wrong. It is wrong for the "golden mean fusion school" to improve and transform the vitality method of Chinese painting from the perspective of western classical painting, and to turn the two paintings into a "harmonious painting" or a "layered painting". It is extremely wrong for the "extreme fusion school" to integrate Chinese painting into western classical painting, completely change the nature of Chinese painting, and cancel Chinese painting without even leaving a shadow.
The criteria for judging painting should not be misused. The evaluation of imitation painting can only be based on the nature and standard of imitation painting. The evaluation of gas painting can only be based on its nature and standards. The criteria for evaluating the two kinds of paintings should not be misused, otherwise it will cause serious adverse consequences.
Westerners believe that western ancient paintings are the best imitation paintings. In their eyes, paintings all over the world are imitations. Western ancient paintings have naturally become the paradigm and standard of all paintings and the "universal standard" for judging all paintings. The "integration faction" mistakenly accepted this "universal standard". They regarded the "incomprehension" of Chinese painting as the "no" of Chinese painting, which initiated the innovation of Chinese painting.
Westerners disdain the "blank" in Chinese painting, thinking that the blank is the "incompetence" of China's air-born painters, and are deeply proud that their paintings have no blank. In the last century, a famous western art critic said that China painters could not draw the "middle scene" well, so they used "blank space" to fill it in. In Newton's law, everything is absolutely certain. Reflected in the imitation painting, every place and every point on the picture must be drawn to understand what it is, or time? Is it space? Is it a scene? What kind of scenery must be clearly drawn, and you can't leave an uncertain blank on the screen. Imitation painting cannot be left blank, otherwise it is an "unfinished" painting or a painting that goes against Newton's nature. There is no need to make a fuss about western ancient paintings, which are all blank.
In Einstein's nature, matter (scenery) is energy, energy is matter, and matter and energy form a "mass-energy unity"; Time is space, space is time, and time and space form "time and space"; "Mass and energy" and "time and space" form a "unity of mass and energy-time and space". In this "chaotic" unity, matter, energy, time and space are relative and mutually generated and transformed, so it is also an uncertain unity. In pneumatic painting, it is necessary to use "blank picture" to reflect and express the essence of this uncertain unity. The uncertainty of picture blank means that blank can be scenery, energy, time or space. Only when there is a blank in the picture can there be the mutual transformation of the "quadruple" and the "exuberance", that is, "the virtual and the real coexist". Chinese painting is a gas painting, so it must be left blank, otherwise it will go against Einstein's nature. If the blank of Chinese painting is removed by imitating western ancient paintings, it is equivalent to replacing Einstein's nature with Newton's and replacing gas painting with imitation painting, which fundamentally changes the nature of Chinese painting. Of course it is wrong.
In aerial painting, blank space can be energy. Light is a kind of energy, so the blank of the picture can be light. In essence, the blank space in Chinese painting is also a way to express light. However, people didn't see the blank essence of Chinese painting. On the contrary, it is sad to introduce various methods of expressing light in western ancient paintings into Chinese painting to improve Chinese painting.
Westerners say that there is no "ink color" in nature. The implication is that China's ink color is wrong, and China's unique ink painting is the most wrong painting. People in China often say that "pen and ink" is abstract. It is logically wrong to say that ink color is an abstract color, not the color of a specific scene. Abstraction is abstracted from concrete. How can it be abstract without concreteness? In Newton's nature, there is no inky landscape. In imitation painting, it is certain that you can draw a landscape without ink and ink, and westerners are right. In Einstein's nature, there are inky and inky landscapes. Chinese painting is a natural painting. Painting ink is natural and unique. Westerners are wrong here.
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