As far as Chinese painting is concerned. When you look at a painting, you must first look at the overall momentum of the picture. In China's terminology, you should first appreciate its "verve" or "likeness"; Then look at her pen and ink interest, composition, coloring, brushwork, lines and so on. Finally, look at her shape and see if she looks like it. This appreciation method of grasping "verve" is to grasp the essence of Chinese painting. Because "verve" is a high-level artistic aesthetic enjoyment, which is the goal pursued by China painters.
Of course, it is not easy to experience a kind of "verve" from paintings. We need not only certain aesthetic ability and artistic accomplishment, but also certain basic knowledge and cultural connotation of Chinese painting in order to appreciate Chinese painting better.
Second, the appreciation of Chinese painting works depends on pen and ink.
In the traditional "six methods", Sheikh ranked "writing with a brush and bone" in the second place. The "bone method" in Chinese painting refers to the method of using lines as the skeleton of modeling. It combines the brushwork rules and aesthetic principles of China's calligraphy. It reflects the strength, texture and beauty of lines. Through different lines to reflect the dynamics, potential, rhythm and rhythm of pen and ink. For the purpose of writing spirit, nature, heart and freehand brushwork.
Chinese painting is composed of lines, which is inseparable from China artists' special liking and unique feeling for lines. The ancestors of ancient painting thought that painting with dots was easy to be scattered and trivial, painting with pictures was easy to blur the flat plate, and lines were the easiest to capture the image and movement of objects, which was most suitable for giving full play to the characteristics of brush, ink, rice paper and silk. It can be said that lines are the unique artistic language of China painters and the soul of Chinese painting.
The lines used for painting are alive. For thousands of years, artists in China have been writing lines with different textures and feelings, such as thick, straight, rigid, thick, fast, false, smooth and simple. With the gradual change, arrangement, combination, overlapping, division and echo of these sentimental lines, a variety of modeling forms have been formed on the screen, including cadence, density, speed, reality, shade and dryness, all of which show the talents and skills of many painters.
Rhyme is the highest realm pursued by China painters. An internal rhythm and emotional ups and downs shown when carrying a pen are formed through the unified change of qi and force. The sense of rhythm and rhythm with the pen is also the heartstrings of China painters. The power, spirit and rhythm of writing are the unity of organic combination. Qi is used to unify strength and rhyme, and rhyme is used to help God help potential. The perfect combination of the three is a good pen. Or vigorous and powerful, vigorous and straight, or implicit and restrained, simple and ethereal, elegant and free and easy. It is the result of painstaking efforts of China painters.
Chinese painting is dominated by ink, supplemented by color, which is its basic feature. The word pen and ink has almost become synonymous with Chinese painting. If western painting is a symphony of body, face and color, then Chinese painting is the coordination of point, line, water and ink. Ink can be divided into Jiao Mo, thick ink, heavy ink, light ink and clear ink. Zhang Yanyuan's ink in the Tang Dynasty said: The vegetation is full of glory, not waiting for Dan Lu; Cloud flying snow, not waiting for lead powder white; The mountain leaves no green, and the phoenix leaves no color. Therefore, the ink carries five colors, which means that it is proud and that the five colors are good. Painters in China know the essence of painting, and think that if the picture is too boring, it will be dry; If the picture is too wet, it will be lifeless. No change, the ink is stiff. Therefore, a few thick ink must be broken with light ink, a thin ink must be broken with thick ink, a dry ink must be moistened with wet ink, and a wet ink must be urged with dry ink. When you look at a painting, you will often be infected by the abstract charm that overflows in the painting, and appreciation of Chinese painting often begins here.
In the process of Chinese painting creation, it is always inseparable from ink painting. There are several ways to use ink: splashing ink, accumulating ink, breaking ink, leaving ink, dipping ink and so on. Good Chinese painting has its own advantages in using pen, ink, thread and water. The dry and wet tones in this painting have changed. The ancients said "dry autumn wind moistens spring rain", which is the reason.
3. Appreciation of Chinese painting depends on composition and form.
From ancient times to the present, the composition of Chinese painting has many forms and its own layout. In the Eastern Jin Dynasty, Gu Kaizhi called it "Chen Bushi" and Xie He called it "Guan Zhi". Although the statement is different, the meaning is the same. That is, the content and form that the painter wants to express are organized and arranged to form a whole picture that embodies individuality, presents momentum and is harmonious and unified. The realm of a work is high, strange and mediocre, and composition is very important.
The law of composition has its own laws, and the most important law is the unity of opposites in dialectics. Any work that conforms to the law of the unity of opposites is attractive, aesthetic and attractive. On the contrary, the beauty factor will be greatly reduced. The source of composition is life, vision, cultivation and style. Composition has great flexibility, because Chinese painting adopts a unique perspective of scattered points, which shows the rich and colorful things in the world and brings great freedom and flexibility to painters. Not limited by time and place, not asking for specific objects, only asking for ideas and images.
Chinese painting pays attention to innovation in stability, stability in risks, deliberate combination, breaking symmetry and forming a rhythmic and harmonious whole. Most of them adopt the starting rule of "Sanqi Stop". Putting the main object on Sanqi Point plays a vital role in breaking the balance, and it is also easy to form a rhythm, giving viewers a visual aesthetic feeling.
Chinese painting is profound and has a long history. She combines poetry and books in one furnace. Deng Chun, a poet in the Song Dynasty, said, "Painters are very literate." It's hard to draw to the extreme. It is not easy to create several works that stand the test of history. You can't stick to the rules, learn from the ancients, learn from the ancients, learn from nature, learn from the heart, take shortcuts, and be deviant.
There are high and low paintings, so there are evaluation standards of different times. Zhang put forward three categories of "God, Miao and Neng", Zhu put forward four categories of "God, Miao, Neng and Yi", while Huang Xiu emphasized four categories of "Yi", "God", "Miao" and "Neng". Zhang Yanyuan set five grades: nature, spirit, wonder, precision and fineness. Whether God escapes first or first, it shows that China painters always pursue high taste. Full of aesthetic consciousness and self-consciousness, I try to explore on the basis of drawing lessons from tradition, and strive to create an elegant personal style and present a more natural atmosphere.
When looking at a painting, we should look at its potential from a distance and get the essence from near. Observe its image with an unfixed line of sight. Look at the general trend from a distance and look at the quality of the line closely. The elaborate "six methods" theory is the golden rule of painting tradition. In the history of China's painting, this theory has an unshakable and far-reaching influence. It is also the fundamental rule to evaluate and appreciate Chinese painting at present. All painters must abide by this rule. Using this law to appreciate and evaluate Chinese painting works, its level can be distinguished.