Chinese painting embodies the traditional philosophical concepts and aesthetics of the Chinese nation in terms of observation, image creation and expression techniques. In the observation and understanding of objective things, it adopts the principle of observing the small from the big and seeing the big from the small. Methods, and to observe and understand objective things during activities, and even directly participate in things, instead of being external or limited to a fixed point. It permeates people's social consciousness, so that painting has the cognitive function of "thousands of years of loneliness, and pictures can be learned from it", and it also plays the educational role of "evil to warn the world, and good to show the future". Even purely natural objective objects such as mountains, rivers, flowers and birds, are consciously connected with people's social consciousness and aesthetic sentiment in the process of observation, understanding and expression. Appreciation of Guo Fengxiang's traditional Chinese paintings
The paintings are connected with interest, expressing emotions through scenery, and expressing aspirations through objects, which embodies the Chinese concept of "the unity of nature and man". Chinese painting attaches great importance to conception in creation, stresses the intention of writing first and image thinking, and pays attention to the subjective and objective unity of artistic images. The modeling is not limited to superficial resemblance, but emphasizes "the beauty lies between resemblance and dissimilarity" and "resemblance of dissimilarity". The purpose of shaping the image is to convey the demeanor and charm of the object and the subjective emotion of the painter. Therefore, the parts that are not essential or have little connection with the characteristics of the object can be discarded, and those parts that can reflect the characteristics of the expression can be depicted by exaggeration or even deformation. In terms of composition, Chinese painting pays attention to management. It is not based on a fixed space or time, but uses a flexible method to break the limitations of time and space, and combine objects in different time and space according to the painter's subjective feelings and the rules of artistic creation. , rearranged to construct a space-time realm in the painter's mind. Therefore, wind, rain, snow, four seasons, and characters from ancient and modern times can appear in the same painting. Therefore, in terms of perspective, it is not limited to focus perspective, but uses multi-point or scattered point perspective. It can move up and down, left and right, and back and forth to observe objects and composition, and has great freedom and flexibility. At the same time, in the composition of a painting, we should pay attention to the contrast between virtual and real, and pay attention to "sparse and airtight", and there must be reality in virtuality and virtuality in reality. Chinese painting uses its unique brush and ink techniques as a means of expressing objects and conveying emotions. It uses points, lines, and planes to describe the shape, bone structure, texture, light and darkness, and mood and charm of the object. The brush and ink here are not only techniques for describing objects and conveying emotions, but also carriers of objects. At the same time, they are also meaningful forms. Their traces reflect the interest of Chinese calligraphy and have independent aesthetic value. Since there is no great pursuit of surface resemblance of objects, Chinese paintings can use either completely black ink or a combination of colors or inks to depict objects. Later, ink took up a larger proportion, and some people now even call Chinese painting ink painting. The ink used is divided into five colors. The amount of water added, the speed of the brush strokes, and the length of the strokes are different, resulting in ever-changing pen and ink techniques and rich and varied tones of light and dark. At the same time, ink can also be combined with color, and the ink does not block the color, and the color does not block the ink, forming a complementary diversity of ink colors. In Chinese painting, which is mainly based on color, it emphasizes "applying color according to the category" and focuses on the inherent color of the object. The light source and environmental color are not important and are generally not considered. But for some special needs, sometimes you can boldly use some exaggerated or hypothetical colors. Chinese painting, especially literati painting, emphasizes the origin of calligraphy and painting in its creation, and pays attention to the artist's personal character and quality. In specific works, emphasis is placed on the organic combination of poetry, calligraphy, painting and sealing, and the painter's understanding of society, life and art is expressed by inscribing poems and postscripts on the picture, which not only deepens the theme, but also enhances the picture. organic components.