The word "painting" is a concept, one is the abstract understanding of consciousness, and the other is the understanding of specific images. A specific art can be created, transformed or destroyed, such as China landscape painting, flower-and-bird painting, figure painting and so on; As an abstract concept of art, it cannot be transformed or destroyed. The existence of art is permanent, and it belongs to the cultural layer. Laozi said: "The name of Wu is so decadent that it fills all things", "there is no shape, no image of things", and Laozi also said that the three things, namely, Yi (colorless), Xi (silent) and Wei (intangible), cannot be blamed, but actually exist. Specific painting is a kind of mental skill, "nature is made by foreign teachers, and the source of mind is obtained from China" and "wonderful thinking is obtained". Painters put pen to paper, but put pen to paper, which is instantaneous and fleeting. From the perspective of "painting", success is not true, and death is not true. It has no gestalt and dies forever; It has no definite number and will always be one. Out of nothing, there is no existence, painting without painting, what the painter wants, is consciously produced by the painter and freely grasped.
The painter wants what he wants, and the mind teacher creates nature to perform everything. The so-called "looking down on everything", "doing what he wants from his heart" and "creating everything from his heart". Created by the mind, there is a process of material transformation, and it also accepts the constraints of events, times, environment, cultural level and human personality, and promotes both material and spiritual. Since ancient times, Chinese painting has attached importance to the pool, travel, learning and inheritance. Therefore, the importance of "walking Wan Li Road and reading thousands of books" can be said to be lost.
History is changing, things are changing, knowledge is changing, people's thoughts are changing, and the form and content are changing. There is obviously a difference between today's people and the ancients. Painting has no fixed image, and the style of painting is different regardless of the times or a specific painter. Although the result of this change can be imagined, it cannot be asserted alone. It is not based on will. Chinese painting has a beginning and an end. The Tao, which constitutes Chinese painting, is always there as long as the universe exists, and it will not disappear.
Throughout the history of art, from the time when Zhang Monk painted the concave-convex painting and Cao Buxing painted the Buddha statue to the time when Lang Shining, there were not only exchanges, but also a number of well-known painters. Ignatius Sichelbart merged Chinese and Western painting methods, and Leng Mei, Tang Dai, Chen Mei, Luo Fuyu and others were affected. In his later years, Wu Li believed in Jesus. Some people said that his paintings used Western methods, but he objected to that. He also despised Western paintings. He said: "My painting does not seek shape, does not fall into a rut, and it is called divine escape;" He all uses kung fu to reverse the pattern of yin and yang-using a pen is also different. " Although Lang Shining tried his best to absorb Chinese painting freehand brushwork, China people are not adults, and foreigners say that they have abandoned their origins and put them in a dilemma. At that time, Chinese and western paintings did not merge into one, and that kind of painting has not established traditional inheritance now. This is a historical fact.
reflecting on the history of Chinese painting, it is true that the fact of Chinese painting is constantly changing, but the ever-changing is a national tradition around a central axis. During the Wei, Jin, Southern and Northern Dynasties, politics was disunited, and various academic thoughts became active accordingly. Due to the promotion of Buddhism, painting art became a vibrant flower, and a group of painters with great achievements were produced, and Gu Kaizhi was one of the greatest and most representative epoch-making figures. Not only did he have many works on the theme of landscape painting, but the manuscript of Painting Yuntai Mountain left a very precious inspiration for future generations. There are also "Luoshen Fu Tu" and "Women's History Proverbs Tu". Including Dunhuang murals, it is precisely because of many landscape creations that Zong Bing's theoretical works such as "Preface to Painting Landscape" and "Description of Painting" have been circulated, and it is proposed that the perspective ratio should be "three inches vertically, and it should be as high as a thousand meters; Horizontal ink several feet, body back to Wan Li ". "with a pen of one tube, it is too empty." At the same time, aesthetic thoughts such as "free spirit" and "painting love" are put forward. These play an important role in the independent study of landscape painting.
Sui is a transitional stage for landscape painting to become fully mature. Tang dynasty is the strongest and most prosperous era in Chinese history, and the painting art is unprecedentedly prosperous. The wrinkling method of landscape painting has developed, and the Jinbi landscape of Li and his son is a master. Wu Daozi's and Wang Wei's ink and wash landscape painting methods have created a new development direction. In the later period, Wang Qia's splashing ink gave full play to the performance of water. Zhang Cao made good use of bald pen to create a new rendering method, and put forward the far-reaching theory of "learning from nature, learning from heart", which made a dialectical basis for the subjective and objective relationship in Chinese painting creation. Landscape painting is mature and independent. The perspective proportion theory in Wang Wei's "Landscape Tactics" embodies the perfection of Chinese painting theory. Wang Wei created the artistic realm of poetry in painting and painting in poetry, which opened a precedent for later literati painting. In the Tang Dynasty, the techniques of using pen, ink, color and water, which constitute the essence of Chinese painting, were complete and mature. "The nature of foreign teachers, the heart of the source", "Zhang Shan ruler tree, inch horse divided people, far people are different, far trees without branches, far mountains without stones, faint as eyebrows, far water without waves, high and cloud qi". This kind of scientific and practical ideological theory and technique theory have contributed to the development of Chinese painting. The artistic realm of poetry in painting and painting in poetry has established the lofty image and lofty position of oriental art for Chinese painting. Since the Tang Dynasty, it has been enjoying and using rich and precious heritage for thousands of years, which laid a deep and solid foundation and made flower-and-bird painting rise and mature in the Song Dynasty.
Due to the political division in the Five Dynasties, the same style of Chinese painting was influenced. Jing Hao in the north had a far-reaching influence with the power of being strong, and he wrote a book "Calligraphy". Put forward "six essentials of qi, rhyme, thought, scenery, pen and ink", which developed the "six methods". Guan is the successor of Jing Hao and has a long-term influence with the plain ink and wash style in Jiangnan. Ju Ran inherited Dong Yuan's mantle. They have always influenced the later times, and even developed into the theory of northern and southern sects.
Mr. Zheng Zhenduo said that the history of China's painting should be centered on the Song Dynasty, when Chinese painting had a complete range of subjects, and its splendor was unprecedented. Song Huizong opened the Painting Academy and established "Painting Studies"; It is the first national academy of fine arts in the world, and the school thought and school painting style started.
In the early Song Dynasty, Li Cheng, Guan Tong and Fan Kuan, their painting schools, ruled the painting world, and the history of Chinese painting was commented as "three pillars stand in balance, and a hundred generations mark the course". In the mid-Northern Song Dynasty, literati painters sprang up everywhere, advocating freehand brushwork in ink and wash, which was opposite to college painting. Representative tasks are Su Shi and Mi Fei. Su Shi put forward "on the similarity of painting, seeing the neighborhood with children". It has become an inscription on the image painting that writes the interest of the gods, which has influenced the present. This view and painting method also provide a revolutionary slogan for the innovation of Chinese painting. The artistic thoughts of Su and Mi have become the model and guide of literati painting. Due to the opposition and confusion between literati painting and college painting, the painting styles of Li Tang, Liu Songnian, Ma Yuan and Xia Gui were formed in the Southern Song Dynasty, and Liang Kai's ink and wash paintings appeared. However, Su and Mi did not study and summarize, but only raised questions. Lin Quan Gao Zhi Ji, Pure Complete Works of Landscape, these two theoretical works were completed by painters of the Academy of Painting.
The most important figure in literati painting in Yuan Dynasty was Zhao Mengfu. He put forward "the same origin of calligraphy and painting" and put it into play, applying the skill of calligraphy to painting pen and ink, so that the legacy of painters and calligraphers can spread to the painting and calligraphy circles. Some people also say that books come from paintings, and paintings are in books. The Yuan Dynasty was another turning point, with a sudden change in painting style, and literati ink paintings mushroomed with vitality. At that time, although there were gorgeous institutional works in the field of green and heavy colors and meticulous painting, such as exquisite Yongle Palace murals, they were close to their later years. At the beginning of the Ming Dynasty, "Zhejiang School" was once active in the painting world, and was later replaced by Wumen painters. Dong Qichang's paintings have been in full swing for more than 2 years because of the theory of Southern and Northern Schools. Although there is a dispute between right and wrong, there is also a school that thinks his achievements are the main ones. Chen Chun and Xu Wei are epoch-making figures, especially Xu Wei, whose influence is both great and long-lasting. Zheng Banqiao and Qi Baishi also admired him. From the Ming Dynasty to the Qing Dynasty, the ability to write and draw, the ability to write and draw, and the combination of poetry, calligraphy and painting; Epigraphy is flourishing, and poetry, calligraphy, painting and seal are integrated. This great and brilliant art of the Chinese nation is beyond the reach of other paintings in the world because of its completeness, grandeur, exquisiteness, literary talent and mystery.
historically, the development to Qing dynasty is to continue on the road of literati painting. Although it was developed according to the road of literati painting at this time, it was an era of great achievements. At that time, the internal and external relations of society changed, and the painter's life, world outlook, artistic concept, techniques and academics left us with both precious and realistic artistic treasures and rich experience, with different schools and artistic competitions. There are countless masters such as Ming Sijia, Four Kings, Four Monks, Eight Eccentrics, Jinling School of Painting, Huangshan School of Painting, Yangzhou School of Painting, Gao Qipei, who was the first to refer to ink painting, and so on. They are all devotees and creators of our national culture, as well as personal victims and martyrs.
historically, when did Chinese painting stop changing and developing? Things are constantly changing and developing, moving and carrying forward the past, but new things contain many factors of old things. Zhuangzi said: "Its points are also successful; Its success is also destroyed. " Tradition always plays a positive role in the development of Chinese painting. Without traditional things, there is no basis for research and development. In the process of development, the outstanding and essence are inherited, and the other part is eliminated. "its success is also destroyed." There are natural laws, and people can recognize and use them in the process of change. However, Chinese painting has become today's big splash of ink and color, and Wang Wei, Li's father and son, Liang Kai and Xu Wei have provided the basis. This is concrete and independent of people's will. -"its points are also, and it is also." Painting, as a practice, is tangible and vivid; As a concept, it is invisible. Tangible and intangible, intangible and tangible, transformed in the process of movement, painters can freely grasp, "create nature wonderfully." The result of the movement, unexpectedly, is invisible and independent of the painter's will. The bamboo in the heart is not the bamboo in the hand, the bamboo in the hand is not the bamboo on paper, and the bamboo on paper is not the original bamboo in the heart.
Up to today, Chinese painting has such an abstract image, unrestrained splash-ink and splash-color painting, and unrestrained interest. Besides, spirit and matter have been owned by individuals since ancient times, and today they have truly become social culture and human civilization. Which one of the ancients or predecessors expected it? Nowadays, some people are copying Han brick patterns, some are copying Dunhuang murals, some are copying folk art, and some are copying children's paintings, all of which are making historical reflections in different ways. Some people also shout "anti-tradition", "the end of the road" and "merging into one". Only when Chinese painting is close to western painting can there be a future. There are also people who shout "anti-tradition" secretly attacking tradition. Chinese painting, like other traditional cultures, was denied at a certain time and revalued at a certain time; Buried and destroyed at a certain time, and revived at another time. The same is true of western painting. Impressionism has been strongly attacked by academic schools. Impressionism has been radically under the banner of anti-tradition, and it has later become a tradition. Degas, one of the impressionist painters, said: "It is meaningless to study nature, because painting is a traditional art, and it is much more meaningful to learn to paint like Holbein." Fauvism, expressionism, Cubism, Futurism, Dadaism and Surrealism were influenced by Cezanne, Gauguin, Van Gogh and Seurat and absorbed their experience. China literati's freehand brushwork painting is a reaction to the academy painting in Song Dynasty, and it is natural that the traditional literati painting has now become the object of some people's revolution. Laozi said: "Tao is a way, but it is also a way." Name, name, very name. " Tao gives birth to one, life to two, life to three, and life to all things. Things are always opposite, complementary, unified and contradictory. Gauguin said: "The painter in front of his easel is neither a slave of the past nor a slave of the present;" He is neither a slave of nature nor a slave of his neighbor. He is himself, always himself, always himself. " (History of Impressionist Painting)
Zong Baihua said: "China's painting method is not all about the depiction of concrete objects, but tends to express personality and mood with abstract pen and ink. Chinese painting is a kind of beauty of architecture, rhythm of music and posture of dance. Its elements are not mechanical realism, such as the exquisiteness of flower-and-bird painting, which ranks first in the world. " Chinese painting is not a western painting, where the subject matter is found first, and then the model is found to follow the painting. There is always an object bound, and the limitation of heaven and earth, although it is both tangible and spiritual, "meaning" is not enough. Chinese painting is the image of a painter who appreciates everything in his life experience, "goes deep into the core of life rhythm" and expresses the painter's deepest interest in a free and harmonious form. Shi Tao thinks that his paintings are not like the ancients or the present. "I think I paint, and I am there." To say that there are thousands of people in Chinese painting, there is no change. It is necessary to connect horizontally and learn western painting. Perhaps it is not deep but not precise. China painters understand the world with the cosmology of "observing the Tao with an open mind", observe everything, write about escape in the chest, and seek a kind of spiritual liberation. The realm of western painting is different from the abstract figurative structure of Chinese painting. Even the impressionists witnessed and described the object very accurately. Van Gogh and Matisse attach importance to the role of lines in their paintings. They say, "My inspiration often comes from oriental art", and they also say, "My style is formed by Cezanne and the influence of the East". "Oriental line painting shows a vast space, and it is a real space, which helps me out of the scope of sketch painting". (History of Impressionist Painting). Matisse and Picasso themselves said that they were changed by the influence of Chinese painting. "Throughout the world, first, only China people have art; The second is Japanese, and its art also originated from China; Then for African blacks. " (Preface to Picasso's Late Creation Exhibition) Their use of lines is always inferior to that of Chinese paintings, which are varied and varied, with hidden meanings and rich meanings. The lines of Chinese paintings not only express the form, but also the spirit and the movement of life, and their contents have a broad philosophy of time and space. Chinese and western painters have their own world views and established two independent systems. Both modern and modern predecessors have put forward the idea of "merging into one" for these two systems, which is also a slogan of revolution. They not only shouted slogans, but also engaged in revolutionary practice and painstaking management. Another interesting fact is that so far, a tradition has not been successfully established as a model for learning and has not been inherited vigorously.
Ren Bonian studied western painting at first. The famous French painter Dayang praised Ren Bonian's works "What a living secret, in these watercolors, there is no subtle harmony, in these dense colors". The older generation of Yuepai painters, such as Hang Zhiying and Jin Meisheng, studied watercolor painting, and Zhang Yuguang was the most active person to promote watercolor painting. Lv Fengzi, Chen Qiucao, Pan Sitong, Fang Yun, Li Shutong, and Zhang Daqian all started with western painting, and were remembered for their reputation for Chinese painting all the year round.
Features: Compared with western painting, Chinese painting has its own obvious characteristics. Traditional Chinese painting does not focus on perspective, does not emphasize the change of light and color of objects in nature, does not stick to the appearance of objects, but emphasizes the expression of the author's subjective interest. Chinese painting emphasizes "describing the spirit with form" and pursues a feeling of "the beauty lies between similarity and dissimilarity": what about western painting? It emphasizes "writing form with form", and of course, in the process of creation, it also pays attention to the expression of "God". But it pays great attention to the whole and generalization of the picture. Some people say that western painting is an art of "reappearance" and Chinese painting is an art of "expression", which is not unreasonable.
Compared with western painting, Chinese painting has its own unique characteristics, which are also manifested in its artistic techniques, artistic division, composition, pen, ink and color application. According to artistic techniques, Chinese painting can be divided into three forms: meticulous painting, freehand brushwork and part-time writing. Meticulous brushwork is to use a brush neatly and meticulously, apply colors layer by layer to render, and the details are clear and meticulous, depicting objects with extremely delicate brushstrokes, so it is called.