The main clue of China's painting presents a situation with humanistic painting thought as the main body in concept. Why?

The main types of Chinese traditional painting. Chinese painting had no definite name in ancient times, and it was generally called Danqing, which mainly refers to scroll painting painted on silk, rice paper and silk and mounted. Since modern times, it has been called Chinese painting, which is different from foreign paintings such as oil paintings (also known as western paintings) imported from the West. It is a painting created by China's unique brush, ink and pigment, in accordance with the long-term forms of expression and artistic rules. Chinese painting can be subdivided into ink painting, heavy color, light crimson, meticulous painting, freehand brushwork and line drawing according to its materials and expression methods. According to its theme, there are figure painting, landscape painting, flower-and-bird painting and so on. There are various forms of Chinese painting, such as long scrolls (also known as hand scrolls) and horizontal draperies in the horizontal direction, banners and nave in the vertical direction, album pages and bucket squares in full size, folding fans and round fans painted on the fan surface. Chinese painting reflects the social consciousness and aesthetic taste of the Chinese nation in ideological content and artistic creation, and embodies China people's understanding of nature, society and politics, philosophy, religion, morality, literature and art related to it. Historical development Chinese painting has a long history. As far back as 2 years ago, during the Warring States period, there was a painting painted on silk-silk painting, before which there were primitive rock paintings and painted pottery paintings. These early paintings laid the foundation for later Chinese paintings to take lines as the main modeling means. During the Han Dynasty, Wei, Jin, Southern and Northern Dynasties, the society changed rapidly from stable unity to division, and the impact and integration of foreign culture and local culture made the painting form a situation dominated by religious painting, with local historical figures and literary works taking materials as a certain proportion, and landscape painting and flower-and-bird painting also sprouted at this time. At the same time, we consciously grasped the painting in theory and put forward the evaluation criteria. During the Sui and Tang Dynasties, the social economy and culture were highly prosperous, and painting also showed a comprehensive prosperity. Landscape painting and flower-and-bird painting have matured, religious painting has reached its peak, and there has been a tendency of secularization; Portrait painting mainly shows aristocratic life, and there are characters with the characteristics of the times. In the Five Dynasties and the Song Dynasty, it became more mature and prosperous, figure painting has turned to depicting secular life, religious painting has gradually declined, and landscape painting and flower-and-bird painting have become the mainstream of painting. The appearance of literati painting and its development in later generations greatly enriched the creative concept and expression method of Chinese painting. In Yuan, Ming and Qing dynasties, ink and wash landscapes and freehand brushwork flowers and birds got outstanding development, and literati painting became the mainstream of Chinese painting, but its last stream went to imitation, which was getting farther and farther away from the times and life. Since the end of the 19th century, Chinese painting has been introduced into western art forms and artistic concepts for nearly a hundred years, and in the cultural environment of inheriting the tradition of national painting, there have been various schools, famous artists coming forth in large numbers, and constant reform and innovation. After the 19th century, a large number of painters gathered in central cities such as Shanghai, Beijing (including Tianjin) and Guangzhou, where politics and economy (especially commerce and culture are developed), that is, Jiangsu and Zhejiang painters with Shanghai as the center, such as Ren Yi, Xu Gu, Wu Changshuo, Huang Binhong, Liu Haisu, Pan Tianshou, Zhu Zhan, Zhang Daqian, Fu Baoshi, Qian Songnie and Lu Yanshao. Northern painters with Beijing as the center, such as Qi Baishi, Chen Shiceng, Jincheng, Chen Banding, Wang Xuetao, Li Kuchan, Jiang Zhaohe, Li Keran, etc. A group of Lingnan painters centering on Guangzhou, such as Gao Jianfu, Gao Qifeng, Chen Shuren, He Xiangning, Zhao Shaoang, Guan Shanyue and Huang Junbi. With the change of the situation and times, painters in the above-mentioned areas have also moved. For example, many painters came to the southwest in War of Resistance against Japanese Aggression, and after 1949, many painters such as Zhang Daqian, Huang Junbi, Zhao Shaoang and others moved abroad and Hong Kong and Taiwan. Today, most provinces and cities in China have established painting academies, and besides the three centers, many new centers have emerged, and the number of painters has expanded unprecedentedly. Among modern Chinese painters, many painters inherit and adhere to the basic pattern of traditional painting. They either follow the principle of imitating and inheriting the skills and demeanor of the previous generation of painters, or try to change while inheriting the tradition, and form their own style while preserving and developing the tradition. The former includes Jincheng and Gu Linshi, while the latter is represented by Qi Baishi, Huang Binhong and Pan Tianshou. Since the May 4th New Culture Movement, with the massive introduction of western art and the deepening of the anti-feudal struggle, the reform of Chinese painting has become a new trend of the times. Represented by Gao Jianfu, Gao Qifeng, Liu Haisu, Xu Beihong, Lin Fengmian, who studied in Japan and Europe and America, he advocated the integration of the realism of western art and the creative concept of modern western art with the traditional portrait of China, and embarked on a new path of reform and innovation of Chinese painting, which made the traditional Chinese painting glow with new vitality. Among them, Gao Jianfu, Gao Qifeng and other Lingnan painters advocated compromise between China and foreign countries, integrated ancient and modern, and combined Japanese painting with traditional water impact, powder bump and boneless painting, creating a new style with a strong and unrestrained sense of the times. Xu Beihong integrated the realistic technique of western painting into traditional pen and ink, which enriched the expressiveness of Chinese painting. Lin Fengmian reconciled China and the West, and absorbed the simplicity and vigor of folk art, forming his own unique style with profound artistic conception and novel form. In addition, Chen Zhifo integrated the colors of Chinese and foreign decorative arts into the creation of meticulous flower-and-bird painting, and Zhang Daqian borrowed some techniques of western abstract expressionism to create a splash painting method; Inspired by western painting, Li Keran directly sketched and created scenes. Wu Guanzhong used the tool materials of Chinese painting and the forms and concepts of western modern art to express the traditional poetry and realm of Chinese painting, and made important achievements. With the changes of the times, Chinese painting has changed from the aristocratic art of literati and nobles who enjoyed themselves in entertainment to the "art of the people", from the ivory tower in the past to the crossroads. Chinese painting has undergone profound changes in subject matter and content. Painters turned their eyes to social reality and created a large number of outstanding works with the characteristics of the times. In the 192s and 193s, painters argued about the innovation and development of Chinese painting. For example, Kang Youwei put forward the idea of "taking retro as innovation" and "combining Chinese and western painting as a new era"; Xu Beihong advocated that "those who are good at the ancient law should keep it, those who refuse it should continue it, those who are not good should change it, those who are not enough should increase it, and those who can take in western paintings should integrate it"; Liu Haisu proposed to "develop the fine arts inherent in the East and study the elites of western art"; Lin Fengmian advocated "reconciling Chinese and Western arts and creating art of the times"; Chen Shiceng positively analyzed and answered the characteristics and significance of literati painting. Lin Shu, on the other hand, opposed innovation and called on people to despise "new learning abroad" and only take "ancient meaning as the Sect"; Jincheng, on the other hand, strongly advocates: "To preach the holy and clear teachings, never forget them, and inherit them from the old chapter." In the late 194s and 195s, people had a discussion about whether sketch could be used as the basis of Chinese painting modeling, and how to treat pen and ink skills and various new Chinese paintings. In the mid-198s, in the rapidly changing social environment of reform, opening up and modernization, how to innovate Chinese painting to meet the aesthetic needs of the times was deeply discussed in theory and practice. Modeling features and methods of expression Chinese painting embodies the traditional philosophy and aesthetics of the Chinese nation in observation and understanding, image-building and expression techniques. In observation and understanding of objective things, we adopt the method of observing and understanding objective things in activities, and even directly participate in things, instead of making a local appearance or being limited to a fixed point. It permeates people's social consciousness, thus making painting have the cognitive function of "lonely for thousands of years, learning from pictures" and the educational function of "warning the world with evil and showing the future with good". Even the purely natural objective images such as mountains and rivers, flowers and birds are consciously associated with people's social consciousness and aesthetic taste in their observation, understanding and performance, expressing their feelings through scenery and expressing their aspirations through objects, which embodies China people's concept of "harmony between man and nature". Chinese painting pays attention to conception, pays attention to intentional writing and image thinking, and pays attention to the unity of subjective and objective artistic images. Modeling is not limited to superficial resemblance, but emphasizes "the beauty lies between resemblance and dissimilarity" and "dissimilarity". Its image-building aims to convey the expression and emotion of objects and the painter's subjective feelings. Therefore, we can abandon the parts that are not essential or have little connection with the image characteristics, and those parts that can reflect the facial features can be portrayed by exaggeration or even deformation. In composition, Chinese painting emphasizes management. It is not based on a fixed space or time, but breaks the limitation of time and space in a flexible way, rearranging the objects in different time and space according to the painter's subjective feelings and artistic creation rules, and constructing a space-time realm in the painter's mind. As a result, rain and snow, four seasons, ancient and modern figures can appear in the same painting. Therefore, in perspective, it is not limited to focus perspective, but adopts multi-point or scattered perspective, moving up and down or left and right, moving back and forth, viewing objects and framing, and managing composition, which has great freedom and flexibility. At the same time, in the composition of a painting, we should pay attention to the contrast between reality and reality, and emphasize "sparse and easy to move" and "airtight", and we should have reality in the virtual and reality in the real. Chinese painting, with its unique pen and ink skills, takes objects and means of expressing feelings, and depicts the shape, bone, texture, light and darkness and modal charm of objects in the form of points, lines and surfaces. The pen and ink here is not only a kind of object, a skill of expressing feelings, but also a carrier of objects. At the same time, it is a meaningful form, and its traces reflect the interest of China's calligraphy and have independent aesthetic value. Because it is not very similar to the surface of objects, Chinese painting can use all-black ink and wash, and can also use color or ink color combination to describe objects. Later, the greater the proportion of ink and wash, and now some people even call Chinese painting ink and wash painting. The ink used is divided into five colors, in order to adjust the amount of water, the slow stroke and the different length of strokes, which leads to the ever-changing pen and ink skills and the rich and changeable tone of light and dark. At the same time, ink can also be combined with color, but ink does not hinder color, and color does not hinder ink, forming the diversity of complementary ink and color. However, in color-based Chinese painting, the emphasis on "coloring with the class" focuses on the inherent color of the object, and the light source and environmental color are not important, so they are generally not considered. But for some special needs, sometimes we can boldly use some exaggerated or assumed colors. Chinese painting, especially literati painting, emphasizes the homology of painting and calligraphy in creation, and pays attention to the painter's personal character and accomplishment. Emphasizing the organic combination of poetry, calligraphy, painting and printing in specific works, and expressing the painter's understanding of society, life and art by writing poems and postscript on the screen, not only plays a role in deepening the theme, but also is an organic part of the screen. Chinese painting has its own system in the world art field. Can be roughly divided into; Figures, landscapes, boundary paintings, flowers, melons and fruits, feathers, animals, insects and fish, etc. There are techniques such as meticulous brushwork, freehand brushwork, hooking, color setting and ink painting, and color setting can be divided into resplendent, large and small turquoise, boneless, splash color, light color and light crimson. Mainly using the changes of lines and ink color, to describe the image and business location by hook, spot, dye, thick, light, dry, wet, yin, yang, direction, back, virtual, real, sparse, dense and blank; View layout, wide field of vision, not limited to focus perspective. There are murals, screens, scrolls, albums, fans and other frame forms, supplemented by traditional mounting techniques. Figure painting gradually matured from the late Zhou Dynasty to the Han, Wei and Six Dynasties. Mountains and rivers, flowers, birds and animals painting, etc. did not form an independent painting subject until the Sui and Tang Dynasties. The schools of the Five Dynasties and the Song Dynasty competed, and ink painting became popular, and landscape painting became a major branch. Literati painting had developed in the Song Dynasty, but by the time it flourished in the Yuan Dynasty, the painting style tended to be freehand. The Ming and Qing dynasties and modern times continued to develop, with increasing emphasis on expressing ideas and smoothing the mind. During the Wei and Jin Dynasties, the Southern and Northern Dynasties, the Tang Dynasty and the Ming and Qing Dynasties, it was influenced by Buddhist art and western painting art successively. Chinese painting emphasizes "the nature of foreign teachers, the source of the heart in China", requires "the intention is to save the pen first, and the painting is to do its best", and emphasizes melting things and creating artistic conception, so as to achieve the purpose of writing the spirit with form, having both form and spirit and vivid charm. Because painting and calligraphy are of the same origin, and both of them are closely related to the operation of bone brushwork and lines, painting, calligraphy and seal cutting interact with each other, forming a remarkable artistic feature. The tool materials for painting are specially made pens, ink, paper, inkstones and silk in China. Modern Chinese painting has made a breakthrough and development in inheriting tradition and absorbing foreign techniques. ◆ Ink painting is a kind of Chinese painting. Refers to paintings made by pure ink and wash. There are three basic elements: simplicity, symbolism and naturalness. Legend has it that it began in the Tang Dynasty, became in the Five Dynasties, flourished in the Song and Yuan Dynasties, and continued to develop in the Ming and Qing Dynasties and modern times. Take brushwork as the leading factor, and give full play to the function of ink painting. "Ink is color", which means that the shade change of ink is the level change of color, and "Ink is colorful", which means that colorful colors can be replaced by multi-level ink chroma. Shen Kuo's "Picture Song" in the Northern Song Dynasty says: "Dong Yuan in the south of the Yangtze River spread to Ju Ran, and the light ink is light and the blue is one." That is, ink painting. People in the Tang and Song Dynasties painted landscapes with wet pens, which had the effect of "water fainting and ink stamping". People in the Yuan Dynasty began to use dry pens, and the ink color changed, which had the artistic effect of "being colorful at the same time". In the Tang Dynasty, Wang Wei put forward that "ink painting is the best" and later generations followed it. Ink painting has long occupied an important position in the history of China painting. ◆ Courtyard painting, referred to as "courtyard painting" or "courtyard painting", is a kind of Chinese painting. Generally speaking, it refers to the paintings of Hanlin Painting Academy in Song Dynasty and its later court painters. There are also works specifically referring to the Southern Song Dynasty Painting Academy, or generally referring to non-court painters who imitate the style of the Southern Song Dynasty Painting Academy. In order to meet the needs of the imperial court, this kind of works mainly focus on flowers and birds, landscapes, court life and religious content. They pay attention to statutes, pay attention to both form and spirit, and have a gorgeous and delicate style. Because the times are different from painters' expertise, their painting styles are different and have their own characteristics. Lu Xun said: "Song's courtyard paintings should give up the weak and gentle, and the meticulous and meticulous aspects are desirable." (On the Adoption of Old Forms in Jiejieting Essays) ◆ Literati painting is also called "scholar painting". A kind of Chinese painting. Generally refers to the paintings made by Chinese scholars and literati in China feudal society. Different from the paintings of folk painters and professional painters in the Palace Painting Academy, Su Shi put forward the "scholar's painting" in the Northern Song Dynasty, and Dong Qichang praised the "scholar's painting" in the Ming Dynasty, with Wang Wei as its founder and the ancestor of the Southern Sect (see "Southern and Northern Sect"). But in the old days, it was often used to raise the painting art of the literati class and despise the folk painters and institutional painters. Zhang Yanyuan in the Tang Dynasty once said in "Notes on Famous Paintings of Past Dynasties": "Those who have been good at painting since ancient times are not well-dressed and elegant, and they are superior to others, which is beyond Yan's power." This statement has a long influence. Modern Chen Hengke thought that "literati painting has four elements: character, knowledge, talent and thought, and with these four elements, it can be perfected." Usually, "literati painting" is based on landscapes, flowers and birds, plum blossoms, bamboos, chrysanthemums, wood and stones, etc., so as to express "spiritual spirit" or personal ambitions, and sometimes it also contains feelings of oppression of the nation or resentment against decadent politics. They extol "morale" and "yi pin", advocate the taste of algae, stress the interest of pen and ink, get rid of the similarity, emphasize the charm, and attach great importance to the cultivation of literature and calligraphy and the creation of artistic conception in painting. Mang Fu Yao's Preface to the Study of Literati Paintings in China once had a high evaluation: "You Cheng (Wei), the king of the Tang Dynasty, helped the poems to enter the paintings, and then the interest was born by the pen, and the method was changed at will. It is not necessary to talk about the palace merchants, but the hills and mountains are all rhyming, and the righteousness is not necessary to compare with the prosperity." Literati paintings of past dynasties have a considerable influence on the aesthetic thought of Chinese painting and the development of ink painting, freehand brushwork and other techniques. ◆ Painting is divided into ten Chinese painting terms. Chinese painting is divided into six branches, namely, figures, houses, landscapes, pommel horses, ghosts and gods, flowers and birds, etc. In the Northern Song Dynasty, Xuanhe Huapu is divided into ten doors, namely, Daoshi Gate, Character Gate, Palace Gate, Fan Gate, Arowana Gate, Shanshui Gate, Animal Gate, Flower and Bird Gate, Mozhu Gate and Vegetable Gate. Deng Chun's Painting Following in the Southern Song Dynasty is divided into eight categories (doors).