From the perspective of artistic disciplines, Chinese painting can be divided into three major painting disciplines: figures, landscapes, and flowers and birds. It is mainly divided based on the different objects depicted. The paintings of animals, pommel horses, insects, fruits and vegetables in Chinese paintings can be classified into these three categories respectively. Chinese paintings also have their own characteristics in terms of composition, use of brushes, use of ink, and application of color. The composition of Chinese paintings generally does not follow the golden rule of Western paintings. Instead, it is either a long scroll or a vertical scroll, and the length-to-width ratio is "imbalanced." But it can well express the special artistic conception and the subjective taste of the painter. At the same time, Chinese painting and Western painting are also different in terms of perspective methods. Perspective is a term used in painting. It means that when painting, all objects are correctly represented on a flat surface so that they have a sense of space and three-dimensionality. This method is called perspective. Because the phenomenon of perspective is that the near is large and the far is small, it is often called the "far and near method". Western paintings generally use focus perspective, which is like photography. It is fixed at one footing. Due to the limitations of space, what is taken into the lens must be photographed truthfully, otherwise it will not be photographed. Chinese painting is not necessarily fixed on a fixed footing, nor is it limited by a fixed field of view. It can move the footing according to the painter's feelings and needs, and incorporate all visible and invisible scenery into his painting. . This method of perspective is called scatter perspective or multi-point perspective. For example, the famous painting of the Northern Song Dynasty, Zhang Zeduan's "Along the River During the Qingming Festival", which we are familiar with, uses scatter perspective. "Along the River During Qingming Festival" reflects the rich, complex and varied scenes inside and outside Bianliang, the capital of the Northern Song Dynasty. It takes the Bianhe River as the center and draws from the distant countryside to the lively "Hongqiao"; the viewer can see both the city and the countryside; both the pedestrians on the bridge and the boats under the bridge; You can see not only the nearby buildings and trees, but also the deep streets and river ports in the distance. And no matter which section you stand on, the proportions of the scenery are similar. If you paint according to the focus and perspective method of Western paintings, many places cannot be painted at all. This is a unique perspective method created by ancient Chinese painters based on the needs of content and artistic expression. The use of pens and inks is an important part of the Chinese painting style. The pen should pay attention to changes in thickness, speed, pauses, turns, square and circle, etc. to express the texture of the object. Generally speaking, you need to use force when starting and stopping the pen. The wrist should be straight, the breath should not be broken in the middle, and the pen should not be lifted lightly when holding the pen. When using the pen, light force will make it float, heavy force will make it smooth, fast movement will make it slippery, slow movement will cause sluggishness, partial use will make it thin, and correct use will make it dull. To make it curve like a bow and straight like a ruler, this is the intention of using the pen. The ancients summarized the outline and eighteen strokes, which can be said to be a summary of the experience of using brushes in Chinese painting. As for the use of ink, it pays attention to the interaction of chaffing, rubbing, dotting and dyeing, and the reasonable mixing of dry, wet, thick and light to shape the body and dye the atmosphere. Generally speaking, the beauty of using ink in Chinese painting lies in the interplay of thick and light. All thick and all light are lackluster. There must be thick and light. The thick parts must be brilliant but not stagnant, and the light parts must be elegant but not dull. Using ink is like using color. In ancient times, there was the experience of dividing ink into five colors, and there was also a painting style that cherished ink like gold. When using ink, thick and thick ink should complement each other, so that there is light in the thick, and thick in the light; the thick should have the thickest and the second thick, and the light should have the lighter and lighter. These are all the flexible brushstrokes of Chinese painting. Law. Because Chinese painting and calligraphy have many similarities in terms of tools and brushwork, the two have formed an indissoluble bond. The ancients have long said that "calligraphy and painting have the same origin". However, there are also differences between the two. Calligraphy is more varied than calligraphy, especially cursive writing, which is better than painting. Painting, on the other hand, uses more colorful inks than calligraphy. The word "pen and ink" is regarded as the general term for Chinese painting techniques. It is not only a means of shaping images, but also has independent aesthetic value in itself. Chinese paintings also have their own particularities in color application. Most of the pigments used are natural minerals or animal shell powders, which are resistant to wind and sun and remain unchanged for a long time. The color application method is mostly flat coating, pursuing the effect of the inherent color of the object, with little change of light and shadow. The characteristics of Chinese painting discussed above mainly refer to traditional Chinese painting. But these characteristics have evolved with the passage of time. The content and form of art are also updated and constantly changing. Especially after the May Fourth Movement, Western paintings poured in in large numbers. With its broad mind, Chinese paintings absorbed many Western art techniques and enriched the expressive power of Chinese paintings. However, regardless of the changes, the basic national characteristics of the traditional Chinese painting cannot be lost, and the fine traditions of Chinese painting should be maintained and carried forward, because Chinese painting has its own unique system in the field of world art. It shines uniquely in the flowing art garden.
Chinese painting is the crystallization of our nation's high wisdom, outstanding talent and hard work, and is a precious wealth of our nation. Chinese painting can be divided into two categories: meticulous painting and freehand painting. Among them, the meticulous painting of cattle has a long history and has made brilliant achievements. The Han Dynasty silk paintings discovered in the tomb of the Western Han Dynasty (206 B.C. - 25 A.D.) in Mawangdui, Changsha, Hunan Province in the spring of 1972 show the superb level of meticulous painting. Before the Tang Dynasty (618-907 AD), meticulous painting could be said to be the main body of Chinese painting. In the Song Dynasty (AD 960-1279), although both meticulous painting and freehand painting were equally emphasized, meticulous painting still had certain advantages. However, during the Yuan (AD 1271-1368) and Ming (AD 1368-1644) dynasties, some literati painters advocated freehand brushwork and ink painting, which led to the decline of meticulous painting. However, in modern times, people were affected by the New Culture Movement, and after some knowledgeable people proposed to innovate Chinese painting, gongbi painting gradually turned around. However, the real revival of Chinese gongbi art was in modern times. After the founding of the People's Republic of China in 1949, the country attached great importance to national art and put forward the policy of "letting a hundred flowers bloom and bringing forth the new". Chinese painting also entered a new development period with the development of the entire literary and artistic cause. Many painters have widely used factory-style brush painting techniques in traditional Chinese paintings, New Year pictures, comic strips, murals and other fields, and have achieved gratifying results in practice. There have appeared such as "Kaokao Mama" (written by Jiang Yan), "The Romance of the West Chamber" (written by Wang Shuhui), "Havoc in Heaven" (written by Liu Jilu), "Happy Together" (written by Liu Wenxi), "Magnolia Oriole" "(written by Yu Fei) and other outstanding works. However, due to the deep-rooted habits in the painting world, the painting type of gongbi painting has not yet received the attention it deserves. It was not until the 1980s that China truly ushered in the spring of art. At this time, the art of gongbi painting can show its vigorous vitality. Today's gongbi paintings have a wide range of themes and forms, including figure paintings that reflect ancient historical themes or content close to real life, landscape paintings with fresh and unique artistic conception, and lively and moving flower-and-bird paintings; painters They also competed to show their own characteristics in the use of art and techniques, and all made innovations. What's even more valuable is that in the process of practice and innovation, painters are increasingly discovering that the art of gongbi painting and its techniques have great potential. Its strong expressive power and wide adaptability make it popular with a wide range of people. The foundation is bound to have an infinitely broad future. Art reflects the times. Today's gongbi art is full of creation and innovation while inheriting excellent traditions. It incorporates new content and forms, and truly shows the style and appearance of the times as a whole. This album fully reflects the artistic style of gongbi painting during this period of transformation and development. Characteristics of Chinese painting composition 1. Scattered perspective 2. Plane layout 3. Combination according to "meaning" 4. Poetry, calligraphy and painting seal 5. Vertical scroll, long scroll, fan,... Composition is called composition in traditional painting and composition in modern painting. Although the old and new concepts are different in composition, the basic meaning is still the same. People live in time and space. Time in the real world is passing and infinite, and space is three-dimensional and boundless. However, human creations - paintings, are solidified and limited in terms of time. In terms of space, it is two-dimensional and has boundaries. The two are so completely different, yet they have the closest correspondence. The so-called composition is to convert the infinite three-dimensional structure into a limited two-dimensional structure. This transformation process is essentially a creative process. Especially in modern painting, this transformation is shown in the appearance of pure creation, and the connection between life and art is even more abstract.