The artistic conception of Chinese painting is the artistic realm formed by the painter expressing his thoughts and feelings through depicting scenery. It can make the appreciator resonate through association and be infected with thoughts and feelings. Whether the painting has artistic conception is an important factor in the success of the work.
Chinese painting is the essence of traditional Chinese culture and the pride of the Chinese nation. It is an art variety with distinctive national characteristics. After thousands of years of accumulation and precipitation, it has formed its unique appearance and unique style. Style and aesthetic appeal as well as a complete wheel theory system. The pursuit of expression of artistic conception is an important part of traditional Chinese aesthetic thought and one of the important characteristics of Chinese painting, especially Chinese landscape painting. Artistic conception is the soul of Chinese painting, and the creation of artistic conception can be said to be the artistic realm that Chinese painters should pursue throughout their lives
1. Influenced by ancient Chinese Confucian and Taoist philosophy
From aesthetic activities From a perspective, the so-called "artistic conception" means transcending specific, limited objects, events, and scenes, entering infinite time and space, thereby gaining a philosophical feeling and understanding of the entire life, history, and universe. This philosophical sense of life, history and universe is the meaning of "artistic conception". Therefore, "artistic conception" is the most metaphysical type of "imagery". The ideological root of the "artistic conception" theory is also Laozi's philosophy.
The aesthetic foundation on which Chinese art relies is deeply imprinted by Confucianism and Taoism. Ancient Chinese philosophy's understanding of nature is different from Western philosophy. The Eastern Jin Dynasty, when Chinese painting was born, was when Taoist metaphysics was popular all over the world. The Taoist thought of emphasizing "mind" and neglecting "objects" laid the aesthetic concept and foundation of Chinese painting and even the entire Chinese art, which emphasizes expression and neglects reproduction. This is not only reflected in paintings, but also in poems and articles, the connection between heaven and man is regarded as the highest realm of creation. Therefore, in Chinese painting, there is no need to pay attention to what is depicted in the picture. Trying to find the author's perspective and the author's footing in painting is a misunderstanding of Chinese painting. Because this is not a characteristic of Chinese painting. What Chinese landscape painters pay attention to is to accommodate all things in the world so that they can move in and out freely and come and go without hindrance. Therefore, the level of a person's cultivation directly determines the level of his artistic achievements. Therefore, "pursuing expression because of the art of representation, pursuing representation because of the art of expression" has formed a major feature of Chinese painting. Western art is a different story. Influenced by Christianity, they believe that sacred values ??exist outside of people and the world, and need to be seen and heard. In this case, Western painters will not have the spiritual realm of Chinese painters. The Greek philosopher Hippias believed that "beauty is the pleasure produced by vision and hearing"
2. The origin of calligraphy and painting
"Integrating calligraphy into painting" is its important One of the standards. Calligraphy has become a truly abstract art with the characteristics of painting as early as the Tang Dynasty. "Integrating calligraphy into painting" is considered to be the basic skill of painting. The calligraphy style emphasizes the aesthetic characteristics of lifting, pausing, speed, and looseness, focusing on bone structure, thickness, shade, dryness and wetness, hardness and softness, smoothness, and center, which have become the basic standard requirements for the brushes used in Chinese ink painting. An article written by Zhang Yanyuan of the Tang Dynasty in "Records of Famous Paintings of the Past Dynasties" and "On the Use of Brushwork by Gu, Lu, and Zhang Wu" said: "Only the prince respected his profound purpose, so the words at the beginning of the line often followed his predecessors, which is called a stroke of writing in the world. After that, Lu Tanwei also painted one stroke at a time. Therefore, we know that the brushwork used in calligraphy and painting is the same. Wu Daoxuan was the only one in the ancient and modern times. There was no one who came before him and no one came after him. He taught Zhang Xu the brushwork. " Because of the different ways of accepting calligraphy pens. As a result, different picture effects are produced, and the natural forms produced by the composition of ink and wash have extremely special emotional and spiritual factors. The "Five Methods of Writing" in Volume 3 of Zhu Changwen's "Mo Chi Pian" of the Song Dynasty said: "Han said: the trace should not be thicker than the trace, and the dot should not be smaller than the painting." That is the study of the formal beauty of calligraphy. When Ke Jiusi was painting bamboo, he once said: "The painting of poles is the same as the seal script, the branches are the same as the grass, the leaves are the same as the eight points, Lu Gong's brushwork is also the same." This fully demonstrates the relationship between calligraphy and painting. Due to the integration of calligraphy brushes, "Handwriting" has an unusual meaning in ink painting. Since the Tang Dynasty, this pursuit of the formal beauty of calligraphy rhythm has injected new vitality into the development of Chinese painting.
Formal beauty constitutes an important feature. The theory of the origin of calligraphy and painting is very necessary to put forward in the teaching of Chinese painting. There is an inseparable relationship between Chinese calligraphy and Chinese painting. This is deeply discussed in Huang Binhong's modern treatise: "Painting is all about using the pen." With hard work, the strength can press the paper and then penetrate the back of the paper.
However, the force cannot be too strong, otherwise it will become dry and stiff. ...The Chinese side is so strong and soft that it is a good painting. The method of using the brush is all in the calligraphy formula. There is a phrase "twists and turns", the most golden elixir." Chinese painting can be said to be the art of lines, and lines are the basis of Chinese painting. Chinese calligraphy is also the art of lines. Xu Wenchang's big The formation of freehand splash-ink painting is based on his deep calligraphy skills. In calligraphy, lines pay attention to "cone scratches" and "leak marks", and he advocates the use of center brushes. Therefore, to appreciate Chinese paintings, you must first understand Chinese calligraphy. The essential artistic conception of Chinese painting is the evolution of calligraphy.
3. Poetry, calligraphy, painting, sealing and sealing constitute the formal elements of Chinese painting.
At first glance, the appearance of a Chinese painting in the picture. The main components are painting, sealing, calligraphy, and inscriptions. This constitutes the characteristics of Chinese painting. The first element of Chinese painting is artistic conception. The quality of the intention determines the success or failure of the painting. Regarding the artistic conception of poetry, Su Dongpo once commented on Wang Wei's poems and paintings: "When you look at Mojie's poems, there are paintings in the poems, and when you look at Mojie's paintings, there are poems in the paintings." The artistic conception of Chinese painting must first be based on poetry, for example. Zheng Banqiao wrote a poem when he painted bamboo: "I will never let go of the green mountains. The roots were originally in the chaos of the cliff, but they are still strong after thousands of years of hard work, no matter how strong the wind is from the southeast or northwest. "Judging from the inscription and poem alone, it has already given us a beautiful picture in words, outlining the bamboo's high-spirited, upright, open-minded, and unafraid of the cold spirit. This has determined the artistic conception of this painting. , Banqiao then relied on his profound skills in calligraphy and painting to bring this artistic conception to life on paper, and then added his own stone paving style to sublimate this artistic conception.