Abstraction is a concrete relative concept, which is a new concept synthesized by taking out the common points of various things. This concept is called abstraction. AbstractPainting, a foreign word, refers to a painting style that wants to get rid of imitating nature in the 20th century. It contains many schools, not the name of a certain school. The development of abstract painting in China, modern abstract art in contemporary China and abstract Chinese painting in contemporary China are mainly two situations. One is the exogenous contemporary abstract art of "integration of China and the West", mainly the exogenous modern art and the contemporary art with reference to the western contemporary art system; One is the endogenous "post-Chinese painting" China abstract Chinese painting art under the mobile art movement in China. At present, the representative abstract painters of contemporary "China Abstract School" recognized by China art circles mainly refer to China abstract painters or China abstract painters with China cultural and artistic elements, that is, China abstract painters among "China artists", including China abstract oil painters. "China Abstraction School" with Zhu Ming as its founder and Zhao Chunxiang as its representative artists. At present, exogenous modern art and contemporary art (generally westernized abstract oil painting art) have not been strongly recognized by the official of China cultural department, or by China art and academic circles. This is a realistic and helpless fact, and it takes time. The word "source" of the same origin of painting and calligraphy, besides its origin, also means that painting and calligraphy have the same regularity in expression techniques, especially in the use of pen and ink.
It can be seen that Chinese painting itself has a strong interest in calligraphy, and the lines and Mo Yun of Chinese painting reveal the beauty of abstraction and its independent aesthetic value everywhere. In the Tang Dynasty, Zhang Yanyuan said in "Records of Famous Paintings in Past Dynasties: Narrating the Origin of Paintings": "The calligraphy style is made in one stroke, and it is intertwined, and the prince of Wei respects its profound meaning. So the first word in a line is often a book in the world. Later, Lu Tanwei also made a stroke, which was continuous, so I knew that calligraphy and painting used the same method. " This is the earliest discussion about the homology of calligraphy and painting. The regularity of painting and calligraphy in the use of pen and ink has been fully explored in literati paintings that flourished after the Song and Yuan Dynasties. Literati painting has a long history. Although Zhang Heng and others did not paint in the Han Dynasty, their "painting names" have been recorded in historical records. In the Six Dynasties, the theory of Zhuang and Lao prevailed. Scholars at that time used painting to express their detachment and freedom. For example, Zong Bing and Wang Wei used landscapes to express their feelings, and literati paintings have begun to take shape. In the Tang Dynasty, Wang Wei and other generations, poetry and painting blended, and literati painting achieved certain development. In the Song Dynasty, due to the implementation of its policy of valuing literature over martial arts, China's calligraphy and painting art gained unprecedented development during this period, and literati painting, which despised skill training and attached importance to interest and pen and ink, flourished and approached maturity during this period. It also developed after Yuan, Ming and Qing Dynasties. Literati painting attaches importance to the pursuit of pen and ink, aiming at highlighting the independent aesthetic value of pen itself in painting, which coincides with the emphasis on pen in calligraphy art, or it should be said that its painting pen is inspired by the use of pen in calligraphy. In the Ming Dynasty, Wang Shizhen took painting bamboo as an example in his book Art Garden, which was undoubtedly an incisive summary of painting with books. In addition, there is another saying that bamboo leaves are painted by eight-point method or Lu Gong's brush strokes, and wood and stone are painted by the remnants of hairpin and leakage marks. Li Yu, the queen of the Southern Tang Dynasty, even painted bamboo with Jin CuO's calligraphy. As for the trees painted by Guo and Tang Di, the bamboos painted by Wen Tong and the grapes painted by Wen Ri, all of them are derived from cursive script, which shows the homology of the expression techniques of calligraphy and painting, especially the use of pen and ink. The pursuit of China's painting and calligraphy art lies not only in formal beauty, but also in lyrical artistic conception. That is to say, the "source" of the homology of painting and calligraphy does not just stay in the superficial form of expression and the homology of pen and ink application, but goes deep into the essence of painting and calligraphy art, which is the same as the essence and artistic conception. China's traditional painting has changed from "expressing the spirit with the form" and "taking the spirit with the form" to the plastic arts of expressing the image. The focus of its pursuit is not on appearance, but on verve. Su Dongpo once said: "On painting, it is important to look like a child, and it is close to childlike interest." Therefore, the freehand brushwork with the most oriental expressive characteristics in painting art, whether it is landscape freehand brushwork or flower-and-bird freehand brushwork, is respected by the world because of its essence; If painting can't show its charm, it is just an ink painting and can't be called painting. In the artistic creation of calligraphy, objects are often used to create, and finally the abstract shapes of the characters themselves-strokes, shelves and rules are used to express the artistic conception. Only "get carried away" can be called a masterpiece. For example, when a painter looks at the Jialing River, he sees the surging waves, writes the appearance and pursues the essence. When calligrapher Huai Su heard the sound of Jialing River at night, he got its body. Although a painting and a book are expressed in different ways, their meanings are all about the magnificence of Jialing River, that is, the things they pursue are essentially the same. Another example is the painter's view of Gong Sundaniang's sword-dancing device, drawing its appearance and showing its momentum; Zhang Xu was fascinated by his charm. Although he is not an image, he can also see that the world is low when he dances sword. The boundless sky, the round earth and all the tangible and colorful Vientiane are the foundation of calligrapher's ingenuity and of course the source of painter's creation. Clouds in the sky fly in summer, and mountains on the ground are full of springs; Plants are spinning and spitting green, and animals are running and hiding; All this is in harmony with the great wisdom of the universe. Painters observe it, appreciate it, understand it, and form all kinds of pen and ink. Painters have the pen base to turn everything into reality, and calligraphers have the talent to compete with dragons and snakes, and they are all pursuing the same thing-the charm of everything. It can be said that the art of calligraphy and painting only pursues the same meaning and interest of different forms of things, and the source of spiritual essence-the unspoken beauty of heaven and earth, that is, the source of the same spiritual essence and interest. "The homology of painting and calligraphy" is the unique secret of China painters, and its connotation is profound, which makes China's painting and calligraphy stand on its own feet in the world art forest. "Hua Zhi's luck is in vain, and foreign wisdom is actually sent" (left language). The calligraphy and painting of cards are called characters. There were many painters and calligraphers in ancient China, all of whom acknowledged that "painting and calligraphy are of the same origin". Who first discovered this truth? Zhao Mengfu was a great painter and calligrapher in Yuan Dynasty. He wrote a poem on a famous painting that spread to the straight road: stone is as white as flying, bamboo should be written in eight ways. If anyone can learn this, you should know that painting and calligraphy are the same. Here, Zhao Mengfu emphasized that China's painting should replace "description" with "writing" and draw with calligraphy. China's paintings and calligraphy are different from those in western countries. However, China's traditional calligraphy and painting have many similarities. Even writing Chinese characters is exactly the same as drawing Chinese paintings and using pens. China people's writing is exactly the same as the "Four Treasures of the Study" of painting. Scholars often dance first and then write, naturally bringing the brush of calligraphy into painting. Paintings painted on pottery 67,000 years ago in the Neolithic Age, such as fish, frogs, deer, birds, flowers, leaves and dances, are the earliest paintings in China. The earliest hieroglyphics were small pictures drawn with lines, which later evolved into Chinese characters in use today. It is precisely because both painting and writing use the same tools, mainly lines, that there is a saying that "painting and calligraphy are of the same origin" This makes Chinese painting have a prominent feature: painting poems or inscriptions, so that poems, books and paintings are integrated into an artistic whole, giving people more beautiful enjoyment. Since the encounter between calligraphy and painting, Chinese painting has undergone fundamental changes, becoming more abstract and profound, and its main representative is literati painting. The beauty of pen and ink's strength, rhythm and clumsiness, as well as its infinite modeling ability and wide range, have been loved by literati since ancient times. It is hard to imagine Chinese painting without pen and ink or without pen and ink. Pen and ink is not only a skill, but also a spirit. The carrier of this spirit is China literati painting, which has the same origin as calligraphy and painting.