1. Aesthetic artistic conception 1. Where there is charm, there is vividness: "Vividness of charm" refers to the inner spirit and charm of the painting, which reaches a state of overflowing with fresh life. It can be said that "vividness of charm" It is the soul of the "Six Dharmas". To express the inner life and spirit of characters and the connotation and charm of objects with vivid "qiyun" has always been the general guideline followed in the creation, criticism and appreciation of Chinese paintings. "Vivid charm" is a complete term that embodies the highest aesthetic requirements of creation and has been used to this day. 2. The environment is created by the heart: mountains, rivers, vegetation, and nature are created by nature, and this is the reality. Because the mind creates the environment, and the hands move the mind, the emptiness of the emptiness becomes the reality, which is the presence and absence of the pen and ink. "Creating a scene out of the heart" is one of the unique artistic features of Chinese painting. He refers to the artistic conception of the picture rather than the natural and real life picture. It is an illusory and misty artistic realm created by the painter according to his own ideal. This picture is rare or rare in real life. It is the painter's " A state made by the heart. 3. Wherever there is no painting, everything becomes a wonderful scene: This is an important means of dealing with artistic conception in Chinese painting. It uses a large area of ??blank space to set off the main body of the picture, making the main body more prominent. The blank space behind it gives people rich room for imagination. , which makes people have endless aftertaste. Most of the blank space allows us to imagine many artistic conceptions. Although they are not shown in the painting, we can use our imagination and let our thoughts run wild. 4. Incorporating poems into paintings and having poems in paintings: "Poetry in paintings" not only refers to the poems on the picture, but also refers to the poetry hidden in the paintings. It fills in the gaps that the brush has not touched, triggers the painter's associations, and makes the poetry and the painting more vivid. The paintings complement each other. Poetry and painting complement each other, and the scenes complement each other, making you proud outside the painting. 2. Characteristics of Lines 1. Calligraphy brushes: The brushes used in Chinese gongbi painting are the same as those used in calligraphy. There are also three processes of starting the brush, extending the brush, and closing the brush. The starting and closing of the brush are the two key parts in the process of drawing lines. The starting of the brush is the same as the calligraphy. The quality of the strokes directly affects the quality of the lines themselves and the process of drawing. Whether the starting and closing of the pen are in place is related to the strength and elasticity of the line. An important aspect to judge whether the painter's basic skills are solid is to see whether the brush is used properly, as well as the virtual and real relationship between starting and closing the brush and its directionality. 2. Use line modeling: Line is the most basic expression language of Chinese meticulous painting. There is no simple line in the objective world. Lines are extracted subjectively by people. Line modeling can be said to be the instinctive refinement of human beings' objects. It is the most common expression method in China and the West. It can be seen from the images in the rock paintings of China's primitive society and the images in the primitive murals of the West that they are all created with lines. expressive. In addition to line modeling, Chinese gongbi paintings can also be shaped through various changes (light, heavy, lifting, pressing, brushing speed, fast, slow, pause, setback, reverse, forward, turn, and twist of the brushing direction). , the stroke method (center, side, reverse, scattered, hook, rub, etc.) expresses the texture, volume, space, and dynamics of the object, thereby giving the line itself a unique aesthetic value and the special performance of the Chinese brush , also provides very favorable conditions for the use of wires. 3. Formal Characteristics 1. Exaggeration and deformation: There is a certain gap in shape and color between Chinese meticulous paintings and natural objects. In order to express the expression of the object well and expand the unique characteristics of the object, some of them are pretentious. Shapes, some are colors, and some are artistic conceptions. But exaggeration is an exaggeration based on "common sense". 2. Summary and refining: The observation method of Chinese gongbi painting is a perceptual observation method that does not emphasize light and can even get rid of the limitations of specific conditions such as light and shade, light, time, environment, etc., so that it can maximize subjective initiative and make bold observations on objects. Sometimes for the needs of the picture, the natural form in life is changed to elevate the reality of life to the reality of art. In order to grasp the structure or expression of the object, a changing line is used to express each other in a general way. Coming. Often the richest content is expressed with the least amount of pen and ink. 3. Strong contrast: Chinese meticulous painting uses a special material called ink to paint on white paper. The contrast between black and white is strong, giving people a strong visual impact. 4. Strong decorativeness: Strong decorativeness is an obvious feature of Chinese meticulous painting. This kind of decoration is based on reality and life. It is artistic and higher than life. When processing the picture, we don't focus on the sense of light and three-dimensionality like Western paintings. We don't pay much attention to the perspective relationship of space. We use scattered perspective to highly summarize, simplify and refine the objects, and use pure colors to express them. Objects make the picture have the interest of plane decoration.
4. Color characteristics 1. Subjective color: The use of color in Chinese gongbi painting has unique rules and methods, which are different from the color rules of Western painting. The use of color in gongbi painting is subjective and perceptual. The coloring of Chinese meticulous paintings eliminates the constraints of natural light sources and generally emphasizes the inherent color of the object. According to the needs of the theme, the inherent color of the object can even be changed and replaced with another color. Although it is not realistic and does not conform to the laws of objective phenomena, it expresses emotions and artistic conception in the coloring. 2. Emotional color: The colors used in Chinese meticulous paintings have strong emotional color. Of course, the color itself has strong emotional factors. For example, red represents enthusiasm and joy; blue represents tranquility and tranquility; yellow represents wealth and so on. Then, in order to express certain thoughts and feelings in Chinese gongbi paintings, the inherent colors of objects are changed to meet the needs of emotions, expressing emotions through color, and adding color with intention, so that the beautiful surface produces a sense of rhythm, balance, comfort, and harmony. 3. Simple and concise: Among the coloring methods of Chinese meticulous painting, the flat painting method of spreading colors over a large area on the picture is often used. This method can make the picture effect direct, strong and clear at a glance. There are not too many colors used in the painting, but the whole feeling is elegant and solemn. 4. Vigorous and thick: In traditional meticulous and heavy-color paintings, the colors are relatively pure, mostly pure colors of various hues, and less complex colors are used, making the picture appear gorgeous and rich. 5. Characteristics of modeling 1. Expressing spirit with form: "Praise to Shengliu Paintings of Wei and Jin Dynasties" written by Gu Kaizhi of the Eastern Jin Dynasty says: "People have their own strengths and weaknesses. Nowadays, it is necessary to observe the right and wrong in terms of distance and distance. You cannot change the broadness and the shortness, and misplace the high and low. Everyone is born and dies. (None) If you have your hands clasped and your eyes are looking at the person you are facing, you will express the spirit in form but it will be empty in reality. If you use it in a good way, it will be wrong to express the spirit in an empty way. If it is empty, it will be a big mistake. If it is not correct, it will be a small mistake. It cannot be done. It’s not without observation. The clarity of an image is not as clear as understanding the truth.” Gu’s famous argument of “describing the spirit with form” points out that when reflecting objective reality, painters should not only pursue the verisimilitude of the external image. , we should also pursue the similarity of the inner spiritual essence. He believes that gods should be based on shape. If the shape is just similar and cannot reflect the unique spirit of the painting object, it will not be considered a success. Regarding the depiction of characters, he paid great attention to the consistency and complexity of depicting the characters' inner activities and facial expressions. It is said that when he painted figures, he sometimes did not light up the sun for several years. When people asked him why, he replied: "The four-dimensional beauty has nothing to do with the beauty. The vivid portrayal is in the Adu." Because "the appearance of the gods is reflected in the emotion. "Head". 2. The shape of traditional Chinese meticulous painting has class characteristics: Chinese meticulous painting, as a painting with national characteristics in China, carries the imprint of the times in every period. The shape of traditional meticulous figure paintings and the size of the figures in the paintings follow the concept of "the master is greater than the servant, the king is greater than the minister". There is a clear difference in the size of the figures. 3. The shape of Chinese meticulous painting has subjective will: The shape of Chinese meticulous painting has subjective will, which is mainly reflected in the meticulous figure painting. Before the Tang Dynasty, painters tried their best to pursue the accuracy of form for the sake of image likeness. When the similarity reaches a certain level, the painter pursues another style.