The aesthetic characteristics of landscape painting are mainly composed of the following aspects:
1, form
The composition of China's landscape paintings requires the proper use of artistic laws such as subject and object, echo, truth, concealment, simplicity, density and irregularity. The unique "three-distance method" is used to deal with the depth relationship in plane composition. Guo said in the Northern Song Dynasty: "There are three distances in the mountain: from the foot of the mountain to the top of the mountain, it is majestic; From the front of the mountain to the back of the mountain, it is called profound; Seen from the near mountain, it is called far. The lofty color is obvious; The far-reaching color is heavy and gloomy; There are bright and dark in the horizon. The lofty trend is abrupt, the far-reaching meaning overlaps, and the far-reaching meaning melts into the ethereal. " This three-distance method is similar to looking up (high), looking down (far) and looking up (far) in western paintings, and it is a unique space processing method. In landscape painting, the combination of wide view and scattered perspective (some people think it should be called point-free perspective) can make mountains, rivers and deep houses all appear in one painting, and not only a huge painting can be laid out, but also a big painting can be laid out.
From the appearance form, the composition of landscape painting includes nave, banners, screens, banners, scrolls, picture books, fans and so on. Picture composition forms include: S-shape, V-shape, C-shape, three-stage and two-stage type, open-close type, symmetrical type, balanced type and so on. These colorful composition forms add beautiful colors to landscape painting. The same beautiful landscape will have different effects if different composition forms are adopted.
2, pen and ink language
The modeling technique of landscape painting is pen and ink, and the core of pen and ink modeling technique is line drawing modeling. Tool materials such as brush and rice paper used in Chinese painting are very suitable for the display of pen and ink skills. After thousands of years of artistic practice, a set of expressions with national characteristics has been formed, which constitutes the unique modeling characteristics of landscape painting. In the Northern Song Dynasty, Han Zhuo believed that "the pen is based on its shape, the ink is based on its yin and yang, and the landscape is based on pen and ink." The pen mentioned in landscape painting mainly refers to line, point, surface and brush, with line as the main factor. The focus of the pen is to outline the outline and express the physical structure of the object. Ink, mainly refers to black ink, and sometimes has a slight color meaning. Especially in ink painting, ink painting is an important means to express the light, shadow and tone of objects, as well as the shadow and feeling caused by living vision to reality. In the process of life and modeling, the painter's feelings have been integrated with brushwork, and pens everywhere, whether K-lines or short lines, or dots or squares, are traces of emotional activities. The key to the success or failure of landscape painting modeling and the existence of artistic conception lies in the use of pens.
To use line modeling, the artistic image of line modeling should be concentrated and have vitality, and the painter must infiltrate his profound thoughts and feelings in his pen. Therefore, in landscape painting, brushwork pays great attention to expressing emotions, which is an aspect of identifying artistic level.
The painter's skill in using lines is exactly the same as that in using pens. As the saying goes, "the strength penetrates the back of the paper" refers to the skill of using the line, the speed of using the pen and the effect produced by proper force. People's feelings about lines can only be expressed when they focus on online objects, such as greatness, roughness, elegance, fluency and dignity. The temperament people feel from lines not only embodies the temperament of the object, but also contains the painter's personal temperament.
The image of lines can also reflect aesthetic feeling. A painter's brushwork and brushwork often depend on his artistic skill and his understanding and cultivation of lines. Because of the different temperament and quality of ten painters, the objects they represent are also different, which also creates the amorous feelings of various lines. For example, "silkworm spinning" is a gentle and unchanging metaphor, while "painting sand like a cone" is a powerful metaphor. "Power penetrates the back of the paper" means that the pen is calm and powerful; "cotton-wrapped needle" means internal strength and bone method; "Leak mark" means that the pen is dignified enough to leave; "Golden file" means that the pen smells like stone, knife and axe, and so on.
Traditional landscape painting requires "thinking about the past and thinking about the future", "having a well-thought-out plan" and "not missing a thousand miles at all", and requires strict line modeling. Therefore, in the evaluation of the achievements of landscape painting, there is a saying that "strokes are different".
Shen Hao in the Ming Dynasty said, "Pen and ink are the most difficult to meet, and are influenced by the environment. Erosion in the pen, powerful, hidden in ink. " The brushwork and brushwork of Chinese painting are inseparable. Pen and ink are expressed by pens, and the beauty of brushwork lies in pens. Without ink, the brushwork can't be reflected. The basic color of landscape painting is ink, and the ink method includes the degree of using ink and the change of black and white depth of ink. Ink is divided into five colors, namely, coke, thick, heavy, light and clear. In fact, more than five colors are used. Ink color also has the interest of color change, and there must be dryness, wetness and shade. Ink painting is also a kind of color painting, which emphasizes that "color does not hinder ink". In the Tang Dynasty, Wang Wei said: "In Taoist painting, ink painting is the most important thing, reflecting nature and making it natural, or painting a picture at close range, writing a thousand miles of scenery, southeast and northwest, today, spring, summer, autumn and winter, born in a pen." As can be seen from the south, pen and ink is an important symbol of landscape painting, which not only stands up, but also expresses its significance through pen and ink.
3. Artistic conception and taste
Li Keran said: "Artistic conception is the soul of art and the essence of objective things. Tao Zhu, who is combined with people's thoughts and feelings, has reached the artistic realm through high artistic processing. The realm of poetry is called artistic conception. " The method of observation and expression of China's landscape paintings is unique. Landscape painting uses a moving and changing observation method when expressing the image of time and space. This method of observing image is not based on sketch, but on the method of watching and recording to create artistic image. Guo said: "The mountains thousands of miles away are incredible, and the water of thousands of miles is not beautiful ... What's the difference between maps?" Landscape painting should extract the essence of the landscape, rather than listing the villages and towns in the landscape like picture books. Another example is Zhu in the Tang Dynasty, who said, "When you hear the cloud of the ancients, the painter is sacred, and the lack of heaven and earth shows the length of the sun and the moon. With a stroke of a pen, everything is self-centered, showing the power of a square inch, and thousands of miles are in the palm of your hand ... invisible and fierce. "Invisibility is born of it, that is," writing the mind ",which is not bound by the objective world objects. It is emphasized that all kinds of paintings are from the heart, making up the heavens and the earth and the sun and the moon. It will not only imitate nature, but also show the beauty of artistic conception of landscape painting.
In the Tang Dynasty, Zhang Zao's creative thought of "outside nature, inside" has always been regarded as a fine tradition of Chinese painting. Another example is what Shi Tao said in the Qing Dynasty: "Those who have a husband's face are also from the heart." In landscape painting, the infiltration of spirit is the most critical. Chen Chuanxi pointed out: "The creation of landscape painting needs not only traditional skills, but also the impulse of beauty. With the impulse of beauty, there is a strong desire to create. The impulse of beauty comes from the observation of the beauty of mountains and rivers. In the observation of the beauty of mountains and rivers, we discovered the artistry of the landscape itself, grasped the material and spirit of the landscape, and then, after the aesthetics were satisfied, we' wanted to seize its nature' to create. " In the face of rich natural scenery, how to create a changing, unified or clearly defined landscape artistic conception? Guo put forward "painting its image, not its shape" and "painting its meaning, not its trace", which are the laws that must be grasped when moving the natural scenery to the screen. In "elephant" and "carelessness"
"Under the commander in chief, the city has primary and secondary, and has a perfect realistic artistic conception. So landscape painting is not limited by time and space. Painters try their best to express their overall feelings about nature and fully describe their ideal interest in nature, so as to achieve a position of "promising, habitable and swimable". It is the life of landscape painting to "look like a spirit" and pursue artistic conception.
4. Inscription and seal
Inscriptions and seals not only indicate the time and place of creation, but also indicate the main content of the work, reflect the author's thoughts and feelings, and make people have a comprehensive understanding of the work.
The combination of poetry, calligraphy, painting and seal is another feature of Chinese painting. The combination of poetry, painting and calligraphy contains two meanings: one is to express emotions and elaborate and give play to the meaning of painting, just as Fang Xun said: "If you are too emotional to think, you can make the deficiency of painting a problem." Secondly, it can enhance the formal beauty of landscape painting, which expresses the wonderful content of poetry and prose in the form of calligraphy art, so that the beauty of poetry, calligraphy and painting can be skillfully combined to form a complete artistic image. Painting is interesting because of poetry, and poetry is more vivid because of painting. Poetry and painting set each other off, achieving the artistic effect of complementing each other and making the composition rich and colorful.
There are several forms of inscriptions, such as single paragraph, double paragraph, inscription paragraph, poem paragraph, long inscription paragraph, clip painting paragraph, falling flower paragraph and poor paragraph. On a picture, with various stippling structures, the beauty of all kinds of books and the physical beauty composed of points, lines and surfaces of the picture are integrated, echoing each other, expressing the painter's thoughts and feelings, making the picture more colorful and refreshing. Different forms and contents of calligraphy will bring different degrees of aesthetic feeling to the painting effect, so there is a saying that "calligraphy and painting are of the same origin" and "a good painter must be good at calligraphy".
In landscape painting, in addition to calligraphy, there are seals. Seal obtains the charm of formal beauty by dividing Zhu Bubai, which plays the role of composition and is an inseparable part of the picture. If used well, it can refresh the mind and achieve the effect of beautiful composition.
In traditional literati painting, especially in some landscape paintings, it is difficult to clearly express the painter's feelings about the shape and edge of the picture. It is often supplemented, compared, explained and explained with the help of poems, inscriptions, calligraphy and seals, which constitutes a combination of poems, books, paintings and seals with painting as the main body. Appreciators can read paintings, recite poems, and appreciate the beauty of calligraphy and seal cutting, thus enjoying many aspects of art.
Second, some problems should be paid attention to in understanding the aesthetic characteristics of landscape painting.
1, which is necessary for aesthetic cultivation. Due to the different perspectives, positions, artistic accomplishments, hobbies and tastes of the appreciators, the evaluation results of the same painting by the same painter are not the same. As Marx said, "If you want to enjoy art, you must be an artistic person."
2. Have corresponding aesthetic ability. This must be practiced for a long time, and a person's aesthetic ability is often improved with practice. Therefore, those who are good at aesthetics always pay attention to calligraphy and painting, study hard, taste it repeatedly and play it seriously. In this way, after a long period of time, H can be familiar with the wonderful scenery of painting, read widely, and master it wholeheartedly, so as to truly appreciate the hardships and sufferings of the authors in the process of study and creation and understand their works more deeply.
3. The artistic beauty of landscape painting has certain aesthetic characteristics, but as far as its style is concerned, there is no unified model. There are various forms of expression, which can be described as varied and dazzling. From ancient times to the present, some famous painters in history are not perfect, but generally they have only made breakthroughs in one aspect and are unique; Or the achievements of a certain aspect, have a greater impact. Landscape painting expresses the formal beauty of different styles through the author's artistic conception, pen and ink techniques, traditional techniques and aesthetic views, which can only represent one aspect of beauty but not all.