Chinese painting is the essence of China traditional culture, the pride of the Chinese nation, and an artistic variety with distinctive national characteristics. After thousands of years of accumulation and precipitation, it has formed its unique function, unique style, aesthetic taste and complete management system. Pursuing artistic conception is an important part of China's traditional aesthetic thought, and it is also one of the important features of Chinese painting, especially China's 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 China painters have to pursue all their lives.
1. Influenced by China's ancient Confucianism and Taoism.
From the perspective of aesthetic activities, the so-called artistic conception is to transcend specific and limited images, events and scenes and enter infinite time and space, so as to gain a philosophical feeling and understanding of the whole life, history and universe. This philosophical significance to life, history and the universe is the implication of artistic conception. Therefore, artistic conception is the most metaphysical image type. The ideological root of artistic conception theory is also Laozi's philosophy.
The aesthetic foundation of China's art is deeply branded with Confucianism and Taoism. China's understanding of nature in ancient philosophy is different from that in western philosophy. The Eastern Jin Dynasty, where Chinese painting was born, was the time when Taoist metaphysics extended in all directions. The Taoist thought of heavy objects only laid the aesthetic concept and foundation of Chinese painting and even the whole art of China. This is not only reflected in painting, but also in writing poetry, which regards the unity of man and nature as the highest realm of creation. Therefore, there is no need to pay attention to where the picture depicts in Chinese painting. Trying to find the author's perspective and foothold in painting is a misunderstanding of Chinese painting. Because this is not the characteristic of Chinese painting, what China landscape painters pay attention to is to tolerate everything in the world and let themselves come and go freely. Therefore, a person's accomplishment directly determines his artistic achievements. Therefore, it is a major feature of Chinese painting to pursue expression because of reproduction art and reproduction because of performance art. Western art is another scene. Influenced by Christianity, they believe that sacred values exist outside people and the world and need to be seen and heard. In this way, western painters will not have the spiritual realm of China painters. Greek philosopher Hippias believes that beauty is pleasure produced by sight and hearing.
Second, calligraphy and painting are homologous.
Painting with books is one of its important standards. Calligraphy became a real abstract art with painting characteristics as early as the Tang Dynasty, and painting with books was considered as the basic skill of brush. The aesthetic features of calligraphy, such as lifting, pressing, tripping, hanging, wrapping, scattering, attaching importance to bones, thickness, shade, dryness and wetness, rigidity, softness, smoothness and centering, have become the basic standard requirements of China ink pens. In Zhang Tang and Yan Yuan's Notes on Famous Paintings of Past Dynasties and On Lu Gu, Zhang Wu wrote: Only you know its profound meaning, so the first line of words often follows, and it is called a book in the world. Later, Lu Tanwei suffered a series of strokes. So I know that calligraphy and painting use the same method. Wu Daozi, China dynasty, walked alone in ancient and modern times. He has never seen Lu Gu before, but he hasn't been here since. He taught brushwork in Zhang Xu, and he knew that calligraphy and painting are the same as pens. Because calligraphy pens are accepted in different ways. Thus, different picture effects are produced, and the natural form produced by ink painting composition has extremely special emotional and spiritual factors. In Song Dynasty, Zhu wrote five methods in Volume III: Han Yue: The trace should not be thicker than the trace, and the point should not be smaller than the painting. That is, the composition of formal beauty of calligraphy. When Ke painted bamboo, he once said: "The brush is the same as seal cutting, the branches are the same as grass, and the leaves are the same as eight points, and the brushwork is also the same. This fully illustrates the relationship between calligraphy and painting. Because of the integration of calligraphy pen, handwriting has an unusual meaning in ink painting. Since the Tang Dynasty, this pursuit of the beauty of calligraphy rhythm has injected new vitality into the development of Chinese painting.
An important feature of formal beauty. It is very necessary to put forward the theory of homology of painting and calligraphy in the teaching of Chinese painting. China's calligraphy is closely related to Chinese painting, which is profoundly discussed in modern Huang's works: painting is all about using pen force, which can hold down the paper and then penetrate the back of the paper. However, the force should not be too rigid. If it is too rigid, it will be hard. Rigid China people are good paintings. The method of using a pen twists and turns in the formula in the book. Most importantly, then Chinese painting can be said to be the art of lines, which are the basis of Chinese painting, while China's calligraphy is the art of lines. The formation of Xu Wenchang's freehand brushwork splash-ink painting is based on his profound calligraphy skills. In calligraphy, the lines are pointed and scratched, and the center encourages the use of pens. Therefore, to appreciate Chinese painting, we must first understand China's calligraphy. The essential artistic conception of Chinese painting is.
Three, poetry, calligraphy, painting and printing constitute the formal elements of Chinese painting.
At first glance, the main elements of a Chinese painting in the picture are painting, printing, calligraphy and inscription. This constitutes the characteristics of Chinese painting. The first element of Chinese painting is artistic conception. Before drawing a picture, you must first make up your mind, and the quality of your determination determines the success or failure of the picture. Chinese painting should have poetic artistic conception. Su Dongpo once commented on Wang Wei's poems and paintings, saying: to view poetry by poetry, to view painting by poetry, and to express the artistic conception of Chinese painting by poetry in painting, we must first take poetry as the basis. For example, when Zheng Banqiao painted bamboo, there was a poem that said: Stick to the green hills and never relax. Standing on the cliff, Wan Ren is still strong, and the wind direction is southeast and northwest. Judging from this poem alone, it has painted us a beautiful picture in words and outlined the spirit of bamboo, which is upright, open-minded and not afraid of cold, which has determined the artistic conception of this painting. Banqiao wrote this artistic conception on paper with its profound calligraphy and painting skills, and then attached its own scattered streets to sublimate it.