How to express the virtual and real in Chinese painting

The concept of "leaving white space", "using white as ink", and "viewing emptiness with reality" is used to express the picture, giving people more space for imagination. Chinese painting emphasizes on the meaning, "meaning outside the image". This is the embodiment of the humanistic temperament of traditional Chinese painters, which also refers to human thoughts, emotions and interests. It is the subjective spirit of man, the manifestation of his mind, and the true experience of nature, society and life. All the images in the painting and the meaning outside the painting produced from the sincere experience can always impress people. However, the expression of meaning always needs to use images, "borrowing things to express emotions". There is no shape, "meaning" has no support, the so-called "wonderful in the seeming and not like between", is the picture of all the factors are blended just right, very in place, so the Chinese painting is a kind of "imagery"! Therefore, Chinese painting is a kind of "imagery" art, in which "meaning" plays a dominant role and "image" is subordinate to "meaning". To create images with the "intention", everything is done with the "intention".

The image is "real" and the meaning is "virtual". Each painter has his own unique perspective and artistic treatment on the expression of the art form of painting, and reflects the concept of the aesthetics of the times. The innovation of painting, must be widely borrowed and absorbed, from a variety of strengths, in the choice of subject matter from a new perspective to express things, which not only to a certain extent enriches the artistic expression, but also open up a new aesthetic field. Only by absorbing widely and exploring boldly can there be a way out on the road of painting; only by having a keen mind, being tolerant and generous, and daring to transcend, can the road of art be wider and wider.

Painting is a visual art, and the visual image of beauty in painting is formed through a thousand refinements. Chinese painting emphasizes line modeling and calligraphic brushwork. Line modeling is the modeling language of figure painting, and it is an important factor that constitutes the formal beauty of Chinese figure painting. Through the pursuit of the inner qualities of line, such as air, bone, rhyme and power, combined with the specific requirements of the "medium-front shape of the brush" and the "bone method of using the brush", the complicated natural objects to be expressed are organized, and the modeling factors that make up the picture are purified with the line, so that the image in the picture can be condensed. Thus, the image in the picture is condensed. Chinese painting is a composition of scattered perspective, pursuing the rhythm of dots, lines and surfaces on a flat surface. It organizes things of different time and space in the same picture, and makes them more harmonious and perfect with its own programmed language. The color of Chinese painting is not the reduction and reproduction of natural objects, not affected by the color of the light source, the environmental color and the inherent color, but to summarize the needs of the picture, coupled with the author's feelings to play independently, the color is not to express the realism of the color of the natural objects, but to create a picture of the mood and the mood of the need.

The real objects are presented in the picture through certain external artistic expressions to express the painter's aesthetic understanding of real life and aesthetic ideals. The so-called virtual in figure painting is the aesthetic emotion and aesthetic thought presented in the painter's picture. Different times and changing concepts of painting, the concepts of emptiness and reality have different understandings in the mind of each artist. The real part of the figure painting is always the image of the characters with different demeanor, while the virtual is the hidden form of imagery behind this form of picture, and every painting has both real and virtual, forming the relationship between the real and the virtual picture. Each work is in the "real and imaginary" blend to form the meaningful painting form pursued by the painter, it is also the process of "object image" and "mind image" blend, it is the painter's subjective emotion and It is also the process of blending "object image" and "mind image", the subjective emotion of the painter and the external object image, which is the monologue of the painter's mind. The artist pays great attention to conveying emotions through the images he creates, and pursues a mood through the principles of imaginative composition, imaginative modeling, and imaginative use of color. Chinese painting in the composition, modeling, coloring, all abide by the characteristics of ideograms, the figure painting also follows the essence of Chinese painting ideograms.

In composition, Chinese painting emphasizes "white space". Blank space can give the viewer a rich imagination, and can achieve the realm of "no sound is better than sound". The "white space" of Chinese painting is the aesthetic realm pursued by traditional Chinese painters, and is the condensation of thousands of years of Chinese culture. The art of leaving white space is a major feature of Chinese painting and one of the techniques of traditional Chinese painting. Where white space is left, painters use calligraphy, poems, seals and so on to make up the white space. With the development of Chinese ink painting in the field of Chinese painting, Chinese painting has always emphasized the artistic principles of "seeing the plain and embracing the simple" and "counting the white as ink", which can be said to have profoundly influenced the compositional learning of Chinese painting, and allowed Chinese artists to compete for thousands of years to tap into it, and enjoy it. This is also the most obvious difference from Western painting. Modern figure painters follow the principle of "writing God with form" in Chinese painting: form refers to the visible shape, image, and form of objective things, which is also the "image" mentioned above, and is the real part; God refers to the connotation of things, spiritual temperament and chiaroscuro. God refers to the connotation of the thing, the spiritual temperament and flavor, which is the imaginary part of the picture. Therefore, when a painter expresses an object, he must first move the author's feelings into the object, familiarize himself with its life, and correspond to the author's inner feelings, combine the image with the skill configuration, and allow the painting.

Therefore, Chinese painting not only emphasizes the "likeness", but also emphasizes the "resemblance", and only by achieving the resemblance can we more y reveal the essential characteristics of the object and create a touching artistic image, which is also a manifestation of the "resemblance" of reality and emptiness in the modeling of Chinese paintings. This is also a manifestation of the combination of reality and falsehood in the modeling of Chinese paintings. At the same time, the modeling of Chinese painting uses lines as the main means of expression. Line is the most basic language in the modeling of Chinese painting, which is extracted by the painter from the objective world, the culture of the painter's subjective spirit, the carrier of the painter's subjective spirit, and the embodiment of the painter's character. Through the length and thickness of the line, the rigidity and flexibility, the lightness and severity, the thickness and dryness, the twists and turns, the painter expresses the contour, volume, contrast of light and dark, rhythm, etc. of the object and the relationship between reality and falsehood. In the figure painting, those figures that are born with the line are the expression of the painter's state of mind and the expression of his emotions. The development of line drawing in Chinese painting comes from life, and it is extracted and generalized from life. The use of line in Chinese brush figure painting fully embodies the charm of line in traditional Chinese painting. In addition, besides the expression of emotion, it can express the three-dimensionality, distance and nearness of objects, and has rich expressive power. In traditional painting, the "spring silkworm spitting silk" type of line drawing is used to express the hair, while the line drawing of the clothing pattern is generally the outer outline line, the line expressing the structure should be thicker, and the inner auxiliary line should be thinner, which not only strengthens the sense of wholeness, but also distances it from the background, making the whole image more distinctive. The expression of the skin often uses soft lines, these lines are used in the center of the brush. The reason why the traditional brush is used is that the middle line is tough and thick, which helps to make up for the thinness of the flat modeling. The pursuit of line drawing in figure painting is to express the meaning of the rhyme, making it a form with meaning and connotation, and forming a variety of changes in shape and meaning, emptiness and reality, stillness and movement, softness and rigidity. On the one hand, it changes with the "quality" of the object, and at the same time, it changes with the "God" of the painter's spiritual world, which is the centralized embodiment of the aesthetic consciousness of Chinese painting, and it is a combination of "virtual" and "real" on the line. It is a concentrated expression of the aesthetic sense of Chinese painting, and is the embodiment of "virtual" and "real" online modeling.

Xie He of the Yuan Dynasty put forward the idea of "assigning colors according to categories" in the "Six Methods", which explains the basic starting point of Chinese painting in terms of color: the colors painted by the artist not only change with the change of objective objects, but also change with the change of the artist's subjective spirit, which is a reflection of the artist's subjective feelings. It is the ideal expression of the painter's subjective feelings. It is different from the realism of western painting, and does not follow the color theory of western painting. It does not have the limitation of environment color and condition color, and it can only use the same color to express the object by painting and rendering. Harmony of colors is achieved through the change of color shades and the contrast of color configurations. This is the use of color for imagery in the concept of Chinese painting, and it is also the expression of the artist's use of color in a way that is mutually exclusive. In creation, the painter should always keep his own personality and fresh feeling in order to give the color emotional connotation. My paintings also follow the concept of color in Chinese painting, because color is the direct expression of emotion. When I set the color, I try to make the colorful Mongolian costumes look calm and atmospheric; paintings with simple and rich colors, and strive to color ancient thick, elegant, subtle, fully reflect the spirit of the Mongolian temperament and personality, while expressing my own aesthetic view of color.

"Void" is essential and abstract, and the requirement of "reality" is profound and perfect. The two belong to the aesthetic category of opposites and unity. Composition, modeling, and coloring, the concept of creating the real and the imaginary is always present in both traditional and modern brushwork figure paintings. If the work overly pursues the real part and neglects the nourishment of the virtual, then the picture will be mediocre without moving power; while overly pursuing the concept of virtual, without the molding of the real part, then the work will not be able to stand. So how to better utilize the relationship between "virtual and real" is the key to the success of a piece of work.