History of China's Painting

Chinese painting originated in ancient times, and hieroglyphics laid the foundation; At first, there was no difference between writing and drawing, and the meaning was the same. There is a saying in China that calligraphy and painting are homologous. Some people think that Fuxi's painting hexagrams and Cang Xie's writing hexagrams are groundbreaking. There is no difference between writing and drawing. Pottery is the product of Neolithic Age, which can be divided into black pottery, white pottery and painted pottery. On painted pottery unearthed in banpo village, an important Neolithic site, fish chased each other and deer jumped. An imitation boat-shaped pottery pot from Yongjing, Gansu, makes us feel like we are on the shore. There are also three groups of five people walking hand in hand on the dance color basin found in Sunjiazhai, Datong, Qinghai, showing youthful vitality. It is the foundation of studying the history of Chinese painting. In the late Neolithic period, the earliest bronzes in China were found in Xindian and Longshan cultural sites, which were both artifacts and arts and crafts. Common bronze decorative patterns include Yantun pattern, Yun Leiwen, Kuiwen, Dragon pattern and Tiger pattern. And the human body is also a useful decorative pattern. The double-nail-made pattern with a curly tail is very beautiful. Painted pottery basin with dance pattern

Decorative paintings on bronzes can be divided into two categories. One is to describe the etiquette activities in aristocratic life, such as feasting, shooting ceremony, table sacrifice and so on. The other is to describe land and water attacks and wars. For example, Zhao Gu's Carving Bronze Sword embodies the ritual activities of aristocratic life. The other is to depict the image of amphibious assault, represented by the textbook of amphibious assault warfare published by Shanbiao Town. Other bronze pots in Baihuatan and banquet bronze pots in the Forbidden City all have pictures of war scenes. In these pictures, there are plots such as land-water war, solid wall defense and ladder attack. There are also descriptions of water warfare and land warfare, showing the details of charging and killing the enemy. Some soldiers hold swords and halberds, others hold swords and spears, and their images are vivid. These artistic techniques greatly inspired and influenced the stone carving and brick carving of Han painting.

Chinese painting has a long history. As early as 2000 years ago, silk paintings appeared in the Warring States period, before which there were primitive rock paintings and painted pottery paintings. These early paintings laid the foundation for later Chinese paintings to take lines as the main modeling means. During the Han, Wei, Jin, Southern and Northern Dynasties, the society changed rapidly from a stable unity to a split, and the impact and integration of foreign culture and local culture made painting mainly religious, while local historical figures and literary works took a certain proportion, and landscape painting and flower-and-bird painting also sprouted at this time. At the same time, consciously grasp painting in theory and put forward evaluation criteria. During the Sui and Tang Dynasties, social economy and culture were highly prosperous, and painting also showed all-round prosperity. Landscape painting and flower-and-bird painting have matured, religious painting has reached its peak, and there has been a tendency of secularization; Portraits mainly show aristocratic life, with characters with characteristics of the times. By the Five Dynasties and the Song Dynasty, it was more mature and prosperous, figure painting had turned to depicting secular life, religious painting had gradually declined, and landscape painting and flower-and-bird painting had become the mainstream of painting. The appearance of literati painting and its development in later generations greatly enriched the creative concept and expression method of Chinese painting. During the Yuan, Ming and Qing Dynasties, ink and wash landscapes and freehand brushwork of flowers and birds got outstanding development, and literati painting became the mainstream of Chinese painting, but its last stream went to imitation, which was farther and farther away from the times and life. Since the end of 19, western artistic expressions and artistic ideas have been introduced into Chinese painting for a hundred years, and many schools, famous artists and constant reforms and innovations have emerged in the cultural environment that inherits the traditional Chinese painting. /kloc-After the 9th century, a large number of painters gathered in Shanghai, Beijing (including Tianjin), Guangzhou and other central cities with developed political economy, that is, Jiangsu and Zhejiang painters with Shanghai as the center, such as Ren Yi, Xu Gu, Wu Changshuo, Huang, Liu Haisu, Pan Tianshou, Zhang Daqian, Fu Baoshi, Lu. Northern painters with Beijing as the center, such as Qi Baishi, Jin Cheng, Jin Cheng,,, Jiang, and Li Keran. A group of Lingnan painters with Guangzhou as the center, such as Gao, Chen, He Xiangning,,, and so on. With the changes of the situation and times, painters in the above areas have also migrated. For example, during the War of Resistance against Japanese Aggression period, many painters came to the southwest. After 1949, many painters, such as Zhang Daqian, Huang Junbi and Zhao Shaoang, moved abroad and Hong Kong and Taiwan. Today, most provinces and cities in China have established painting academies. In addition to the three centers, many new centers have emerged, and the number of painters has expanded unprecedentedly. Among the modern painters in China, many painters inherit and adhere to the basic pattern of traditional painting. They either follow the principle of imitating and inheriting the techniques and demeanor of the previous generation of painters, or try to change while inheriting the tradition and form their own style while preserving and developing the tradition. The former includes Jincheng and Gu, while the latter is represented by Qi Baishi, Huang and Pan Tianshou. Since the May 4th New Culture Movement, with the massive introduction of western art and the deepening of the anti-feudal struggle, the reform of Chinese painting has become a new trend of the times. Represented by Gao, Liu Haisu, Xu Beihong, Lin Fengmian and others studying in Japan and Europe and the United States, he advocated that the realism of western art and the creative concept of modern western art should be integrated with traditional figure painting in China, which blazed a new trail for the reform and innovation of Chinese painting and made the traditional painting in China glow with new brilliance.

A new life. Among them, Gao and other Lingnan painters advocate compromise between China and foreign countries, integration of ancient and modern, and combine Japanese painting with traditional water-rushing, powder-bumping and boneless painting to create a new style with a strong sense of the times. Xu Beihong integrated the realistic techniques of western painting into traditional pen and ink, which enriched the expressive force of Chinese painting. Lin Fengmian harmonizes China and the West, absorbs the simplicity and vitality of folk art, and forms his own unique style with far-reaching artistic conception and novel form. In addition, Chen Zhifo integrated the colors of Chinese and foreign decorative arts into the creation of meticulous flower-and-bird painting, and Zhang Daqian borrowed some techniques of western abstract expressionism to create splash-ink painting; Inspired by western painting, Li Keran directly sketched and created. Wu Guanzhong used the tool materials of Chinese painting and the forms and concepts of western modern art to express the traditional poetry and realm of Chinese painting, and made important achievements. With the changes of the times, Chinese painting has changed from the aristocratic art of literati and nobles to the "people's art", from the ivory tower in the past to a crossroads. Chinese painting has undergone profound changes in theme and content. Painters turned their attention to social reality and created a large number of outstanding works with the characteristics of the times.

Innovation and Inheritance of Chinese Painting in the 20th Century

19/kloc-The May 4th Movement broke out in 0/9, holding high the banner of the New Culture Movement against feudal culture. In the field of fine arts, artists who advocate innovation respond to the call of the new culture movement and create new fine arts that meet the needs of the times by transforming traditional Chinese painting. In the process of this change, some artists actively introduced sketching and realistic methods of western art, and at the beginning of the century, a craze for learning western painting and establishing art schools was formed. The "realistic transformation of Chinese painting" mainly aims at the changes of literati's ink painting in Ming and Qing dynasties, simulates the brushwork of the ancients and lacks new creation. Comparing the works of realistic painters represented by Xu Beihong with those of ancient painters, we can partially understand the characteristics of this change.