What are the aesthetic characteristics of Chinese landscape painting?

The essence of Chinese painting is not only to convey the form and spirit of things to the audience, but more importantly, the painter will create the subject of the thoughts and feelings of the audience, so the art of Chinese painting in the observation of things is always "emotional". To feel the life with strong feelings, the so-called "mountaineering is full of feelings in the mountain, and to see the sea is overflowing with ideas in the sea". That is to say, when observing life, first of all, the painter himself needs to have sincere feelings, full of enthusiasm, as well as a strong interest, rather than making a cold and indifferent onlooker. In Western painting, the observation of things is limited to the object's shape, color, light and darkness, and it is limited by time and space. Chinese painting, on the contrary, our forefathers created many methods of observation, such as cold and warm view, static and static view, face-to-face view, before and after view, up and down view, inside and outside view, large and small view, small and large view, and all kinds of observation methods. These observation methods are scattered, mobile, without a fixed point of view and line of sight. To observe the object in many directions, and then to synthesize the impression of what you see in your mind, to put your feelings into the scenery, to achieve the realm of blending the scene, to express your feelings through the scenery, this is also the highest purpose to pursue in Chinese painting.

Observing the scenery with reason is another law of observing things in Chinese painting. Reason is the basic law characteristic of real life and the essential characteristic of things, which the painter analyzes and summarizes in his in-depth observation of life. The painter is required not to be confused by some accidental, temporary, individual and local surface phenomena when observing the object, but to grasp the basic, universal, ****same, stable and essential things. Chinese painting is characterized by the painting of the constant form of common sense (essence) and changes. Objects are the constant form of common sense, while the color, light and darkness of objects are the changing rules of common sense, which are false images; they are caused by the exposure of light. An object will show different colors and shades due to changes in the light environment. The surface of the object is composed of surfaces, there is no line, the line is our forefathers to observe and analyze and generalize and refine. It is not subject to the influence and limitation of time and environment, and it expresses the constant shape of the outer outline of the object with line. Therefore, the line in Chinese painting is rational, and observing things with the eye of line is to view the scenery with rationality. It can best capture the common sense and essential characteristics of things in shape and color, with obvious subjective initiative. As long as you grasp the unchanging nature and common sense of things, and understand the contingent changes of things, then no matter how diverse the world is, you can summarize its essence and common sense, and you can correctly express the essence of the characteristics of things. Therefore, Chinese painting can be "not like like for real like", although deformed and real, can use ink instead of color, can count the white as black, count the black as white, can be less than more, with a small view of the big, with a big view of the small. Therefore, when you learn to appreciate Chinese painting, you not only need to use your eyes to see, but also need to think. What Western painting pursues is a purely objective way of looking at science, a way of expressing the ever-changing appearances and contingent existences that characterize the individual forms of things in a particular environment. For example, if you paint three sketches from the same angle at three times of the day: morning, midday and evening, the colors and images will be different, and sometimes the brushes will not be able to keep up with the changes of the objects. As long as the Chinese painter is proficient in the law of things, realize the common sense of things, understand the common shape of things, can be left and right, without the limitations of time and space to "search for all the strange peaks to make a draft".

The third principle of observation in Chinese painting is to view the scene from the heart. Everything in life does not need to be observed one by one, we look at what is relevant to us, we do not look at what is not relevant, we look at what our attention goes to, and we do not look at what our attention does not go to, which is also people's habit of observation. Chinese painting painters is to "see what the heart sees" to observe things, coupled with the conscious pursuit of art and trade-offs, the main body of the object to strive for clear and clear and prominent, while other things and the background can be minimized, discarded, or even blank. So that the impression can be deep, clear and prominent, otherwise, it will be fuzzy. "External teacher of creation, in the source of the heart", is familiar with the objective observation of things, and then after the painter's subjective generalization, analysis, refinement of the formation of imagery, and then processed into an artistic image of the creative process. In fact, it is also a process of subject-object interaction in which the mind views the scenery, the mind thinks about the objects, and the subject and object interact with each other in response to the objects and images. Therefore, Chinese painters believe that mechanically copying nature is the most unproductive. "Touching the eye across the ten million, only two or three branches to appreciate the heart", as long as the two or three branches of the other can turn a blind eye to this typical method of refining and generalizing things, the traditional theory of painting is called "one for ten", "the appearance of the gods to take God This typical method of refining and generalizing things is called "one for ten" and "taking the spirit from the appearance. Western painting is to observe things as seen, completely like a camera lens to pursue objective reflection, is limited to a certain point of view, within the field of view; and Chinese painting to the heart of the landscape will be able to obtain full freedom, vertical paddling three inches, when the height of a thousand feet, horizontal ink a few feet, for the return of a hundred miles.

The aesthetic characteristics of landscape painting are mainly composed of the following aspects:

1. Form of Composition

The composition of Chinese landscape paintings requires the proper use of artistic laws such as "master and guest", "echoes", "reality", "concealment and exposure", "complexity and simplicity", "density", and "disparity". Plane composition in the depth of the relationship between the treatment is to take a unique "three far". Guo Xi of the Northern Song Dynasty said: "There are three mountains: from the bottom of the mountain and look up to the top of the mountain, known as the high distance, from the front of the mountain and peeping behind the mountain, known as the depth of the mountain, from the near mountain and look at the distant mountains, known as the level of the distant. The color of the lofty is clear and bright; the color of the profound is heavy and obscure; the color of the plain is both bright and obscure. The lofty potential is abrupt, the profound and distant meaning overlaps, and the peaceful and distant meaning rushes and blends and is indistinct." This three far method is similar to the Western painting in the upward (far), downward (far), flat (far), is a unique spatial processing methods, landscape painting in the large view of the small overhead method and scattered perspective (some people think it should be called pointless perspective) combined with the use of the mountains and mountains, thousands of miles of rivers and deep houses and wide yards are present in a painting, not only a huge painting and can be spread out the layout, but also so that the composition can be The composition can be extremely free to fully express the content and the momentum of the landscape.

The composition of landscape painting from the appearance of the form, there is a hall, banners, screens, banners, scrolls, albums, fans and so on. Picture composition form: s-shaped, V-shaped, c-shaped, three stacked two sections, open and close, symmetry, balance and so on. These colorful forms of composition for landscape painting adds a beautiful color, the same beautiful landscape, using different forms of composition, will produce different effects.

2, the language of ink and brush

The modeling skill of landscape painting is ink and brush, and the core of the skill of ink and brush modeling is line modeling. Chinese painting brushes, rice paper and other tools and materials are very suitable for the play of brush and ink skills, after thousands of years of artistic practice, formed a complete set of national characteristics of the expression of the method, constituting the unique modeling characteristics of landscape painting. Han Clumsy of the Northern Song Dynasty believed that "the brush is used to establish its shape and quality, and the ink is used to separate its yin and yang, and all landscapes are made from the brush and ink." The brush in landscape painting mainly refers to the line, point, surface, chapping, and the line is the main one. The brush focuses on outlining the contours and expressing the physical structure of the object. Ink, mainly refers to the black ink, sometimes also slightly color meaning. Especially in ink painting, ink is an important means to express the light and shadow of the object, color tone, as well as live in the visual caused by the intensity, the feeling of reality. In the process of modeling, the painter's feelings have been intermingled with the power of the brush, and the brush is everywhere, whether it is a K line or a short line, or a point or a block, are traces of emotional activity. The success or failure of the landscape painting modeling, mood or not, the key lies in the use of the pen.

To use the line modeling, to use the line to shape the artistic image of concentration, vitality, the painter must be stored in the pen penetrate their own deep thoughts and feelings. Therefore, the landscape painting is very concerned about the brushwork expression of emotion, which is an aspect of the identification of high and low levels of art.

The skill of the painter with the line is completely consistent with the power and skill of the brush. As the saying goes, "the power to penetrate the back of the paper" refers to the effect produced by the power of the line, the speed of the brush and the proper use of force. People's feeling for the line can only be shown when the line performance focused on the object, such as old, bold, elegant, smooth, heavy, etc.; people feel the temperament from the line, not only reflecting the temperament of the object, but also contains the painter's personal temperament.

The image of the line can also reflect the sense of beauty. Painter's brushwork and brushwork to hook the line is often all depends on the artistic merit and the experience of the line and cultivation. By ten painters of different qualities of temperament, the performance of different objects, but also to create a variety of programs off the line. Such as: "spring silkworms spitting silk" is a metaphor for soft and continuous, "such as cone paddling sand" is a metaphor for the power of the pen thick force; "force through the back of the paper" explains the pen's calm and powerful; "Sheep in the winding needle" shows that there are internal strength and bone method; "house leak marks" refers to the foot of the pen heavy, stay; "gold file" is to describe the pen with a gold and stone knife and axe flavor, and so on.

Traditional landscape painting requires "the intention of the first pen", "a good idea", "the difference between the slightest and the loss of a thousand miles", the requirements of the line modeling rigorous and meticulous. Therefore, the achievements of landscape painting in the evaluation of the "brush painting see high and low" said.

The Ming Dynasty, Roy Shen said: "pen and ink is the most difficult to meet, with the realm and chapped, clear erosion in the pen, chapped and potential, hidden in the ink." Chinese painting ink and brushwork can not be divided, ink is to pen to performance, ink law of the wonderful, all in the pen out. If there is no ink, the brushwork is not reflected. Landscape painting uses ink as the basic color, and the ink method includes the degree of ink intensity and the change of black and white shades of ink. Ink is divided into five colors, namely: burnt, thick, heavy, light and clear five different shades of color. In fact, there are more than five colors when used. Ink color also has the interest of color change, there must be dry and wet, thick and light. The ink method is also a color method of landscape painting, landscape painting with color, emphasizing the "color does not hinder the ink". Tang dynasty Wang Wei said: "the painting road, ink and water is the most on the nature of the nature, into the creation of the work, or the map at hand, write hundreds of thousands of miles of scenery, the southeast, northwest, Waner at present, spring, summer, autumn and winter, born under the pen." South of this can be seen, ink and brush is an important symbol of landscape painting, landscape painting through ink and brush both shape and expression of expression.

3, mood taste

Li Keran said "mood is the soul of art, is the concentration of the essence of the objective part of the concentration, coupled with the cast of human thought and emotion, after a high degree of artistic processing, to achieve the scenario, the scene expresses emotion, so as to express the state of art; the realm of the poem is called the state of mind." The observation method and expression method of Chinese landscape painting are unique. Landscape painting uses the observation method of movement and change in expressing the image of time and space. This method of observing images is not based on sketching, but on visualizing and remembering to create artistic images. Guo Xi said: "Thousands of miles of mountains, can not be all the strange, ten thousand miles of water, can not be all the beautiful ...... a general picture of the version of the map is not the same?" Landscape painting to cut the essence of the landscape, but never like a map of the Bible as a list of landscape villages and towns. Another example is the Tang Dynasty Zhu Jingxuan said, "I heard the ancients cloud, the painting, the Holy also, the benefit of poor heaven and earth is not to show the sun and the moon does not light, waving the pen of the fiber Bo, then all kinds of by the heart, the exhibition of square inches of the energy, and thousands of miles in the palm of the palm of the invisible murder of ...... to be born". Intangible because of the birth, that is, "write the heart", not for the objective world of the object of constraints. Emphasize the painting of all kinds of by the heart, complementary to heaven and earth, the sun and the moon do not come. It does not become a mere imitation of nature, but expresses the beauty of the landscape painting's mood.

Tang Dynasty Zhang Yi put forward the "external teacher of creation, in the source of the heart" creative thinking has been regarded as China's fine tradition of painting. And as Shi Tao of the Qing Dynasty said, "The face is from the heart." In landscape painting, the penetration of spirit is the most crucial. Chen Chuanxi pointed out: "landscape painting not only needs traditional skills, needs to learn from nature, but also needs the impulse of beauty, with the impulse of beauty, is to stir up a strong desire to create, the impulse of beauty comes from the view of the beauty of the landscape, the view of the beauty of the landscape, to find out the artistry of the landscape itself, to grasp the materiality and the spirit of the landscape, and then, in the beauty of the appreciation of the satisfaction, it will be 'desire to seize its creation' and create." In the face of the richness of nature, how to create Ⅲ a landscape landscape mood with changes, unity or a distinction between primary and secondary? Guo Xi proposed to "paint to see its elephant, but not for the chopping and carving of the shape" and "paint to see its general idea, but not for the traces of carving and painting." This is the natural world in the landscape to the picture must grasp the law, in the "elephant" and "big idea

" under the command of the city has a primary and secondary, there is the perfect mood of reality. Therefore, landscape painting is not subject to the constraints of time and space, and the painter strives for the expression of a comprehensive feeling for nature, and fully depicts his ideal interest in nature, in order to achieve the situation of "to be seen, to be lived in, and to be traveled in". "The pursuit of the landscape painting is the life of the landscape painting, which is to take the spirit from the appearance.