Artistic characteristics of capitalist painting

1. Write God with form, write meaning with God.

From ancient times to the present, Chinese painting has always been centered on the question of form. In the nascent stage of painting, due to poor modeling ability, the shape is simple and childish, is plausible, can also be said to be "to express the shape". With the accumulation of painting experience, the function of writing shape greatly improved, entering the stage of "writing shape with shape". However, with the development of the times, painters were not satisfied with the resemblance, and gradually realized the importance of "divine resemblance". That is, in the modeling to express the inner essence of the object's spiritual outlook and character traits, to really achieve the purpose of painting.

The first to put forward the theory of "writing God in shape" was the figure painter Gu Kaizhi. Later, the theory was extended to the field of Chinese pictorial painting, and gradually became the concept of "writing the mind with the spirit". It is the concept that Chinese pictorial painting got rid of the limitation of natural form, and pursued the emotion of expressing with brush and ink as the carrier. As a result of opening up the free space of expression, the image of the painter not only jumped out of the constraints of the reproduction of objective objects in a particular time and space, but also avoided too much arbitrariness due to the limitations of the shape. So that the works are not only from life, but also higher than life, both the concept of form, but also the self-expression of emotions, to achieve the perfect illusion of the realm. However, due to the painters' perception of the natural objects are very different, the aesthetic interests of each, so the Chinese artists of the concept of shape and God will have a different emphasis. The aesthetic demand of the Chinese realistic painters is to emphasize the realism of objective objects and the subjective sense of expression, so as to achieve the purpose of transmitting God by form and giving equal importance to form and God, such as focusing on the realism of the workers and writers belongs to this kind of work.

Small sketch painters pay attention to both the shape of the constraints, but also pay attention to the spirit of nature and the self state of mind, the combination of emotions, to achieve a sense of peace, elegance and vulgarity **** appreciation of the realm. Painters emphasize the self-emotional outpouring, natural objects in the shape is only a carrier for the expression of feelings, can not be completely dependent on the objective object of the independent beauty of the image. In the painter's brush, some details of natural objects can come when called and go when swept away. Imagery to create nature, to God to write the expression of the highest state.

There have been many insightful discussions on the theory of form and spirit throughout the ages. Su Shi of the Northern Song Dynasty put forward "painting in the form of similarity, see and children's neighbors", although not too biased, but the point is clear. The Yuan dynasty Ni Yunlin's "Yat brush sketchy, do not want to look like", is a kind of radical words of literati painters. Neither of them defined the relationship between form and spirit clearly. The most precise exposition of the problem of form and spirit in Chinese pictorial painting was made by Qi Baishi, who said: "Not similar to deceive the world, too similar to flatter the common people, and the beauty lies between similarity and non-likeness". Like and not like between there is a certain space, the painter in the process of painting, actively to crop the inner nature of the elephant that is the pursuit of charm, in order to achieve the purpose, we must emphasize the characteristics of the image, exaggerated, the shape of the necessary generalization, selection, generalization. This process is called "taking the god from the appearance", and this concept of modeling is called "imagery modeling".

2, the bone method of brushwork, calligraphy into painting.

"Bone method of brushwork" is the second of Xiehe's six methods, and it is the most important two concepts of the six methods with "vividness". "Bone method" refers to the objective object of the structure of the form and spirit, "with the brush" is the method of brush, brush skills and artistic expression. In the Tang Dynasty, Zhang Yanyuan put forward in "Six Methods of Painting" that "Bone and air, shape and appearance are all based on the intention and return to the use of the brush". This means that the connotation of "bone qi with brush" is very rich, it not only expresses the basic structure and charm of the objective object, but also expresses the subjective feelings and artistic creation of the painter. In the pictorial painting, the brush and ink also have independent aesthetic value, which is manifested in the beauty of the form produced by the special method of using the brush, as well as in the interest of the brush and ink.

Mr. Huang Binhong, according to the aesthetic requirements of Chinese painting, summed up his predecessors and his own creative experience, the use of the brush is attributed to the five methods of flat, round, stay, heavy, and change, he said: "The brush must be flat, such as a cone paddling the sand; the brush must be rounded, such as a folded hairpin, such as a soft gold; the brush must be stayed, such as a roof leak marks; the brush must be heavy, such as a high mountain falling stone." The above is the pursuit of a realm of the pen, as for the specific operation of how to flexibly grasp, but also know a "change" word, to leave room for maneuver, to grasp a good sense of proportion, too much of the same is also a drawback. Huang Binhong, Qi Baishi, Pan Tianshou, Li Keran and other Mr. pursuit of the line of the heavy and deep, pay attention to the role of the stay, so the line is relatively slow, but not everywhere is slow, the fast time or to fast. Some painters pursue the line of fluent, relatively fast brush strokes, there is a sense of grandeur, a breath of fresh air. As for how to be good, this is related to each person's practical experience, aesthetic taste, can not be forced to be uniform. As for the pen in the pale, old, alive, loose, astringent, strong, hairy, straight, round, thick artistic effect, a "change" can be summarized by the word, rely on the practice to experience to grasp the flexibility.

All in all, the Chinese brushwork of the Chinese ideographic paintings in the performance of force, the so-called "force through the back of the paper", "force can carry the tripod," said, but never brute force. Try to Mr. Qi Baishi ninety years old, the hand is no longer tied chicken strength, but the painting is still able to penetrate the tip of the brush. This is because the old man with many years of strength, even if the use of small force, to the tip of the brush is more than enough. If you don't understand this principle, it is futile to use a lot of strength.

The Chinese brushwork in pictorial painting comes from calligraphy, and the idea that painting and calligraphy have the same origin was formed in the Tang Dynasty. Zhang Yanyuan in the "record of famous paintings through the ages" said: "the image of the object must be in the form of similarity, similarity must be all the bones of the bone, the bones of similarity, are all based on the intention and return to the use of the pen, therefore, the artist is good at painting more books." After the Yuan Dynasty, China's literati painting developed to its heyday, and Chinese literati painters paid more attention to the book into the painting. Practice has proved that if there is no calligraphy foundation as the basis of painting brushwork, it is very difficult to achieve the pure artistic realm of Chinese pictorial painting. Zhao Zhiqian of the Qing Dynasty used the brushwork of the Weibei in his paintings, and Wu Changshuo used the brushwork of the Stone Drum Script in his paintings, which are well known as typical examples in the painting world.

The use of books in Chinese painting not only plays a key role in the form of fine brushwork and ink, but also increases the aesthetic value of brushwork as a factor that is independent of the object. With the book into the painting, the painter in the process of subconscious expression of the brush, can be directly injected into the author's thoughts and feelings, broadening the field of expression, enhance the quality of the basic elements of the picture, thus greatly enhancing the artistic appeal of the work.

3, the pursuit of the mood, the object to send feelings.

Chinese painting, since the Yuan Dynasty, due to the intervention of the literati, has been the pursuit of the beauty of the mood in the first place, the painter's literary training is directly reflected in the work, "poetry in painting, painting in poetry" has become not only the elegance and vulgarity of Chinese painting, superiority and inferiority and the difference between the literary and wild, but also an important criterion for the measurement of the painter's artistic cultivation level. The important criterion.

The creation of mood depends not only on the painter's in-depth study of objective objects, but also on the active activity of the painter's subjective feelings. This is consistent with Zhang's "external master of creation, in the heart of the source". The touch of the scene must be outside the creation, driven by the aesthetic psychological factors of the painter, to play "in the heart of the source" of the creative process, to achieve the purpose of expression of feelings and meaning. As the internal cause of the cultivation of knowledge, first of all, in character, China since ancient times, there is a tradition of painting, the so-called "character is not high, the pen can not", "character that is the character of the painting", the painter's character cultivation, sentiment taste is the dominant internal cause of the creation of mood is actually a true reflection of the works of the character level. The creation of mood is actually a true reflection of the work of character. Wang Coronet painted plum: "do not want people to praise the color is good, only to leave a clear air full of Qiankun". He used the high purity of the plum to slander his own character and cultivation. Zheng Banqiao painting bamboo: "Nga Zhai lying down to listen to the Xiao Xiao bamboo, suspected folk suffering sound." Qi Baishi's work "Frogs in ten miles out of the mountain spring", did not paint frogs, only painted a few tadpoles, but the sound of frogs in ten miles as ringing in the ears. If these works give up the poetic mood, the elegance of the style will no longer exist.

Throughout the generations of outstanding Chinese painting artists, despite the different styles and appearances, the achievement is based on the work of the elegant tone, and the pursuit of the tone of the work, but also to the first element of the mood. Bada Shanren created a lonely and desolate space mood and lonely and cold art modeling, and his inner world into one, become the language of expression of inner feelings. Xu Wei's large-scale writing and ink gesture is his unrecognized talent, the hero's state of mind. In these painters, the objects, brush and ink have become the means of expressing their emotions, "sending feelings to objects" and "expressing one's will through objects", so as to achieve the realm of blending of objects and me. Chinese pictorial painting pursues the creation of the mood outside the painting, the characteristics of poetry into the painting, which is one of the important reasons for its intriguing, and thus achieved a unique artistic effect that is difficult to reach other types of painting, which is also the spirit of Chinese pictorial painting enduring, and it is also the pictorial painting that can best reflect the characteristics of traditional Chinese aesthetics emphasizing the expression of the most. Therefore, Chinese pictorial painting in the world of art has a glittering status.