Aesthetic Artistic Features of Landscape Paintings in Song and Yuan Dynasties

As a category of Chinese painting, landscape painting has made great progress and achievements in the transition period from classical form to modern form in the past hundred years. In the middle and late 20th century, another historical peak was formed, represented by Huang, Fu Baoshi and Li Keran. In recent years, the theme of landscape painting has become more open, with richer forms and styles, and a number of outstanding and representative young and middle-aged painters have gradually matured.

Tradition and innovation are still the focus, and the development and reform of traditional landscape painting has reached a consensus. However, most painters who advocate the reform of Chinese painting, in view of their historical experience and their own artistic practice, do not advocate abandoning the tradition of landscape painting, but advocate the attitude of learning, research, inheritance and excavation. They believe that the transformation of traditional landscape painting should have a basic attitude and starting point, which is to inherit the tradition of Chinese painting and innovate under the premise of inheritance. Inheriting tradition means preserving the national aesthetic characteristics of the artistic essence of Chinese painting. The national aesthetic feature of Chinese painting is the essential feature and lifeline of Chinese painting. Chinese painting embodies elements of China's thought, culture and art for thousands of years. As the most unique and appropriate representation of China people's aesthetic psychology, it has had a great and far-reaching impact on the whole oriental culture. Its historical and practical significance lies in that it belongs to the East and the Chinese nation. As an important part of traditional painting in China, landscape painting has left many valuable experiences for our future generations. In the past century, the achievements made by landscape painters such as Huang, Qi Baishi, Li Keran, Fu Baoshi and Shi Lu on the basis of inheriting and transforming the landscape painting tradition show that the landscape painting tradition is still full of strong vitality in the new historical period. How to explore the essence of landscape painting tradition and make it serve the new spirit of the times is still an important topic for every painter engaged in landscape painting creation. The concept of "reviewing the past and learning the new" means that learning tradition is to create new ideas. Learn to preach

After the starting point of the system is solved, the method is also very important. It is important to grasp the spiritual essence of tradition as a whole in order to

Macroscopic observation of the profoundness of tradition. Otherwise, it is inevitable to make the mistake of "one leaf is blind" and it is easier to fall into some limitations and deviations. In addition, learning tradition should take the modern spirit as the value orientation, the painter's personality creation as the main body and the real life as the basis.

As a product of feudal agricultural socio-economic and classical cultural background, the time and space on which ancient landscape painting depended for survival has disappeared, and it is inevitable that traditional landscape painting will transform into modern form. In fact, modern landscape painting has opened a considerable distance from traditional landscape painting, and there are many differences in form, style and spiritual connotation. Modern landscape painting is certainly more in line with the aesthetic psychology of modern people and more suitable for the cultural environment of modern society. Another characteristic of modern landscape painting is the diversity of aesthetic style and the richness of technical language. The artistic pattern of reform and opening up, frequent communication with the world art and the ever-changing modern life provide external conditions for modern landscape painting to create new artistic language. The meaning of "nature taught by foreign teachers" in traditional painting theory is being more widely understood by painters. In the new concept of attaching importance to the painter's individuality and originality, and in the realm of pursuing harmony with nature and harmony between man and nature, the traditional painting theory of "getting the heart from China" is encouraging painters to be more creative. The principle of "nature from the outside to the inside, mind from the inside to the outside" seems to last forever.

Glowing with the new spirit of the times, it can be called an eternal theory.

Many painters devote themselves to creating new artistic language of landscape painting, and have gained something. At the same time, they also realize that this kind of creation is not water without a source, a tree without a root. The new artistic language of landscape painting should be the continuation and innovation of the traditional artistic language of landscape painting. At present, it is difficult to establish a brand-new artistic language of landscape painting that is completely anti-traditional and does not contain traditional continuation factors, and it does not conform to the law of artistic development itself. Practical creative practice has proved that many paintings

Economists are also constantly exploring the factors of modern consciousness from traditional elements. A new understanding of tradition has become one of the most modern concepts of modern painters.

After the rise of modernism in mainland painting in the early 1980s, the so-called "new prose into painting" became popular in the middle period. This kind of painting style, which looks very traditional literati and pays great attention to traditional pen and ink, just shows that China painters have awakened from the dilemma of pursuing western modernism, reconsidered the national foundation of their own art, and rediscovered the factors of seeking modern development from the tradition of national art. Unfortunately, New literati paintings's so-called practice is not a successful practice, because it.

Or simply renovate the formal style of traditional literati painting, which is basically limited to the innovation in form, but the innovation and promotion of the spiritual connotation of traditional literati painting is limited. Another fatal weakness of New literati paintings is its isolation from society and life. The experience in the history of art development proves that no art can achieve great development and achievements if it is divorced from society and life. It can leave little trace in the history of art development.

In recent years, another noteworthy phenomenon in the painting world is the study of yellow ink landscape painting, and a group of painters who formed a class by deducing ink landscape painting techniques. Although Huang Binlao's art was highly respected in the past, it has never been respected and valued by the whole painting world as it is today, and even formed an atmosphere. Theorists reinterpret his painting theory, and painters rush to his works to find their feelings and ways out. From these phenomena, at least two problems can be seen. First, the tradition of Chinese painting is still full of vitality, and its resources still have room for exploration; Second, re-examining the tradition with modern value orientation and methodology may lead to many unexpected discoveries. These findings may promote the formation of a new modern artistic language of Chinese painting. Whether this phenomenon can be used as evidence to prove that some basic factors in the tradition of Chinese painting, such as "pen and ink", cannot be lost. In the principle of Chinese painting, pen and ink are undoubtedly very important, which embodies the aesthetic characteristics of Chinese painting art and profoundly reflects the traditional culture of China.

Spiritual essence. However, the understanding of pen and ink should not be limited to the level of form and technique, but more importantly, its spiritual level. It is necessary to further study and discuss this problem. In a word, the traditional artistic language of Chinese painting is still the inseparable background and source of creating the artistic language of modern Chinese painting. In this regard, some commentators criticized the so-called "pen-and-ink-centered theory". It is true that pen and ink is an important part of China's traditional painting art principle, but it is definitely inappropriate to take it as the central standard for judging modern Chinese painting in a static and extreme way. Fortunately, we can see that this so-called "pen-and-ink-centered theory" does not dominate the current painting and criticism circles. How many contemporary painters are proficient in pen and ink and can use it to teach people? Therefore, we might as well shift our energy from criticizing the theory of pen and ink to studying, excavating and reforming it. So as not to let Chinese painting lose any "center" and all traditions, and as a result, Western modernism took its place, and they became the "center" of the so-called "modern ink painting art". Imagine the result of the transformation from China's classical painting art to modern ink painting art, who can agree with it? ! Our worries are not groundless. Now there is a proposition in the theoretical circle that the title of Chinese painting has greatly hindered the modernization process of Chinese painting and affected its international expansion and integration with world art, so the title of "Chinese painting" should be changed to "ink painting" and then the word "modern" should be used. Frankly speaking, China's paintings can be replaced by "modern ink painting". Obviously, the key of this theory is not simply to change the title, but to replace China's painting art with western modernism, and China's painting art is thus "modernized" to the west. If you don't believe me, please note that the arguer has clearly indicated that it is an inevitable trend for the development of ink painting to move towards abstraction. It can be seen that the word "abstract" before "modern ink painting" will become "pumping" in the future.

Such as modern ink painting. "We don't think that' ink painting',' modern ink painting' and' abstract modern ink painting' can't be produced and developed, but I don't know why it must be based on replacing Chinese painting. Therefore, those who advocate the abolition of Chinese painting have made three mistakes: first, they can't see the vitality of Chinese painting itself, so they always think that Chinese painting is dying; The second is an attempt to completely oppose tradition, resulting in nihilism and cancellation. The function of China's paintings is either to completely transform Chinese paintings or to replace them with western modernism, and these two functions are actually one-to cancel Chinese paintings; The above two mistakes led to the third mistake. What the discussant expected was actually the world of modernist art. As mentioned earlier, since the introduction of western art, the art circle in China has changed the dominance of traditional Chinese painting and formed a diversified and multi-style pattern including Chinese painting. This is undoubtedly the progress of history. Nowadays, people who advocate "abstract modern ink painting" want to catch all the painting circles and establish a unified world of modernism. Whether this is progress or retrogression is worth thinking about.

Of course, landscape painting, a new artistic language, should learn from all artistic forms at home and abroad extensively, so its formal style must be rich and varied. The connotation and tolerance of landscape painting, a new artistic language, is far from that of traditional landscape painting.

The new artistic language of landscape painting should also be explored from real life. In a sense, the creation of artistic language symbols is the visualization of people's spiritual life experience. Therefore, painters can't live without life and experience of life. In China's ancient literary theory, there has long been a theory that "climbing up the mountain is all about feeling, and viewing the sea is all about meaning", which discusses the relationship between man and nature from the perspective of artistic creation. Emphasize the meaning of "feeling" and "meaning" in the view of heaven and man. Reflected in landscape painting, it pays great attention to the artistic conception of the work. Mr. Li Keran thinks: "The most important problem in painting landscape painting is' artistic conception', and artistic conception is the soul of landscape painting." "What is artistic conception? In my opinion, artistic conception is the combination of scenery and emotion; Writing about scenery is writing about feelings. " "The emergence of artistic conception depends on thoughts and feelings, which are related to the depth of understanding of objective things." (Li See Keran's Random Talk on Landscape Painting) We found that some landscape painters, influenced by western modernism, overemphasized the concepts and philosophies in their works, and changed from abstract concepts to universal consciousness, which weakened the appeal of thinking and expressing the artistic images of landscape painting. Before these works, the viewer has another sense of preaching, illustration, obscurity and emptiness. The wind seems too long.

Vulgar typology and simple stylization in landscape painting creation are also worrying. On the one hand, due to the influence of commodity painting market, on the other hand, some painters are mediocre in painting style, eager for quick success and instant benefit, and do not pay attention to their own artistic accomplishment. Their artistic language is from information to information, just looking at the market, copying, copying. This pseudo-artistic phenomenon that vulgarizes artistic creation is the enemy of the healthy development of landscape painting. Therefore, emphasizing the painter's accomplishment and respecting the painter's serious artistic labor can make the real art

It is very necessary to distinguish between artistic creation and pseudo-art, which should be paid attention to by painters themselves, critics and the whole society.

In a certain period, the advocacy of pure theory in the theoretical circle is somewhat extreme, which leads some theorists to completely break away from the present situation and creative practice of the art world and are keen on introducing and manipulating the so-called new concepts and terms of western theory. Their articles are empty and obscure, which will make readers puzzled. There are also some critical articles, which are used to suppressing one thing and promoting two things, and are divided into factions, which have a great tendency to point out the painting world and judge painters. What painters need more is a theory that is fully discussed, specifically analyzed and combined with creative practice; Comments and criticisms that are more pertinent, more reasonable, more practical, more straightforward and more friendly to others are more popular. As for those so-called boastful and irresponsible comments due to man-made accidents or commercial considerations, painters hate them even more. In view of this, it is very necessary for theorists and painters to have an equal dialogue, strengthen understanding and discuss together.

Some specific problems in creation, such as the exhibition of Chinese painting and the traditional forms of Chinese painting, such as materials, tools, composition, mounting and display, mostly stem from the traditional needs of classical forms. In particular, the form of literati painting conforms to the appreciation psychology and life needs of literati. However, the creative mentality and exhibition environment of modern Chinese painting are quite different from those of ancient times. A painting is not only for three or two friends to enjoy after dinner, but also displayed in the exhibition hall, which forms a whole with the surrounding environment and shows it to more audiences. Therefore, the composition, mounting style and display mode of Chinese painting have obviously failed to meet the requirements of modern times. Of course, this superficial problem also affects the innovation of the spiritual connotation of Chinese painting. Generally speaking, it is a part of the transformation of Chinese painting from classical form to modern form.