Unique aesthetic value of Chinese painting

The unique aesthetic value of Chinese painting lies in its unique aesthetic viewpoint and category 1. Artistic conception is an important category of China's classical aesthetics, and it is also the most national aesthetic standard of China's traditional painting. It is not only the principle of painter's creation, but also the principle of appreciation. Image is the predecessor of artistic conception. Both image and artistic conception should be unified subjectively and objectively, and "things and I are one". The artistic conception is characterized by "the image beyond the image", "the scenery beyond the scene", "the charm of surprise", "the taste of surprise", "the words are endless" and "all are romantic without words". "Artistic conception" is the perfect fusion of emotion and scenery. Mr Zong Baihua pointed out in the article "On the Generation of China's Artistic Conception": "Artistic Conception is to turn the real scene into a virtual scene". Later, he said: "The image created by the artist is' real', which makes our imagination' virtual', and the image realm produced by the image is the combination of reality and reality." The image that can produce artistic conception is not an ordinary image, but an image full of vitality, which can embody the highly perfect unity of theme and object, form and spirit, emptiness and reality, movement and stillness, emotion and scenery. Its fundamental aesthetic feature is that it is not satisfied with the external form imitation of limited things, but should express infinity in the limited, creating "images outside the image" and "scenery outside the scene", which can arouse the audience's aesthetic imagination. Artistic conception is the essence of China's painting aesthetics system, which embodies the fundamental spirit of China's art and is also the highest realm pursued by paintings. It stands in the forest of aesthetics with its unique dialectical thinking and eternal artistic charm. 2. Unity of form and spirit Viewing form and spirit is an ancient concept in China's traditional aesthetics, and it is also the most used concept in painting aesthetics. Gu Kaizhi's painting theory is a milestone in the unified development of form and spirit. He put forward the viewpoint of "writing God in form". "Shape", that is, shape, is a description beyond the object image; "God" is a spirit likeness and a grasp of the internal characteristics of things. "Drawing is easy but it is difficult for God". God mainly refers to "seeing" in figure painting, that is, the spirit, temperament and unique personality of the characters. Painting figures should be vivid, and painting flowers, birds and landscapes should also be vivid. Ancient painting theory says: "General Cao painted horses to win the shape", painted flowers to convey the spirit "and" painted landscapes to convey the spirit ". The "spirit" mentioned here is the inner essence of things. Although the landscape is lifeless, it has momentum, realm and modality. A landscape painting shows the concrete reality, realm and modality of the object, which is a vivid portrayal of the scenery. The theory of Chinese painting holds that there is no god who is divorced from form, and god expresses himself by form. Not only can we "write God in form", but we can also "draw shape with God" and "vividly depict". The portrait of God is higher than the portrait. 3. Vivid charm