China traditional art appreciation books

Today, the educational administration teacher collected and sorted out the teaching materials for the self-taught examination of China's painting history, the answers to questions related to the reading of China's painting history, and the free download of the real questions and key materials of the self-taught examination over the years. The following are some answers that we have compiled for the national self-taught students, hoping to help your exam!

The Evolution of China's Painting and Calligraphy China's ancient painting has a long history and unique style, and its painting form, artistic style and expression techniques have gone through a development process. This textbook mainly introduces the seven stages of the development of ancient painting art in China, as well as the characteristics, representative figures and works of each stage.

Painting art in primitive society. As early as six or seven thousand years ago, the ancestors of the Yellow River valley painted patterns on pottery. The representative work of this period is the painted pottery painting The Stork and the Stone Axe. In addition to painted pottery paintings, ancient humans also depicted or described prehistoric human production methods, nationalities, wars, religions and other contents on rocks, which are called rock paintings. In addition, there are murals and ground paintings.

Paintings in Xia, Shang and Zhou Dynasties are mainly portraits of people, painted on walls and silk. "Dragon Map" and "Dragon and Phoenix Map" are silk paintings unearthed in Chu State during the Warring States Period. They outline objects with lines, with concise and orderly composition, strong sense of plane and decoration, vivid charm, simple pen and ink, smooth lines, expressing perfect artistic conception and reflecting the artist's high artistic generalization. Although it can't be called scroll painting, we can get a glimpse of the painting level at that time. At this time, China's painting art was established as a national style with line modeling, and the Warring States Period was the key stage for China's painting art to grow from bud to maturity.

During the Qin and Han Dynasties, the art of painting further developed. There are many kinds of paintings, including murals, silk paintings, woodcuts, woodcuts, stone reliefs and brick reliefs. The painted silk paintings of the Western Han Dynasty unearthed in Mawangdui, Changsha have a peculiar composition, which fully reflects people's views on life and death, yin and yang, heaven and earth and people, past, present and future at that time. The description of each object has a certain realistic tendency. Although the basic means of modeling is lines, a large number of colors make the whole picture magnificent. The picture of a couple's banquet unearthed from the tomb of the Eastern Han Dynasty in Luoyang, Henan Province is a masterpiece with meticulous brushwork and heavy colors.

During the Wei, Jin, Southern and Northern Dynasties, Chinese painting appeared in the true sense. During this period, intellectuals rose, and literati painters were active in painting. They have a high cultural accomplishment, summed up many incisive painting theories, and effectively promoted the improvement of painting art. Portrait painting is the main creative theme at this time. Gu Kaizhi's "vivid" theory puts forward that painting should emphasize the style and temperament of characters. This and the later painting theorist Sheikh's "Vivid Charm" put forward in the Six Laws had a great influence on the painting style at that time, and also laid the foundation for the formation of the characteristics of emphasizing charm in Chinese painting. During the Jin, Southern and Northern Dynasties, Chinese painting gradually evolved into a single scroll painting, becoming an independent artistic appreciation, and the theme was also expanding day by day. In addition to figures and religious themes, early landscape paintings also appeared. At the same time, the emergence of theoretical works of calligraphy and painting has guided the direction of artistic creation. The representative works of this period include The Illustration of Women's History by Gu Kaizhi in the Eastern Jin Dynasty, The Illustration of Goddess Luo Fu and The Illustration of School Books by Yang Zihua in the Northern Qi Dynasty.

The painting art of Sui, Tang and Five Dynasties is a peak of China's painting. On the basis of inheriting the excellent traditions since Wei and Jin Dynasties, it absorbed foreign artistic styles such as India and Persia, and produced many painters and excellent works. Sui Dynasty is a period of connecting the past with the future, and the painting art blended the style of the previous generation, which laid the foundation for the great prosperity of the Tang Dynasty. You Chuntu by Zhan Ziqian in Sui Dynasty is the earliest existing landscape painting in China, which has far-reaching influence. The development of China's painting is closely related to the development of social economy and culture. Since the Tang Dynasty, due to the unprecedented prosperity of economy and culture, and the great achievements and influence of Tang poetry, painting pays attention to interest and seeks artistic conception, and pursues an artistic conception of "poetry in painting", hoping to express a state of mind through painting. The lyricism pursued by literati became the mainstream of painting at that time, and literati painting rose from then on. The Tang Dynasty was the heyday of China's painting history, which opened a new era. On the basis of the Sui Dynasty connecting the past with the future, the Tang Dynasty achieved all-round development. Yan is an outstanding painter in the early Tang Dynasty, who is good at depicting major events. His works handed down from generation to generation include "Travel Map" and so on. During the prosperous Tang Dynasty, Wu Daozi made great contributions in the fields of figure painting and landscape painting. His figure paintings, especially religious figures, are known as the "six laws", and the clothes of the figures flutter with the wind, which represents the maturity of figure paintings. His masterpieces are Born of Gautama Buddha and Confucius, and later he was called "Painting Sage". In addition, during the Sui and Tang Dynasties, murals in Dunhuang Mogao Grottoes flourished.

In Song Dynasty, imperial academy Painting Academy entered the most active stage, and painting rose to meet people's needs, and painting became a commodity. These factors enable the painting art to develop in an all-round way. All kinds of paintings have developed in an all-round way, with more and more subjects, and painting schools have emerged in unison, which has been unprecedentedly prosperous and radiant for hundreds of generations. In the middle period, literati painting with ink freehand brushwork as the main body appeared, emphasizing the unity of poetry and calligraphy and paying attention to the interest of pen and ink, which is a new branch of painting school full of vitality. The painting art in this period is characterized by diverse styles, various schools and famous artists. Genre painting was the biggest highlight of the painting world at that time. The genre painting with the highest historical and artistic value is the long scroll The Riverside Scene at Qingming Festival created by Zhang Zeduan, a painter in the Northern Song Dynasty. It depicts the scenery and prosperity along the Bianhe River in the Northern Song Dynasty. The works fully demonstrate the painter's realistic skills. Rivers, houses, ships, chengguan, crowds, Hongqiao, Louguan, shops, streets, camel teams, etc., all the objects are vividly portrayed.

During the Yuan, Ming and Qing Dynasties, literati made the most outstanding achievements in literati painting.

The freehand brushwork in this period embodies the style of literati painting. Representative works include Mo Mei by Wang Mian in Yuan Dynasty, Huang Jia Tu by Xu Wei in Ming Dynasty and Zhu Mo Tu by Zheng Banqiao in Qing Dynasty.

The variation of aesthetic consciousness brought by Yuan Dynasty inevitably brought profound influence to the development of Chinese painting. The overall development trend of scroll painting style in Yuan Dynasty is to attach importance to the inheritance of ancient traditions and the innovation of ideas. The outstanding performance is that literati painting began to occupy a dominant position in the painting world. Therefore, a large number of works, such as dead wood, bamboo stone, Mei Lan, flowers and birds, are suitable for expressing the consciousness of literati painters, while the number of character story paintings is relatively reduced. With the prosperity of literati painting, poetry, books and paintings in painting works are further closely combined and become a common fashion. This strengthens the literary interest of Chinese painting and better embodies the national characteristics of Chinese painting. At the same time, in the painting theory and creative practice, the application of pen and ink techniques is particularly emphasized, and paintings should have the charm of calligraphy. The integration of calligraphy into painting methods has made new changes in pen and ink techniques and achieved a breakthrough in ink freehand brushwork on the basis of tradition. It is required that painting should reflect calligraphy, use a pen, oppose deliberately seeking work and image, and advocate spirit likeness and leisure. Pursue the ancient meaning and "morale" of the works and attach importance to the painter's subjective interest and the expression of thoughts and feelings. China painting produced many schools in the Ming Dynasty, and each school formed its own system in creation and theory. The painting art in Qing Dynasty continued the trend since Yuan and Ming Dynasties. Literati painting is increasingly occupying the mainstream of painting, and landscape painting and ink painting are popular. Under the influence of literati painting, more and more painters pursue the interest of pen and ink. Many painters love plum, orchid, bamboo, chrysanthemum and other themes, and splash ink on freehand brushwork, and their art has had a far-reaching impact on modern flowers and birds.

Calligraphy is a unique traditional art in China. The ideographic and unique structure of Chinese characters provide a prerequisite for calligraphy art. The development order of calligraphy fonts is seal script, official script, cursive script, regular script and running script.

First, the emergence of calligraphy art

Oracle Bone Inscriptions, born in the middle and late Shang Dynasty, painted a single line, thin and powerful, showing his edge at times. The layout is mostly vertical, the lines are scattered, the size changes, and the density is good. These earliest remains of Chinese characters have three elements of calligraphy: brushwork, composition and structure. Especially from Oracle Bone Inscriptions's writing, it embodies the beauty of lines and the symmetry of word modeling. Therefore, the appearance of Oracle Bone Inscriptions laid the foundation of China's calligraphy art and marked the appearance of China's calligraphy art. Bronze inscriptions, or "Zhong Dingwen", appeared in the Shang and Zhou Dynasties, and their strokes are neat and thick, more round than Oracle Bone Inscriptions's beginning, receiving and flowing, with rich changes in form and tone. Mature bronze inscriptions are long in shape, symmetrical in size, and each department pays attention to coordination. Mao and Pan is his masterpiece. Judging from the bronze inscriptions left behind, the artistry of calligraphy is gradually enriched.

During the Spring and Autumn Period and the Warring States Period, the country was divided and the society was in turmoil. Under different artistic pursuits, the vassal States developed towards their own aesthetic trends, forming a colorful situation of calligraphy art. For example, the mainstream of Oracle Bone Inscriptions and Jinwen always developed along the road of carving; Then in the Spring and Autumn Period and the Warring States Period, the brush began to be widely used in calligraphy. The expressive force of the brush is rich, especially the inherent brushwork, which constitutes an important element of China's calligraphy in the future ── calligrapher's emotion, aesthetic taste and brushwork. From the rubbings of "Stone Drum" preserved in this period, it can be seen that the structure writing is more regular than the bronze inscriptions, with vigorous strokes and dense structure. "Shi Guwen" began to transform into Xiao Zhuan. It is not only the basis of unified writing in Qin dynasty, but also has a great influence on the calligraphy style of later generations.

Second, the development of calligraphy art.

After the reunification of Qin, Qin Shihuang ordered that "cars should be on the same track and books should be in the same language", and Prime Minister Li Si popularized Xiao Zhuan, which became an official script. The unity of characters laid the foundation for the maturity of calligraphy art. As can be seen from Li Si's Taishan Stone Carving, Xiao Zhuan has the characteristics of flat shape, eccentric strokes and complex structure, which makes it difficult to sketch as a text. As a result, Li Shu came into being with simple structure, rounded square and convenient for fast writing. Regarding the emergence of official script, Zhang Huaiguan, a calligrapher in the Tang Dynasty, said in the Book End: "Official script was written by Cheng Miao, a Qin native." Cheng Miao went to prison for his crimes. He compiled 3,000-word official script in prison, which was appreciated by Qin Shihuang. His crimes were pardoned and made imperial history. This is a rumor, although it is not credible, but the emergence of official script in Qin dynasty has become a conclusion, but official script in Qin dynasty still has many meanings of seal script. In the Han dynasty, official script gradually occupied a dominant position, became the official standard font, and entered the stereotypes period. The strokes of the official script in the Han Dynasty are relatively straight, with simple structure and obvious twists and turns, especially the inscriptions, which are exquisite. At the same time, in order to make the characters neat and easy to write, the official script provides a special form for the single word used as the radical. For example, when the word "Dao" is on the right, it is written as "Xian", which makes the official script easier to remember and write than the seal script and meets the requirements of the development of the times. The style formed by writing with a pen is both solemn and changeable. This font inherits the seal script and the ancient official script, with regular script at the bottom and a brush. Therefore, official script plays an important role in calligraphy art.

When people use words, they always want them to be easier to recognize and write, especially when things are urgent and busy. At the same time, in the evolution from seal script to official script, cursive script came into being due to the rapid writing of brush and the development of brushwork. Zhang Huaiguan in the Tang Dynasty said in "The End of the Story": "In the Han and Yuan Dynasties, You made a hasty chapter ... This is a provincial character outline, which broke the rules of official script and made you flee in haste. Because of the meaning of grass, it was called cursive script." The cursive script in this period contains official meanings, and the strokes are often wavy, and there is no attachment between words, which is called "Cao Zhang". Its representatives are Du Du and Cai Yong. "Xuan He Shu Pu" said: "Sweeping the floor by self-moving method is really a matter of detention, and grass is a matter of release. There is something in between." That is to say, after the disintegration of the official law, what is written more accurately becomes a real book (regular script), what is written more closely becomes a cursive script, and what is between the real grass is a running script. At this point, several writing forms of Chinese characters have emerged. Writing is not only practical, but also aesthetic feeling and enjoyment have become the driving force for development, and calligraphy art has entered a mature stage.

Third, the maturity of calligraphy art.

The Three Kingdoms, the Jin Dynasty and the Southern and Northern Dynasties is an important period in the history of China's calligraphy. In the course of its development, the art of calligraphy has formed the following characteristics: First, cursive script, seal script and lines have fully matured, and the technique system of China calligraphy has basically taken shape. Although the techniques of later generations have been enriched and changed on this basis, there is no essential breakthrough. During the Three Kingdoms period, the writing of Chinese characters developed into a real book, which is a kind of calligraphy with practical value. Generally, it is considered to be a positive body and a "model" in the history of Chinese character development, so it has been passed down to this day. The straightness of words is gradually dominant, horizontal strokes are used as little as possible or not, strokes are not picked, and the length is shortened. Zhong You is honored as "the father of Kaifa". Wang Xizhi in the Eastern Jin Dynasty was excellent in character, behavior and cursive script, and Wang Xianzhi's Thirteen Lines of Ode to Luoshen was the representative work of this period. Secondly, calligraphy is moving towards a completely conscious stage, and calligraphy has generally become the conscious appreciation object of all social strata. Shi Zai: Shi Yi once wrote a book on the wall of the hotel, which attracted many tourists and made the hotel business prosperous. Thirdly, literati consciously pursue the beauty of calligraphy, regard calligraphy as an artistic practice, and pursue it diligently in skills and aesthetic style. Calligraphy has two different styles, paste and tablet, which show graceful, romantic, magnificent and simple artistic realm, especially regular script and running script, which have reached a mature stage. At the end of the Western Jin Dynasty, there was a war in the Yellow River Basin, and a large number of literati gathered in Jiangdong. The beautiful and rich scenery in the south of the Yangtze River makes calligraphers more artistic.

The Tang Dynasty was the heyday of China's feudal society. At that time, the unprecedented prosperity of social economy provided material conditions for the development of literature and art, and the vigorous mind and mentality of the Tang people formed by the vast weather in the Tang Dynasty were embodied in the art of calligraphy as free and easy, grand and broad momentum. The highest achievement of calligraphy in Tang Dynasty was regular script. Today, there is still a saying that "learning regular script began in the Tang Dynasty". Representative works include Yan Zhenqing's Pagoda Monument and Liu Gongquan's Mysterious Pagoda Monument. They are majestic, solemn, tall and straight, reflecting the depressed and prosperous Tang Dynasty; Or vigorous, even and fine, which embodies the calligraphy thought of the Tang Dynasty calligraphers, and China's calligraphy entered its heyday.

Fourthly, the art of calligraphy has entered the era of individuality.

After the Song Dynasty, the fonts did not make great achievements and breakthroughs, but only incorporated their own styles on the original basis, focusing on individuality. In the Song Dynasty, due to the relatively relaxed political environment and the rulers' emphasis on literature over martial arts, calligraphy became an art that scholars generally liked, especially prose. Song Sijia is famous: Su Dongpo's calligraphy is very bookish, giving people a feeling of detachment from the world; Huang Tingjian's calligraphy style is unusually open, with clever contrast between particularly tight and particularly loose, showing charm from time to time in arrogance; Miffy, because of her charming nature, takes frustration as the implication, with refined structure and vivid expression; Cai Xiang's calligraphy is also innovative. There were many painters and calligraphers in the Yuan Dynasty. Calligraphers were particularly good at painting, while painters had to learn calligraphy. China's poems on paintings began in Yuan Dynasty, which had a far-reaching influence on the art of calligraphy and painting in later generations. In the early Ming Dynasty, several emperors liked calligraphy, such as Zhu Yuanzhang and Judy. There is a China calligraphy department in this state. Anyone who can write a book will be given official calligraphy and documents will be filed in the cabinet. However, the calligraphy of the Ming Dynasty is basically a continuation of the calligraphy of the Yuan Dynasty, and there is no big breakthrough. The Qing Dynasty was an important turning point in the history of China's calligraphy. Calligraphy gradually formed a situation of "sticking to learning" and "inscription and postscript", and calligraphy schools showed unprecedented differentiation. In the early Qing Dynasty, the four great masters, He Chao, Chen and Jiang were famous for their calligraphy, which had a great influence on the literati at that time, including many court calligraphers. At the same time, because they are polluted too much by the habits of restaurants and pavilions, they will inevitably go downhill. Zheng Xie, one of the Eight Eccentrics in Yangzhou, is a calligrapher who wandered between stone tablets. He has a good reputation for poetry, painting and calligraphy. Beginners in Europe, accustomed to pavilions, and later imitated the Yellow Valley. Influenced by Shi Tao's official script, he mixed the brushwork of painting orchids and bamboos, formed his own unique style, and embodied the characteristics of Qianbei School.

However, the calligraphers in Qing Dynasty completely developed the two traditions of China's calligraphy art, which played an inheritance role in the development of modern calligraphy art in China. For example, Kang Youwei, a representative of the Reformists, wrote the book Generalized Ship and Double Ship, which is an important theoretical work of stele study and greatly promoted the development of stele study and theory.

Teach yourself art, the more detailed the better, and don't talk nonsense. Let me give you my opinion-for reference-taking China's paintings as an example to illustrate this problem-

1, reading-China's painting history, painting theory appreciation, painting aesthetics history review-and other theoretical books-

2. Skills books-that is, painting books-as well as tool materials and basic common sense.

3. Visit-visit frequently-professional websites and forum periodicals-newspapers and magazines-majors-exhibitions-especially exhibitions sponsored or co-sponsored by artists' associations at all levels-pay more attention to exhibitions sponsored by Chinese artists' associations.

4, reading books of Taoism and Confucianism-know the ideological source of the beauty of calligraphy and painting-

5, or find a local painting and calligraphy class-do introductory study-after a certain foundation-you can consider-participate in seminars and training courses sponsored by major institutions-and publish the news on professional journals and websites.

6, and it depends on your talent, understanding, talent, methods, learning, cultivating vision, willpower, professional accomplishment, time invested, and concentration in doing things-

All right, that's all.

There is one more question I want to ask. I wonder if art and animation can be linked? If we can, we will develop in this direction.

Animation is a part of the concept of art. To engage in animation-that is, to have basic knowledge of fine arts-and now to have good computer skills-because many animations are made by computers-you still know too little-quickly make up the knowledge and skills in these two aspects-quickly enter this circle-online-to professional websites and forums-actively work in this area offline-can't wait-read more books.

Learning should be positive-in any case-always wandering outside the circle-is impossible-I hope you think it over-

This answer was recommended by netizens.

What kind of book is chinese comic's Shihua? The first comic history is The Story of chinese comic compiled by Bi Keguan. 1982 Shandong people's publishing house. About 76,000 words, with more than 130 precious illustrations. The book consists of 34 short articles, which basically summarizes the development of chinese comic from Han Dynasty to 1949. The author thinks that chinese comic only formed an independent painting style before and after the Revolution of 1911. Most of this book describes the activities of chinese comic in the first half of the 20th century.

Who is the author of China Painting History Unity Publishing House? The Painting History of China by Zhonghua Book Company was translated by Naito and Luan Dianwu in Hunan.

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