What are the artistic features of China's paintings?

Compared with western painting, Chinese painting has its own obvious characteristics. Chinese painting does not pay attention to perspective, does not emphasize the change of light and color of objects in nature, does not stick to the appearance of objects, but emphasizes the expression of the author's subjective interest. Chinese painting emphasizes "vivid with form" and pursues a feeling that "beauty lies between similarity and dissimilarity": what about western painting? It emphasizes "writing form with form", and of course, it also pays attention to the expression of "God" in the process of creation. But it pays great attention to the integrity and generality of the picture. Some people say that western painting is an art of "reappearance" and Chinese painting is an art of "expression", which makes sense.

Compared with western painting, Chinese painting has its own unique characteristics, which are also manifested in its artistic techniques, artistic division, composition, pen and ink and color application. Chinese painting can be divided into three forms according to artistic techniques: meticulous brushwork, freehand brushwork and concurrent brushwork. Meticulous brushwork is a neat and meticulous painting with a pen, with clear and meticulous details and extremely delicate brushstrokes, so it is called "meticulous brushwork". And freehand brushwork? Compared with meticulous brushwork, vigorous and concise brushwork is used to describe the shape and spirit of objects and express the author's feelings. You should have high generalization ability, implicit artistic conception with twice the result with half the effort, accurate writing, skillful writing and handy writing. The form of part-time writing is the comprehensive application of meticulous brushwork and freehand brushwork.

From the branch of art, Chinese painting can be divided into three branches: figures, landscapes and flowers and birds, which are mainly divided according to the different objects depicted. Animals, pommel horses, insects, fruits and vegetables in Chinese painting can be classified into these three categories respectively.

Chinese painting also has its own characteristics in composition, pen, ink and color. Generally speaking, the composition of Chinese painting does not follow the Huang Jinlv of western painting, and it is either a long scroll or a vertical axis, and the ratio of length to width is "unbalanced". But it can well express the special artistic conception and the painter's subjective interest. At the same time, Chinese painting and western painting are different in perspective. Perspective is the term of painting, that is, when painting, all objects are correctly represented on the plane, so that it has a sense of space and three-dimensional sense. This method is called perspective. Because the phenomenon of perspective is that the near is big and the far is small, it is often called the "near-far method". Western paintings generally use focus perspective, just like taking pictures. It is fixed on a foothold. Due to the limitation of space, everything taken into the lens will be taken truthfully, otherwise it will not be taken. Chinese painting is not necessarily fixed on a foothold, nor is it limited by a fixed horizon. It can move its foothold to paint according to the painter's feelings and needs, and absorb all visible and invisible scenes into its own picture. This perspective is called scatter perspective or multipoint perspective. As we all know, the famous paintings in the Northern Song Dynasty and Zhang Zeduan's The Riverside Scene at Qingming Festival all adopt scattered perspective. The Riverside Scene at Qingming Festival reflects the rich, complex and colorful scenes inside and outside Bianliang, the capital of the Northern Song Dynasty. It takes Bianhe as the center, from distant Chinese painting to lively "Hongqiao"; The audience can see the city and the countryside; You can see both pedestrians on the bridge and ships under it. You can see not only the balcony trees nearby, but also the streets and river ports in the distance. Moreover, no matter where you stand, the proportion of scenery is similar. If you draw according to the method of focusing on machines in western painting, many places can't be drawn at all. This is a unique perspective method created by ancient Chinese painters according to the needs of content and artistic expression.

Pen and ink is an important part of Chinese painting modeling. Use a pen to emphasize thickness, slowness, depression, rotation, Fiona Fang and other changes to express the texture of an object. Generally speaking, when starting and stopping the pen, you should use force, your wrist should be stiff, the air in the middle should not be broken, and you should not pick the pen lightly. When using the pen, the force is light, floating, heavy, slippery, slow, thin, and the board is being used. It's all a matter of using a pen to bend like a bow and straight like a ruler. Eighteen strokes of crochet summarized by the ancients can be said to be a summary of the experience of using pens in Chinese painting. As for the use of ink, it emphasizes the interaction of rubbing, rubbing, light and dyeing, and the rational allocation of dry, wet, thick and light to shape the body and set off the atmosphere. Generally speaking, the beauty of ink in Chinese painting lies in the matching of shades. There is no spirit in all shades, there must be shades, the shades should be wonderful but not stagnant, and the shades should be graceful but not gloomy. Using ink is the same as using color. In ancient times, there was the experience of dividing ink into colors, and there was also the painting style of cherishing ink as gold. When using ink, there should be a strong combination of life and harmony, so that there is light in the thick and strong in the light; There are strong and second strong, and there are light and light, which are all flexible ways to use pens in Chinese painting. Because China's calligraphy and painting have many similarities in tools and brush strokes, they have forged an indissoluble bond. The ancients have long said that "calligraphy and painting are of the same origin". However, there are also differences between the two. Calligraphy is changeable, especially cursive script, which is better than painting, and the ink used in painting is rich and colorful, surpassing calligraphy. The word pen and ink is considered as the general term of Chinese painting techniques. It is not only a means to shape the image, but also has independent aesthetic value.

Chinese painting also has its own emphasis on coloring. The pigments used are mostly natural minerals or powder in animal shells, which are wind-resistant and sun-resistant, and will last for a long time. The coloring method is mostly flat painting, which pursues the effect of the inherent color of the object and rarely changes the light and shadow.

The characteristics of Chinese painting mentioned above mainly refer to Chinese painting. But these characteristics, with the progress of the times. The content and form of art are also updated and constantly changing. Especially after the May 4th Movement, a large number of western paintings poured in, and Chinese painting absorbed many techniques of western art with its broad mind, enriching the expressive force of Chinese painting. However, no matter how it changes, the basic characteristics of Chinese painting, a traditional nation, can't be lost. The fine tradition of Chinese painting should be maintained and carried forward, because Chinese painting has its own unique system in the world art field and shines alone in the art garden where the world art is full of flowers and mountains. Chinese painting is the crystallization of our nation's high wisdom, outstanding talent and hard work, and it is our nation's precious wealth.

The origin of China's painting is as puzzling as the origin of China's history. When did China's painting begin? Where is it? Who created it? This mystery has been haunting art history researchers for thousands of years. In the Tang Dynasty, Zhang Yanyuan traced the origin of China's paintings back to the legendary era in his groundbreaking work "Famous Paintings of Past Dynasties", pointing out that hieroglyphics at that time were the unity of writing and painting. In his view, the separation of graphics and characters made painting a special art, and the work of discussing painting skills did not begin until the Qin and Han Dynasties. The appearance of famous artists in Wei and Jin Dynasties marked the maturity of painting. This theory about the development of China's early painting, which was put forward more than 0/000 years ago, is basically valid now. The difference is that modern archaeological excavations have unearthed a large number of physical objects of prehistoric and early historical painting images, which has continuously increased our understanding of early painting art. The plastic arts of Neolithic age in China have made achievements in painted pottery, painting, pottery sculpture, sculpture and so on.

We used to call the Xia Dynasty, which was established from 2 1 century BC, the period from Shang and Western Zhou Dynasties to the Spring and Autumn Period and the Warring States Period, the pre-Qin period. Due to the invention and popularization of bronze and iron, and the further expansion of social division of labor, social productivity has been significantly improved, and various handicrafts have developed rapidly. In addition to the bronze art serving ethics, jade carvings in Shang and Zhou Dynasties and painted wood carvings in Warring States Period, temple murals and portraits containing the precepts of upholding and abolishing were also widely valued by pre-Qin rulers. But until the beginning of this century, the study of pre-Qin painting was only based on those incomplete and rich records. In recent years, silk paintings and lacquer paintings unearthed in Changsha and other places have provided extremely precious physical materials for exploring the face of painting art in the pre-Qin period.