What's the difference between western traditional oil painting and oriental Chinese painting?

There are obvious differences between Chinese and western paintings in the use of color and the feeling of color. China's traditional painting is colored with ink, which is quite different from western painting in three-dimensional sense and perspective of light and shade. It seeks visual effects in many groups of contradictions, such as thickness and thinness, depth and shallowness, and lightness and richness. According to China's ancient painting theory, ink has five colors: thick, heavy, light and clear; Ink color is divided into six colors: black, white, dry, wet, thick and light. China's traditional Chinese painting is black and white, without yin and yang light and shade; Dry and wet, without green and beauty; Different shades, no bumps. China's painting art feels the myriad changes of colors in an intuitive way, while the western painting art as a whole tends to be optical, full of geometric spirit and rational thinking. When painting this series of works, I want to be more contemporary in color. Contemporary people are particularly sensitive to color. It can be said that color is a major feature of contemporary life. Artistic creation is inseparable from creating the environment of the times in which the author lives. I live in it and feel its charm every day. In addition, I think the innovation breakthrough of Chinese painting lies in the expression of color. Of course, the pen and ink of Chinese painting is of course important, which is undeniable. However, there is still a long way to go for the use of color and how to better combine it with pen and ink and truly achieve the tacit understanding between color and pen and ink. In fact, both eastern and western painting arts attach great importance to the expression of color. The colors in ancient green mountains and green waters in China were very good, but later they became more and more conceptual and lacked natural changes. Chinese painting lacks the in-depth process of oil painting in impressionist painting period, and does not study color better, but only stays in perceptual knowledge, so it lacks rational research, which leads to the shortage of color in Chinese painting. In order to make up for this deficiency, I focus on complementary colors in this series of works. Xu Ping, do you use Chinese painting pigment, gouache or acrylic pigment? Now some people think that Chinese painting is rich in color and has a bad reaction. They think gouache or propylene should be used instead, and they think that the color of Chinese painting lacks richness. Only gouache or propylene pigment can achieve this effect. In fact, Chinese painting pigments have already shown the richness of their colors. I advocate the use of pure Chinese painting pigments in color. Many people have seen my Chinese paintings before and asked me whether I used acrylic or gouache. I told them that I used genuine Chinese painting pigments, and they were all surprised! Some people think I'm not telling the truth. But from their attitude, I strengthened my exploration. Therefore, in this series of works, I have strengthened its color lightness without losing the artistic conception of Chinese painting. Xu Ping, these are all related to your previous oil paintings. Can you talk about the difference between the colors used in oil painting and traditional Chinese painting? In fact, there are many similarities between the two in the use of color, especially in post-impressionist and modernist paintings, and the color use of modern and contemporary paintings in China is also deeply influenced by these schools. But I have always emphasized the application of natural scenery color in painting, that is, the color of western painting is based on the natural scenery color of the west, while the color of Chinese painting is based on the landscape color of China. This is an important basis for truly distinguishing the colors of Chinese and western paintings, and a color painter can't draw good colors without understanding this. Not long ago, I interviewed five artists who came to China Art Museum to participate in the Austrian New Abstract Exhibition. From their interviews and exhibits, I found that the colors in their works are related to the landscape and humanistic colors of their country. In the past, when painting oil paintings, I imitated the colors of western paintings too much, and it was always difficult to express the scenery of China. Later, I switched to traditional Chinese painting, and found the color of China's landscape at once. That special regional color fascinates me. Regional colors can even shock people, such as the Paris Park by Monet, the scenery by El Van Gogh, Tahiti by Gauguin and Jiangnan by Dong Yuan. Xu Ping, you mean that the expression of color is related to the specific natural scenery. Zhang's value lies in that when I see his works, I will think of the rural scenery of France. When you see Vermeer's paintings, you will think of the scenery in Holland. From constable's works, you will see the scenery of English countryside. From Dong Yuan's paintings, you will see the scenery in the south of China. The colors of these painters are all from the scenery in a specific region, rather than copying other people's works. The only way for Chinese painting to make a big breakthrough in color is to go to nature and enter the mountains and rivers, from which we can feel and experience the authenticity of color. Because of this, I switched from western painting to Chinese painting. Then I got a lot of fun from it over the years and really realized the color of Chinese painting. I used to think that as long as the colors are richer, the more you can show them. Now I find that this is the most elementary understanding of color. There are so many such painters now, how can we make a breakthrough in color? Xu Ping's Chinese paintings have absorbed western sketches and colors since the beginning of last century, and have a history of nearly a hundred years. What changes do you think have taken place in the color of Chinese painting in the past 100 years? The value of Zhang is a big question, which is difficult to answer at once. To put it simply, it has gone through such a process: at the beginning of last century, color exploration was relatively mechanical, and it was only used in materials, such as the effect of Wang Yuezhi painting Chinese paintings with oil painting materials or the effect of painting oil paintings with Chinese painting materials. Later, Lin Fengmian advocated the integration of China and the West, mainly reflected in the change of color. He boldly introduced gouache pigment into Chinese painting, forming a unique color ink painting style. However, with the passage of time, it was found that gouache and ink were difficult to blend and began to fall off after a long time. Later, people introduced acrylic color and Japanese pigment into Chinese painting, but because the color of this pigment was too bright, it lost the aesthetic conception of Chinese painting. Until the end of last century and the beginning of this century, some painters returned to the exploration of Chinese painting pigments. Personally, I think that the color of Chinese painting must spend effort on Chinese painting pigments, which is the right way.