How the traditional art of Chinese avatar presents the unique aesthetic culture of China

What aspects of Chinese painting reflect the unique Chinese culture... Expand

It is meant to be Linxin

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Chinese paintings embody the traditional philosophical concepts and aesthetics of the Chinese nation in terms of observing and recognizing, shaping the image, and expressing the methods, and in the observing and recognizing of the objective, the methods of observing and knowing the objective are to view the small and the big in the big and to In the activities to observe and recognize the objective things, and even can be directly involved in things, rather than do bureau appearance, or confined to a fixed point. It is permeated with people's social consciousness, so that the painting has "thousands of years of silence, Phi Tu can learn" the role of understanding, but also to play "evil to warn the world, good to show the future" educational role. Even if the landscape, flowers and birds and other purely natural objective objects, in the observation, understanding and performance, but also consciously with the social consciousness of people and aesthetic interests associated with the scene, expressing feelings, objects, reflecting the Chinese "unity of heaven and man" concept. Chinese painting attaches importance to conception, emphasizes the idea of the brush first and image thinking, and pays attention to the unity of subjectivity and objectivity of the artistic image. The modeling is not confined to superficial resemblance, but rather seeks "between resemblance and non-resemblance" and "the resemblance of non-resemblance". Its image shaping to be able to convey the image of the charm and subjective feelings of the painter for the purpose. Therefore, the non-essential parts or parts that are not closely related to the characteristics of the object can be discarded, while those parts that can reflect the characteristics of the spirit can be exaggerated or even deformed to be portrayed. In terms of composition, Chinese painting emphasizes management, it is not based on a fixed space or time, but in a flexible way, breaking the limitations of time and space, the objects in different time and space, according to the subjective feelings of the painter and the law of artistic creation, rearranged, constructed a kind of time and space in the painter's mind realm. As a result, wind, rain, snow, the four seasons, and ancient and modern characters can appear in the same painting. Therefore, in terms of perspective, it is not confined to the focal point perspective, but adopts the multi-point or scattered perspective method, moving up and down or left and right, front and back to view the scene and operate the composition, with great freedom and flexibility. At the same time in the composition of a painting focus on the contrast between the real and the imaginary, emphasizing "sparse enough to walk a horse", "impermeable to the wind", and to have the real in the imaginary and the imaginary in the real. Chinese painting uses its unique brush and ink technique as a means of expression to convey feelings and emotions, depicting the object's shape, bones, texture, light and darkness, as well as its mood and charm in the form of dots, lines, and surfaces. Here, the brush and ink are not only the techniques of shaping and conveying feelings, but also the carriers of the objects, and at the same time, they are meaningful forms in themselves, the traces of which embody the interest of Chinese calligraphy and have independent aesthetic value. Because it is not very pursuit of the object surface resemblance, so Chinese painting can be used in all black ink, can also be used in combination with color or ink to describe the object of figure drawing, and the later, the greater the proportion of ink, and now some people even call Chinese painting for ink painting. The ink used in the painting is divided into five colors, and the amount of water and the speed of the brush and the size of the brush strokes are different, resulting in a great variety of brush and ink techniques and a rich and varied palette of light and dark tones. At the same time, ink can also be combined with color, and ink does not hinder color, color does not hinder ink, forming a diversity of ink and color complementary. In the color-based Chinese painting, the pursuit of "color with the class", focusing on the object's inherent color, the light source and the environment color is not important, generally do not take into account. But in order to some special needs, sometimes can boldly use some kind of exaggerated or assumed colors. Chinese paintings, especially the literati paintings, emphasize the same origin of calligraphy and painting in their creation, focusing on the painter's own character and qualities. In the specific works of poetry, calligraphy, painting, printing organic combination, and through the inscription of poems on the screen trek, expressing the painter's understanding of society, life and art, not only to play a deepening of the role of the theme, but also an integral part of the picture.