Chinese Painting Color Language Analysis

The word "painting" is a concept, one is the abstract understanding of consciousness, and the other is the understanding of the concrete image, a specific art can be created, transformed, or destroyed, such as Chinese landscape painting, flower and bird paintings, figure paintings, etc.; as an abstract concept of art can not be transformed, destroyed. The existence of art is permanent, and it belongs to the cultural layer. Lao Zi said: "decadent Wu name, full of all things", "no shape of the shape, nothing like", Lao Zi also said Yi (colorless), Xi (soundless), micro (invisible) three can not be cross-examined, the real and exist. Specific painting is a kind of heart skills, "outside the teacher, in the source of the heart", "to think of a wonderful get". When the painter puts down the brush, there is something, when he puts down the brush, there is nothing, the moment is accomplished, and the moment passes away. From the point of view of "painting", it is not true to become, and it is not true to pass away. It has no perfect form, but is always a fetus; it has no fixed number, but is always one. And out of nothing, there is no existence there, painting no painting, in the painting of its desire, by the painter consciously produced, free to grasp.

Painting its desire, the heart of the teacher of the creation of the two evolution of all things, the so-called "overlooking everything", "from the heart", "all the realm by the heart". Made from the heart, there is a material transformation process, but also acceptance of events, the environment of the times, the cultural level, the constraints of human personality, material and spiritual promotion of both. Since ancient times, Chinese paintings have emphasized on the Lin Chi, traveling, learning and inheritance. Therefore, "traveling thousands of miles and reading thousands of books" can be said to be the importance of this painting outside the work of the success and failure.

History is changing, things are changing, knowledge to change, people's minds to change, the form and content of the changes in the heavy, today's people and the ancients against the obvious difference. There is no fixed image of the painting, painting style regardless of the era, or a specific painter has a difference. The result of this change, although it can be envisioned, single can not be asserted. It is not shifted by will. Chinese painting has a beginning and an end, and is everlasting. As long as the universe still exists, the Tao that constitutes Chinese painting is present and will not disappear.

Looking at the history of art, as far back as the time of Zhang Shengshuo's concave and convex paintings and Cao Buxing's Buddha paintings to the time of Lang Shining, not only did the situation produce exchanges, but also a number of well-known painters. Ai Qimeng to the fusion of Chinese and Western painting methods, influenced by Leng Mei, Tang Dai, Chen Mei, Luo Fuyu and so on. Wu Li in his later years to believe in the Jesus religion, some people say that his paintings participate in the Western method, he objected to say so, he also has contempt for the meaning of Western painting. He said: "my painting does not seek resemblance, do not fall into the mold, called Shen Yi; they are all the yin and yang back and forth on the mold with the effort - with the pen is not the same". Although Lang Shining try to absorb the Chinese painting writing, Chinese people do not people, foreigners said to abandon the original source, making it into a dilemma. At that time, Chinese and Western painting did not merge into one, that kind of painting method is not now established tradition to inherit, this is a historical fact.

Reflecting on the history of Chinese painting, the fact that the existence of Chinese painting is indeed changing, but the changes are centered around a central axis is the national tradition. Wei Jin and North and South Dynasties period, political disunity, a variety of academic ideas correspondingly active, the art of painting due to the promotion of Buddhism, but became a vibrant flower, produced a number of very accomplished has been in the history, the process of shine and praised painters, Gu Kaizhi is one of the greatest, the most representative of the epoch-making figure. He not only has a lot of works of landscape painting, "Painting Yuntai Mountain", the conceptualization of the manuscript has left a very precious revelation to future generations. There are also "Luoshen Fu" and "Female Historian". Including Dunhuang murals, precisely because there are many landscape creations, resulting in Zong Bing "painting landscape preface" and "painting narrative" such theoretical works circulated, put forward the proportion of perspective "three inches of vertical paddling, when the height of a thousand feet; horizontal ink a few feet, the body of the 10,000 miles of the back". "With a tube of pen, the body of the virtual". At the same time put forward the "smooth God" and "painting the feelings" such aesthetic ideas. These independent of landscape painting into a section of the gong played a role in the beginning of the road.

Sui is the transitional stage of landscape painting towards full maturity. Tang was the most powerful and prosperous era in the history of our country, and the art of painting was unprecedentedly prosperous and flourishing. Landscape painting wrinkles have developed, the size of the Li father and son of the Jinbi landscape for the master. The ink landscape painting methods of Wu Daozi and Wang Wei created a new direction of development. In the later period, Wang Qia's ink splashes gave more play to the performance of water. Zhang Cao made good use of the bald brush to create a new rendering method, and put forward the far-reaching doctrine of "mastering the creation, getting the origin of the heart", which provided a discerning basis for the subject-object relationship in Chinese painting. Landscape painting matured and became a separate genre. The theory of perspective and proportion in Wang Wei's The Secret of Landscape reflects the perfection of Chinese painting theory. Wang Wei created the artistic realm of poetry in painting and painting in poetry, which set a precedent for later literati painting. In the Tang Dynasty, the use of brush, ink, color, water, and such techniques that constitute the essence of Chinese painting were complete and mature. "Outside the teacher of creation, in the source of the heart", "zhangshan feet tree, inch horse points people, far people without the same, far trees without branches, far mountains without stone, hidden as eyebrows, far water without waves, high and cloud Qi". This kind of both scientific and practical theories of thought and techniques contributed to the status of the peak of the development of Chinese painting. Painting in poetry, poetry in painting the artistic realm for China's painting established a tall image of oriental art and lofty status, thousands of years after the Tang Dynasty, has been enjoying the use of a rich and valuable legacy, by virtue of these legacies laid a deep and solid foundation, so that the flower and bird paintings in the Song Dynasty rose and matured.

The Five Dynasties, due to political divisions, affecting the same style of Chinese painting, Jing Hao in the north of the strong and powerful influence far-reaching, authored a book called "Brushwork Records". Proposed "gas, rhyme, thought, scenery, brush, ink six", the "six methods" have developed, Guan is the successor of Jing Hao, to the south of the plain ink and wash style has a long-lasting influence. Guan was the successor of Jing Hao and had a long-lasting influence on the plain ink style of Jiangnan. Their influence continued into the later eras, culminating in the development of the North-South Sect.

Mr. Zheng Zhenduo said, talking about the history of Chinese painting should be centered on the Song Dynasty, the Song Dynasty, Chinese painting subjects complete, a hundred flowers competing for beauty, brilliant and prosperous, unprecedented. Song emperor hui zong opened painting academy, set up "painting"; is the world's first national art school, academy school of thought, academy school painting style started.

In the early Song Dynasty, Li Cheng, Guan Tong, Fan Kuan and their school of painting ruled the painting world, the history of Chinese painting commented that "the three legs of the tripod, a hundred generations to mark the course". In the middle of the Northern Song Dynasty, the literati painters rose to prominence, advocating ink and wash painting, and courtyard painting. The representative tasks were Su Shi and Mi Fu. Su Shi put forward the idea of "painting in the form of similarity, see and children's neighbors". It became the motto of imaginative painting to write about God's interest and influence to the present, and this viewpoint and painting method also provided a revolutionary slogan for the innovation of Chinese painting. The artistic ideas of Su and Mi in turn became a model and guide for literati painting. As a result of the antagonism and kubu of literati painting and courtyard painting, Li Tang of the Southern Song Dynasty, the painting styles of Liu Songnian, Ma Yuan, and Xia Gui were formed, and Liang Kai's ink and watercolor large-format paintings appeared. But Su and Mi did not study and summarize, but only raised questions. Linquan Gaozhi ji (Collection of Linquan Gaozhi), Shanshui Junquan ji (Collection of Shanshui Pure Complete Works), and these two theoretical works were completed by painters of the Academy.

The most important figure of literati painting in the Yuan Dynasty was Zhao Mengfu. He put forward the "painting and calligraphy of the same origin", and to play, the calligraphy of the power to apply to the painting brush and ink, so that the painter must be able to book, books can also paint the legacy of the calligraphy and painting world. Some people also say, the book from the painting, painting in the book. Yuan dynasty is another turning point, painting style suddenly changed, literati ink painting like a spring. Green and heavy color, brush painting sector at that time, although there are gorgeous institutions, such as the superb Yongle Palace murals, but close to the late years. At the beginning of the Ming Dynasty, the "Zhejiang School" was active in the painting world for a while, and then replaced by Wumen painters. Dong Qichang, because of the North and South Sect, caused the painting world to be lively for more than two hundred years, although there is a dispute between right and wrong, there is also a school of thought that his achievements are the main ones. Chen Chun, Xu Wei is an epoch-making figure, especially Xu Wei influence is both large and long-lasting. Zheng Banqiao and Qi Baishi also admired him. From the Ming to the Qing Dynasty, able to write and paint, appropriate books and paintings, poetry, calligraphy and painting; Jinshi science flourished, poetry, calligraphy, painting, seals into one, this great and glorious art of the Chinese nation with its completion, grandeur, exquisite, literary and subtle so that the world's other kinds of paintings can not be equaled.

From the historical point of view, the development of the Qing Dynasty is according to the road of literati painting continue to go forward. Although this time is according to the development of the road of literati painting, but it is the era of the great achievements. At that time, the internal and external relations of society changed, the painter's life, world view, artistic outlook, techniques, academics, leaving us both precious and realistic art treasures and experience of the full and rich, the schools of thought, art competition. There are countless masters such as: "Ming four schools", "four kings", "four monks", "eight monsters", "Jinling School of Painting", "Huangshan School of Painting", "Yangzhou School of Painting", the first finger-ink painting of Gao Qipei and so on, they are our national culture of the dedicatees, creators, but also have They are all devotees and creators of our national culture, as well as personal sacrifices and martyrs.

From the historical point of view, when did Chinese painting stop changing and developing? Things are constantly changing and developing, moving, succeeding each other, yet the newborn things contain many elements of the old. Zhuang Zi said, "Its division is also its fulfillment; its fulfillment is also its destruction." Tradition always plays a positive role in the development of Chinese painting. Without tradition, there is no basis for research and development. In the development, the good and the essence are inherited, and the other part is eliminated. "What it becomes, it also destroys." There is a natural law of change, and in the process of change, people can recognize and apply it. However, Chinese painting became today's big splash of ink and color, Wang Wei, Li's father and son, Liang Kai, Xu Wei, they provided the basis. This is not subject to people's will, it is concrete. -- "Its division is also, becoming." Painting as a practice is tangible; as a concept, intangible and intangible. Tangible and intangible, intangible and tangible, transformed in the process of movement, the painter can be freely grasped, "wonderful creation of nature". The result of the movement, which is not expected, arises from the intangible, and is not shifted by the painter's will. "The bamboo of the heart is not the bamboo of the hand, the bamboo of the hand is not the bamboo of the paper, and the bamboo of the paper is not the original bamboo of the heart".

The development of Chinese painting today, there is such an abstract image, unrestrained ink, color painting method, the interest of unrestrained and wild. Besides, the spirit and the material belong to the individual since ancient times, and today it really becomes the culture of the society and the civilization of mankind. Ancient people or former people, which one expected it? Nowadays, some people are copying the Han brick pattern, some are copying Dunhuang murals, some are copying folk art, some are copying children's paintings, are different for historical reflection. There are also people screaming "anti-traditional", "the end of the road", "two into one", Chinese painting to the West to lean on the future. There are also those who shout "anti-tradition" are secretly stealing the tradition. Chinese painting, like other traditional cultures, has been rejected at a certain time and revalued at a certain time; buried and destroyed at a certain time and revived at another time. The same is true of Western painting. Impressionism was strongly attacked by the academy, and Impressionism was radicalized under the banner of anti-tradition, which later became tradition. Degas, one of the Impressionists, said, "The study of nature is meaningless, because painting is a traditional art, go and learn to follow Holbein as far as painting is concerned? Singing? Carrots? And the victim? Borrower's book (12 months)? Second most important? What are you doing? What is the best way to get the most out of your life? What are the reasons for this? What is the best way to get your food on the table? What's new? What are the risks? How to get the most out of your life? What is the best way to get the most out of your life? Faults? What are the reasons for this? What's the reason for the mistake? What is the reason for this? What are the reasons for this? What are the reasons for this? The same as the one in the other! What are you doing? What's your name? What's the best way to get started? What is the most important thing you can do to improve your health and well-being? What's the best way to get your money's worth? What is the best way to get the most out of your life? What is the most important thing you can do for your business? What is the name of your company? What's the best way to get to know you? What's your name? What is the name of the organization? What's your name? What's your name? What's your name? What are you doing? What is the name of the organization? What's the reason for this? What's your name? What's your name? What are you doing? What's the reason for this? What are you doing? What are you doing? What's the matter with you? What are you doing here? The following is a summary of the results of the survey! What's the best way to get the most out of your life? I'm not sure if you're a fan of this.

Zong Baihua said: "Chinese painting method is not all about the depiction of concrete objects, but tends to be abstract brush and ink to express the mood of personality and mood. Chinese painting is a kind of architectural lines of beauty, the rhythm of music, the beauty of dance gestures. Its elements are not mechanically realistic, such as the subtlety of sketching in flower and bird painting, the first in the world." Chinese painting is not a western painting, first find a good subject, and then find a model to draw according to, there is always an object of constraints, the limitations of heaven and earth, although there is also the form of both God, but the "meaning" will not be enough. Chinese painting is the painter's experience in life to experience the image of all things, "deep into the core of the rhythm of life", in a free and harmonious form, to express the deepest interest of the painter. Shi Tao believed that his paintings did not resemble the ancients nor the present. "I think I paint, and I am myself." To say that Chinese painting is one of a kind, without change, and that it is necessary to make horizontal connections and learn Western painting, is perhaps to learn without depth, and to speak without precision. Chinese painters are using the "clear mind to view the Tao" of the cosmology to understand the world, to understand everything, to write in the chest, to seek a kind of liberation of the mind. The realm of Western painting is different from the abstract brush and ink figurative structure of Chinese painting. The Impressionists were also very precise in their depiction of objects. Van Gogh and Matisse valued the role of line in their paintings, and they said, "I am often inspired by the art of the East," and they also said, "My style was formed by hand Cézanne and the influence of the East." "The line drawing of the Orient shows a vast space, and one that really exists, and it helps me to go beyond the scope of life drawing". (A History of Impressionist Painting). Matisse and Picasso themselves said they were transformed by the influence of Chinese painting. "Looking around the world, first, only the Chinese have art; second, Japan, whose art also originated in China; and then the African Negroes." (Preface of Picasso's late creation exhibition) Their use of line is always inferior to the line of Chinese painting, which is fluid and changeable, colorful and rich in meaning. The line of Chinese painting not only expresses the form, but also expresses the spirit and the movement of life, and its content has a broad philosophy of space and time; Chinese and Western painters each have their own view of the cosmos, and have established two independent systems. Both modern and contemporary painters once put forward the idea of "merging the two systems into one", which is also a revolutionary slogan. They not only shouted slogans, but also engaged in revolutionary practice and painstakingly, and another interesting fact is that so far they have not succeeded in establishing a tradition as a model to be learned without seeing a vibrant heredity.

Ren Bonian began to study Western painting. The famous French painter D'Arcy praised Ren Bonin's works as "how alive the sky, in these watercolors, how no subtle harmony, in these so dense colors". The older generation of the Yue School painters, such as Hang Chih-Ying and Jin Mei-Sheng, had studied watercolor painting, and Zhang I-Guang was the most active person in promoting watercolor painting. Lv Fengzi, Chen Qiucao, Pan Sitong, Fang Yunzhi, Li Shutong, Zhang Daqian all started from western painting and gained reputation with Chinese painting in their final years to be missed by people.

Characteristics: Compared with Western painting, Chinese painting has its own obvious characteristics. Traditional Chinese painting does not focus on perspective, does not emphasize the changes in light and color in nature for the object, does not stick to the resemblance of the appearance of the object, but emphasizes the expression of the author's subjective interests. Chinese painting emphasizes "writing God with form", and pursues a feeling of "wonderful between resemblance and non-resemblance": what about Western painting? On the other hand, Western painting emphasizes "writing shape with shape", and of course, in the process of creation, it also focuses on the expression of "God". But it is very concerned about the overall picture, generalization. Some people say that Western painting is the art of "reproduction" and Chinese painting is the art of "expression", which is not unreasonable.

Chinese painting has its own unique characteristics compared with Western painting, which are also manifested in its artistic methods, artistic subdivisions, composition, use of brush, ink, color and other aspects. According to the artistic methods, Chinese painting can be divided into three forms: brushwork, writing and both work and writing. Work-brush is to use the brush neatly and carefully, coloring layers of rendering, details into the subtle, with extremely delicate strokes to depict the object, so it is called "work-brush". And what about the realistic style? Relative to the "brushwork" in terms of the use of bold and concise ink and brushwork to depict the shape and spirit of the object, expressing the author's feelings. It is necessary to have a high degree of generalization ability, to have less than the more subtle mood, the pen should be accurate, the pen should be skillful, to be able to adapt to, the intention of the pen to. The form of both work and writing is a synthesis of the two methods of work and writing.

From the point of view of the division of art, Chinese painting can be divided into three major painting disciplines: figures, landscapes, flowers and birds, which are mainly divided by the differences in the objects depicted. And the paintings of animals and beasts, saddle horses, insects, vegetables and fruits in Chinese painting can be categorized into these three categories respectively.

Chinese paintings also have their own characteristics in terms of composition, brushwork, ink and color. The composition of Chinese paintings generally does not follow the golden rule of Western paintings, but is either a long scroll or a vertical scroll, with the length and width ratio being "out of proportion". However, it can well express the special mood and subjective interest of the painter. Meanwhile, in terms of perspective, Chinese painting is different from Western painting. Perspective is a term for painting, which means that when painting, the method of representing all objects correctly on a plane, so that they have a sense of space and three-dimensionality of distance, height and height, is called perspective. This method is called perspective. Since the phenomenon of perspective is near, big and far, it is often called the "near and far method". Western painting is generally used in focal point perspective, which is like taking a picture, fixed in a footing, subject to spatial limitations, into the lens on the truth down, otherwise it will not be photographed. Chinese painting is not necessarily fixed at a fixed point of painting, but also not subject to the limitations of a fixed field of view, it can be based on the painter's feelings and needs, so that the point of movement of the painting, to see and see the scenery into their own picture. This kind of perspective is called scattered perspective or multi-point perspective. For example, the famous painting of the Northern Song Dynasty, Zhang Zeduan's "Along the River During the Qingming Festival", which we are familiar with, uses the scattered perspective method. The painting reflects the rich and complex scenery inside and outside Bianliang, the capital of Northern Song Dynasty. It takes Bianhe River as the center, and draws from the distant countryside to the bustling "Rainbow Bridge"; the viewer can see both the city and the countryside; the pedestrians on the bridge and the boats under the bridge; the buildings and trees in the near distance, and the deep streets and river ports in the distance. And no matter which section you are standing on, the proportion of the scenery is similar, if you follow the Western method of focusing on the perspective to paint, many places are simply impossible to paint. This is the ancient Chinese painters according to the content and artistic expression of the need to create a unique perspective method.

The use of brush and ink is an important part of the modeling of Chinese painting. Brush strokes emphasize the changes of thickness, speed, staccato, twists and turns, squareness and roundness in order to express the texture of the object. Generally speaking, the starting and stopping strokes should be forceful, the force of the wrist should be firm, the air in the middle should not be broken, and the stopping strokes should not be lightly picked. When using the pen, the light force is floating, the heavy force is Tingtun, the fast movement is slippery, the slow movement is stagnant, the partial use is thin, the positive use is board. To do curved line like a bow, straight line like a ruler, which is the meaning of the pen. The ancients summarized the eighteen strokes of the outline, which can be said to be a summary of the experience of Chinese painting with the brush. As for the use of ink, it emphasizes on chapping, rubbing, pointing and dyeing interactively, dry, wet, thick and light reasonably deployed, in order to shape the body and color the atmosphere. Generally speaking, the Chinese painting of the ink is wonderful, lies in the thick and light, all thick and light are no spirit, there must be thick and light, thick place must be wonderful and not stagnant, light place must be beautiful and not obscure. Ink is also like using color, the ancient experience of ink in five colors, there are also ink as gold painting style. The use of ink should also be thick and talk about each other, so that there is light in the thick, light in the thick; thick to have the thickest and the second thick, light to have a little talk about the lighter, which is the flexible use of the brush method of Chinese painting. As Chinese painting and calligraphy in the tool and pen have many **** the same place, the two have formed an unbreakable bond, the ancients have long been "painting and calligraphy from the same source," said. However, there are also differences between the two, calligraphy is a lot of changes in brushwork, especially cursive, to be better than painting, and painting ink colorful, and more than calligraphy. The word "brush and ink" is used as an umbrella term for Chinese painting techniques, which is not only a means of shaping an image, but also has an independent aesthetic value in its own right.

Chinese painting also has its own way of applying color, and the pigments used are mostly natural minerals or animal shells, which are resistant to wind and sunlight and remain unchanged for a long time. The method of applying color is mostly flat, pursuing the effect of the inherent color of the object, with little change of light and shadow.

The above characteristics of Chinese painting mainly refer to the traditional Chinese painting. But these characteristics, with the advance of the times. The content and form of art are also updated and constantly changing. Especially after the "May Fourth", the influx of Western painting, Chinese painting with its own broad mind, absorbed a lot of Western art techniques, enriching the expressive power of Chinese painting. However, regardless of the changes, the basic characteristics of the traditional Chinese painting should not be lost, and the fine traditions of Chinese painting should be maintained and carried forward, because Chinese painting has become a unique system in the field of world art, and it is a unique color in the garden of the world's art where thousands of flowers bloom and thousands of ravines compete for the flow of art. Chinese painting is the crystallization of our nation's high degree of wisdom, excellent talent and hard work, and is a valuable treasure of our nation.