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Similarities and differences between Chinese painting and watercolor painting

Watercolor painting and Chinese painting are produced in different regions, and the basic concepts of painting are also very different. Generally speaking, China art pays attention to expressing subjective feelings, while western art pays attention to expressing objective existence. Reflected in painting, Chinese painting pays attention to charm, while watercolor painting pays more attention to form. If China's painting is compared to lyric poetry, then watercolor painting is like a realistic photo. But they all use water as pigment blending agent and paint on paper, so there are many similarities or similarities. This paper aims to comprehensively analyze the similarities and differences between the two paintings from multiple angles, so as to learn from each other's strong points and promote the further integration of Chinese and western paintings.

First, the concept of Chinese painting and watercolor painting

(1) The concept of Chinese painting. Chinese painting, referred to as "Chinese painting" for short, mainly refers to Chinese traditional ink painting [mainly ink, with little or no color] and color ink painting [also ink, but with heavy color, including boneless painting without ink]. It is a painting form in which water is used as the medium to draw on rice paper or silk with brush, ink, mineral pigments and plant pigments. The word "Chinese painting" is a concept of "painting category" to distinguish it from western painting. Chinese painting can be divided into three forms according to artistic techniques: meticulous brushwork, freehand brushwork and concurrent brushwork. Meticulous brushwork describes objects with extremely delicate brushstrokes, with neat and meticulous brushstrokes, layered color rendering and meticulous detail description, so it is called "meticulous brushwork". Workers, which means neatness. Freehand brushwork is to describe the shape and spirit of an object with bold and concise pen and ink and express the author's feelings. Freehand brushwork requires a painter to have a high degree of generalization ability, to create a subtle artistic conception with twice the result with half the effort, to be accurate, skillful and to the point. Part-time writing is a comprehensive application of meticulous brushwork and freehand brushwork, some are partial to work, some are partial to writing, and so on. In addition, there is a boneless painting. Boneless painting is also called boneless painting. In Chinese painting, when painters draw the outline and vein of an object, they usually draw it with ink first. This kind of painting belongs to bone painting, and the so-called "bone" here is ink line. Boneless painting is a kind of Chinese painting that uses color modeling directly without ink lines. Among boneless paintings, there is another kind of painting that is very similar to watercolor painting. We call it portrait painting. Because this painting is very similar to watercolor painting, we should study its similarities and differences separately. In the following discussion, we will not list boneless paintings for special explanation for the time being, so as to reduce the length of this article. From an artistic point of view, Chinese painting can also be divided into three branches: figures, landscapes and flowers and birds, while animals, pommel horses, insects, fruits and vegetables in Chinese painting can be classified into these three categories respectively.

(2) The concept of watercolor painting. Watercolor painting originated in the west and developed during the Renaissance in Europe. It is also a painting form in which water is used as the medium and colorful and mostly transparent watercolor pigments are used to paint on white paper [white paper is a kind of "hard white paper", such as what we usually call white newspaper, which generally does not need a special "soft white paper" for Chinese painting-Xuan paper]. On the big concept, we can think that watercolor painting is a colorful painting form with "color" as the raw material and "water" as the medium (oil painting is to mix pigments and oil together), painting on a special "hard white paper" and paying great attention to the light and shadow effect.

Second, the similarities and differences between Chinese painting and watercolor painting in the main tool materials

(3) draw paper. Watercolor painting and Chinese painting are mainly white paper. Xuan paper and silk for Chinese painting. Xuan paper can be divided into raw and cooked, but both are soft, which can be said to be "soft paper". The performance of tools and materials of Chinese painting also determines the characteristics of Chinese painting. Especially when painting with silk and paper, it is easier to bring pen and ink into play. The permeability of Xuan paper, coupled with the combination of rigidity and softness of brush, makes pen and ink change endlessly. Watercolor painting uses white paper with a certain hardness, such as French arch watercolor paper. Compared with rice paper and silk, watercolor paper can be said to be "hard paper". The ideal watercolour paper has a white paper surface, a solid texture and moderate water absorption. When it meets water, the paper surface is flat and the paper grain is also divided into thickness.

(4) Ink and black. In Chinese painting, ink plays a very important role, and there is also a saying that ink is divided into five colors. In watercolor painting, there are only black pigments. Watercolor painting is not as particular about the use of this black pigment as Chinese painting.

(5) brush. Watercolor painting and Chinese painting are mainly based on brush. Just because of historical reasons, the two brushes are somewhat different in appearance, but there is no obvious difference in essence. Brush for Chinese painting and brush for watercolor painting should have certain elasticity and water-containing ability. In practical application, two brushes can also be used together. For example, wolf brush, white cloud brush and landscape brush commonly used in Chinese painting can all be used to draw watercolor paintings.

(6) inkstone and palette. Palette is an indispensable painting tool for watercolor painters and China painters. The inkstone is one of the indispensable painting tools for China painters, while watercolor painters don't need inkstone at all, just a few palettes.

(7) pigments. From the source of raw materials, watercolor pigments and traditional Chinese painting pigments are basically the same, both from animals and plants, minerals and chemical synthesis (the chemical synthetic pigments in traditional Chinese painting were later borrowed from watercolor pigments), but there are also many differences.

[7- 1] There are two kinds of pigments used in Chinese painting: one is minerals, such as cinnabar, ochre, azurite, stone green, stone yellow, white powder, gold powder and silver powder; The other is plants, such as cyanine, gamboge, rouge, magenta and so on. Because the pigments used in traditional Chinese painting are mostly natural minerals or powder from animal shells, they can withstand wind, rain and sun for a long time. Such as Dunhuang murals and Han tomb murals, still maintain bright colors. Watercolor pigments have the disadvantage of easy fading. Watercolor works are easy to fade after a certain period of time, especially under the contact of sunlight and air, the change is faster. This is because watercolor painting uses changeable pigments such as rose red, violet, gamboge and grass green.

[7-2] There are different kinds of pigments. There are far more kinds of watercolor paintings than traditional Chinese painting pigments, with rich color levels and bright colors. Commonly used watercolor pigments include lemon yellow, medium yellow, khaki, vermilion, khaki, crimson, rose red, grass green, emerald green, ultramarine blue, ripe brown, coal black and so on.

[7-3] The halo effect of the two pigments on "hard white paper" is similar, that is, it is basically not halo; However, on Xuan paper, the smudge effect of Chinese painting pigments is very strong, while watercolor pigments are basically not smudge, which seems a bit "oily". This is because watercolor pigments contain a small amount of glycerol.

[7-4] The raw materials used in traditional Chinese painting pigments are divided into deep, shallow, fine and coarse through grinding, refining, sinking and elimination, and then carefully selected, but generally the particles are coarse. Watercolor pigments are also extracted from animals, plants and minerals, but their particles are much finer than traditional Chinese painting pigments. After being dissolved in water, it is crystal clear and delicate, and if it is coated on white paper layer by layer, it also has crystal clear effect. Many colors of watercolor pigments are transparent or translucent after water blending, among which blue, lemon yellow, emerald green and rose red are the most transparent, followed by ultramarine, orange yellow and vermilion. However, soil red, soil yellow, coal black and brown are not very transparent, but if you add more water and reduce its concentration, you can also have a transparent effect. Mineral pigments such as ultramarine, ochre and earth red in watercolor pigments are easy to precipitate when used alone or mixed with other colors.

(8) admixture. Both Chinese painting and watercolor painting use water as a blending agent of pigments. Water plays a very important role in both Chinese painting and watercolor painting. Whether it is Chinese painting or watercolor painting, there are many stresses on the use of water. When painting, the amount of water depends on the painting theme and picture effect, which is directly related to the water absorption of the selected paper. The humidity of the climate also affects the use of water. But in general, water has three functions: one is to blend pigments; The second is to wet the paper; The third type is used to apply colored ink. For example, watercolor painting, the general painting procedure is to wet the drawing paper first, and then add pigment. If the depth of the first brushing is not enough, the second and third brushing are needed. The method is to wet the paper and continue painting on it after the last layer of paint dries. The meticulous painting method in Chinese painting also needs to be painted in layers, which also requires the previous layer to dry before continuing to paint the next layer. In Chinese painting, especially in freehand brushwork, the effect of "incisively and vividly" can be achieved by properly mixing colored ink with water. Among them, water plays a vital role.

(9) Cover with liquid and alum. In the process of watercolor painting, in order to achieve a certain painting effect, painters often use masking liquid. There is no covering liquid in Chinese painting materials. In Chinese painting, there is a special material that is not used by other kinds of painting [including watercolor painting, of course]. This is alum. Alum in Chinese painting can be used to cook paper [that is, to ripen raw rice paper]; Second, to some extent, it can be used as a sealing liquid of color ink and play the role of some covering liquid; Third, it can be directly used as a painting pigment, such as ice and snow painting.

Third, the similarities and differences between Chinese painting and watercolor painting in painting concepts

(10) painting design. Chinese painting pays attention to meaning first, watercolor painting is realistic-oriented, and pays attention to realism and the use of light colors. Gu Kaizhi, a painter in the Jin Dynasty, put forward the idea of "clever approach and careful thinking". In the Tang Dynasty, Zhang Yanyuan said in Notes on Famous Paintings of Past Dynasties: "The image of the husband must be molded, and the molded image must be full of backbone. The bones are similar in shape, all according to the general idea, belonging to the pen. " He believes that only when the idea comes first will there be strange meaning in the painting. In the Qing Dynasty, Fang Xun also emphasized the relationship between artistic conception and painting in his "A Still Life in a Mountain": "When painting, you must first position yourself, meaning strange, meaning high, meaning far, meaning deep and meaning ancient." He thinks that mediocre paintings will be mediocre and vulgar paintings will be vulgar, because they lack the most precious "conception" of painters. Where does the meaning come from? From the painter's rich observation of real life and the full accumulation of creative experience; From the painter's own cultivation. Although western painters also attach importance to the idea of painting, as Leonardo da Vinci, an Italian Renaissance painter, said, "A painter should describe two most important things, people and people's thoughts and intentions." However, the requirements of western painting for artistic conception are far from those of Chinese painting, which puts it in the first place. Generally speaking, western painting (including watercolor painting) pays more attention to how to be realistic, how to shape and how to express light color.

(1 1) Painting intention. Chinese painting pays attention to the meaning and symbol of painting, while watercolor painting emphasizes aestheticism. The landscapes, flowers and birds in Chinese paintings often contain symbolic meanings. For example, plum blossoms and pine trees symbolize the indomitable spirit of fighting cold and snow, while lotus flowers and bamboo symbolize nobility. Wang Keyu in the Ming Dynasty said in Coral Outline: "Ancient paintings have profound meanings, and all of them have owners when they put pen to paper." Watercolor landscape painting and watercolor still life painting mainly pursue the beauty of the picture and pay attention to the harmony of light and color, but the painting content is in a secondary position.

(12) aesthetic requirements. Chinese painting pays attention to vivid forms. Watercolor painting wins with light colors. "Writing God in Form" is a famous saying of Gu Kaizhi, a painter in Jin Dynasty. In Chinese painting, "God" is higher than "shape". Under the guidance of this aesthetic view, people should not only be similar in appearance, but also in spirit, and the latter is more important than the former. The focus of watercolor painting is the similarity of appearance, and the pursuit of "verve in painting" is far less intense than that of Chinese painting. Chinese painting, especially freehand brushwork, pursues a feeling that beauty lies between similarity and dissimilarity. Watercolor, on the other hand, emphasizes "painting with form" [of course, it does not emphasize the expression of "God" at all], and pays 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". This statement does have some truth. In the past hundred years, there have been abstract painting schools and impressionists in western painting circles. In their paintings, they began to pursue artistic conception and charm in painting.

Fourth, the differences of composition rules.

(13) scale size. Generally speaking, watercolor paper is shorter, mostly half a meter square, and pays more attention to the ratio of length to width, which generally conforms to the golden section law. In Chinese painting, the length-width ratio of paper, scroll or vertical shaft is totally different from that of Huang Jinlv, but it can well express the special artistic conception and the painter's subjective interest.

(14) perspective method. Watercolor painting follows the principles of perspective, anatomy and colorimetry, and the basic technique is to create three-dimensional space on the plane by using focus perspective. Chinese painting uses both focus perspective and scattered perspective, but scattered perspective composition is the most widely used method. In this way, you can move mountains and rivers, that is, when the image appears, you can extend or shorten it according to artistic needs and change its position to obtain the best visual effect. This is a unique perspective method created by ancient Chinese painters according to the needs of artistic expression. As we know, Zhang Zeduan's The Riverside Scene at Qingming Festival in the Northern Song Dynasty adopted the scattered perspective method. It takes the Bianhe River as the center, from the distant rural picture scroll to the 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 rivers in the distance. And no matter where you stand, the proportion of the scenery is similar. If you draw according to the focus of western painting, many places can't be drawn.

(15) picture space. Among the composition rules of Chinese painting, there is another one that is also very important. Watercolor painting is generally not used, and that is to count white as black. In Chinese painting, there are scenes that strictly adhere to the truth and leave blank, as well as scenes that break the truth and are artistic according to the needs of composition. This kind of appropriately or artificially designed blank picture occupies an important position in Chinese painting. The practice of leaving the picture blank as a part of painting is the so-called "black with white". Chinese painting pays special attention to the management of blank space, and often borrows calligraphy techniques to make white black, that is, the part without painting should be carefully scrutinized and treated like the part with painting. Watercolor painting also has the saying of "leaving blank". The "blank" of watercolor painting refers to the need to omit some pale white parts when painting darker colors. Proper and accurate blank or light color will also enhance the expressive force of the picture.

5. Similarities and differences between Chinese painting and watercolor painting in painting techniques.

(16) Different modeling methods. Chinese painting uses line modeling, watercolor painting uses light and shadow modeling. One of the most important characteristics of Chinese painting is that the line is the shape and the shape is vivid; Distinguish the light and shade of yin and yang by enamel, and only draw its shape without drawing its shadow. First of all, China painters crossed off the outline, yin and yang, texture and volume through lines and strokes. At the same time, in the eyes of China painters, lines are an important means to express the author's thoughts and feelings. Painters in China have accumulated a lot of lines on landscapes and clothing patterns, such as "eighteen strokes" and various methods of drawing lines on hemp, axe chop, lotus leaf and rice dots. These are all not available in watercolor painting. Watercolor painting also uses lines and flying white [similar to Chinese painting] to shape the image, but the basic modeling method of watercolor painting is light and shadow. Western painting (including watercolor painting) pays more attention to expressing the texture and sense of space of objects through light and color. Without the concrete content of form, structure and light and shade, lines themselves have no value.

(17) The concept and application of color are different. Chinese painting attaches great importance to the setting of color, so it was called "Danqing" in ancient times. Dan is cinnabar, cyan is indigo, which are commonly used colors in painting. Coloring is a basic technique that ancient painters must master. However, on the whole, China painters' understanding of color, their concept of using color and their coloring methods are quite different from watercolor painters.

[17- 1] The scenery of Chinese painting does not pay attention to the shape of the object, the change of light and color on the object and the brightness of the picture like western painting [the scenery is dark], but pays more attention to the charm and likeness of the scenery, and pays attention to "expressing the spirit with form" and "having both form and spirit".

[17-2] Coloring with class is the basic principle of Chinese painting, and coloring with light is the basic principle of watercolor painting. Chinese painting pays more attention to the inherent color of the object itself, rather than emphasizing the conditional color under special light. When you draw an object, you give it a basic color. The basic color in traditional Chinese painting is only an approximate color [it is colored with classes instead of objects, let alone used up]. Although there are sometimes different colors such as thick, light, dry and wet, the purpose is not to express the light sense of the object but to break the stagnation, so as to obtain rich changes and vivid charm of the color itself.

[17-3] Chinese paintings often have the painter's subjective color, and even abandon the color of the object itself and adopt artificial colors, such as Zhu Zhu, Mo Zhu, Moran and Mo Mei. We can call it "emotional color".

[17-4] I like to use contrasting primary colors. China people are used to using red, yellow, blue, white and black as the "five primary colors", of which black and white are the main colors. Chinese painting pays attention to "black and white" and has a strong contrast. For example, the painting method of great green landscape is: painting rocks with large areas of stone green and azurite, sketching the outline with clay gold, dyeing mountain clouds with white powder piles, and pointing out Feng Dan with vermilion. In this way, the green hills, white clouds and mangroves form a strong contrast.

[17-5] Generally, water and sky in Chinese painting are not colored, but expressed by the blank space of paper. The ancients said that "the element is cloud and the ground is snow", and this is the expression. Although clouds and water are not drawn, they can be shown.

[17-6] In Chinese painting, ink and color are inseparable. For ink painting, Chinese painting emphasizes the interaction of rubbing, rubbing, light and dyeing, the rational allocation of dry, wet, thick and light, shaping the body and setting off the atmosphere. The beauty of ink in Chinese painting lies in the matching of shades. Generally speaking, Chinese painting before the Song Dynasty paid great attention to color setting, but after the rise of literati painting, it was advocated that "meaning is not enough to be like color", and light color gradually became the mainstream of Chinese painting. Today, pale colors can no longer fully reflect the rich material life and spiritual outlook of contemporary people. On the basis of inheriting the traditional color experience, we should absorb new nutrition and create a new color theory and a new color world.

The specific methods of (18) coloring have many similarities. For example, meticulous painting in Chinese painting is mainly based on multi-layer flat painting, and each layer has to wait for a layer to dry thoroughly; The coloring of freehand brushwork is generally in place at one time. Watercolor painting is mainly flat painting, and it also needs to be painted several times and at different levels [wait for one layer to dry thoroughly] to achieve the ideal effect. But there are also some differences. This difference is mainly caused by the difference between painting materials and painting concepts.

[18- 1] Watercolor painting can be divided into dry painting and wet painting. Dry painting is also a multi-layer painting. It uses the method of layer coating, repeatedly coloring on the dry background color, without seeking penetration effect, and is mostly used to express clear body structure and rich color levels. Dry coating can adopt specific methods such as layered coating, masking color and color collection. Layer coating is to coat the next layer of color after the previous layer of color has dried completely, and it takes two or three times in some places. Cover color is also a kind of dry coating. When several colors in the picture are not uniform enough, they can be unified through the cover color. For example, if a piece of color is too warm, a layer of cool color can change its cold and warm properties. This method is often used for the final adjustment of the picture. Color matching is a transitional connection between adjacent different color blocks to increase color variation. Wet painting can be divided into wet stacking and wet coloring. Wet stacking is to wet or partially brush the drawing paper, wait until the drawing paper is dry before coloring, or wait until the upper layer is dry before coloring the next layer. This method is mostly used to express the wet smell of rain and fog atmosphere and wet dew. Wet color connection is a transitional connection between different adjacent color blocks at the end of the picture, which shows the gradual change of color through the flow of water color.

[18-2] There are two ways to color Chinese paintings: heavy color and light color. Heavy color method is mostly used to draw meticulous paintings on cooked rice paper. Mainly green, so it is called "green landscape". You need to outline the outline with light ink first, then color it layer by layer, and finally point the moss with thick ink. Commonly used coloring methods include rendering, overlapping dyeing, masking dyeing, setting off and so on. Rendering method is to use two pens at the same time, one dipped in color and the other dipped in clear water, so as to blur the color and solve the transition problem of color from thick to light. Overdyeing is to dye the color layer by layer, so that the color gradually deepens to the degree required by the picture. The requirement is that the previous layer can be dried before the next layer can be colored. Cover dyeing is to lay the foundation first and then cover the color. Choosing different background colors and cover colors can produce rich color effects. For example, the green of the floral blue quilt cover has a strong and dignified feeling, and the green of the ochre quilt cover has a distinct and warm feeling. The foil is to coat the back of the paper with a layer of color corresponding to the front scenery to make the front color more vigorous or bright, such as using azurite to line juice green and azurite to line azurite. Pale color method is suitable for freehand brushwork or half-work painting, mainly ink and wash, and color only plays an auxiliary role. To use the light color method, we must first draw the ink bone well, and the ink bone can be drawn well, as long as the painter strokes it gently. The light color method is called "light crimson landscape" with ochre as the main tone, and "little turquoise landscape" with turquoise as the main tone. Light crimson landscape emphasizes hot color, while green landscape emphasizes cool color. Chinese painting also pays attention to the collocation of main color and cold and hot color, such as the so-called "a little red among all greens" In addition, there is another color splashing method, which is based on the ink splashing method and uses the methods of water impact and color contrast of meticulous flower-and-bird painting to achieve the artistic effect of water, ink and color blending.

(19) Everyone pays attention to the use of pens, but Chinese painting is more strict with the use of pens. Chinese painting pays attention to the use of pens in calligraphy, while watercolor painting takes a pragmatic attitude towards using pens. In Chinese painting, the pen emphasizes the thickness, speed, ups and downs, turns and Fiona Fang changes to express the texture of objects. Generally speaking, you should start and stop writing hard, and you can't break the air in the middle. You should bend like a bow and be as straight as a ruler, that is, use a pen. 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. Brush strokes are also an indispensable factor in watercolor painting, and the quality of brush strokes is also directly related to the success or failure of works. Proper brushwork can improve the expressive force of the work and make the picture vivid and vivid. Watercolor painting requires clear contrast of nearby objects and less water in the pen [dry pen]; Distant objects are blurred, and the pen contains more water [wet pen], thus creating a sense of space. Whether it's dry or wet, the speed of carrying a pen should be decisive and powerful. Watercolor painting is addition, and in most cases, there is no regret in putting pen to paper, so it is also required to use colors in one step as far as possible.

(20) Special technology has its uses. The special techniques of watercolor painting include scraper method, crayon method, suction washing method, water spraying method, salt sprinkling method, contrast printing method, oil stain method and so on. Knife scraping is a method of scraping with ordinary pencil sharpener, which is a method of destroying paper and causing special effects. The crayon method is to apply crayons or oil pastels to a certain position before coloring, and the waxed part is naturally omitted when coloring. This painting can be used to show sparse leaves, night lights, complex crowds and so on. Absorbing and washing method is to absorb part of the color of the picture with absorbent paper when the color is dry. The water spraying method is to spray water on the screen before or when the color is dry, so that the screen appears to be wet by the rain in Mao Mao. The salt sprinkling method is to sprinkle fine salt particles when the color is dry, so that the picture will have a snowflake-like texture effect after it is dry. The reverse printing method is to draw ordinary colors on a glass plate or smooth paper coated with plastic, then cover the paper on it and print the colors on it [a watercolor painting can be made with a little treatment]. Oil stain method is to use the immiscible property of oil and water to dip a little turpentine in coloring, so that colorful oil stain effect appears in the picture and the color blocks increase and change. The formation of special techniques is directly related to painting materials. Some special techniques of watercolor painting draw lessons from Chinese painting, while others cannot be used. For example, watercolor painting uses "hard paper", and artists can make scratches on the paper with knives, pencils and sticks, which is unimaginable on the special Xuan paper for Chinese painting. In Chinese painting, the technique of controlling colored ink with alum and the technique of diffusing colored ink with washing powder, detergent and salt are all better realized with Xuan paper, a special painting carrier.

6. Similarities and differences between Chinese painting and watercolor painting in post-processing.

(2 1) Inscriptions and seals are unique to Chinese painting, and they are also one of the important features that distinguish western painting including watercolor painting. Chinese painting is good at combining poetry, books, paintings and seals perfectly into an inseparable whole. It can improve or supplement the viewer's appreciation and understanding through inscriptions and seals, and can also enrich the changes of the picture and play a role in setting off each other, highlighting each other, embellishing and balancing the composition.

7. Similarities and differences between Chinese painting and watercolor painting in the sense of picture.

(22) Watercolor painting and Chinese painting have many differences in the characteristics of tool materials and painting techniques, so they have different visual feelings and psychological influences. A good watercolor painting gives people a visual impression, which is manifested in bright colors, crystal clear, moist and smooth, flexible and natural, dripping and vivid. Chinese painting gives people the first impression of artistic conception, followed by the meaning behind the painting, and the third is the aesthetic feeling brought by composition, lines and colors. In fact, artistic conception is also a sense of beauty, just a macroscopic, advanced and vague sense of beauty. In Chinese painting, the most important thing is the so-called "vivid charm". Charm is the artistic spirit of China painters. A good Chinese painting should be full of life, fresh and lively, with the charm of lyric poetry, which makes the viewer fascinated. If you don't show this artistic realm, it doesn't meet the basic requirements of Chinese painting.

In short, from a big perspective, the main differences between Chinese painting and watercolor painting are: Chinese painting makes good use of lines, while western painting has obvious lines; Chinese painting does not pay attention to perspective, while western painting pays attention to perspective; China's figure paintings don't talk about anatomy, while watercolor figure painting attaches great importance to anatomy. Chinese painting pays no attention to the background, while watercolor painting pays attention to the background. With the progress of the times, especially after the May 4th Movement, with the introduction of western paintings, modern painters in China constantly absorbed various techniques such as sketch, oil painting and watercolor painting on the basis of inheriting traditional techniques, which greatly enriched the expressive techniques of Chinese painting. Some painters also constantly innovate in tools and materials, and skillfully integrate the techniques of western painting with the traditional techniques of Chinese painting, bringing new vitality to Chinese painting. We hope there will be more paintings that blend Chinese and western styles!