What are the parts included in a Chinese painting

The main types of traditional Chinese paintings. Chinese painting in ancient times no certain name, generally called Danqing, mainly refers to the painting on silk, paper and framed scroll painting. Since modern times, in order to distinguish it from foreign paintings imported from the West, such as oil paintings (also known as Western paintings), it has been called Chinese painting, or national painting for short. It is a painting created with Chinese unique brushes, ink and pigments in accordance with long-established forms of expression and artistic rules. According to the materials used and the methods of expression, Chinese painting can be subdivided into ink painting, heavy color, light-red, brushwork, writing, white drawing, etc.; according to its subject matter, there are figure painting, landscape painting, flower and bird painting, etc. The forms of painting are more diverse. There are various forms of Chinese paintings, such as horizontal scrolls (also known as hand scrolls) and horizontal ponchos, vertical banners and centerpieces, full-size albums and doufangs, and folding fans and fans painted on top of fans. Chinese paintings, in terms of ideological content and artistic creation, reflect the social consciousness and aesthetic taste of the Chinese nation, and concentrate on the Chinese people's understanding of nature, society and the political, philosophical, religious, moral, literary and artistic aspects associated with them.

Historical Development Chinese painting has a long history, as far back as 2000 years ago, during the Warring States period, there appeared paintings on silk fabrics - silk paintings, which were preceded by primitive rock paintings and colored pottery paintings. These early paintings laid the foundation for later generations of Chinese paintings to use line as the main means of modeling. During the period of the two Han and the Wei, Jin, and North and South Dynasties, the rapid changes in society from stability and unity to division, and the impact and fusion of the importation of foreign cultures with local cultures, led to the formation of a situation where religious paintings were the mainstay of painting at this time, while depictions of local historical figures and literary works accounted for a certain proportion of paintings, and landscape paintings and bird and flower paintings sprouted at this time, and at the same time, paintings were conscious of their theoretical grasp, and the standards of evaluation were put forward. During the Sui and Tang dynasties, the social economy and culture were highly prosperous, and painting also showed a comprehensive prosperity. Landscape painting, flower and bird painting had developed and matured, religious painting reached its peak, and the tendency of secularization appeared; figure painting to express the life of the aristocrats was the main focus, and appeared with the characteristics of the era of the character modeling. The Five Dynasties and Song Dynasty further matured and became more prosperous, figure painting has been transferred to the depiction of secular life, religious painting gradually declined, landscape painting, flower and bird painting jumped to the mainstream of the painting world. The emergence of literati painting and its development in later times greatly enriched the creative concepts and methods of expression of Chinese painting. During the Yuan, Ming, and Qing dynasties, ink landscape and bird and flower painting were developed prominently, and literati painting became the mainstream of Chinese painting, but the end of the trend was towards imitation and imitation, which was farther and farther away from the times and the life. Since the end of the 19th century, Chinese painting has seen a variety of schools of thought, a large number of famous artists, and continuous reform and innovation in the cultural environment that has introduced Western forms of expression and artistic concepts as well as inherited the traditions of national painting over the past hundred years.

After the nineteenth century, a large number of painters came together in the politically and economically (especially commercially and culturally) developed centers of Shanghai, Beijing (including Tianjin), and Guangzhou, namely the group of painters from Jiangsu, Zhejiang, and Shanghai, such as Ren Yi, Xugu, Wu Changshuo, Huang Binhong, Liu Haisu, Pan Tianshou, Zhu Zhan, Zhang Daqian, Fu Baoshi, Qian Songyan, and Lu Yanshao; and the group of painters from northern China, such as Qi Baishi, Chen Shishi, and others; and the group of painters from northern China, such as Qi Baishi, Chen Shishi, and others. The group of northern painters centered in Beijing includes Qi Baishi, Chen Shizeng, Jincheng, Chen Banting, Wang Xuetao, Li Kuchan, Jiang Zhaohe, and Li Keran; and the group of Lingnan painters centered in Guangzhou includes Gao Jianfu, Gao Qifeng, Chen Shuren, He Xiangning, Zhao Shao'ang, Guan Shanyue, and Huang Junbi. With the change of the situation and the change of the times, the painters in the above areas also have mobility, such as the War of Resistance against Japan when many painters came to the southwest, after 1949 there are many painters, such as Zhang Daqian, Huang Junbi, Zhao Shao'ang, etc., moved to foreign countries and Hong Kong and Taiwan. Today most of the country's provinces and cities set up painting academies, in addition to the three centers, and the emergence of many new centers, an unprecedented expansion of the ranks of painters.

Among the modern Chinese painters, many of them inherited and adhered to the basic mode of traditional painting. They either imitated and inherited the techniques and styles of their predecessors as a principle, or tried to change while inheriting the traditions, and formed their own styles while preserving and developing the traditions. The former include Jincheng and Gu Linshi, while the latter are represented by Qi Baishi, Huang Binhong and Pan Tianshou.