Chinese culture you are interested in

Chinese landscape painting is the heaviest precipitation in Chinese sentiment. The continental cultural consciousness of visiting mountains and playing in the water, the inner cultivation consciousness of taking mountains as virtue and water as nature, and the visual illusion consciousness of being at the edge of the sky have always been the central axis of the interpretation of landscape painting. From landscape painting, we can concentrate on the mood, style, chiaroscuro and tone of Chinese painting. There is no other painting discipline that can give more emotions to the people of China like landscape painting. If we talk to others about scripture and defense, landscape painting is the national heritage, the classical background, my image, and human temperament.

Chinese landscape painting is at least 1,000 years older than Western landscape painting. The pictorial meaning it presents is actually a history of Chinese thought. More than 7,000 years ago, the awakening of the ancestors was recorded in the form of patterns. The Neolithic Hemudu culture has already expressed the connotation of conceptual culture with line carvings, and the origins of the sedentary farming civilization have not only allowed people to recognize the beauty of tools, but also the beauty of form on top of tools. Art is not only a kind of conquest of nature's imagination, but also a symbol of conquest of nature's imagination. From the very beginning, the ancestors and the nature have been living in the way of art, and the discovery of logic and the appreciation of art have pushed people's eyes to make a Chinese pattern of the unity of heaven and man from confusion to clarity.

Since the Yangshao culture, the relationship between man and nature has been symbolic. The concepts of symmetry and movement in geometric decorative techniques have been clearly applied to the representation of space and time. Particularly moving is the Jiji-god worship picture. In the context of a nation based on agriculture, it has always been customary to worship the god Jikji. The relationship between the grain, the field, and man in this picture conveys a simple understanding of the meaning of life by our ancestors. On the basis of precipitating the cognition of the natural relationship between human beings and animals and plants, social consciousness became the most crucial origin of civilization. The Cangyuan Culture's "Village Picture" is a rock painting that describes the human understanding of the "home" in the form of farming and settlement. The most visually interesting part of this painting is the road connection centered on the village, as well as the gradient depth around the center of the front of the scenes such as escorting prisoners, driving animals, sacrificing to the sky, jumping to the gods, etc. The depth in the plane has been powerfully embodied in this painting. The relationship between man and nature, the relationship between man and society, so mixed with the art of looking, and constantly deepen and develop.

To the Qin and Han Dynasties, depicting scenes of labor life, from the countryside to the imperial power, the palace murals become the mainstream of the times. This orientation of recognizing faith in the palace as a metaphor for the family room freed Chinese art from its primitive form. The ruling class scholarly culture began to dominate. The scholarly culture realized its separation from the vernacular culture. For landscape painting, this separation was profound. If we take a serious look at the Courtyard Picture of Qufu stone carving, we will be shocked by the creativity of its optical illusion. This is the art of two visual conflicts: under the premise of satisfying frontal parallax, the panning and tilting of the buildings constitute the main aspect of the conflict, and the collision of the forces generated by the two different perspective laws gives the picture a surreal three-dimensional sense. It is interesting to note that Sage's artists used the overlapping perspective law of vertical and horizontal translation and overlapping, and the line of sight has depth but does not disappear, and they were able to artfully conflict the two perspective laws of frontal and tilted in the composite field of view. It should be said that this law is nearly two thousand years earlier than today's Western Cubism. As this book says again and again, the wisdom of our ancestors can never be explained in a few words, and if we seriously enter the minds of our forefathers with the eyes of science, we will surely find that the scriptural approach can tell us much, much more.

This kind of artistic emotion, constituted by the clash of visual forms, can be experienced more richly in the ancient classics, such as the "Spring Rain" of the stone carving, the "House Gate" of the picture bricks, and the "Harvesting and Shooting", etc. One very obvious point is that, as the world has become more and more modern, it has become more and more important. A very obvious point is that, with the deepening of the relationship between human and nature, social awareness, people look at the way also changed, from the concept of the image, decoration for the use of the primitive map, geometric map, evolved into the will of the image, life for the use of the realm as a map of the classical map. The course of this look, the accumulation of cognitive beliefs, the budding collection of the constituent elements of landscape painting, all laid the foundation for the introduction of landscape painting.

Experiencing the eternity of the universe of heaven and earth from the point of view of individual life, and savoring the freedom of human beings in it, is the opening of the landscape poetry of Wei and Jin dynasties. The significance of Xie Ling Yun is that he focuses on the dependence of form in the self-consciousness of literature, and pursues the metaphysical and far-reaching divine transcendence of reason from the ontology of philosophy. The real representative of Chinese landscape sentiment is Tao Qian. Tao's poetry is a philosophical profundity that transcends the metaphysical language. It does not give up the metaphysical poetry's realization of the ontology of the universe and the ontology of life, and captures and embodies the essence and significance of such realization through a particular medium, turning them into something palpable. An artful creativity is to find shape in the intangible structures experienced firsthand. Landscape, grass and trees in Tao's poems are the true meaning and deep feelings, the philosophy that embodies the spirit of China, the transcendence, and the calmness and neutrality.