Why did ancient Chinese painters not seek to paint like?

Ancient Chinese painters pursued chiaroscuro in ink and brushwork, lightness and serenity, and subtlety and elegance.

And, the charm and pursuit of the realm of Chinese figure painting lies in the lines and chiaroscuro. The changes in thickness and direction of the lines can portray a furious vajra or a compassionate Bodhisattva. And the degree of detail is very high, which is no less than that of Western classical figure painting.

One, because Chinese paintings do not systematically use perspective, there are often several extinction points or axonometric images (furniture is mostly axial) in the whole picture, creating an unrealistic feeling.

The second reason is that Chinese paintings are very subjective about the changes in light and shadow, rather than objectively expressing the sense of light as in Western classical science. The painter expresses spatial proximity or changes in light and shadow through the thickness of the brush and ink according to his own observation or imagination. (This is very obvious in landscape painting, and the effect is very good.) In Gongbi figure, flower and bird painting, in order to express the details, the thickness of the brush changes even less, which results in the painting of the characters in the sense of volume is very poor, although the details are in place, but there is no sense of reality.