The origin and development of brush painting

The origin and development of brush painting

Brushwork painting, ancient painting, advocating realism, seeking similarity, it is more neat; to Tang Wang Wei created ink painting method, Shang Yi light form, the subject matter from life to depict nature, roughly divided into figures, landscape, flowers and birds, etc.; thus, the painting method has a brushwork and the writing of the difference.

Work-brush painting is a Chinese painting expression that depicts scenery with a precise and delicate brushwork. Bian Luan, an outstanding representative of Tang Dynasty bird and flower painting, could paint the active state of birds and the colorful flowers. The Peony Painting, with its bright colors and brilliant hair, is a wonderful work of art. If you look carefully and are sure that the peony is painted at noon, you will find that the cat's eye in the picture has a vertical line, which is the same as the one in the painting. Vertical Lines It can be seen in the vertical lines of the cat's eye. Another example is Huang Chyuan, a painter of the Fifth Dynasty, who wrote about the plumes of flowers because they were so detailed and realistic that they could be seen as the real thing and were attacked by eagles, which can be seen in the Commentary on Famous Paintings of the Sacred Dynasty: "The Sacred Dynasty was a time of great success for the artist. Guangzheng in Chang ordered chyuan and his son junong in bagua hall painting four seasons landscape and birds and flowers, etc., to the most complete. In the winter of that year, Chang will go out to hunt, because of the eagle and dog, one of the eagle, who can't be controlled by raising his arm, then vertical, straight into the hall to wrestle with the plume of his paintings. [1]? Work brush painting in the Tang Dynasty has been prevalent. So the reason for outstanding artistic achievements, on the one hand, the painting techniques have become more mature, on the other hand, also depends on the improvement of painting materials. In the early Tang period, the improvement of silk material played a certain role in promoting the development of brush painting, according to Mi Fu's History of Painting: "All ancient paintings were made of raw silk by the beginning of the Tang dynasty. The ancient painting to the beginning of the Tang Dynasty are raw silk, to Wu Sheng, Zhou, Han good offices, and later are half-cooked in hot soup, into the powder whacked like a silver plate, so the characters, wonderful into the pen.

Such as Chen Zhifo made autumn Yan figure, He Jiaying "autumn meditation". Chinese brush painting has a long history, from the Warring States to the Song Dynasty, the creation of brush painting from childish to mature. The use of brush painting? The use of the "subtle" means, through the use of the "subtle" means, of the "subtle" means. means, through the use of the "fine" method, and the "fine" method, through the use of the "fine" method. Taking the spirit to get the shape, using the line to establish the shape, and using the shape to realize the meaning. to obtain the perfect unity of the god and the form. In Gongbi painting, whether it is figure painting, or flower and bird painting, they all strive to be similar to the shape,? Shape occupies an important position in Gongbi painting. Unlike ink and wash painting, Gongbi painting pays more attention to the details. detail? In the Tang Dynasty, Zhou Fang's Pictures of Ladies with Hairpins and Ladies Wielding Fans, and Zhang Xuan's Pictures of Wounding and Practicing, and Lady Guo's Travels in Spring, all depicted real life, and these works were not only highly descriptive, but also poetic. After the end of the Ming Dynasty, with the introduction of Western painting techniques into China, Chinese and Western painting began to learn from each other, thus making the creation of brush painting more accurate in modeling while maintaining the natural flow of lines and poetic content.

Work-brush painting flourished in the Tang Dynasty. The painting techniques were becoming more sophisticated, and the materials used for painting were also greatly improved. The brushwork should be painted on silk or rice paper processed with gum and alum Zhao Xinjian's "Lotus Rhythm in the Clear Pond". In the early Tang Dynasty, the improvement of silk material played a role in promoting the development of brush painting, according to Mi Fu's "History of Painting": "All ancient paintings were made of silk by the beginning of the Tang Dynasty. Ancient paintings to the early Tang Dynasty were all raw silk, to Wu Sheng, Zhou, Han good offices, and later all half-cooked in hot soup, into the powder whacked like a silver plate, so the characters, wonderful into the pen. Work-brush painting is generally the first to draw a good manuscript, a complete manuscript needs to be repeatedly revised to finalize the draft, and then compound on the gum alum on rice paper or silk, first outlined with a small brush with a wolf-hair, and then with the type of color, layer by layer rendering, so as to achieve the shape of both God and the artistic effect.

China's brush painting has a long history, from the Warring States to the Song Dynasty, brush painting. Creation from childish to mature. The use of brush painting? The best of its subtlety? The means of painting is to take the spirit and get the shape, and to use the line to establish the shape of the painting. Taking the spirit to get the shape, using the line to establish the shape, and using the shape to realize the meaning. to obtain the perfect unity of the god and the form. In Gongbi painting, whether it is figure painting, or flower and bird painting, they all strive to be similar to the shape,? Shape occupies an important position in Gongbi painting. Unlike ink and wash painting, Gongbi painting pays more attention to the details. detail? In the Tang Dynasty, Zhou Fang's Pictures of Ladies with Hairpins and Ladies Wielding Fans, and Zhang Xuan's Pictures of Wounding and Practicing, and Lady Guo's Travels in Spring, all depicted real life, and these works were not only highly descriptive, but also poetic. After the end of the Ming Dynasty, with the introduction of Western painting techniques into China, Chinese and Western painting began to learn from each other, thus making the creation of brush painting more accurate in the modeling at the same time, while maintaining the natural flow of lines and the poetic content.

Bianluan Peony Painting Brushstrokes are an early method of expression in the history of Chinese painting. As far back as the Wei and Jin Dynasties, it had a high artistic achievement. The essence of brush painting is to fully demonstrate the unique charm of the Oriental charm.

In the 1980s, in the context of cultural exchanges between China and the West, Gongbi Painting, as the earliest and oldest art category in the Chinese visual arts, took on a new look in the expansion and innovation of styles, techniques, and forms of expression. Artists have re-conceptualized and excavated traditional Chinese culture in the context of contemporary society. In this development process, Chinese brush painting has developed y along the trajectory of integrating literature, calligraphy, philosophy and poetic language. Elements of new visual art languages from the East and the West were absorbed, and new fields of materials and techniques were expanded. The outlining and rendering of traditional brush painting, the decorative nature of graphic expression, as well as Western realism and dreamlike moods are all incorporated into contemporary brush painting. It has brought an unprecedented new prosperity to the contemporary society from traditional to contemporary brush painting.

In the long-term historical development of Gongbi painting, a set of strict technical system has been established, thus forming the unique style of this genre of painting, whose characteristics are summarized as follows:

(1) Line

Line modeling is a characteristic of Chinese painting techniques, and is also the foundation and backbone of Gongbi painting. The requirements of line in brush painting are neatness, delicacy and rigor. Generally use the center brush more.

(2) color

The inherent color is the main, generally colorful, calm, bright, elegant, and have a unified tone, with a strong Chinese national color aesthetic interest.

(3) Decorative and flatness

Decorative is an indispensable factor in brush painting. From the composition, line drawing, coloring to the detailed treatment of the image are all with a certain sense of flatness and decorative. On the one hand, the decorativeness comes from the traditional programmed techniques, and on the other hand, it is the aesthetic effect formed by the author's refinement, exaggeration and creation of the images in life. ;