What are the related theories of China's landscape painting and how to write them! Urgent need for graduation creation

China's painting art is profound and varied. There are murals, rock paintings, painted pottery paintings, silk paintings, wooden slips, New Year pictures, prints and other paintings. Chinese painting has the most national characteristics. Chinese painting can be divided into three categories, including figures, landscapes and flowers and birds. Chinese painting can be divided into two categories: brushwork and freehand brushwork. It is divided into heavy color, light color and ink color. Chinese painting is closely related to literature, Taoism, Buddhism, calligraphy and seal cutting. Zhang Yanyuan, a painter in the Tang Dynasty, has long put forward the theory of "painting and calligraphy are of the same origin". Chinese painting is an independent Chinese painting of China in the world art field. There are so many things left by our ancestors, such as really studying the art of Chinese painting, which is something we can't finish all our lives.

The rise of China's landscape painting from Wei and Jin Dynasties is a conceptual statement. It is very likely that some excellent landscape paintings have been submerged in the historical rings because of their age, but they have not been handed down. At present, only the early works of Gu Kaizhi, a painter of the Jin Dynasty, represented by landscape paintings are left. Dai Kui, a painter in the Eastern Jin Dynasty, was good at painting landscapes and figures. In the Catalogue of Ancient Paintings, Sheikh commented that his painting of Yunshan was exquisite in rhyme, skillful in wit, versatile and knowledgeable. Zong Bing, a painter in the Southern Dynasties, is good at landscapes and figures. He pioneered the painting method of "seeing the big from the small" and wrote the preface to painting mountains and rivers, which said: "The vertical painting is three inches and the height is one thousand meters; A few feet across the ink is a hundred miles. " This paper discusses the basic principle and verification method of human perspective in far-near method. It has a great influence on the creation and theory of landscape painting in later generations. There were many landscape painters in the Southern Dynasties, such as Wang Wei, Chopin and Zhang Sengyou. Unfortunately, no works have been handed down. But they will always occupy an important position in the cultural history of the Chinese nation.

Zhan Ziqian, a painter in Sui Dynasty, is a master of figure painting, chariots and horses, and landscapes. It had a great influence on landscape painting in Tang dynasty, and writing landscape painting was even more rapid. Existing works include China's earliest and most complete landscape painting "You Chuntu". Later generations called it "the ancestor of Tang painting". It played a certain role in the later development of landscape painting.

Painters and painters in the Tang Dynasty were called "General" and "General Xiao Li". Green landscape is the mainstream of landscape painting in Tang Dynasty. With its gorgeous colors and simple and elegant atmosphere, it shows the broad, open, luxurious and elegant aesthetic characteristics of the Tang Dynasty. Li Sixun and Li Zhaodao, as representatives of green landscape paintings in the Tang Dynasty, played an important role in the history of China painting, and later generations called Li Sixun "the ancestor of the Northern Sect". Wang Wei, Mozi, a famous poet in the prosperous Tang Dynasty, is also a representative of the pastoral school in the Tang Dynasty. Su Shi commented that "there are paintings in poetry; Look at the picture, there are poems in the picture. " He is good at drawing figures and ink landscapes. The landscape scenery in his works is particularly full of charm, often slightly exaggerated, showing a profound and far-reaching artistic conception, which is intriguing. Later generations called Wang Weinan the originator of literati painting. It shows its important position in the art history of China. There were many outstanding landscape painters in the Tang Dynasty, such as Wu Daozhi, Lu Hong, Zheng Qian, Wang Zai, Cao Zhang and Wang Qia. This had a great influence on the later development of China landscape painting.

During the Five Dynasties and the Song Dynasty, China's landscape painting reached its peak and set up a monument for China's landscape painting. The most representative landscape painters are Hao Jing and Guan Tong, both of whom are the founders of the Northern Landscape Painting School, also known as the "Jingguan" Northern Landscape Painting School. At that time, Hao Jing had put forward the theory of "Qi, Rhyme, Thinking, Scene, Pen and Ink" and "Pen has four potentials: muscle, flesh, bone and Qi". The landscape painting style of "contemplation" is the representative of the Northern School.

Dong Yuan and Ju Ran are representatives of the Southern School of China Landscape Painting. Dong Ju's landscape painting in China is based on the real scenery of the Zhenshan Mountain in the south of the Yangtze River, with the original method of "Pimapi" pebbles on the top of the mountain, which is gentle, stormy and ravines criss-crossing, rigorous in brushwork and clear in ink and wash. Dong Jucheng is the originator of landscape painting in southern China.

Many outstanding landscape painters appeared in the Five Dynasties and the Northern Song Dynasty. Wei Xian, Guo Zhongshu, Li Cheng, Fan Kuan, Guo, Zhang Zeduan, Mi Fei, Yan Wengui, Xu Daoning. Each has his own accomplishments in landscape painting. Dong Yuan, Li Cheng and Fan Kuan are also called "the three great masters of the Northern Song Dynasty". Dong Yuan, Hao Jing, Guan Tong and Ju Ran are also called "Four Great Landscape Painters in the Five Dynasties and the Northern Song Dynasty". At that time, there were also many "genre paintings", which can also be called meticulous landscape paintings. The most typical one is Zhang Zeduan's The Riverside Scene at Qingming Festival. It reflects the portrayal of real social life at that time, and the author is an outstanding representative with profound knowledge, superb skills and true nature.

Painters in the Southern Song Dynasty include Li Tang, Liu Songnian, Ma Yuan and Xia Gui, who are also known as the "Four Masters of the Southern Song Dynasty". They each formed their own landscape paintings and created the painting style of the Southern Song Dynasty. It has a great influence on Zhejiang School and courtyard landscape painting in Ming Dynasty. During this period, many accomplished landscape painters appeared, such as Mi Youren, Zhao Boju, Wang Ximeng, Yan Ciping and Kai Liang. During the Southern Song Dynasty, there were many free landscape paintings in the world, and the masterpiece Anonymous was really regrettable.

Landscape painting in Yuan Dynasty was the most mature and reached the highest level. Influenced by the landscape painting style of the Five Dynasties and the Song Dynasty, several powerful and distinctive landscape painters also appeared. Zhao Mengfu, Huang, Tang Di, Zhenwu, Wang Meng, etc. Huang, Wang Meng and wu zhen called "Yuan Sijia" a creative breakthrough in the development of China landscape painting. During the Yuan Dynasty, many outstanding landscape painters also made achievements. Some landscape painters left no names. But it also contributed to the development of China landscape painting.

There are many influential landscape painters in Jiangsu and Zhejiang provinces in the Ming Dynasty. There are Wang Bi, Dai Jin, Xu Wei, Xie, Jian Ying, Chen Hongshou, Dong Qichang, Shen Zhou, Tang Yin, Wen Zhiming and others. Ming Sijia and Wu School, later known as "Shen, Tang, Wen and Qiu". In the early Ming Dynasty, Dai Jin was the representative of the Zhejiang School, and there was also the Jiangxia School, a tributary of the Zhejiang School. There were many painting schools in Ming Dynasty, Wulin School. Lan Ying, a landscape painter in Hangzhou, is represented by Jiading School, Stopping Cloud School, Songjiang School and Jiaxing School.

In Qing Dynasty, there were "four kings" who inherited traditional retro landscape paintings. Wang Shimin, Wang Yi, Wang Jian, Wang, Jia Wuli and Yun, also known as the "Qing Six". There are also the "Four Great Monks" in the early Qing Dynasty, namely Hong Ren (), Kun Can (), Badashanren () and Shi Tao (Zhu Ruoji). The adherents of the late Ming Dynasty all practiced Zen, sent their feelings to calligraphy and painting, and each had his own unique attainments. Their landscape has its own strong style, extensive and profound, and future generations are far behind. Landscape painters in Qing Dynasty made great achievements, including Gong Xian, Fan Xin, Zou Zhe, Wu Hong, Xie Xun, Gao Yi, etc. Yangzhou School, Xin 'an School, Gusu School, Yuan School, Jiangnan School, West Zhejiang School, Jingjiang School, Huangshan School, Lingnan School, Songhu School and so on.

Mei Qing, Dai Benxiao, Wu Li, Yuan Jiang, Dai, Ren Xiong and other outstanding landscape painters appeared in this era.

In modern times, a number of high-level landscape painters, such as Huang, Pan Tianshou, Fu Baoshi, Zhang Daqian, Li Keran, Shi Lu,,, and so on, have made great achievements. They are models of contemporary artists, and their personalities have created artistic products. We should deeply understand and learn their character, cultivation, knowledge and spirit.

The realm of Chinese painting and landscape painting, the pursuit of natural beauty, mastery. Landscape painting is closely related to nature. The weather scenes of the sun, moon, stars, morning, wind, rain, snow, dew, sunny, cloudy and sunny seasons are closely related to weather and images. With this concept, China landscape painting is more interesting and colorful.

Painting literati painting should have rich and extensive artistic accomplishment, and poetry, calligraphy, painting and printing should be integrated into one furnace to enrich the painting art in China. And "charm". Coupled with the painter's thought, spirit, culture, personality, talent, understanding and diligence, he has created works with more charm, and the highest realm of painting is verve.

There are many excellent works in China's paintings. Zhang Yi of the Tang Dynasty said: "We learn from nature, and we get our hearts from nature." The concept of painting means that painting must be based on the nature of heaven and earth, seeking its painting with charm, and focusing on vividness. The essence of charm.

Zhang Yanyuan, a native of Tang Dynasty, put forward the theory of "painting and calligraphy are of the same origin", and literati painters emphasized the similarity of painting and calligraphy laws and techniques. It is precisely because the methods and skills of using a pen are the same that Xu Wei made a great freehand brushwork with cursive script. Zheng Banqiao painted orchids and bamboos with six and a half books. Wu Changshuo writes flowers in Shi Guwen. Huang and Pan Tianshou painted with the calligraphy of "Folding the hairpin to leave a leak mark". Have gained the emotional charm of pen and ink. Zhang Yanyuan praised Gu Kaizhi's pen, "Linking brocade closely, raising interest rates cyclically, easing the adjustment of the body, and making the wind power rush". Wu Daozhi said that "keeping pen in mind is the first thing, painting is the best thing", "keeping its spirit, specializing in one thing and making good use of nature".

Li Yong, a calligrapher in the Tang Dynasty, said, "Those who learn from me live and those who learn from me die." The famous modern painter Qi Baishi also borrowed this sentence. The necessity of learning calligraphy and painting from teachers and breaking through. To achieve certain success in art, you need to have your own strong personality. There is also "reading thousands of books and taking the Wan Li Road", which was originally intended to emphasize the painter's achievements beyond painting. Huang, a landscape painter in Yuan Dynasty, said, "If you don't read thousands of books, you don't know the secret. If you don't go to Wan Li Road, you don't know the vastness of heaven and earth. " Obviously, painters need extensive knowledge, profound knowledge and an open mind.

In the Yuan Dynasty, Zhao Mengfu painted a poem, "Stone white is like a fly, wood white is like a pen, and writing bamboo must have eight skills;" If anyone can know this, you should know that painting and calligraphy are the same. "This means that calligraphy, regardless of seal script, official script, running script and cursive script, is consistent in brushwork and painting. Because of this, many famous painters in history are also calligraphers, such as Mi Fei, Zhao Mengfu, Dong Qichang, Wen Zhiming, Zheng Banqiao and Wu Changshuo. In fact, the depth of calligraphy skills plays a key role in the artistic achievements of a China painter.

Wen Zhiming, a painter in the Ming Dynasty, said, "You can't use ink because of your low character.". The painter's character is very important. The relationship between characters and painting is that painting is as high as characters, and the cultivation of skills and character is very important.

There is also Shi Tao, an innovative painter in the Qing Dynasty, "learning from the hearts of the ancients." Said. What does it mean to "learn from the traces of the ancients, not the hearts of the ancients"? Shi Tao also believes that "the law must change", everything must be right, and the law must change. Knowing its classics will change its strength, and knowing its laws will become it. "It means that everything has rules (so-called" classics ") and variations (so-called" rights "). Painting should be regular and flexible. Therefore, a good painting should learn from it, make it beautiful and realize an impossible evolution. Zheng Banqiao praised Shi Tao for painting bamboo: "Hao Tian is a bit undisciplined, and discipline is free. "It is the best interpretation of' where there is a law, there must be a law'.

In Qing Dynasty, Cheng made different appraisals of landscape paintings in Song and Yuan Dynasties, saying that "Song people had no pen but were not simple, while Yuan people had no pen but were not complicated". Song painting was dense, while Yuan painting was the opposite, but the brushwork was rich. Mr. Huang, a master of landscape painting, believes that it is meaningful to call Song painting "a thousand strokes without pen but without simplicity". "

In Qing Dynasty, Zheng Banqiao put forward that "there is no case before painting, and there is no case after painting", which is the same meaning as Shi Tao's so-called "impossible for people". A clever painter, before painting, is always not bound by the law, but after painting, he can reach the realm of impossibility, that is, he has a natural charm. The ancients studied China's landscape painting deeply, and there were many excellent works in painting. The excellent works in landscape painting are rich and colorful, which we should consider today.