The Inspiration of China Traditional Chinese Painting to My Creation

Pen and ink have certain concreteness and abstraction. It is specific because pen and ink can be seen, understood and grasped, and the painting method of pen and ink is always related to shape, structure, skeleton and expression. The reason why it is abstract is that it is a materialized form under the influence of cultural feelings and painter's emotions, and it is a high embodiment of Lao Zi and Zhuang Zi's philosophy of "harmony between man and nature". At the same time, it is also the inner world that the painter interacts with various ink and wash effects through external operation. In other words, the brush and ink method is the painter's pursuit of the freehand brushwork rule and brush and ink standard created by the integration of "scenery", "thinking" and "environment" It can be seen that the creation of pen and ink method is the reason why the masters of Chinese painting have been poor in the world. Only by constantly neutralizing and assimilating the essence of all things in nature, dispelling the "simplicity" in their chests, getting rid of their chaos and ignorance, looking for the arrangement of pen and ink and nature and adapting to changes, can they enter the infinite space. Therefore, the spirit of Chinese painting has the natural advantages of improvisation and improvisation, and has the constancy of coexistence with heaven and earth.

First, the mutual promotion of pen and ink philosophy to teaching and creation.

The education and inheritance of Chinese painting, like the art of Chinese painting, has its own long-standing historical and cultural connotation. For thousands of years, China's farming culture, Chinese characters, Confucianism, conduct and aesthetic habits have been supported by a profound cultural background, which has been continuously extended for thousands of years, which also shows that China culture is mature and profound, and the artistic world of Chinese painting is very wonderful. Although it uses eyes in its creation, it transcends vision. It never leaves the physical form, but it does not take the writing form as its function; It not only requires the picture to be vivid beyond the immediate image, but also must achieve "Excellence" on the basis of vivid performance. It eliminates the utilitarianism of technique operation, but conveys the painter's emotion with unique pen and ink. Therefore, the creation of Chinese painting is free, which can make the spirit gallop freely, pursue goodness and truth, and interpret the "cosmic thinking" of China's philosophy in a simple and supreme state. This is like the circular thinking in Zhouyi: up, down, near, far, time and space are integrated. In time, it can flow from top to bottom, from near to far, from here to there; From the perspective of space, it is characterized by a far-reaching, lofty and balanced view of traveling around the world. This broad and vague concept of China's classical philosophy also makes the creation of Chinese painting art deeply influenced by this philosophical view, which is an extension of philosophical norms to artistic norms, so it is quite arbitrary. At the same time, this tradition also attaches great importance to letting students master rules and procedures. By studying and copying ancient paintings, they can study traditions, understand laws and master them, and then extend, explore and recreate them with wisdom and understanding. Its continuity has been continuously developed and expanded from generation to generation, which shows that the unique education and inheritance of Chinese painting is powerful and full of vitality. China's cultural philosophy guides the development of Chinese painting art, forming a complete system from the philosophical level to the technical level, while Chinese painting education is from the spiritual level.