Changes in Chinese painting styles and genres

One, the traditional Xuanhua (Chinese painting) of the Wei, Jin and North and South Dynasties, namely: Gu Kaizhi, Xiehe Six Methods and other theoretical methods of painting to form a relatively realistic style school

Two, Ming and Qing dynasties, the formation of the literati style school.

Three, after 1989, the Chinese traditional Xuanhua (Chinese painting) since the theoretical innovation of the formation of diversified styles.

Historical Milestones of Xuanhua Painting and Its Development:

(The theoretical innovations of traditional Chinese Xuanhua painting (Chinese painting) after 1989 have played a vital role in promoting the development of contemporary Chinese art.)

The core content is as follows:

Historical mileposts of Xuan painting and its development

Sheikh's Six Methods Sheikh; the founder of the theory of Xuan painting, the main theoretical cornerstone of the traditional Chinese theoretical ideology system of Xuan painting is Sheikh's "Record of Ancient Painting Paintings" - "Sheikh's Six Methods ", which continued until 1989, "Renewal of Concepts and New Exploration of Techniques in Chinese Painting".

Xie He (479-502 A.D.) was a painter and painting theorist during the Qi and Liang periods of the Southern Dynasty of China. His deeds are not traceable. He was good at custom paintings and figure paintings. Author of "Ancient Paintings", the oldest painting treatise in China. Evaluated important painters from the 3rd to 4th centuries. He proposed the "Six Methods" of Chinese painting, which became the principles followed by painters, critics and connoisseurs in later times. In the Record of Ancient Paintings, the purpose of painting is firstly: "To make clear the exhortations and admonishments, to emphasize the rise and fall of the world, and to make the silence of a thousand years discernible through pictures." This is to point out that the educational effect is received through true depiction. The emergence of this theoretical understanding is a progressive phenomenon. He put forward the "six methods" of painting are: one, the chiaroscuro, two, the bone method of brushwork, three, should be object like shape, four, with the type of color, five, the management of the location, six, the transfer of the mold writing (or as "transfer mold writing"). "Vividness" refers to the purpose of expression, i.e., figure painting should be aimed at showing the mental state and character traits of the object.

The 1989 "Renewal of Concepts and Exploration of Techniques in Chinese Painting" is the inheritance and development of the traditional theory of Xuan painting, and is a new milestone in the history of Chinese painting. Xuan painting (Chinese painting) modeling six elements - Xue's six methods 1989 Xue Xuanlin summarized qualitative history of Chinese painting art history "1989 Xue Xuanlin epoch" important artistic contributions. Publication: Chinese Painting Concept Renewal and New Exploration of Techniques (known as the epoch-making milestone in the history of Chinese painting and art, published by Shenyang Publishing House in 1989) Abstract: 1989 is regarded as marking a milestone in the history of Chinese art following the Wei, Jin and North and South Dynasties, the traditional theory of Chinese painting, that is, the "Xie's Six Methods" and the "Brush and Ink". The traditional Chinese painting theory of "Xiehe's Six Methods" and "Brush and Ink" characterized the end of the stage. The beginning of the era of comprehensive scientific, systematic and internationalization of Chinese painting art, the publication of the book "Renewal of Chinese Painting Concepts and New Exploration of Techniques", which is known as a milestone in the history of Chinese art, is a great contribution to our national painting (Xuanhua). It provides a theoretical basis for the development and transcendence of our national painting (Xuanhua) art, and for the comprehensive scientificization, systematization and internationalization of Xuanhua (Chinese painting).

The core issue is the definition of the six elements of Xuanhua (Chinese painting) modeling:

1. Line - brush and ink line and non-brush and ink line.

2. Modeling - quality in accuracy.

3, Structure - pen and ink line structure and non-pen and ink line structure as well as light and dark structure.

4. Light and dark - dark line (pen and ink line) subject and bright line (non-pen and ink line) subject as well as light and dark modeling. 5. Space - the overlapping of planes and the subject, the space of the objective reality universe (the first reality universe) and the space of the psychological and imaginary "reality" universe (the second "reality" universe).

6. Color - heavy ink and light color and heavy color and light ink. Color comes out from the single ink pigment of Chinese painting ...... See page 32 of Renewal of Chinese Painting Concepts and New Exploration of Techniques and page 30 of Xue Xuanlin's Art Theory.

This has changed the so-called "writing God in form", "vividness of chi yun, bone method of brushwork, responding to the shape of objects, assigning colors according to the type of color, and transmitting and copying", etc., which are obscure, ambiguous, and similar to metaphysics, as well as the traditional theoretical pattern and dogma of Chinese paintings. It provides a theoretical and practical basis for the comprehensive innovation and development of Chinese painting art. Facts have proved that only by establishing and searching for a new theoretical thought system belonging to the art of our times can we promote and facilitate the all-round development and progress of our national painting art. Our national painting (Xuanhua) art, can really get out of more than two thousand years, beyond the Song Dynasty and the Chinese circle and so on the historical dilemma.

Chinese art civilization, a long history, brilliant. Let us respect history, respect for human art civilization has made significant contributions to the great artists. I believe that in the new historical process, the Oriental art of painting and calligraphy, will be worthy of history; worthy of the future, and stand with the world, continue to write a new chapter of the Oriental art civilization.