Painting requirements: traditional cultural atmosphere (clear pictures and titles of works)

China ancient painting has its own unique way of being independent from the outside world, and its style is closely related to the environment. For example, in the Tang Dynasty, murals were the mainstay, and in the Sui and Tang Dynasties, murals reached a high level, so they spread widely, such as palaces, temples, tombs and so on. In addition, the development of Buddhism reached its peak in the Tang Dynasty, and the content of murals was mainly based on this, and its role was to broadcast content to people from all walks of life. Therefore, Buddhism is deeply rooted in people's daily life and spiritual life. In addition to spreading religion, the wall also records the content of praising and expressing merits, and regards the fish and insects in the landscape as pure decorative appreciation. The paintings in the Tang Dynasty covered figures, landscapes, animals and ghosts, but the first one was a figure painting, which not only showed the continuation of the historical development of the paintings in the Tang Dynasty, but also showed the enlightened policies of the rulers at that time and the higher living standards of the people.

Before and after the Tang Dynasty, the landscape paintings were very different, and they were still in a fixed state. The landscapes in the paintings were lifeless and could not show the changes of their spatial forms. Therefore, although landscape painting appeared early, it matured in the Tang Dynasty. The painters in the Tang Dynasty not only changed the painting style before the Tang Dynasty, but also derived many styles from the painters. There have been new changes in the expression of painting in the Tang Dynasty, which not only inherited the painting methods of emphasizing brushwork and color before the Tang Dynasty, but also created monochrome line drawing and splash painting in ink painting. In the use of pen, it can be said that the painter represented by Wu Daozi is bolder, simpler in color setting, vigorous and powerful, and has formed a unique brushwork. So we saw in the book review that "there are only one or two pens, and it seems that we have done it." In addition, some people say that the paintings of the Tang Dynasty are more realistic, while others say that the paintings of the Tang Dynasty are more freehand. I have read a famous saying in books that Wu Daozi's paintings will make disciples continue to paint after painting, that is, "only between shades, the road permits", so I think it can probably be guessed that the paintings of the Tang Dynasty tend to be freehand, of course, many modern painters do not agree.

In China's ancient paintings, "nature" is regarded as the highest expression of beauty. In their creation, ancient painters showed that they did not exist outside nature, nor did they belong to nature, but were within nature. Nature can be seen in the paintings of Gu Kaizhi and Wu Daozi, which is not only reflected in the unity of form and spirit, but also in the artistic conception of subject and object. His paintings are full of charm, but he does not pursue deliberate coloring with a pen. Apart from nature, painting is the most spiritual. Chinese painting not only pays attention to its appearance from the beginning, but also emphasizes its shape. In traditional painting, likeness only shows the realistic appearance of the object, but seems to be the spiritual pursuit of the artist's inner essence. Han and Wei painters are good at expressing dynamic momentum. Wei School in the Western Jin Dynasty is called "although it should not be beautifully prepared, it is quite powerful", and Sheikh's "six methods" also put vivid charm in the first place. The paintings made by landscape painters in the Five Dynasties strive to be full of temperament, which is different from "getting its shape without its spirit". In Song Dynasty, flowers, birds, insects and fish played a major role, and "meaning first" was the necessity of artistic conception. Then the Northern Song Dynasty began to emphasize the "meaning" in painting. The realism mentioned here is not objective, but more important than the purification of things in the painting, that is, both form and spirit. This statement is formally equivalent to Gu Kaizhi's Writing God. Since the Song Dynasty, painting tends to be freehand, so there is a saying that "painting mountains and rivers is the best landscape temperament". When you get temperament, you should embrace ups and downs, such as jumping, sitting, throwing and hanging your feet. "In modern languages, we often use freehand brushwork and vivid expressions, which is the same as at that time. However, some literati painters focus on the shape rather than the precise description, and Su Shi even put forward the view that "painting looks like the shape, seeing the neighbors". After the Yuan and Ming Dynasties, freehand brushwork flourished in practice, with more creative explorations, bold and exaggerated figure paintings and strange deformation of flowers and birds.

China's traditional painting attaches great importance to the use of brush and ink lines, and takes lines as the basic means to depict characters, instead of paying attention to the relationship between light and shadow and the tone of light and shade as western painters do. As the main tool of Chinese painting, the brush has different emphases, and the drawn lines also show the state of objects and shapes, which has a strong formal aesthetic feeling and can show different painting temperament and charm.

In addition, because Chinese painting and China's calligraphy were * * *, they were not separated at that time, so the Tang Dynasty also put forward the view that the source of calligraphy and painting was the same as that of calligraphy and painting. After the Yuan Dynasty, people paid more attention to drawing calligraphy and painting with pens, which enriched the expression of painting. Painting was called "Danqing" in ancient times, and Sheikh's six methods attached great importance to the use of color, which was completely different from foreign painting methods. The colors in traditional Chinese painting are neither environmental colors nor inherent colors, and most of them are subjective personal creations. In the paintings, we can see not only gorgeous turquoise, but also simple and elegant ink and wash. However, it is not a natural imitation, nor is it a monotonous ink painting. Chinese painting can create colorful painting effects through monochrome and subtle changes of ink color and dryness and wetness. This perfect combination of pen and ink makes China traditional painting reach a beautiful effect and a very high level.

In terms of composition, the composition of Chinese painting is not determined by the static perspective of the West, but is very bold and free to break the limitations of time and space. China painters have long recognized the perspective relationship in painting. Traditional painting, called composition management or composition, not only refers to the changes in the form of objects, but also explains how to highlight the theme and express the artistic conception. For example, Zong Bing in the Southern Dynasties had already mentioned the basic perspective theory in his Preface to Painting Landscape. By the Sui Dynasty, Zhan Ziqian's landscape painting had reached the feeling of thousands of miles away. Therefore, China's traditional painting shows the artistic conception in painting at a higher level on the basis of following the perspective relationship. Compared with the perspective of western painting, ancient painters in China paid more attention to the display of personal painting emotions. When dealing with composition, we use the bird's-eye observation method in modern sketch, the unique painting method of constantly moving viewpoint with space, and the skillful technique of generalization and refinement to deal with colorful and unpredictable natural things. The structure of the picture pays attention to being sparse but not leaking. In art, it pays more attention to the interest outside the image, the meaning outside the painting, a tree and a stone, a few strokes, clever layout, attracting people's infinite imagination and fascinating.