How to appreciate literati painting

Qian Wei, Pengzhou Middle School, Sichuan Province [Abstract]: Chinese painting stands proudly in the world painting world with its unique artistic language and expression, which can best reflect the highest artistic achievement and character of Chinese painting. Appreciating literati paintings makes us feel the ideological and cultural connotation and spiritual realm of ancient China literati and the unique artistic charm of literati painters. Appreciating literati painting should start from three aspects: the ideological basis and cultural background of literati painters, and the artistic characteristics of literati painting. Keywords:: how to appreciate literati painting China is an ancient civilization with a long history and cultural tradition. Chinese painting is an important part of China culture. China ancient literati painting embodies the highest artistic achievement and special charm of China's painting, and has exerted great influence in the world with its unique China style and China style. At present, high school art appreciation textbooks involve the appreciation of literati painting, and students' understanding of literati painting is superficial, lacking correct appreciation methods of literati painting. Therefore, it is particularly important to master the appreciation method of literati painting. Let's talk about how to appreciate ancient literati paintings from three aspects. First, understand the development history, social background and ideological basis of literati painting. Literati painting came into being in the prosperous Tang Dynasty. At that time, it was the turning point of China's feudal society from prosperity to decline. The social reality at that time split the ruling class in two. Have a plenty of dignitaries, relatives, relatives, with the recovery of national strength and financial improvement, increasingly luxurious enjoyment. The other part is the literati who failed in the internal struggle of the ruling class. These people live in seclusion, believe in Buddhism, are self-sufficient and pursue inner exploration, which leads to the emergence of literati. The Yuan Dynasty was a prosperous period for the development of literati painting. One of the reasons: Yuan rulers valued martial arts over literature, which led to more literati engaged in painting. The most famous literati painters are Huang, Wang Meng, Ni Zan and Zhenwu ("Yuan Sijia"). Their paintings are mostly expressed in seclusion, high seclusion, small seclusion and fishing seclusion, and express the aloof and ethereal feelings of the literati class with the attitude of "being born into a fairy". They advocate elegance, simplicity and innocence. Theoretically, they advocate "escaping from the pen", "not seeking form" and "escaping from the chest". The most typical representative of the literati painter is Ni Zan, who hates reality, lives in seclusion and is immersed in the realm of "no earthly fireworks". The composition and style of his landscape paintings are very refined, and most of them are vertical axes. The close-up view below is a gentle slope, with several miscellaneous trees or a hut. The middle scene is a blank without pen and ink, and the height is a distant hillside. This basic format became a symbol of his spiritual emptiness and indifference. In his work "Autumn in Fishing Village", a large blank in the painting makes people wander among them, and get the feeling that nature and life coexist in the empty mountains and still waters. The second reason: Another reason why literati painting flourished in the Yuan Dynasty is the inevitable law of artistic development. From the perspective of the development of aesthetic consciousness, when people go through the process of understanding social beauty and natural beauty, and when the richness of the subject's feelings continues to develop to a quite mature class in social practice, there will be appreciation of emotional beauty, personality beauty and formal beauty of "meaningful" content. The early Ming Dynasty was a period of inheritance and development of literati painting. There were "Wu Pai" and "Zhejiang School" literati paintings in the Ming Dynasty. Shen Zhou, Wen Zhiming and Dai Jin are important representatives of this period. It was not until the middle and late Ming Dynasty that Dong Qichang, a theorist and painter, further put forward the theory that painting was divided into north and south and literati painting according to Su Shi's theory of "literati painting", and the name of literati painting was formally put forward and used. The Qing Dynasty was the heyday of literati painting. Many top literati painters emerged in the Qing Dynasty, the most prominent of which was the "Four Monks". Among the "four monks", the Eighth National Congress and Shi Tao are the most prominent. As adherents of the late Ming Dynasty, they expressed the pain of the country's destruction and death in their paintings and calligraphy. Eight strokes are unrestrained, indulgent, concise, concise, exaggerated in shape and cold in artistic conception; Shi Tao tried to observe nature, despised Chen Xiangyin and followed suit as a painter. He advocates "pen and ink should keep pace with the times", "law should stand on its own feet" and "seeking strange peaks and drafting" for life. Shi Tao's Landscape Pavilion embodies the master's artistic personality of nature and learning from "heart". This painting not only has a rich and vivid landscape of mountains and rivers, but also reflects the artist's majestic bearing. Second, understand the ideological basis of literati painting. Literati painting is based on the mixture of Confucianism, Buddhism and Taoism. Confucianism values quality. They pursue the aesthetic ideal of "Dan, several beauties, riding a vegetarian car, respecting its simplicity and emphasizing its quality" and oppose the wind of carving. Laozi's theory on art is that "five colors make people blind and five tones make people deaf". Zhuangzi accepted that "five colors are confusing, which makes the eyes unclear". He demanded that "all colors are scattered, and the glue is separated from the eyes, while the world makes people bright", and pursued "respecting inaction and being simple and the world cannot compete with it for beauty". These thoughts are no different from Buddhism, and Buddhism is also detached. Color is empty, and empty is color ". Third, master the artistic characteristics of literati painting. Literati painting is a painting with literati interest and thoughts. It is literary, philosophical and lyrical. It has the following characteristics: 1. Literati painting emphasizes the integration of poetry, calligraphy and painting into a kind of humanistic painting, which is not only accomplished by painting technology or painting language, but also by calligraphy, poetry, painting technology and language, and becomes the "three musts" or "four musts" of poetry, calligraphy, painting and printing. Because of cultural factors other than painting, a relatively perfect appreciation system has been formed. Books are the foundation of painting. Calligraphy is the foundation of painting, and the depth of calligraphy skill directly affects the painter's final achievement. The pen for painting and the pen for calligraphy are basically the same, and both fully show the artistic beauty of lines, so there is a saying that "painting and calligraphy are homologous". The title of Chinese painting is the combination of literature and painting. With the gradual formation of literati painting, Chinese painting inscriptions have gradually improved into an art with unique cultural characteristics in China. After a work is completed, in order to break through the limitations of the picture, the painter often supplements, compares, expounds and explains the artistic effect of the picture with the help of inscriptions, which makes the theme of the work deeper, the content richer and the language of the picture more vivid, thus allowing readers to appreciate the relatively broad emotional space and multi-dimensional thinking space through the limited image space. There are generally several types of inscriptions: some directly describe and praise the object expressed, and borrow scenery to express emotion. For example, the poem "Autumn Moon Map" written by Shi Tao said: "The autumn moon is as clean as washing, the autumn clouds are several stacks long, the bells in the forest ring, and crickets are singing beside the flowers. I will lie down suddenly, and I will sing again. I waved the paper, but laughed at the busy warehouse. "There are also authors who express their life feelings in the topic and explain their political views on society. For example, Zhenwu, one of Yuan Sijia. There are also many painters who express their artistic opinions and elaborate their artistic theories in the inscriptions. There are paintings and theories, with paintings as the key link, and paintings are born according to theories, which are lively and relaxed. The meaning of the seal is not entirely to leave a name. In addition to the name, the content of the seal is often the motto, which is the painter's heartfelt words. In contrast with the content of the painting, it is also an organic part of the painting in form. For example, in the whole ink painting, the contrast between the red seal and the ink color is very striking, and the size, quantity and position of the seal are all to make the painting more perfect. Therefore, there is a saying that "although the seal is small, it weighs a thousand pounds." 2. Literati painting focuses on the shape. The reason why literati paintings emphasize so much on not seeking similarity is to emphasize the expression of subjective feelings in artistic images and treat images as sentimental objects. In literati paintings that emphasize individuality and emotion, the true meaning is the truth of emotion, and the form without emotion is meaningless. The themes of literati paintings are mostly plum, orchid, bamboo, chrysanthemum, mountain and fishing, and literati express their spiritual feelings by depicting these natural scenery. 3. Literati painting emphasizes ink interest. Using the subtle changes of ink's dryness, wetness, lightness and thickness, the gorgeous nature is summarized with simple ink color. Pen and ink is the foundation of Chinese painting, and humanistic spirit is the soul of Chinese painting, so paying attention to pen and ink and humanistic spirit is the eternal theme of Chinese painting. The reason why literati painting attaches importance to the use of ink is because it has the function of replacing color with ink. Before the prosperous Tang Dynasty, painting mainly relied on lines and colors as modeling means. After the rise of literati painting, the style of ink and wash painting gradually developed, even replacing the position of color, which reflected infinitely rich colors in the complex changes of ink color and set off the simplicity of ink color in the limited use of color. It has profound aesthetic psychology and social development reasons. 4. Literati painting pays attention to it. Du Fu said, "You concentrate all your efforts on one silk". Unique, can be memorable. Ni Zan said: "Painters don't want to sketch by heart, and they don't want to look like shapes. They just talk to amuse themselves and write them in their hearts. ".5. Literati painting is simple. Irrelevant things can be simplified, or even simplified to "zero", that is, empty. "White is black". Empty and white represent "more" and "enough". In order to satisfy, blank can give people endless and profound feelings, just like "silence is better than sound" After years of study and accumulation, ancient literati painters have mastered profound knowledge and various artistic talents, and completed literati paintings with rich connotations and high levels. We should master the correct methods of appreciating literati paintings, broaden our artistic horizons, promote the integration of all kinds of knowledge, and inherit the excellent cultural heritage of the motherland.