All the traditional arts in our country.

China's traditional art heritage is extremely rich and brilliant. Painting, calligraphy, music, dance, opera, gardens, architecture, sculpture, arts and crafts, traditional food, traditional costumes, etc. There are thousands of years of accumulation, great creations, and all reveal the profound cultural heritage of a 5,000-year-old civilization. This is the precious wealth of the Chinese nation and all mankind. China traditional art, with its strong local flavor, simple artistic connotation and vivid historical traces, has been more and more loved and appreciated by people all over the world, and has become a "feast" of human culture.

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Paintings (8 paintings) The history of China's paintings can be traced back to the painted pottery patterns and rock paintings of the Neolithic Age in primitive society. Although the original painting technique is naive, it has mastered the preliminary modeling ability, and can also pay attention to the main characteristics of animals, plants and other dynamic and static forms to express the beliefs and wishes of our ancestors and beautify their lives. Pre-Qin paintings have been recorded in some ancient books, such as historical figures in palaces, halls and temples in the Zhou Dynasty, lacquerware and bronze decorations in the Warring States period, and silk paintings unearthed in the State of Chu, all of which have reached a high level. Qin and Han Dynasties were a centralized power in the early history of China, with a vast territory and strong national strength. The Silk Road has communicated the artistic exchanges between China and foreign countries, and the painting art has developed and prospered unprecedentedly. Especially in the Han Dynasty, the wind of heavy burial prevailed, and its tomb murals, portrait bricks, portrait stones and silk paintings with burial vividly shaped realistic, historical and mythical characters, which were dynamic and plot-like, and made great achievements in reflecting real life. His painting style is often bold and bold, with flowing brushwork, rough and bold, fine and magnificent, rich in content and colorful in form. During the Wei, Jin, Southern and Northern Dynasties, wars were frequent and people's livelihood was poor, but painting still made great progress. Suffering provided the soil for Buddhism to spread, and Buddhist art rose with great enthusiasm. For example, Qizil Grottoes in Xinjiang, Maijishan Grottoes in Gansu and Mogao Grottoes in Dunhuang have preserved a large number of murals of this period, and their artistic attainments are extremely high. Due to the love and participation of the upper class in painting, besides craftsmen, a number of well-known upper class painters emerged, such as Gu Kaizhi. Metaphysics prevailed in this period, literati advocated elegance and freedom, painting history, painting theory and other works began to appear, and landscape painting and flower-and-bird painting began to sprout. Paintings in this period paid attention to the depiction of mental state and the expression of temperament, and paintings with literature as the theme became increasingly popular. During the Sui and Tang Dynasties, national unity, relatively stable society, relatively prosperous economy and active foreign exchanges injected new opportunities into the art of painting. In terms of figure painting, although Western painting style is still popular in Buddhist murals, Wu Daozi, Zhou Fang and others' works with distinctive Central Plains painting style have an absolute advantage, and their national styles are becoming more and more mature. The landscape paintings and flower-and-bird paintings of Zhan Ziqian, Li Sixun, Wang Wei and Zhang Yong are neat and rich, and have achieved good results. In China, the authenticity of painting reached its peak in the Song Dynasty in the12nd century, especially Guo's "Early Spring Map" was the peak of realism, and then it began to show subjective interest. Since Wang Wei was known as "painting in poetry" and "painting in poetry", the long tradition of literati painting has continued to this day. Since the Northern Song Dynasty, China's paintings have gradually paid attention to the formalism of pen and ink interest. For example, Wen Zhiming's painting is not to depict the scenery, but to accumulate various brushstrokes through the scenery. By the end of the Ming Dynasty and the beginning of the Qing Dynasty in the15th century, painters had begun to express themselves without paying attention to the description of the objective world. Instead, Badashanren, Yangzhou Baguai, Ren Bonian and Wu Changshuo all have strong self-styles, and no longer care about the authenticity of nature. Modern painters such as Qi Baishi and Zhang Daqian show their demeanor. Their paintings are not necessarily true, but no one can imitate the essence of their paintings! After the Five Dynasties and the Song Dynasty, China's painting art became more mature and complete, and its heyday appeared. The imperial court set up a painting academy, expanded its organization, recruited talents and awarded titles. Palace painting is in full swing, and literati also regard painting as an elegant thing and put forward distinct aesthetic standards. Therefore, painters come forth in large numbers with many representative works, forming a unique system in theory and creation, with rich and refined content, form and techniques. With the development of painting in Yuan, Ming and Qing Dynasties, literati painting has made outstanding progress. On the theme, landscape painting and flower-and-bird painting occupy an absolute position. Literati painting emphasizes the expression of subjective feelings, "not seeking resemblance" and "not seeking worldly feelings", and does not cater to the aesthetic requirements of the public. It shows elegance and leisure interest by painting, advocates "learning from nature" and "the source of law", emphasizes the unity of personality and painting, and pays attention to the organic integration of pen and ink interest with poetry, books and seals, forming a unique painting style and emerging many outstanding painters. China's painting is an important part of China culture, rooted in the soil of national culture. It is not only limited to appearance, but also emphasizes spirit likeness. It uses brush, ink and rice paper as special materials, constructs a unique perspective theory, boldly breaks the time and space restrictions, and has a high degree of generalization and imagination. This superb skill and means not only makes China traditional painting unique in artistic courage, but also is increasingly absorbed by modern art in the world.

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Wang Xizhi's Calligraphy (5 pieces) China's calligraphy is a unique art category, which is both a symbol and a form of expressing thoughts. China's calligraphy uses brush, Xuan paper, ink and inkstone as tools. The author uses a brush and dips a proper amount of inkstone ink to write on rice paper. China's calligraphy originated from Chinese characters, and pictograph is the most basic and important feature of Chinese characters. Like painting, it is based on objective images, so China's calligraphy is closely related to China's traditional painting. Calligraphy not only dominated China's paintings, but also made China's paintings have a long history and spread widely in the world. At the same time, calligraphy is closely related to China's sister culture, such as literary poetry, seal cutting modeling, music and dance. Calligraphy is not only a kind of expressive art, but also reflects the calligrapher's personal life feelings, knowledge, cultivation, personality and hobbies through his works, that is, "words are like people" or "books are paintings for the heart"; At the same time, calligraphy is a practical art, which is often used for inscriptions and plaques. It can be seen that calligraphy is actually a comprehensive art, and it tends to express subjective spirit. China's calligraphy has a long history of thousands of years. Since Oracle Bone Inscriptions and Jinwen, it has evolved into seal script, official script, running script, regular script and cursive script. Many outstanding calligraphers emerged, such as Wang Xizhi, Wang Xianzhi, Ou Yangxun, Yan Zhenqing, Liu Gongquan, Huai Su, Huang Tingjian, etc., which formed different schools and were in the leading position in different dynasties, and developed China's calligraphy art to a perfect artistic level.

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Jinghu

National music, new music, China music and China traditional music have different connotations and extensions. China traditional music can be divided into five categories. We can see the word "national music" in many folk music CDs. This "national music" refers to music handed down from ancient times and developed in modern times. It can be seen that the creation time of "national music" refers to ancient times; "New music" refers to music written by people who have studied western music, such as school songs. It can be seen that the creation time of new music was after 1840 Opium War. "China Music" not only refers to the music handed down from ancient times, but also refers to the music created and adapted by China people according to western theories. "China traditional music" refers to the music created by the people of China in their own ways and forms, including both ancient works produced in history and contemporary works. It can be seen that traditional music includes "national music" but not "new music", but they are all "China music". Traditional music is an extremely important part of China national music. The difference between traditional music and new music lies not in the order of music creation, but in its expression form and style characteristics. For example, Erhu solo "Two Springs Reflecting the Moon" and "Fishing Boat Singing Night" are modern music works, but their playing forms are inherent in the Chinese nation, so they are also traditional music. On the contrary, the school song and piano solo "Shepherd Boy Piccolo" are not traditional music because they borrow the musical morphological characteristics of western music. The division of traditional music was first seen in the Introduction to National Music compiled by China Conservatory of Music, which can be divided into five categories: songs, song and dance music, rap music, opera and instrumental music. However, most colleges and universities incorporate song and dance music into folk songs in their teaching, so it becomes four categories: folk songs, national instrumental music, folk art (that is, "rap") music and opera music. Actually, "national music", "traditional music" and "folk music" are three different concepts: "national music" includes traditional music and new music; And "folk music" is just a category of traditional music. And our national music is very rich, besides folk music, it also includes court music, religious music and literati music. Mr. Du divided China traditional music into: folk music, literati music, religious music and court music; Among them, folk music includes folk songs, national instrumental music, national songs and dances, opera music and rap music; Literati music includes guqin music, poetry chanting and literati self-tuning; Religious music includes Buddhist music, Taoist music, Christian music, Iranian music, Shamanism and other religious music; Court music includes sacrificial music, court music, welcome music, sightseeing music and banquet music.

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Chinese opera

Traditional Chinese opera is a traditional form of drama in China. It integrates literature, music, dance, fine arts, martial arts, acrobatics and performing arts. Its origin has a long history. As early as the primitive society, song and dance sprouted. In the long process of development, after more than 800 years of continuous enrichment, innovation and development, a relatively complete system of traditional Chinese opera art has gradually formed. Although its origin comes from three different artistic forms: folk song and dance, rap and burlesque, the biggest feature that distinguishes a drama is that it comes from different vocal systems. These musical vocals are based on the language, folk songs and folk music in the region where they are produced, and are produced by absorbing music from other regions. Most of the characters in various dramas are filled by characters with different faces, such as life, Dan, Jing and Ugliness. The focus of the performance is to use routine movements extracted from life and virtual space processing. Paying attention to the art of singing, reading, doing, playing, acting and dancing, with high technical content, constitutes a complete traditional Chinese opera art system different from other operas. According to incomplete statistics, there are about 360 kinds of traditional operas and tens of thousands of traditional plays in ethnic minority areas in China. After the founding of New China, many traditional plays have been adapted, and new historical plays and modern plays that express the theme of modern life have been warmly welcomed by the audience. The more popular and famous operas are: Beijing Opera, Kunqu Opera, Yue Opera, Henan Opera, xiang opera Opera, Guangdong Opera, Qin Opera, Sichuan Opera, Pingju Opera, Shanxi Opera, Han Opera, Chaozhou Opera, Fujian Opera, Qi Opera, Hebei Bangzi Opera, Anqing Huangmei Opera and Hunan Opera. There are more than 50 operas, especially Peking Opera, which are the most popular and spread all over the country. China's ancient drama is called "drama" because it is mainly composed of "drama" and "qu". China's operas mainly include Southern Opera in Song and Yuan Dynasties, Zaju in Yuan and Ming Dynasties, legends and legends in Ming and Qing Dynasties, and traditional repertoires of modern Peking Opera and other local operas. Is the floorboard of China national drama culture.

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fundamental form

There are two basic forms of traditional clothing, namely, upper garment system and garment system. According to legend, the system of coat under coat originated from the legendary era of the Yellow Emperor. Under the copula of "Yi", it says: "The Yellow Emperor and Yao Shun hang down their clothes and rule the world, covering all the dry Kun." This legend can be confirmed in the pottery paintings of painted pottery culture unearthed in Gansu. This can be said to be the basic form of the earliest clothing system in China. According to Shi Ming Shi Fu, the clothing system under the coat reads: "Anyone who wears Japanese clothing. Clothes, rely on it, people rely on it to avoid cold and heat. Jean. The dress is also an obstacle, so it is self-enclosed. " The shape of the coat is mostly cross collar and right collar, and the lower skirt is similar to the shape of an apron, with a waist tie and a lower tie. This dress system has a great influence on later generations. Even clothes, called deep clothes in ancient times, were founded in the Zhou Dynasty. "The Book of Rites Deep Clothes" notes: "Those who are named deep clothes are clean clothes." Deep clothes are similar in structure to contemporary dresses. The hem of the coat is sewn at the waist, and the collar, sleeves and hem are made of other fabrics or embroidered edges. The shape of deep clothing influenced the clothing of later generations, which was used as a dress by Ming women in Han dynasty, and also adopted this form of clothing attachment in ancient robes and shirts. Even today's dresses are the evolution of the deep clothing system.

Continuous evolution

Shang Chao clothing

Although some archaeological data have been found on the costume forms of the primitive era of Chinese costumes in Xia, Shang and Western Zhou Dynasties, it is impossible to explain the costumes in this period in detail because of too little information. During the Xia, Shang and Zhou dynasties, the costumes of Chinese people in the Central Plains were a coat with a skirt and a right shirt. The stone statue of slave owner unearthed in Anyang, Henan Province, wears a flat hat, a right collar, a skirt, a big belt around the waist, leggings and pointed shoes. This roughly reflects the situation of Shang Dynasty costumes. In the early Zhou Dynasty, the system of rites and music made detailed provisions on the system of crown clothing for nobles and civilians, and the rulers showed their dignity and majesty with strict grade clothing. Deep clothing and coronation clothing began in the Zhou Dynasty, which had a far-reaching impact on later generations. The appearance of Khufu in the Spring and Autumn Period; Clothing in the Warring States Period.

The most important changes in costumes during the Spring and Autumn Period and the Warring States Period were the popularity of deep clothes and the appearance of Hu clothes. The war in the Spring and Autumn Period and the Warring States Period promoted the reform of Dai Bo to take off his coat, long skirt and robe. King Wuling of Zhao broke through the resistance for the fighting capacity of the army, ordered the whole country to wear nomadic shorts and trousers, learned to ride and shoot, and finally made Zhao strong. This was the first clothing reform in China's history, and Khufu became very popular from then on. Along with Khufu, there is a hook to end the belt. Because it is more convenient than tying a belt, it quickly became popular. Related knowledge: "Hu" is a vague term. In different historical periods, it sometimes refers to Xiongnu, sometimes refers to nomadic people from northeast to northwest, and sometimes it is even broader. So Hu Fu refers to the costumes of nomadic people in northern China. They wear narrow-sleeved jackets, trousers and boots to meet the needs of nomadic riding. Shen Kuo said: "China has been wearing Hu clothes since the Northern Qi Dynasty." The word "du" may be a bit excessive, but Khufu did have a great influence on the development of Han costumes. Han dynasty clothes

The establishment of the traditional crown clothing system in the Han Dynasty, deep clothing was still very popular in the Han Dynasty, and the Han Dynasty was the establishment period of the traditional crown clothing system. Pants in the Han dynasty were crotch-opening, and pants were called crotch in ancient times. Said: "Yi, faithfulness also." "Interpretation of Names and Clothes": "If you pay, you will pay two shares." It can be seen that the crotch was open at that time, and the outer cover was a petticoat or a deep coat. Although full crotch pants appeared later, open crotch pants still existed for a long time. The popularity of Khufu in Wei, Jin, Southern and Northern Dynasties

Wei, Jin, Southern and Northern Dynasties is another great transformation period in the ancient costume history of China. With a large number of ethnic minorities entering the Central Plains, Hu Fu has become a common dress in society, and the clothes of ordinary people are most strongly influenced by Hu Fu. They absorbed the tight sleeves, round neck, split and other factors in Hu clothing into the original clothing. On the basis of Khufu, the Han nobles also lengthened it, added cuffs and pants, and changed the left leg into the right leg. But this kind of clothing is still the traditional form of Han nationality clothing. Sui and Tang Dynasties —— Clothing Transformation Period During the Sui and Tang Dynasties, due to the stability and prosperity of politics and economy, it was able to inherit the origin of historical clothing, enlighten the clothing system of later generations, and establish women's clothing in the Sui and Tang Dynasties.

Therefore, this period became the costume system in ancient China, and the maid of the Sui and Tang Dynasties, Khufu.

An important historical period of development. Men's uniforms are hoes, robes and boots. However, the gown at this time is slightly different from the previous dynasty, with round neck, right collar, narrow sleeves and no collar edge. In addition, there are robes, crotch-less robes and other styles. This kind of dress was mainly influenced by Khufu and combined with the living habits and etiquette characteristics of the Han nationality, which formed the dress style of this period. Clothing in Song Dynasty tends to be conservative, generally following the Tang system, but there are differences in clothing styles and names. There are two styles of short crotch robes in Song Dynasty: wide sleeves and tight sleeves. The habit of wearing a scorpion half arm is extremely common, but it was not an official costume in the Song Dynasty.

You can wear it as a skirt. Generally speaking, the costumes in Song Dynasty were more formal and conservative, and the colors were not as bright as before, giving people a simple, clean and elegant feeling, which was closely related to the social situation at that time, especially the influence of Zhu Cheng Neo-Confucianism. Liaojinyuan clothing

The costumes in Liao, Jin and Yuan dynasties not only followed the costume system of Han nationality, but also had the characteristics of this nation. The costumes in Liao, Jin and Yuan dynasties have the same characteristics, which not only follow the costume system in Han, Tang and Song dynasties, but also have the characteristics of their own nation. Men's clothing in Liao and Jin dynasties is mostly round neck, short crotch robe with sleeves, boots or pointed boots, trousers and waist belt. Men's wear in the Yuan Dynasty included Han people's round neck, collar robe and their grandson's clothes, which were similar in shape to deep clothes and short skirts with narrow sleeves, reaching to the knees, with numerous pleats at the waist, like today's pleated skirts with horizontal pleats at the waist. Collar types include right-handed collar, square collar and disc collar. Wear pants with small mouths and sewing boots on your feet. The main colors are white, blue and ochre. In addition, great changes have taken place in the materials of clothing in the Yuan Dynasty. Due to the extensive planting of cotton, cotton cloth has become the main variety of clothing materials. During the Ming and Qing dynasties, the costumes of the Ming dynasty inherited the previous generation, and the costumes of the Qing dynasty had a great influence on modern times. Ming dynasty clothing generally followed the Tang system, but it also retained some styles of Song and Yuan dynasties. Clothing in Qing dynasty had a great influence on modern clothing forms. Men's wear in Qing dynasty can be divided into three types: traditional Han costumes; Manchu national costumes; Foreign clothes The style of robes in Qing Dynasty was changed on the basis of Han tradition and absorbed the characteristics of Manchu costumes. Generally, sleeves are narrow and thin, and dresses are arrow sleeves, also called horseshoe sleeves. The robe is buttoned. Right hand, round neck. The robes of the royal family have four openings, front, back, left and right, while ordinary men can only open the air left and right. Hanging horses is a unique costume in Qing Dynasty. Its styles are mostly round neck, including double lapels, large lapels and pipa lapels, long sleeves, short sleeves, large sleeves and narrow sleeves, but all of them are flat cuffs. It was not until the late Qing Dynasty and the Revolution of 1911 that the western clothing was introduced into China, which changed greatly and entered the stage of modern clothing development.