What is landscape painting

Chinese painting is broadly divided into three kinds: figure painting, flower and bird painting and landscape painting. In foreign paintings, there are also figure paintings, still-life paintings and landscape paintings, etc. Generally, the paintings of mountains and water are called landscape paintings, not landscape paintings. In China, works that are roughly equivalent to foreign landscape paintings have long been called "landscape paintings", and people are not accustomed to calling them landscape paintings. Mountains and water, instead of "rivers and mountains", are the symbols of the motherland in the traditional Chinese concept. Chinese landscape painting has been basically independent as early as in Sui and Tang Dynasties, and reached its peak in Yuan Dynasty. From the Yuan Dynasty onwards, it has long been the mainstream of ancient Chinese painting art, and its artistic achievements have surpassed those of many other art disciplines, becoming a glittering treasure in the history of world art. The reason why Chinese landscape painting is very developed is precisely because it is very different from the landscape painting in Western painting, which is what we need to understand. Because landscape painting has a lot of differences in the production of paintings and landscapes, it has also formed its unique side. The main artistic feature of Chinese landscape painting is its mood. Context is not unique to landscape painting, but is a commonly used concept in traditional Chinese painting and poetry. As a product of image thinking, it is also found in novels and essays. And the mood in landscape painting is particularly important, because the painter depicts the scenery, will always be supported by a certain thought and feeling. The so-called mood, to put it briefly, is the organic combination of scenery and feelings, contains a deep intriguing meaning. In modern Western landscape painting, attaches great importance to the light on the scene, and its inherent color changes due to the influence of light, requiring the depiction of the actual scene. The Chinese landscape painting, although the specific scenery of the north and south, but does not require a deliberate imitation of a mountain and a water; time has a day and night, but does not care about the specific clock; the sun and moon have the difference between cloudy and sunny, but not excessive pursuit of the degree of light and darkness. In short, although the requirements of the real, but also requires a great deal of generalization, which is also one of the important characteristics of Chinese landscape painting. In Chinese landscape paintings, a large area of blank space is often used to set the atmosphere and highlight the theme, which is a great creation of Chinese landscape painting, enriching and developing the artistic expression of Chinese painting. After a long period of artistic practice by successive generations of painters, this artistic technique of leaving a lot of blank space on the screen according to the needs of the intention of the painting has become a characteristic of Chinese painting in terms of composition. In traditional Chinese painting, the art of leaving blank spaces in the picture is often referred to as the "counting of white as black". Furthermore, in Chinese landscape paintings, there is often an inscription, which is also different from landscape paintings. Painters take the inscription as an important part of the whole composition, so that not only can the calligraphy and painting echo each other, but also through the text to express the meaning of the work, so that the poetry and painting together. Together with the red seal, it is another unique tradition of Chinese painting, which can balance the layout, adjust the picture and play a great role. Why is Chinese painting sometimes called ink paintingChinese painting is a different kind of painting invented by the ancient people of China. In the process of painting, the techniques and materials used are very different from those used in Western painting, such as oil painting. For example, the pigments of oil paintings contain oil components, which must be mixed with turpentine and toning oil to paint, and must be used on oil canvas or processed paper. Most of the Chinese paintings on paper, this paper is also a special paper, different from our usual writing, painting wax and other paintings with white paper or printing calendars with coated paper, it contains more fibers, made of special materials, that is, Xuan paper. Xuan paper is thinner than canvas or other paper, soft to the touch, and has a delicate texture. Xuan paper is divided into two types: raw Xuan paper and cooked Xuan paper. Water absorption is very large, it is not easy to grasp the water of the paper is known as raw Xuan; water absorption is relatively small, that is, painted on the paper is not easy to dry the brush strokes, the amount of water is not easy to absorb the amount of paper, is known as cooked Xuan. Raw Xuan paper is often used for freehand drawings because of its high water absorption, while ripe Xuan paper with low water absorption is often used for meticulous brushwork. As I mentioned earlier, there are many differences in the materials used in Chinese painting and Western painting. The main materials used in Chinese painting are water and ink, and the specially processed Chinese pigments. Ink occupies an extremely important position in Chinese painting. When ink is blended with different amounts of water, it is capable of many variations; and through the flexible movement of the brush in the production of paintings, countless colorful variations are formed, which is also the key to the difference of Chinese paintings. Ink, through the blending of water, can evolve different feelings of ink color, constituting the overall tone of the picture, so that the picture has a rich hierarchy. As far as Chinese pigments are concerned, they also include two kinds of texture, one is mineral pigment (this kind of pigment precipitates after being put in water for a moment), and the other is vegetable pigment (no precipitation). In Chinese painting, pigment plays a supplementary role in the painting, so the color is light, even in heavy brush painting, there are ink lines and shapes on the basis of rendering and coloring, which explains the importance of the ink itself. It is precisely because of the obvious dominance of such materials as water and ink in paintings that Chinese paintings are often referred to as ink paintings. Why do Chinese paintings need to be framed? Framing a painting is simply called painting framing. Just as we need beautiful clothes, even the best Chinese paintings need to be framed. Framing includes the mounting and decorating of calligraphy and paintings on paper and silk, the decontamination of old paintings and calligraphy, and the removal of stains and patches, etc. In the past, some people called these jobs "framing". In the past, some people called these jobs "mounting", "decorating", or "mounting", "mounting pool", also called "mounting mounted shaft". Although these statements are different, but the meaning is the same. Framing new paintings and calligraphy, framed around the work, framed on the back of a layer or layers of paper, and add the necessary decorations, so that the original is more solid, but also easy to stretch, hanging, to adapt to the requirements of the people to watch. Framing old paintings, we need to use traditional framing techniques, to painting to repair decoration, so that it can be preserved for a long time, which is an important contribution to the protection of cultural relics. Picture framing is a unique craft in China, has a long history. China's traditional painting and calligraphy mounting can be roughly divided into three categories: hanging scrolls, hand scrolls, albums and so on. The three main types of painting and calligraphy, according to the size of the heart of the painting, shape, after the use of the frame and other aspects of the decision. Regardless of the form of new paintings and calligraphy, the mounting process can be divided into three steps: painting center, mounting, and calendaring. The mounting of the heart of the painting is the most important process in the whole framing process. The restoration process of old paintings and calligraphy is relatively complicated. First of all, you need to remove the old heart from the original painting, wash away the dirt and mold, repair holes, full-color brush. Later, the work is basically the same with the framing of new paintings and calligraphy. Chinese painting framing is like "horse with saddle", can make the painting show better effect. After framing Chinese paintings are flat and clean, adding a unique ancient flavor. Why is there a difference between brushwork and brush painting in Chinese painting? There is a difference between brushwork and brush painting in Chinese painting, and there is also a difference between brush painting and brush painting in Western painting, but it is not called that. For example, sketching in painting is a basic skill that must be practiced in both Chinese and Western painting. It includes neat and detailed white drawings and sketches, as well as brief and concise sketches and mimeographs. In white drawings and sketches, there is more time, and the objects are usually things that do not change much in a short period of time, such as plants in flower and bird paintings. The characteristic of "sketching" is that it is fast, requiring the artist to capture the main features of the object in as short a time as possible. The dynamics of some objects are so fleeting that they cannot be compared with the brush on the spot, which requires the artist not only to have a keen observation, but also to have a good memory, so that after the physical object has disappeared, he or she can draw it silently based on the impression left in his or her mind. The "slow depiction against the painting" and "rapid drawing" in life drawing are similar, but not the same, respectively. Sketching mainly expresses the original image of the thing, while both brushstrokes and brush painting must have a certain degree of "creativity". Ancient Chinese literati painters used painting to express their views on society and their feelings, and painting became a means for them to express their emotions. As a result, they no longer mainly expressed and depicted the scenery of the natural world and departed from the original way of painting, gradually evolving into another kind of painting with strong lyricism, i.e., pictorial painting. Gongbi paintings emphasize the hook and dye, painting style, neat and rigorous, colorful, first hook and then dye, declared in the decorative. The realistic painting requires a high degree of generalization, refined ink and brushwork, exaggerated modeling, heavy colors, giving a strong sense of infection. Nowadays, what we often use is the painting method between brush painting and freehand painting, i.e. "both work and writing", also called "half work and half writing". For example, Qi Baishi's flower and bird paintings, after the big brush strokes of emotion, and then use the small brush to paint some small insects in detail, adding some small embellishments in the big brush strokes, so as not to make the picture too "brushwork" and stagnant, and not too "realistic" and rough. Why there are many schools of artists Artists create works of art that are different from those produced by machines in factories. A machine produces a product that is absolutely identical and precise in shape, structure, and size. The works of art created by artists must not be the same, but must have many different shapes and variations. Because many artists live in different times, regions and environments, each of them has different personalities, hobbies, ideological tendencies and creative techniques, thus forming different styles and characteristics. Of course, some artists live in the same era, the same region, have **** the same aesthetic interests and artistic pursuit, works of similar style, similar characteristics of the technique, so consciously or unconsciously formed a group. Another situation is that the personal artistic style of a certain artist is favored, and then students who follow his style, students of students, will also form a certain kind of group. These groups are called "so-and-so schools". Then the naming of a school is naturally based on the era, region, style, and technical characteristics of the school. For example, a lot of ancient paintings in China are divided and named according to the era of the school, such as the "Four Great Masters of the Southern Song Dynasty", "Six Great Masters of the Early Qing Dynasty" and so on. A lot of western paintings are also divided according to the era, such as "Greek Classical Art", "Medieval Christian Art", "Renaissance Painting", "Art of the Ancient Wind Age". Art of the Ancient Wind Age" and so on. Living in the same area, or art creation activities in the same region and the formation of similar styles of artists, more to the name of the region to name the school. For example, the famous "Eight Monsters of Yangzhou" in the Qing Dynasty in China, the "Lingnan School" in modern times, the "Florentine School" in the Italian Renaissance in Europe, and the "Venetian School" in Europe. Florence School" and "Venice School" during the Italian Renaissance. The name that best reflects the artistic characteristics of the school is named after the style, form or technique of expression of the work of art, which is most typical of Western modernist painting. Some artists are attacked and criticized when they bring their works to the society, so they use the words of the attackers to call themselves schools, such as "Impressionism", "Fauvism", etc. Some artists share the same aesthetic and artistic characteristics. In some cases, several artists share the same aesthetic interests and the same ideas, so they put forward their ideas to form a certain school, such as "photorealism", "surrealism", "abstractionism Abstraction" and so on. There are also a lot of ink paintings in our country which are based on techniques or painting styles to form various schools, such as the "School of Rendering", "School of Boneless", "School of Outlining" and so on. This shows that artists do not "categorize" people into this or that school. There are deep and unique social reasons for the formation of various art schools. Why do you need to use less eraser when you drawEraser is used to erase pencil marks. Why should we use less eraser when drawing? Let's first analyze the drawing of two phenomena. One of the phenomenon: a student drawing there, drawing a stroke, do not feel like, erase the redrawing. Then he drew and erased again, so that a picture was erased over and over again, but in the end he could not get it right. After half a day's rubbing, the result is that the self-confidence is "rubbed" off, and the interest is "rubbed" off. "Another thing that has been erased is the method of observation and memorization, which is very important in painting. Originally, the first thing to do in painting is to observe with the eyes, and then memorize what you observe in your head. With the observation of the eyes, brain memory and digestion, to draw down, and the accuracy of the pen drawing is in the repeated practice and correction in the gradual acquisition. Students who love to use erasers only use their eyes to observe superficially and use their brains to memorize roughly, and then use their brushes to draw. They feel that the drawing is not good, can not remember, anyway, can erase, erase and then draw. Phenomenon No. 2: After the loss of self-confidence, they may use the eraser less, but look at his picture - no matter whether it is a character or an animal, whether it is simple or complex, the contour lines are all occupied by small broken paths. Even for the simplest brushstrokes, there are short and broken lines, as if he does not know how to draw a whole line. If you draw this way, your ability to observe and memorize will also be affected, and your self-confidence will still be low. It is not difficult to solve this problem. As you know, no matter what kind of object you are drawing, whether the shape is accurate or not is relative, and there is a process. The main thing is to coordinate observation, memory and hands-on ability, to practice more or less, and to analyze enough with the brain. Especially in sketching, what is there to be afraid of if you make a bad stroke? You can still compare the right and wrong. As you draw more, it will naturally become more and more difficult for you to write. Put your mind on analyzing and comparing the right and wrong, on finding the flaws in analysis, observation and memory, you will draw better and better, and your self-confidence will be stronger and stronger. In fact, a lot of adults drawing sketches, also often appear to draw inaccurate and repeat the phenomenon of redrawing. Why should students be timid? Of course, not all paintings do not use the eraser. For example, sketching does not have to use an eraser, but it is better to use less. But sketching is to absolutely prohibit the use of erasers. In addition, no matter what kind of painting, the line should be smooth, not broken, which must be done. Why is it that simply learning techniques can not really learn art when you appreciate a good work of art, you can not help but be infected, or relaxed, or heavy, or in the midst of the surging waves, or standing in the shore of lush forests and bamboos. The Eastern Jin Dynasty painter Gu Kaizhi has a very famous argument: "the spirit of writing", "think about the wonderful". In his painting "Luoshen Fu", we can not experience "as if Ruoxi light clouds cover the moon, floating as if the flow of the wind of the back of the snow, far and look at the bright as the sun rises sunrise, forced to look at the burning as if the whip hibiscus out of the green wave" of the elegance and romance? Poetry is a painting with sound, painting is a silent poem. Leonardo da Vinci's "Mona Lisa", the picture shows the eternal smile, mysterious and brilliant, by generations of learners known as the ancient traces. Velasquez's "Pope Innocent X" makes it hard to remember those two chilling, cunning and sinister eyes. When we are intoxicated by the best works of art in the past and present, who only stays in the appreciation of their techniques? Which is a good work of art, is not the beauty of meaning and form of the harmonious unity of the beauty of it? Which good works, its connotation does not include the author's thought, temperament, education, cultivation and their exploration of the language of painting and the pursuit of it? Therefore, just learning the techniques of art can't make your understanding and pursuit of art rise to a higher level. In addition, in order to be really good at art, you need to have knowledge of other subjects, such as math, physics, chemistry, and so on. Otherwise, it is difficult to understand the proportion, structure, anatomy, perspective, color and the performance of painting tools. It is hard to imagine that a student who is poor in other subjects can learn art well. In short, children and young people who are interested in learning art, must remember: simply learning art skills can not really learn art well, only on the basis of mutual promotion with other subjects, in order to make your art learning to insert hard wings.