Chinese Painting Experience Sample Essay?

Chinese painting, in the world of painting art is a strange flower, it has a long history of development, formed its own unique and complete art system. The following is to bring the experience of the creation of Chinese painting, only for reference.

Chinese painting experience:

In the field of painting, a young man's painting is very easy to lose his way. For this reason, I have carefully studied the history of painting, especially the history of Chinese painting, from which I have gained a lot of enlightenment. I firmly believe that there are three points that cannot be separated in my lifelong pursuit of art, namely "ethnicity", "tradition" and "innovation". The more a work of art embodies its ethnicity, the stronger its vitality will be. At the same time, "ethnicity" and "tradition" are the sources from which a work is created, while "innovation" gives it a new vitality. Chinese painting, in the world of painting art is a strange flower, it has a long history of development, formed its own unique and complete art system *** unique painting materials, aesthetic taste and painting philosophy and so on ***. With the influence of western painting ideas, there are too many controversies about the fate of Chinese painting, some people say that "Chinese painting should be eliminated by the times", "Chinese painting should give up ink and brush" and so on. As a young Chinese painting enthusiast, I would like to say: Chinese painting will not be eliminated by the times, on the contrary, it will glow with stronger vitality. I have always believed that relative to other paintings, Chinese painting is not only an art of painting, but also a synthesis of art, it is literature **** especially poetry ****, calligraphy and seal cutting integration; Chinese painting is not only a form, but also a kind of thought, it is a blend of Confucianism, Buddhism and Taoism philosophical thinking, especially the influence of Taoist thought, the pursuit of the "unity of man with heaven" realm, to explore the "unity of man with heaven" realm, and to explore the "unity of man with heaven" realm, and to explore the "unity of man" realm. The realm of "heaven and man", to explore the natural expression of the picture; Chinese painting is not only the reproduction of techniques, but also the reproduction of the painter's moral thinking, the so-called "character is not high, ink can not be", "painting and calligraphy, the first importance of character," and so on, and so on, and so on. In addition, in emphasizing the expression of thought and character in painting, it is earlier than and more than any other kinds of paintings. Therefore, what Chinese painting needs is a painter with higher requirements, and I have been working hard according to such requirements and will never give up.

I like to paint the tiger, because the tiger gives me a sense of righteousness, there is an inviolable majesty; in my eyes the tiger is a gentleman, I had a feeling and wrote, "I paint the tiger is often a metaphor for a gentleman, not to be soft and charming, and seek its fortitude; not to be ferocious, and seek its majesty; not to be vulgar, and seek its elegance. Weiran positive face, rich and poor, poor and unswerving, mighty and unyielding, and the righteousness of the ring swings between them. Aim high, the group does not rely on, independent and not afraid, see the situation does not tend to see Wei not vigilant, always do not change its degree. A long whistle can startle the world, and silence can still appall the world. Nurture the righteousness of heaven and earth, and store the will of the great swan. It is not a king who writes and writes, but a gentleman who is full of pride. All these are my desires." The fundamental principle of my exploration of tiger painting has always been "to paint artistic tigers, not natural tigers; to paint spiritual tigers, not flesh tigers." In order to do this, I anthropomorphize the tiger, I see the tiger as heroes, generals, warriors and so on, of course, in addition to the "strength of the mountains and the air" of the temperament, but also should be "chivalrous and tender" side. I even put the tiger anthropomorphism, the tiger as the plum of pride, orchid of quiet, bamboo of high integrity, chrysanthemum of chastity, as well as the green pine rises up from the ground, straight dry over the clouds of righteousness. In the conceptualization and creation, these spirits are always gathered in my heart and condensed in my brush. In the performance techniques I did some exploration, first learn to draw the tiger in large print, the pursuit of brushwork charm; later combined with the landscape chapped to show the tiger, more withered brush, so that the tiger has a pale and heavy feeling, unlike the pursuit of the tiger's delicate, furry sense of the fur of the painting. And appropriate deformation of the structure of the tiger, but also the texture of the rocks used in, looks like a tiger also looks like a rock. In this way, the tiger adds some of the perseverance and strength of the stubborn stone.

I paint the tiger is a tiger for me to advocate, express their own feelings, I carved a seal on the writing of "long whistling the sky expresses the strong will", I hope that the tiger in the painting is "gentleman's style", "heroes of the air! I hope that the tiger in the painting is a "gentleman's style" and "hero's spirit", which can not only infect me, but also conquer the viewers and inspire and motivate people.

Chinese painting experience:

The general painting is not difficult, as long as you master the basic skills can be painted, difficult to paint a beautiful painting, to paint a beautiful, should be from the ten aspects of effort:

One is the chiaroscuro vivid, this is the most important principle of painting, the North and South Dynasties, the famous painting and calligraphy critics, Xie Hesi said; "Painting has six methods, one said that Charm and vivid, said the bone method with the pen, said the third should be the shape of things, said the fourth with the type of color, said the location of the operation, said the sixth to pass the mold to move writing." Charm and vivid as the first of the six methods, can be seen its weight. Tang ZhangYanYuan said: "to look like outside for its painting, this is difficult with the common people also, today's painting, even if the shape and chi Yun not born, to chi Yun for its painting, then the shape in the middle of the carries on." The meaning of the painting as long as there is rhyme, shape, ink and brush a little worse than no harm. The so-called chi chun vivid, refers to the work and the work of the image portrayed in the work has a vivid degree of rhyme, appears to be full of vitality. My summary is that the figure painting should focus on the posture, especially the eyes and posture, landscape painting focus on the momentum, to the atmosphere, flower and bird paintings focus on the flavor, to be elegant, referred to as the state, potential, taste.

The second is to pay attention to the law, painting techniques, including two meanings, one is the skill, the second is the chapter, the vast majority of people's understanding is limited to the skill but ignored the law. Law refers to the painting should comply with some of the basic rules, the reason why the law, meaning that it is as serious as the law, the importance of the importance of the law, is not dispensable, in relation to the degree of beauty, it is more important than the skills. The most important law is the composition of the frame, that is, Sheikh said the management of the position, the so-called management of the position, that is, the whole picture arrangement layout, where the main scene, where the painting of the secondary scene, where the painting of the scene, how the scene with the various, unified and coordinated. The ancients summarized many models, such as half-type, occupy the middle type, diagonal type, I-type, s-type, z-type, c-type layout, etc., the picture is most afraid of the layout is not appropriate, messy, more taboo on the sky, the bottom is not seen, full of paper drawing a little space is not there.

Third is to have ancient meaning, the reason why emphasize the ancient meaning, in addition to the degree of beauty, the ancient meaning of the traditional Chinese painting is better reflected in the charm, which will be characterized by the traditional Chinese style and Western realistic style of writing a clear distinction between the style.

Four is the bone force with the pen, bone force with the pen is one of the important content of the six methods of Xiehe, the so-called bone force with the pen, refers to the lines outlined with the pen to have the strength of the lines, Chinese painting lines have eighteen strokes of the landscape painting, especially with the iron line, folding the reed description of the most obvious bone force, painting rocky mountains and stone trees more than these two lines, and the line depicted and orchid leaf depicted more used to paint the earth mountain mound. Its bone force is much worse.

Fifth, the brushwork is delicate, Chinese painting has a thick and thin brush, thick brush bold and bold, fine brush elegant and gentle, so the general development trend of Chinese painting is more and more fine. In landscape painting, the difference is mainly in the wrinkle method, the size of the axe wrinkle, the size of the rice point wrinkle, etc. is a kind of coarse brush, sesame wrinkle, phi linen wrinkle, etc. is a kind of fine brush, while the ink and ink staining and boneless method, etc. is not see the brush marks, more delicate, so the ink painting ink paintings have become the favorite of the literati painters, the intention is to seek the subtle and subliminal.

Sixth, halo natural, halo is one of the skills to test the skills of ink painters, painting the mountains and rocks into yin and yang, yin and yang face more ink halo to show the yin and yang, clouds and mist and water is also the focus of the halo and the difficulty of ink halo and ink halo and ink and ink and ink and dyeing method, ink and dye method is to dip the pen in the first in the water or ink, and then dip the nib of the pen a little bit of thick ink, once dyed with a different depth of the transition of the natural effect. The mixed ink method is to dip the brush into water or light ink first, then dip the tip of the brush into a bit of thick ink to create a natural transition between different shades at once. The ink accumulation method is to use light ink to dye the first time, and then use thick ink to dye two or three times. Dyeing method is mainly used for cooked rice paper, the first with a thicker ink dyeing, followed by water to the edge of the fainting, dyeing is the most important thing is to master the right concentration of ink color, the transition between light and dark to be natural and do not leave traces, usually the first to spray the paper with moisture and then dyeing.

Seven is simple and complex properly, painting landscape rock levels should be more appropriate and complex for the best, giving people the feeling of overlapping mountains, thousands of peaks and ravines, a single level of the mountains certainly can be, but not as majestic as the multi-layer peaks, so the ancients loved to use the scroll for painting, so that can be set up from three to six levels of the mountains, appearing to be tall and majestic. Of course, the use of simple style is also very good, to be as simple as possible, but also interesting, cold river fishing alone drawing on a small boat, on an old man fishing, very poetic, romantic. Usually painting the northern style of the mountains and rivers to complex for the best, painting the southern style of the Jiangnan style is to simple for the key.

Eight is the intention of deep flint, what is the intention, is the painter's state of mind, is poetic, is the romantic flow, the former refers to works reflecting the author's aspirations and integrity, the latter refers to works reflecting the author's suave temperament interest, poetry in general song in general of the romantic feelings, paintings such as their own people, Su Dongpo, a talented man, such as Tang Bohu, etc. because of the character of the flow in order to make the intention of deep flint of the flow of works, but this is not the people talk about the work. The only thing is that this is not what people often talk about, but refers to the author's long-term romantic feelings.

Nine is the title of the interesting, although the title of the simple, the finishing touch, the title of the content should be carefully selected, and the content of the picture coincides with, and there should be rhyme interesting, the best poetry, do not arbitrarily write a few words, should not be too long, calligraphy should be beautiful and generous, the location should be in line with the norms.

Ten is the cultivation of character, which contains three layers of meaning, one is virtuous, love and good deeds, moral tree etiquette, the second is to speak of erudition, full of reading and poor history, Bo long hard work, the third is to clear the mind and spirit, quit being impatient and quiet mind, light fame and wealth, people often say that painting and calligraphy is to cultivate the cultivation of their own noble morals and calm mind, only then can become a good painter to make a good painting.

Chinese painting experience:

Friends often joke that Chen drunk to "trafficking in women" for the industry. Of course, this refers to my creation, because I mainly paint female nude figures. This, at the very beginning, is a question of subject matter. It is important to choose a relatively stable subject matter, so that you can concentrate on the essence of your work. The reason for my love is that I have been engaged in the study of nude art-another factor in the "trafficking in women" joke-so that everything from sensual interest to rational cognition has been focused on a single point. I've been working on the nude art - which is another element of the "trafficking in women" joke - so that everything from the sensual interest to the rational perception has been focused on one point.

Earlier still, it was the exploration of the way of painting, which is closely related to the teacher's succession. I was an oil painting student, and my mentor was from the Soviet Union, from whom I learned to observe and express the subtle relationship of color, to deal with unique compositions, and to keenly grasp the sense of form and the use of conception. The trajectory of my mentorship can be clearly seen in my oil paintings. Later on, I dabbled in oil painting, Chinese painting and calligraphy at the same time, and with the foundation of academic research, my creative personality became more and more apparent. However, in my Chinese works, there are also traces of my "origin" in Western painting. Critics have positioned my Chinese paintings as "literati paintings" and "academy paintings". In fact, both are right, and it is precisely these two seemingly opposing judgments that speak of my painstaking pursuit and creative characteristics. If I were to position myself, it would be an academy painting with the spirit of literati painting. The fundamental thing is to grasp the spirit of literati painting and utilize the foundation of academic painting.

Traditional Chinese painting is the same source of calligraphy and painting, valuing the "writing", the ancients said that "writing" - "writing Fortunately, I practiced Huaisu, now often write huge wild cursive, so, in painting I focus on the use of the brush, line - line is the soul of Chinese painting, line with good, the pillar up, the spirit will come out. In a sense, I am also "writing" the human body in cursive, and capturing that interesting effect in the drenching. By combining cursive writing and female human body image in the picture, together with the special expression and body shape, perhaps this unity of opposites itself will stimulate people's unique aesthetic psychology, and form a kind of meaning that is hard to name. But on the other hand, I can't completely rely on "heavenly creation", when I paint, I am very concerned about modeling, composition and even composition, which in turn uses my western painting foundation and even the concept of western modern art creation. Yes, the ancients also had "management position", but after all, they are two different languages. What I have incorporated is the genes of another system, so it seems to be fresh, straightforward, unique and interesting. People who paint often have this kind of experience, that is, sometimes a piece of work is not necessarily because of its significant subject matter, or the huge size of the painting, but more is the body of the painting factors at play. Perhaps it is precisely a region of the brush *** oil painting, such as brush strokes ***, a small piece of color spotting *** oil painting, such as transparent ***, or an action, a small props arranged to make people produce excitement and even shock! All of these, may come out of the deliberate or unintentional. They all ultimately depend on the technical gold content of the work - the skill of capturing the beauty points of creation and the skill of expressing them, which are often reflected in some kind of creative difficulty. Luckily, I have memorized poems since I was a child, and they come in handy today. For the inscriptions of my paintings, I use my own original poems. In addition, the font, size, and placement of the inscription, as well as the seal to be used and the position of the inscription, are all matters that require careful consideration. Only in this way, which is both emotional and rational, is it possible to give people the feeling of craftsmanship. A writer said, "Your paintings have a lot of personality, and I feel three words: beauty, charm and flavor. But crooked nose and slanted eyes, looking for a wife I will not choose them." A painting dealer said, "Those beauties of yours are very sexy and different. Unfortunately just too fat, legs so thick ......" but the painting took as it was. These comments are very real and accurate, the image reflects my style orientation.