What are the expressive methods of China's landscape paintings?

1. Modeling means The modeling means of Chinese painting is "line". I express my thoughts and unique mountains and rivers through various "lines" accumulated in my creation. "Line" has a profound meaning in the works of China painters, and many complicated things can often be expressed only by a few dynamic "lines". In landscape painting, China landscape painters rely on "lines" to shape the characteristics of rocks, so they can form "lines" with different meanings and various frictions. The "line" here is an extremely important element in the work, and the use of "line" directly affects the quality of a work. Therefore, most painters in China have been pursuing the "line" with vitality all their lives, and many excellent painters have become famous because of his successful mastery of the simple but infinite "line". When western painters describe things in their eyes, they understand them as "faces". "Face" is better than "line" in modeling, and "line" is more abstract, while "face" seems to be more specific, and what it represents is easier for people to understand. In order to be close to the real world, western landscape painters chose this kind of modelling technique in their artistic practice. This also determines that using different modelling technique will show different visual effects. The lakes and mountains in western landscape paintings are all composed of "faces". The use of "face" enhances the sense of volume and realism of the picture, so western landscape paintings seem to be thicker than China's and closer to the natural landscape in real life than China's.

2. It is another outstanding feature of Chinese painting to advocate that modeling features are not limited to form or even "beauty lies between similarity and dissimilarity". The image-building of Chinese painting is for the lyrical expression of the author, so China painters dare to abandon the external form of the object and make some appropriate artistic exaggeration to strengthen the expression of the author's feelings. China painters are good at grasping the essential features and facial expressions of objects, and flexibly expressing objects with their unique artistic language. At the same time, in order to distinguish between primary and secondary guests and give people full enjoyment of beauty and full expression of emotions, they skillfully combined personalized composition and decoration techniques. Therefore, it is another feature of Chinese painting not to stick to the composition and layout of a specific time and space. Sometimes the description of the environment is completely omitted, the blank is boldly used, the theme is highlighted, and the audience's association and imagination are used freely. The composition of Chinese painting not only closely combines the "quotient" of the depicted content, but also emphasizes the contrast and echo of the changes of color, line and shape in the plane layout, which is also a very prominent feature, such as the correspondence between reality and reality, clear density, ups and downs of opening and closing, and simplification of convergence and divergence.

Paying attention to pen and ink is another feature of Chinese painting. The so-called pen and ink is not the pen and ink on objects and materials, but an artistic skill for the author to express his feelings. The most elastic brush used in Chinese painting and the Xuan paper that is most sensitive to the change of strokes have formed the characteristics of endless changes in Chinese painting. China landscape painters regard brushwork as the most important artistic skill in artistic creation. Its function is to depict different images with different brushwork and ink method, and also to better express the feelings and ideas of the creators. Another function of it is to reflect the personal style of each creator.