In the history of Chinese art, what are the main points of Xiehe's Six Methods?

The six methods of Xie He are vividness, bone method of brushwork, responding to objects, coloring with the class, operating position, and transferring the mold to write the vividness of the spirit of the image, which is also known as "God" by the former figure painter of the Eastern Jin Dynasty, Gu Kaizhi. Charm and vividness is the picture image of the spirit of the temperament of lively, vivid, distinct and prominent. That is to say, "the form and the spirit", the requirements of Chinese painting, not only to depict the appearance of the object, but also to show its spirit. Characters have spirit, so do landscapes, flowers and birds. To achieve the resemblance of God, you can have a vivid flavor. Many painters believe that works without chiaroscuro cannot be called paintings. Of course, to show the vividness and authenticity of the artistic image, i.e., chi chun, is also inseparable from the other five methods. Vividness is also inseparable from the composition of ideas, brush and ink techniques, therefore, it is a whole with the other five methods. The other five methods are also inseparable from the chiaroscuro, otherwise, it will become a purely technical thing that lacks a soul.

Bone method with the brush: Bone method originally refers to the characteristics of the figure's appearance, and later referred to the outline of all the objects depicted. Bone method with the brush, is the unique Chinese painting brush and ink techniques. In general, the bone method of using the brush refers to how to use the ink and brush technique to appropriately draw out the shape and texture of the object. If we understand chi chi vivid as "God", then we can also simply understand the bone method of using the brush as "form", and here, chi chi vivid and bone method of using the brush and have an inseparable inner connection, "form" depicted with the help of the brush and ink. The depiction of "form" is written with the help of ink and brush, and the writing of form is but a means to an end, the purpose is to show "God", which is consistent with Gu Kaizhi's law of "writing God in form" of the performance of the object.

The artist's depiction of the object should be in accordance with the original appearance of the thing, and it should be expressed by means of modeling. That is to say, the depiction of things to have a certain objective things as a basis, as a virtue, not random subjective fabrication. That is to say, objectively reflecting things, depicting objects. However, as art, it is also possible to take, generalize, imagine and exaggerate under the premise of respecting the objective things. This can be said to refer to a creative attitude and method.

With the type of color: refers to the application of color, refers to the portrayal of different objects, time, location, the application of different colors. The use of color in Chinese painting is different from Western painting, which likes to use inherent color, i.e., the original color of the object, although it also pays attention to certain changes, but the changes are smaller.

Management position: refers to the composition. Management refers to the composition of the design method, is based on the needs of the picture, the arrangement of the image, that is, through the said layout, to reflect the overall effect of the work. Chinese painting has always attached importance to the composition, which should pay attention to the relationship between the master and the guest, echo, reality, simplicity, sparse and dense, hidden and exposed, and so on.

Transmitting the mold to move writing: that is, sketching and copying. Sketching of real people and objects, and copying of ancient works is a way of learning nature and inheriting traditions.