Introduction to Chinese Painting

I. The term "national painting" originated in the Han Dynasty, the Han Dynasty people believe that China is in the middle of heaven and earth, so it is called China, the Chinese painting is called "Chinese painting", or "national painting" for short. It mainly refers to scroll paintings painted on silk, rice paper, silk and framed. Chinese painting is a traditional form of painting in China, where a brush is dipped in water, ink and color and painted on silk or paper.

Second, the tools and materials are brushes, ink, Chinese paint, rice paper, silk, etc., the subject matter can be divided into figures, landscapes, birds and flowers, etc., techniques can be divided into figurative and pictorial. In its content and artistic creation, Chinese painting embodies the ancient people's knowledge of nature, society and the political, philosophical, religious, moral, literary and artistic aspects associated with it.

Three, since ancient times, Chinese painting has been divided into three main subjects: figure, landscape, flower and bird, and their teachers were taught according to their specialties. After the Yuan Dynasty, figure painting declined, landscape, birds and flowers flourished.

Four, Chinese painting is to use art to express a concept and ideas. The so-called "painting three subjects", that is, summarizes the universe and three aspects of life: figure painting is the expression of human society, human relations; landscape painting is the expression of the relationship between man and nature, man and nature into one; birds and flowers is the expression of nature's various life, and people live in harmony.

The reason why Chinese painting is divided into figures, birds and flowers, landscapes, these categories, in fact, by the art of sublimation of philosophical thinking, the three together constitute the universe as a whole, complement each other, is the true meaning of art for art.

Fifth, Chinese landscape painting is the most heavy precipitation of Chinese sentiment. The continental cultural consciousness of playing in the mountains and water, the inner cultivation consciousness of taking the mountains as the virtue and water as the nature, and the visual illusion consciousness of the distance at hand have always become the main axis of the interpretation of landscape painting.

From landscape painting, we can concentrate on the mood, style, chiaroscuro and tone of Chinese painting. There is no other painting discipline that can give more emotions to the people of China like landscape painting. If we talk to others about the scriptures, landscape painting is the essence of the nation, the classical background, the image of me, the human nature.

Six, Chinese painting framing is an important work, for the creators of Chinese paintings as well as Chinese painting collectors are to understand as well as a clear place, the success of the framing directly with its preservation of the time and the way there is a very important link, and the style of the framing to form a kind of artwork excellent role in the background.

A complete Chinese painting, need to make it more beautiful, as well as easy to preserve, circulation and collection, is inseparable from the framing. Because most Chinese paintings are painted on fragile rice paper or silk items. Mounting, also known as "mounting sulfur," "mounting pool", "mounting back", is a unique technology to protect and beautify the painting and calligraphy, as well as inscriptions, just like Western oil paintings, after the completion of the fine frames, so that it can achieve a higher level of artistic aesthetics. Higher artistic beauty.

Expanded Information:

Tricks of using the brush in Chinese painting

1, using the brush in the center

Using the brush is not a vertical vertical stroke, that is, the center. The advantage of the center of the front, lies in the rich and robust, without the disease of parched and weak. Therefore, no matter writing or painting, all noble center. Writing can be done with the same pen posture, as long as the pen can be changed in the middle, you can achieve the effect of the center.

Painting requirements are different, it drags the vertical erase, the role of multiple, because it can not always erect the pen, sometimes the pen lying down, can also achieve the effect of the center. Our so-called center, the tip of the pen always in the middle of the ink marks, rather than out of the edge of the ink marks, to achieve the ten thousand hairs of the same force, so that no matter the vertical pen lying down, dragging the pen against the pen, are the center.

2, the pen should be round

Said the pen without a fixed method, in the final analysis, just with the pen without a fixed method. However, there is also a fixed point in the uncertainty, that is, the pen should be round. The opposite of round is thin and paralyzed, stiff and not glutinous, intermittent gasless, and the wrong kind of kuijiao. To be round, the first stroke must always be in the center of the ink mark, that is, the center stroke. The pen is flat stroke is the center, but turned a corner, the stroke deviated from the edge of the ink mark, it is not round, it is not the center, so you must change the pen, then the stroke back to the center of the ink mark, or the center. Whether it is a vertical pen, lying pen, are the same.

Three fingers tightly hold the pen, two fingers to assist, finger real palm virtual, is the vertical pen pen method, talking about dragging the pen, especially downward drag, the pen method should be changed, like a single hook method, the big finger, forefinger, two fingers in the top from the direction of the opposite direction of the pen, the rest of the middle finger, ring finger, pinky, the three fingers in the bottom of the pen to hold the pen, close to the method of holding a pen or pencil.

The only difference is that the fingers should be straightened out a bit, and not too tightly, and the brush should also be hidden in the center of the ink mark, so that the effect of the round can also be achieved, called the lying pen in the middle of the front. Dragging the brush is a kind of lying brush in the front, occasionally used, you can achieve the effect of changes in the use of the brush. But do not drag the whole width of all drag, everywhere drag, less change.

The use of the pen should be vertical, lying down. Some people are accustomed to drag, can only drag, can not vertical, that is not good. So the vertical drag pen, must be interspersed cross each other, according to the situation, do not do, in order to achieve the natural operation, round and unimpeded, is a good system.

3, line size

Vertical pen lying outside, and must try to use the tool characteristics of the pen. Chinese painting with a soft tip. A brush has three parts: the tip, the belly and the root. When using the tip of the brush, you should be able to lift it up and keep it. To draw a line, use your whole body to send it to the end. When you send the middle finger downward pressure, at the same time the arm wrist dragged inward, the middle finger slightly flicked, swaying, not a flat stroke over.

This way there is something in the line, and when there is something, it stays. As we often hear: someone has a big brush, someone has a small brush. It's not that if the line is thick, the pen is big, and if the line is thin, the pen is small. You have to realize that a person with a big pen, even if he draws a line as thin as a hair, it's still big. People with small nibs, even if they draw a thick line, it is still small. The size of the nib depends on the fact that it spreads the bristles and there is something in the line, and the nib stays, and it is big.

4, with the pen to press

The pen should be lifted up, but also snap down. The pen method is said to be up and down to press, are these two aspects. Lift up, with the tip of the pen, snap down, we have to use the pen belly, the root of the pen. For small presses, use the belly of the brush; for large presses, use the root of the brush. To snap to the end, snap heavy, snap to kill, no matter how much water on the pen, or wet or dry, to have the decision, no doubt. Do not want to snap and stop, not heavy and impervious, wait and see, hesitation.

This is the only way to achieve the effect of composure. Especially snap two interspersed with each other, the rise and fall, resulting in a sense of rhythm, the picture is not flat, there is a flavor.

Baidu Encyclopedia - Chinese Painting