How to Appreciate Chinese Landscape Painting Essay

Chinese landscape painting is one of the most important forms of traditional Chinese painting, as the first major painting discipline, and is an art form that best reflects the spirit of Chinese culture and art. Landscape painting was created later than figure painting, earlier than bird and flower painting, nurtured in the early figure painting in the background, in the Wei, Jin, North and South Dynasties period gradually independent, forming an independent painting, Sui and Tang Dynasty development and maturity, the Five Dynasties and the Song Dynasty period to reach the peak of the art, the Yuan, Ming and Qing dynasties have been the development and achievements, masters come out, and then formed a spectacular Chinese traditional art form, and has not declined.

The appreciation of Chinese landscape painting is a complex and comprehensive process, is a person's cultural and artistic literacy and life experience is concentrated. The following author from the appreciation of landscape painting several points to elaborate.

I, the cultural background of landscape painting (philosophical connotation)

Shanshui painting is the Chinese landscape painting, but is not a simple depiction of natural scenery, but the painter's spiritual aspirations and outpouring of the expression of the painter's attitude to life, the painter's life pursuit of the embodiment. The creation of landscape painting is inextricably linked with Chinese Taoist thought, which pursues the spiritual realm of natural inaction and unity of heaven and man, and can "govern heaven and earth, and govern all things" and "win over things without being hurt". Taoist thought pursues a simple and natural, simple and quiet art spirit, so landscape paintings are mostly ink and water performance, supplemented by color. Wei Jin and North and South Dynasties is a period of metaphysics flourished, the representative thought of metaphysics is the idea of Taoism, this period of political turmoil, people do not want to live, many literati in order to avoid the politics of tipping choose to go into hiding, like Tao Yuanming, Jikang, Ruan Ji, etc., they live in the mountains and forests, poetry and fugue, landscape poetry, and then the great prosperity, landscape painting also came into being. This is inseparable from the influence of Taoist thought in people's lives. Confucianism's influence on painting is mostly reflected in the early figure painting, Ming exhortation, the sinking and floating, the establishment of social etiquette, so Confucianism is based on the world, and landscape painting is more reflective of the world, Zen thought of the influence of painting is also relatively deep, but not as clear as Confucianism, Taoism, the influence is more later bird and flower painting. Of course, such an absolute division is not rigorous, there is no such inevitable, can only be said to be roughly so. Later on, Confucianism, Taoism and Buddhism gradually merged and **** together in every aspect of Chinese society. The development of landscape painting is also influenced by other ideas, but in general the main Taoist thought.

Second, the landscape painting of the landscape

The landscape painting of the landscape painting of the landscape is the realm created, advocating the idea of the main, emphasizing the performance, the intention to create the realm born, to create a "mountain nature that is my nature, the mountain that is the situation that I love," the realm of the landscape painting to create a landscape is not only beautiful scenery, mountain scenery, more is the pursuit of the ideal realm, is the pursuit of the ideal realm, is a superb, is the ideal realm, is the ideal realm, is a superlative, is a superlative. Ideal realm of the pursuit, is free from the trivial and vulgar society of the residence of the soul, landscape painting realm to the people is observable, feasible, swimmable, can live in the place of divine travel, whether it is the north or south of the Zong Shanshui, the performance of the realm and the function of the same, or the fairyland of the ethereal and magical, or leisurely farmers and woodcutters of the seclusion of the place. Literati landscape paintings mostly show the interest of living in the mountains and forests, simple and natural ink scenery; court painter's boundary paintings mostly show the buildings and palaces are the prosperity of the earth, but also a paradise beyond the earth. Different people can find their own spiritual residence. This is also a spiritual communication between the painter and the viewer.

Three, the chapter of landscape painting

Chapter is the layout of the picture, that is, the composition of the law, Gu Kaizhi called the placement of Chen Buzi, Xie He said that the operation of the location. Chinese paintings pay attention to the intention of the scene, far from taking its potential, close to take its quality, and skillfully use the picture of the blank, so that no paintings become a wonderful place. Chinese paintings have the requirements of "looking carefully, viewing from all sides, seeing through the ground, peeping through", i.e., from the front of the mountain to see the back of the mountain, from the bottom of the mountain to see the mountain, from the inside of the room to see the outside of the room, this requirement is to satisfy the need for "full view of the lying tour", so that the beauty of the thousands of miles of distance at hand in the eyes. The composition of landscape paintings. Landscape painting composition method, in the practice of a long time to form a "three far law", that is, Guo Xi, the so-called Pingyuan, from the near mountain and look at the distant mountains and said, such as Guo Xi's "Areas of the stone Pingyuan Tu axis"; high far, from the mountain and the top of the mountain is said to be, such as the Jing Hao's "Kuanglu Tu axis"; far from the mountain before the mountain and the mountain after the peep is said to be, such as the Ju Ran's "10,000 ravines and pine winds Tu axis". The color is clear, deep and far away. The color of the high distance is clear and bright, the color of the deep distance is heavy and obscure, and the color of the flat distance is both bright and obscure. The perspective of landscape painting is also different from the fixed-point perspective of Western painting, but the focus of the pointless perspective, but the law of the point of view of the landscape painting just to meet the needs of the Chinese people to appreciate the landscape painting.