What are the similarities and differences between Western landscape painting and China Feng Shui painting in terms of appearance time, materials and expression techniques?

Landscape painting is a kind of scenery. In the past, it was thought that it first came from German, and later it became an English landscape painting, representing mountains and rivers. In fact, in the history of art written by westerners, our landscape is called landscape, so the landscape of China and the landscape of the west are the same concept. The reason why China people call mountains and rivers is influenced by the traditional culture of China, that is, the so-called "benevolent people are happy: benevolent people enjoy Leshan, and wise people enjoy water". Put them together, "landscape" may sound more in line with China people's understanding of landscape. But if you must pursue it, in fact, the similarities between the two are greater than the differences.

Many people may misunderstand western landscape painting, thinking that landscape painting is a geological painting and a simple reproduction. Actually, it's not. At first, it had a strong humanistic spirit, was an idealized landscape, and had humanists' understanding of natural mountains and rivers at that time. Although there are differences in tools, the connotation and spiritual pursuit are basically the same. In this sense, the two have more similarities. Only the rise of western landscape painting in China was relatively late-China's landscape painting theory existed in Li Sixun and Wang Wei in Wei, Jin, Sui and Tang Dynasties, and reached its peak in the Five Dynasties and Song Dynasties, and landscape painting became a very important category in China's painting. The scenery in the west is backward. For a long time, the scenery appeared as a foil to the theme painting, such as a figure, a specific event, and the scenery behind it. The background has something to do with the people or the place where it happened. The background is actually a description of the theme character, which shows the character, such as what is the background behind the noble character and so on. The earliest landscape painting was created by German painter Albrecht Altdorfer in the early 6th century/kloc-0, and was later inherited by the Nederland people. Their works show many landscapes. The true independence of landscape painting was in the17th century. Why is it formed? Because of everyone's love for scenery, this love for scenery is on the one hand everyone's concern for nature, and on the other hand, because urbanization leads people to be dissatisfied with urban life, they prefer to get spiritual satisfaction in the rural natural environment.

Of course, in the history of western art, since the Renaissance, landscapes have always been regarded as second-class paintings, and the most important thing is historical paintings. However, the painter consciously injects other contents into landscape painting, such as hero landscape. Some of Roland's and Pu Sang's works add ancient Greek stories to the landscape. The stories in the landscape are almost negligible, and more are the expressions of natural scenery, which many people think is also the highlight of landscape painting. Another is pastoral landscape, which emphasizes the relationship between landscape and pastoral poetry. The early western landscape paintings are close to those of China, and there is a feeling of empathy in them, which makes the viewers feel comfortable. In "Painting Landscape", Zong Bing said that landscape can refresh people's minds, and later generations are more noble than things, which symbolizes that landscape is the spiritual home of intellectuals and literati. Therefore, the eastern and western landscapes are actually integrated, and they all integrate their own cultural understanding.

On the Understanding of China's Landscape Paintings and Western Landscape Paintings from the Practical Angle.

This process is accompanied by two different civilizations, or two different artistic processes, sometimes the same and sometimes different. From the perspective of eternal artistic spirit, everyone's spiritual demands should be relatively consistent. However, from the perspective of sketching, observing and expressing nature, I think that different cultural backgrounds, values, cosmology and aesthetics will lead to different expressions in the face of the same thing, which is clearly reflected in the dialogue of Sketching from Huangshan Mountain. Personally, I think there are two points. One is that compared with our water in Orient Mountain, western scenery pays more attention to visual experience; Compared with the western scenery, China's landscape paintings pay more attention to his inner feelings and experiences. Therefore, this leads to the different results of landscape painting and landscape painting. Secondly, I think western landscape painting may be more based on scientific observation and research, perspective, structure and spatial relationship, especially the three-dimensional space on the plane canvas. China's landscape paintings may be more based on humanistic philosophy than the western values of natural science, so when our China's landscape paintings are finally presented, they are more symbolic than practical. When I say reality, I mean reality in vision. Western landscape painting pays more attention to relatively objective description at this point. Because of the different reasons mentioned above, the final result is different.

Natural sketch is a problem that artistic creation must face. When facing the Yunfeng, trees and the whole realm of Huangshan Mountain, you will feel that the materials, papers or colors in your hands have little effect and are difficult to capture or record. When I studied painting, I learned more about the observation and expression methods of western landscape painting. This method is difficult to be effective on Huangshan Mountain-when a cloud floats by, you gradually see it in the cloud. The objects you saw before are different from those you see now, which is a great challenge for sketching. I may put more energy into the spiritual symbol of Huangshan, and want to know what the characteristics of Huangshan are and what the spiritual things of Huangshan are, and I want to express them with a pen. At this time, I found that the essence of sketch has changed a little. It is neither a sketch of oriental landscape painting nor a sketch of western landscape painting. I think modern painters will face such problems when sketching in Huangshan Mountain. Painters in China, in particular, cannot travel all over the famous mountains and rivers like the ancients, nor can they paint a traditional landscape like western landscape paintings. I think both sides can't do it, so they can only make their own judgments and choices.