How to analyze and appreciate Chinese landscape painting

As we all know, the core of traditional Chinese culture is "Tao", what is Tao? In modern terms, it is the inner law of the natural development of the universe, the ancient Chinese idea of "Tao" even today still has a high scientific and cultural value. Good bird and flower paintings. Figure painting also emphasizes the Tao into the painting, but because of the embodiment of the Tao of heaven and earth is not sufficient, it can only be regarded as a "miniature".

Landscape painting, painting is the world of mountains and rivers, boats, houses, trees, etc., people generally see the painting is to see these things, the first is to like, followed by want to go to want to live. In fact, the cultural connotation of Chinese landscape painting is much more than that. The external form of things is only the carrier borrowed by Chinese painters through the Taoist expression of their understanding of the Taoist body. The purpose is not to paint these material things to realism, but to try to express their own perception of nature in order to reach the way of heaven and earth.

Chinese dragon in the eyes of scholars is the Chinese people in the evolution of history in the process of gradual formation of totem symbols, in the eyes of Chinese painters it is the trace of the movement of energy in the natural world, marble pattern in the general view of the general public is just an ordinary stone pattern, in the eyes of Chinese painters it is the trace of the movement of energy in the natural world, everything, including the life form is in line with this trace of the formation of the development of the body.

Chinese culture is a naturalistic culture, which is based on the principle of embodying the vigor of life. This is what a Chinese painter pursues throughout his life, and at the same time gains longevity himself. Everything is mixed since the order, the Chinese ancients found that this order is the Taiji Bagua. Yin and Yang five elements, Chinese landscape painting expression of all things in heaven and earth also show this doctrine, because of space constraints, I'm sorry not to go into detail here.

Landscape painting that seeks the heaven and earth of the road, the above mentioned form.

Next, we will talk about the techniques of landscape painting. The tools and materials of Chinese painting are all taken from nature according to the principle of naturalism. Ink. Paper. The brush is the most important tool. From the top of the brush, there is a point in the center, surrounded by a circle. According to traditional Chinese culture, the formation of the universe was first started from a point, which is called Tai Chi, and the circle refers to the universe as a whole. The Chinese also practiced this idea on rice paper, drawing everything in the world from the tip of the brush. It is only fitting to consider the technique of landscape painting as "Taoism". Due to the limitation of the painting principle of landscape painting, it often takes decades of effort to learn the brush and ink technique of landscape painting. The first principle is that the brush and ink should be loose, and the history of painting has already proved that the brush and ink from constriction to relaxation is synchronized with the liberation of human beings in the continuous development. Then the brush and ink in the quality of expression, according to the principles of the Chinese Way and the basic standards of human cultivation, there are eight summarized: rigid. Flexibility. Dynamic. Quietness. Sincerity. Faith. Harmony. Spirit. The Chinese concept of yin and yang is based on the idea that masculinity is superior and femininity is inferior, but the rigid is easily broken and must be supplemented by femininity, so soft brushwork with tension (external softness and internal rigidity) is high.

China is very particular about the dialectical relationship between movement and static, life must be moving, and the static person is born of wisdom and static person's longevity, so the static is seen in the movement and the static is seen in the movement is high. Heaven and earth with virtue (righteousness) running to create all things and even life, people with virtue of the world friendly, honesty (according to the reason to do) is certainly important, so good ink is often naive. Harmony and that is, harmony, highly organized, good ink and brush is rich in change and not chaotic. Spirit refers to the spirit, the spirit of the pen and ink life everywhere, this is the basic requirements of the painting, but also the most important, no spirit of the painting that is useless, which is determined by the painter himself whether the spirit.

The ancient Xiehe commented that the painting is the first for the first rhyme and rhythm is this reason. In fact, the Chinese painting brush and ink standards and our perfect human personality cultivation standards are completely consistent, we can even compare the Chinese painting science as "anthropology".

Since modern times, the status of Chinese landscape painting? There are three main phenomena. The first is the labeling of traditional Chinese culture, the mud of the past. The second is to boast of the painter's personality, new and different. The third is to criticize the traditional, heavy color painting, engaged in the combination of Chinese and Western to transform the development of Chinese painting. Especially the latter two are the mainstream of contemporary Chinese painting. The history of mankind is always moving forward in the breakthrough, which is indisputable. But we have a clear understanding of the various paranoia arising from these processes, and more of their own thinking is also desirable.

The above three phenomena are analyzed as follows, purely personal opinion , for reference.

The first kind of clay tradition, the good side is that you can learn the tradition of laying a solid foundation at the same time, good painting also left some marks for the trajectory of China's paintings, the key is in the ideological understanding to know the history of Chinese painting is also the history of diversified development.

The second kind of individual development, which is the highest standard of artistic creation according to the law of artistic creation, emphasizing individuality, since the introduction of "ARTS" at the beginning of the last century, the art form of Chinese painting on rice paper has become the mainstream, and the academy is still the same today. Because they are individualized, they are only good or bad in their own way. They are characterized by their lack of cultural baggage and their liberated thinking.

The third kind of criticism of tradition to engage in the combination of Chinese and Western, this is the use of heavy color want to create a new way for Chinese painting warriors of a brave attempt, the essence is to use the art of brick to knock the door of Chinese culture, history will write down the traces of the success or failure of the natural by the history of the comment.

These three phenomena exist objectively, which is right and which is wrong too much ink to comment, and not much sense. When we open our eyes to see the sky of the airplane. The sea boat. Mercedes-Benz train, we will naturally feel that our living space today is incomparable to that of the ancients, the whole world is a classroom for us to learn. Ignorant of other cultures, holding on to the traditions of their own ancestors not to let go, alone, night and day, closed to self-defense, which is the strangulation of traditional Chinese culture! If we can make an effort to study and research to grasp the Chinese nation's own culture, open our arms to embrace the whole world, not to compare our own culture with other cultures, but to take the initiative to look for a point of entry and the cultural dialogues of various countries and nationalities, and to draw on the nutrients of other cultures to enrich our own, and pay special attention to learning from the world's most advanced cultures, not a combination of Chinese and Western cultures but a combination of all aspects of East, West, South, North, South and South China, our Chinese culture will develop more perfectly. Only by combining the East with the West, the West with the North and the South with the North, will our Chinese culture develop more perfectly and more brilliantly!

Because the concept of art is not enough to cover the Chinese landscape painting, so from the cultural point of view, briefly mentioned, but also in order to express the reasons can be more sufficient. Since modern times, the transformation of Chinese landscape painting innovation of the mainstream, or some of the combination of Chinese and Western advocates, they are warriors, but their performance on the screen is mainly a bold splash of color, there are two questions worth exploring. First, where does West refer to? Western culture is only color, is it so poor and superficial? Secondly, Chinese people also have eyes, and there is a sun in China, so has China ever paid no attention to color? The paintings of the advocates of the combination of East and West can only be described as a phenomenon, and whether they have academic value or not needs to be verified by history. However, due to the convenience of transportation, the mutual exchanges between countries and the limited cultural exchanges, the influence on Chinese painting is still there. After the Western Renaissance, human nature has been greatly emancipated, unrestrained and oil painting techniques of the pen to see the pen The characteristics of the modern Chinese landscape painting can be seen from time to time, but the Westerners on the complexity and richness of the color relationship between the level of treatment is very high, the use of good in the Chinese landscape painting is still not common. Overly complex and rich colors used in Chinese landscape painting will be detrimental to the quiet elegance of Chinese landscape painting, if we can notice this in the cultural dialogue, research attempts, which is also a not small subject

To make a summary of the above content, it is not difficult for us to know that, when we appreciate a modern Chinese landscape paintings should pay attention to a number of points: one. Vivid and elegant flavor, two. Ink and brushwork is good and elegant, three. Chapter operation is reasonable, four. Color is elegant and rich, five. Material naive flavor, six. Traditional strength is deep. To explain is that these six points is the highest standard of Chinese landscape painting, not easy to achieve. One in the realization of a sober and struggle for a lifetime of painters may not be successful (most of the wrong understanding of the painter that would be exempted). Therefore, when we appreciate a Chinese landscape painting can only look at its relative level, do not be too demanding.