What are the characteristics of traditional landscape painting in China?

China's traditional landscape painting is characterized by lyricism, vividness and creativity, as follows:

1, borrowing scenery to express emotion.

Landscape painting is a creative form to express the author's feelings by describing natural scenery. Natural scenery is objective existence, thoughts and feelings are subjective understanding, and landscape painting is the product of the unified combination of objective world scenery and subjective world emotion.

For example, the expressions and expressions of the four seasons mentioned in the Postscript of Ou Xiangge Painting by Qingyun Shou Ping are the unity of heaven and man, and the lyricism of scenery. Artistic conception is the soul of landscape painting only through the combination of meaning and scenery, and the connection between scenery and emotion can be produced.

2. The writing is vivid.

Shape refers to the physical appearance of a scene that can be perceived through vision and touch. God refers to the inner spiritual attribute and external performance of the aesthetic object, the personality characteristics of the situation, and the subjective thoughts and feelings injected by the author when creating artistic images.

Everything has animism. There is a mountain, a water, a grass and a tree in nature, which has both its shape and its spirit. There is neither a godless shape nor an invisible god. The abstract god is expressed through concrete form display, and form and god are dialectical unity. Having both form and spirit is the highest criterion of China's artistic creation, and it is also a basic law of landscape painting creation.

3. Creation is in my heart.

When the skill of Chinese painting is mature, the painter can throw white paper directly into the sky without looking at the object or the wall on his desk. Mo Shilong in Ming Dynasty: The way of painting, the so-called universe cares about hands. Zou Yigui's Painting Shan Jutu in the Qing Dynasty wrote: "Today, taking everything as a teacher, taking vitality as the luck, seeing a grass and an image, studying it carefully, and getting it right, it will be charming, natural and vivid, and the creation will be in me.

Although the objects described in landscape painting are extremely complex, simplicity is hidden in complexity, and laws are hidden in various changes. Repeated observation and study of nature makes it imprinted in the brain and rotten in the chest, and then it can be poured out and freely spilled, thus revealing the secrets of nature and reaching a free world that is free and not beyond the distance.