Talk about your understanding of inheritance and innovation of Chinese painting.

First, the inheritance and innovation of Chinese painting in history

Whether it is primitive rock painting or silk painting in the Warring States period, these early paintings laid the foundation for later Chinese painting to take lines as the main modeling means. During the Han, Wei, Jin, Southern and Northern Dynasties, religious paintings played a dominant role in painting, and figure paintings began to pay attention to the description of charm and spiritual temperament of characters. At this time, landscape painting and flower-and-bird painting also sprouted, and at the same time, we consciously grasped painting in theory and put forward certain evaluation criteria. During the Sui and Tang Dynasties, painting art flourished in an all-round way, landscape painting and flower-and-bird painting matured, and figure painting with the characteristics of the times appeared. During the Five Dynasties and the Song Dynasty, painting became more mature and prosperous, figure painting turned to depict secular life, religious painting gradually declined, landscape painting and flower-and-bird painting became the mainstream of painting, and flower-and-bird painting matured in the Five Dynasties and the Song Dynasty. On the basis of sketching, flower-and-bird painting entrusted people's interest and sentiment, and expressed the painter's inner feelings. The essence of Chinese painting, "image" and "freehand brushwork", was vividly displayed during this period. The exploration and development of "artistic conception" in Song Dynasty painting has a far-reaching influence on later generations. During the Yuan, Ming and Qing Dynasties, ink and wash landscapes, freehand brushwork of flowers and birds got outstanding development, and literati painting became the mainstream of Chinese painting, but in the end, it followed suit and became farther and farther away from the times and life.

In modern times, influenced by the west and reality, realistic creative methods were put forward. Since the end of 19, Chinese painting has been introduced into the cultural environment of western art forms and artistic concepts and inherited from traditional Chinese painting. After nearly a hundred years, there are many schools and famous artists, and they are constantly reforming and innovating. In the 1920s and 1930s, in the face of the inheritance and development of Chinese painting, Kang Youwei put forward the idea of "restoring ancient ways as a leather" and "combining Chinese and western styles as a new era". Xu Beihong advocated that "those who are good at ancient paintings should keep them, those who are not good at ancient paintings should change them, those who are not good at ancient paintings should increase them, and those who can take western paintings should be integrated". Lingnan painters such as Gao and others advocate compromise between China and foreign countries and integration of ancient and modern times, and combine Japanese painting with traditional water-rushing, powder-bumping and boneless painting to create a new style with a sense of the times. Chen Zhifo integrated the colors of Chinese and foreign decorative arts into meticulous flower-and-bird painting, while Zhang Daqian borrowed some techniques of western abstract expressionism and created splash-ink painting. From 1940s to 1980s, people have been discussing and studying the innovation and development of Chinese painting.

Second, the concept and spirit that Chinese painting must inherit.

1. Traditional cultural literacy cannot be missing.

At present, in the field of Chinese painting creation, China's traditional cultural literacy is generally lacking, forming a unique phenomenon called China cultural anemia. As a famous Shanghai school said, today's Chinese painting needs to be passed down more than innovation. This inheritance does not simply refer to painting techniques, but more importantly, it is an attitude towards China culture. Chinese painting must break the foundation of China culture. Nowadays, many people want to "type out" before they can "type in". However, the spiritual core and aesthetic standards of Chinese painting have always been closely related to the traditional culture of China. In traditional painting theory, Chinese painting is called "elegance of literature" or "elegance of literature". Both Yu and Ji emphasize that China's traditional cultural accomplishment is the foundation of Chinese painting. The creation of contemporary Chinese painting should be strongly supported by China's cultural accomplishment and truly become an inseparable part of China culture. The inheritance of traditional cultural spirit is the foundation of the development and innovation of China's calligraphy and painting. If we leave this premise, reference will become substitution, and the result of development and innovation is alienation.

2. Humanistic care is indispensable.

Although artistic creation is not as good as literary works to reveal social contradictions and complexity, art, as an image, can reflect the spiritual outlook of each era, which is its unique value. "It is very important for modern Chinese painting to find people's cultural orientation." Humanistic care is an indispensable element of modern Chinese painting, and only works with artists' humanistic care can make people move.

Art must come from life.

Art only comes from life, so does Chinese. Only by going deep into life, experiencing life, drawing inspiration from life and creating works with true feelings from life can we stand the test of time.