What are the characteristics of China's national paintings and how to appreciate a national painting?

Wu Tao

SummaryChinese painting has a long history, and it was created under a specific cultural background. But with the continuous development of science and technology, the continuous progress of society, so that people's pace of life is constantly accelerating, the content of the rest of life is even more colorful, appreciation of poetry, calligraphy, painting, printing has been slowly accepted by the people, however, in the life of the face of a piece of Chinese paintings, more than one sentence of the exclamation: "Painting is really good." As we all know, to appreciate the content of a piece of work is good or bad and evaluate the merits of the work, but also need to do in-depth analysis and understanding of the work, and then combined with the basis of their own cultivation, in order to make the final evaluation according to their own understanding. In this paper, through the "six methods" of Xie He, a critic at the end of the fifth century, we have made some rough introduction and analysis, which can give the methods and ideas to the fans of appreciating Chinese paintings.

Keywords: Chinese painting, appreciation, six methods

Introduction

Chinese painting is the main type of traditional Chinese painting, which has no definite name in ancient times, and is generally known as "danqing", and has been called "Chinese painting" since modern times in order to differentiate itself from the oil painting and other paintings imported from the West, which has been rooted in the thousand-year culture of the Chinese nation with a rich and splendid history, and has been the main source of the economic and political development of the country in various periods. It has a rich and brilliant history, and is the reflection of the economy and politics of each period in the conceptual form. It has gone through many different stages of germination, development, maturity, innovation and redevelopment, and has formed a complete art system that integrates the national cultural literacy, way of thinking, aesthetic consciousness and philosophical concepts, which forms two artistic peaks side by side with the Western oil paintings. However, under the modern education model, the arrangement of the curriculum does not emphasize the education of classical Chinese philosophical concepts, which makes the appreciation of Chinese paintings subject to certain obstacles, coupled with my current knowledge structure is still very lacking, so I can only analyze the "painting theory" and "painting evaluation standards" of each period as a way to appreciate Chinese paintings.

The first part of this article is about the "painting theory" and the "painting evaluation standard" of each period as the main basis and basic theory of how to appreciate the Chinese painting.

Chapter I: The Present Situation and Cultural Background of Chinese Painting

With the continuous development of science and technology and the progress of social civilization, people's rhythm of life is also accelerating, and the content of the rest of the life is even more colorful, therefore, now like to paint a lot of people, who really know how to paint a lot of people, coupled with reform and opening up of today's, the collision of Chinese and Western cultures intensified, whether it is to make paintings or to appreciate the painting, theoretically, there is a certain degree of confusion, but it is not the case. Theoretically, there is a certain amount of confusion and misinformation. When faced with a piece of Chinese painting in life, can one understand the work and what to take as a criterion for judgment? For the average person, the first thing to look at is the content of the work. What is the mood of the image that the artist is presenting? If you can answer, it is considered to understand, and vice versa, is not understand, this method is a traditional "storytelling" method; but, relatively speaking, the works of Chinese painting brushwork because it is concrete, real, or easy to appreciate; and the works of writing, ink and ink unrestrained, the intention of the pen is not even splash of ink paintings are more Difficult to understand, because it is not specific image, coupled with the technique of exaggeration, abstraction, generally from the surface of the work is very difficult to read the moral of the painter. Of course, this method can only be used as a general appreciation of the way, because the painting is good, understandable, it is easy to cause people to more associations, produce **** song. But we must understand that a Chinese painting is good or bad, but not simply measured by the image on the surface.

Thinking back to my own four years in college, I y realize that as a student of Chinese painting, to appreciate a good Chinese painting, we must first y understand the historical and cultural background of Chinese painting, the method of expression, and the language concept.

Chinese painting, (referred to as "Chinese painting"), is a kind of painting with Chinese characteristics, which is based on ink, supplemented by color, using water as the mixing agent, using the brush as the main tool, and using rice paper and silk as the carrier, which is rooted in the cultural soil of the Chinese nation for 5,000 years, and has gone through many different stages of germination, development, maturity, innovation and re-development, forming a new style of painting. It has gone through many different stages of germination, development, maturity, innovation and re-development, and has formed a complete art system integrating national cultural qualities, ways of thinking, aesthetic consciousness and philosophical concepts, and has formed two artistic peaks side by side with Western oil painting.

Chinese painting can be divided into three categories, namely, bird and flower painting, landscape painting and figure painting, and from the point of view of expression, Chinese painting can be divided into brushwork and brushstrokes. Work-brush painting, that is, exquisite workmanship, meticulous, ten days to draw a water, five days to draw a stone, years and years of painting into a picture. While the writing of the brush is brief and unrestrained, a big brush stroke, the pen to close the intention in a moment. Such as the Tang Dynasty during the Tianbao, Tang Xuanzong love Sichuan Jia Ling River along the more than 300 miles of scenery, and to be in the Datong Hall wall to draw it out; Li Si Xun painted a few months before becoming, and Wu Daozi only used a day, will be painted. Tang Xuanzong gave them the comment: "Li Sixun months of work, Wu Daozi a day five signs are extremely wonderful". Today, it seems, Wu Daozi, Li Sisun made in the frescoes have not existed, but from the painting theory we can know, Wu Daozi to the line of the majesty of the fluent, brief and rapid as the brush as the wind and rain; Li Sisun's style to the gold and blue color landscape is famous, and it takes a long time to depict in order to complete their painting style is distinctive, each with its own unique characteristics, each with its own unique style.

The above mentioned, whether it is flower and bird painting, landscape painting or figure painting, writing or brushwork and so on, only its content and expression of different forms, different painters have different styles of performance, when we face the same subject matter and different styles, or different subject matter and the same style of a variety of works, how do we go to appreciate it.

Chapter 2: Sheikh's Criteria for Evaluation of Paintings

When the viewer appreciates a piece of Chinese painting, the first thing to do is to come across the question of how to evaluate the merits of the work, which requires a criterion. The earliest proposed painting evaluation criteria is the end of the fifth century, Xie He's "vividness", "bone method with the brush", "should be object like shape", "with the class color "

First of all, the first thing to do is to make sure that the artist's work is not a "bad" one, but a "good" one.

Firstly, it was proposed that works should be "vivid", which means that figure paintings should have vivid artistic images to show the subject's appearance, character traits, and inner world. Sheikh and other literary critics believe that: works of art in the active life force and the entire universe, as the same as the life force, is the "gas" throughout the space, is the life of the "breath", is a kind of power, penetration, nourishment, stimulation of all things in the world. Here Sheikh specifically mentioned "qi": the objective "strength", "climate" or "qi" of an object. Another way of saying "qi" is that it is the air vent or breathable element in a work. A good Chinese painting will not make people feel "stuffy" or "bored" because there is just the right amount of breathable elements in the picture. A good Chinese painting, the picture will not make people feel "stuffy" and "bored", this is because the picture has the right ventilation point, although the author will vent his emotions in the picture, so that the viewer is infected to a certain extent, but because there is a ventilation point in the work, so that when you look at the picture again, it will no longer be "stuffy" and "bored" feeling, and there is a great opportunity to "jump out" of the picture through the ventilation point. It is possible to jump out of the picture through the ventilation point. Rhyme" is another common word in the literary criticism of the Six Dynasties period, which contains a sense of harmony and flavor of the completion of the artwork, good, touching works, must give people unlimited reminiscence and endless reverie, to give the viewer to the immersive and from the association of a continuous higher than which. Of course, due to the appreciation of the cultivation, level of different, will have more, richer understanding.

Sheikh and others use the "chi yun vivid" to show that after the completion of a piece of work, must be in the "gas", the degree of harmony, vividness and full of vitality and other aspects of vitality. For example, Yan Lipen's "Steps in the Emperor's Chariot" from the Tang Dynasty depicts the 15th year of the Zhenguan period, when Emperor Taizong of the Tang Dynasty received Ludongzan, an emissary from the Tubo Dynasty, to welcome the Princess Wencheng into Tibet. The picture shows Emperor Taizong riding in the emperor's carriage in a dignified but harmonious manner, Ludongzan in a competent and respectful manner, and the officials in the carriage in a solemn manner, with the court ladies looking around in a cordial and friendly atmosphere.2 For example, in the Luoshen painting by Gu Kaizhi from the Wei and Jin Dynasties, the feelings among the figures in the picture do not rely on their facial expressions to be revealed but are revealed through the skillful handling of the interrelationships among the figures. The feelings between the characters are not revealed by facial expressions, but by the skillful handling of the relationship between the characters. In the painting, the God of Luo has a tender heart and is moving towards and back from the painting, expressing a kind of despondency that is unattainable and unattainable.3 The painting also shows that the God of Luo has a strong feeling of love and affection.

The second "bone method of brushwork" refers to the power of the brush, which should pay attention to the changes of the brushwork in depicting the image, and pay attention to the beauty of the form and dynamics of the lines. It can be said that the beauty of the line will bring works of icing on the cake, it can also be said that the ultimate embodiment of the rhythm and vividness can not be separated from the bone method of the pen. For example, the lines in Wu Daozi's "Sending the Son to the Heavenly King": the King of Pure Rice's clothes are drawn in a strong and straight line, while the Queen's clothes are soft and rounded, showing the different textures of the clothes, but also highlighting the differences in the personalities of the men and the women. In front of the ambush of the ghosts and gods, the line is more crash flow bold, great "hair root out of the flesh, the force is healthy," the feeling of exaggerated modeling to show the extraordinary power of the gods and monsters, whisking the ground of the ribbon, the line of the pen fluttering, roll and Shu freely.

The "bone method of brushwork" in traditional Chinese painting and drawing, it also integrates the rules of brushwork in the calligraphy of Chinese characters, aesthetic principles, reflecting the strength of the line, texture and beauty, etc.; through different lines to reflect the dynamics of ink and brushwork, the potential direction, rhythm, rhythm. Such as the Wei and Jin Dynasties Gu Kaizhi's "Lady of the Historian" scroll in a series of moving images, pay close attention to the line to modeling, works in the form of continuous, slow and natural lines, reflecting the sense of rhythm, the line's strength is slightly controlled, just as the "silkworms spitting silk", "spring clouds floating in the air, running water on the ground The strength of the lines is slightly controlled, just like "spring silkworms spitting silk", "spring clouds floating in the air, flowing water traveling on the ground", with the changes of sparseness and length.

Chinese painting is easy to be fragmented and trivial when painting with dots; it is easy to be fuzzy and flat when painting with surfaces; and it is easy to capture the image and dynamics of the objects when painting with lines, which is the most suitable way to utilize the characteristics of brushes, ink, Xuanpian paper, and silk; it can be said that the line is the artistic language that Chinese painters have a fondness for, which is the soul of the Chinese paintings, and it is the author's catharsis and expression of his feelings and opinions. Therefore, for thousands of years, Chinese painters have been working with their brushes, using different strokes to write lines of different textures and feelings, such as thick and thin, straight and curved, rigid and soft, hairy and astringent, fast and slow, solid and false, smooth and reversed, busy and simple. And with the gradation, arrangement, interlocking, division, echo, etc. of these emotional lines, the painting constitutes many shapes of different shapes and moods, expressing a share of patriotic feelings, expressing a scene of sadness and joy, and expressing a heart of the heart.

Sincerely, when we appreciate the works of Chinese paintings, we should also note that the lines used to express Chinese paintings should have vitality, and its rhythm and staccato, dense and thick, fast and slow, thick and thin, thick and thin, dry and wet, all show the painter's talent and skill. Mr. Huang Binhong, a master of Chinese painting, summarized the dotted lines of painting in five words: "flat", "round", "stay", "heavy " and "change". "Flat", such as cone paddling sand, the brush and the paper remain on a level, the pressure of transport and lift buoyancy balanced; "round", such as folding hairpin strands, refers to the use of the pen rounded and powerful, thick, do not show the sharpness of the elasticity; "remain ", such as the house leak marks, the pen in the operation of the feeling of resistance, in the friction with the paper resistance in the hard forward; "heavy", such as the mountains falling stone, the pen should be used with force, to have strength, so that the great force through the back of the paper feeling. Especially hit the "point", like a stone falling from a high mountain as weighty; "change", the strokes form a diversity of contrast, change, not the same. For example, his works such as "Sitting in the Rain in the Mountain" and "Red Trees on the Green Mountain" reflect the characteristics of his landscape paintings in the use of lines5.

Whether it is ancient or modern; whether it is unrestrained or lyrical; whether it is high or low, all of them put special emphasis on the combination of the force of the brushwork and the chiaroscuro, and the combination of the gas for the living brush and no gas for the dead brush; the brush breaks, the shape breaks, and the traces break, and the potential even with the gas, and thus the works can be imposing, and the emotions are moving, and the rationale is clear. Therefore, when we appreciate the works of Chinese painting, we should pay attention to the works of the author of the pen and the combination of chi, through the pen to show the image of the picture of the divine appearance. For example, in the portrait brick "Seven Sages of the Bamboo Grove" from Xishanqiao in the Southern Dynasty, the line of the folds of the clothes is mainly strong, and there is a softness in the stiffness, which is similar to Gu Kaizhi's "Spring Silkworms Spitting Silkworms" style of line drawing, and it vividly depicts the characteristics of these people and their decadent and empty mental outlook.6 The painting has the following features:

This is a Chinese painting of the Seven Sages of the Bamboo Grove.

Thirdly, the "management of position" is the arrangement and organization of objects by the artist when painting. The word "management" is very rich in connotation, and it includes a series of thinking activities such as thinking, analyzing, researching, and speculating. The "position" here is not only the place where the objects on the screen are placed, but also includes the structural arrangement of the whole picture, pattern arrangement, "sparse can run horses", "impermeable", etc. This means that the painter has to complete a piece of artwork, and to do so, the artist must have a good understanding of the structure and organization of the objects. That is to say that the painter to complete a piece of work, never casually a wave, is to go through the painstaking thinking, searching, careful and deliberate selection and selection, ingenious organization, arrangement, and ultimately the success of the work to come out. For example, the Northern Song Dynasty Fan Kuan's "Traveling in the Streams and Mountains" incorporates the "three far" method (i.e., "high and far", "deep and far", and "flat and far") as a way of composition. "The main peak adopts the "lofty" method (from the foot of the mountain to the top of the mountain, it is called "lofty"), towering and upright and slightly tilted forward, the momentum is grand and spectacular, and there is a sense of coming straight at you, making you Unconsciously realize their own smallness, and at the same time shows the author of the mountain painting water Gong is how high as well as the composition of the wonderful; the main peak on both sides of the use of "far" method (from the front to the back of the gradual depth of the far, known as the "far"), not only set off the main peak of the atmosphere, but also can be sufficiently Expression of the rolling hills of the mood, while reflecting the author's feelings of yearning for nature and understanding of the comprehensive; the foreground to the "Pingyuan" method (from the near scene and layers stacked into the distance, called "Pingyuan"), the foreground of the strange stones and trees, the stone of the shape of the ever-changing tree of the There are so many varieties and shapes of trees, giving people infinite yearning and marveling at the author's power of observation, imagination and expression of nature. It can be seen that Chinese painters in the continuous exploration and practice pay great attention to the study of composition, they summarized a series of laws and regulations. For example, as early as the Eastern Jin Dynasty, Gu Kaizhi put forward the compositional principle of "setting Chen Bu Shi", and subsequent generations of painters continued to explore and establish a complete Chinese painting composition system with national characteristics: "guest and master", "echo", "false", "false" and "false". The subsequent generations of painters continued to explore, and established a complete system of composition in Chinese painting with national characteristics: "master and guest", "echo", "reality and falsehood", "sparseness", "hiding and revealing", "opening and closing", "give and take" and so on. These laws are in line with the law of discernment in the opposition and unity; only works that comply with the law of opposition and unity can be durable and attractive. On the contrary, the element of beauty will be greatly reduced to varying degrees. So it is said that the source of composition is life, is the eye, is the cultivation, is the style, is the life of every very small scene, fragment, scene pushed to the realm of higher than life.

In addition, the composition has great freedom and flexibility, just as in life, the arrangement of furniture, the layout of the style, green and light, with any. It is not limited by time and place, do not seek the phenomenon of the object, only the idea and image into the "reason".

The above mentioned, appreciate the advantages and disadvantages of Chinese painting works is mainly to six methods of "qi yun", "bone method", "composition" as the main point of entry, the reason will become a chapter, no gas! will lose momentum, no bone will lose power, no reality will lose interest, no echo will lose unity, no guest and master will be spread out and diffuse, no sparse and dense will be uniformly stereotyped, there is no hidden dew will be lost in the subtle elegance, there is open and no closure will be lost in the undertaking to take care of.

Therefore, it can be said that the "six laws" is an assessment of the painting as a whole, its emergence shows that China's painting theory has risen to the stage of a more complete system, it is the Wei, Jin, the Six Dynasties, the summary of the painter's artistic practice; there are also the Five Dynasties Jing Hao in the "penmanship record", but also according to the requirements of landscape painting and the practice of painting has been put forward! The six elements", as the standard of painting evaluation, that is, "gas", "rhyme", "thought", "scenery", "thought", "scene", "thought", "thought", "thought", "thought", "thought", "thought", "thought", "thought", "thought", "thought", "Scenery", "pen", "ink", he said: "gas, the heart with the pen, take the image is not confused; rhyme, hidden traces of the shape, ready to Yi not vulgar. " These two points still refer to the unity of content and form. "Thinking" refers to the cutting and selecting, the idea of conception; "scene", is the requirement that the painting of landscapes should be based on different seasons and specific environments to depict, to "search for the true" in order to be for the landscape The "Jing" is the requirement that landscapes should be depicted according to different seasons and specific environments, and that the "search for mystery and creation of truth" should be made in order to portray the landscape in the spirit of the gods.

During the Song Dynasty, Liu Daohol, in his Commentary on the Famous Paintings of the Song Dynasty, put forward the "Six Essentials" and "Six Longs". He said: "The decision to recognize the painting, care to understand the six essentials and review the six lengths. The so-called six essentials, namely, "rhyme and power", "pattern system are old", "variations reasonable", "color and paint have ze", "to and from the natural", "teacher learning to shed short"; the so-called six long, that is, "rough halogen for the pen", "secluded and astringent for talent", The so-called six lengths, namely, "roughness for the brush", "secluded and astringent for talent", "subtle for power", "wild and strange for reason", "no ink for dyeing", and "flat paintings for a long time six"; of which "six long" is based on the law of unity of opposites in the formal beauty of Chinese painting, the more valuable; "rough and brash for the pen", meaning that the paintings of the unrestrained roughness, the demand for ink and brush techniques; "secluded for talent" The creation of the depiction of some of the subject matter of the cold and secluded also have to pay attention to the law, shall not paste writing and painting; "fine and delicate for power", means that the fine craftsman's works, the performance of the power to be strong, not weak and soft; "wild and strange for reason", works such as the modeling of the wild and weird, to be The meaning of "no ink for dyeing" is the same as "counting white as black", i.e., the blank space is not really "empty", but expresses a rich meaning.

To sum up the above, I usually learn and appreciate the Chinese painting of some of the shallow experience, understanding and views, to some hobby painting and in the appreciation of Chinese painting at the same time, can basically understand the characteristics of Chinese painting and style. After all, Chinese painting has thousands of years of historical and cultural background and rich and unique forms of expression, observation and understanding, image modeling. In the observation and understanding of objective things, to take a big view of small, small in the big method, and in the activities to observe and understand the objective things, and even can be directly involved in things, rather than do bureau appearance, or confined to a fixed point, which permeates people's social consciousness, so that the painting has a "thousands of years of silence, Phi map can be learned It permeates people's social consciousness, which makes the paintings have the role of recognizing the "thousands of years of loneliness, can learn from the pictures", and also plays the educational role of "evil to be sincere in the world, and good to be shown to the future". Even if the landscape, flowers and birds and other purely natural objective objects, in the observation, understanding and performance, but also consciously associated with people's social consciousness and aesthetic interests, the landscape, expressing feelings, objects, reflecting the Chinese "unity of man and nature" concept.

Chapter III: Appreciation of Chinese painting way of thinking

Chinese painting appreciation needs to go through three important stages of aesthetic perception, aesthetic understanding and aesthetic creation; this is to require us to intuitively observe and recognize the aesthetic object, that is, the work itself, the mood, the color, the line, the depiction, and so on; on the basis of the aesthetic, understanding, thinking, and grasping the work's meaning, significance, meaning, and artistic form, artistic technique, and expression of the work, the work of art, the art form, artistic technique, and expression. On the basis of this, we can do aesthetics, understanding and thinking to grasp the meaning, significance and connotation of the work, as well as the understanding of the art form, art technique, theme of expression, and the background of the era. In this way, we can give the appreciators more room for imagination, how to express the content of the work and the artistic means used, etc. At the same time, we can also guess the author's mind from the picture, mood and meaning of the work, whether it is a passionate song of praise or a pungent satire, a deep statement of complaint or a bold and generous expression of feelings, and analyze it in combination with the author's characteristics of the creation and the background of the times in which it is located, and analyze it through the aesthetic experience, cultural knowledge, and the knowledge and understanding of the work's artistic form and theme, and the context of the era. Then analyze it with the characteristics of the author's creation and the background of the time, and through the aesthetic experience, cultural knowledge and life experience accumulated over the years, you will be able to awaken rich associations and develop them, and then you will be able to bring out the moral of the work. Take the song dynasty wang ximeng's "thousands of miles of rivers and mountains" (scroll) as an example: wang ximeng, biography of painting history, according to the end of the volume of cai jing text can be known that he was originally a student of the academy of painting, and then into the palace library, huizong had personally instructed the art of painting, eighteen years old when painted into this volume was presented into the present only survives "thousands of miles of rivers and mountains" scroll; this volume using the scroll of the way of composition, layout to "six to four" the sky and the landscape, "the sky and the landscape". The scroll adopts a long composition, the arrangement of "six to four" the sky and the scenery into two, which makes the scene open and far-reaching, can better express the grandeur of the rivers and mountains; the painting of the mountains scattered and rolling, surrounded by the river, the pavilions, thatched cottages set against each other, the boats and fishermen are busy, the Jia Shu, waterfalls embellished, etc., showing the author's longing for the idealization of the society and the colorful nature, filled with a wealth of feelings, which are also full of affirmation of the transformation of nature, and living in the motherland beautiful mountains and mountains, and the transformation of nature. and the pride of living in the beautiful mountains and rivers of the motherland; large green and green coloring, dyeing the sky and water, rich and delicate, representing the painting academy of green and green one of the precision and meticulous, strict adherence to the painting style of the grid; brushwork to outline mainly between the bone marrow method of painting the trunk of the tree, with chapped point of the mountain slopes, enriched the expressive power of the green mountains and green water; characters without outlines of the folds of the clothes, although small as beans, and the form, clothing, dynamic and lively, reflecting the Song dynasty landscape painting through the Northern Song Dynasty Early Jing, Guan painting style of high maturity, the middle of the only Li Cheng, Fan Kuan is lifted, so that the situation of the rotten, the late in the "retro" trend of thought under the influence of the idea of advocating ancient for the new idea of synthesizing the Tang and Song dynasties, to create a unique fusion of Li Si-Tsun, Li Zhaodao and the achievements of ink and water landscape painting style as a whole. This idea has influenced the later generations, such as Dong Qichang and other "retro" as the table, actually contains innovative ideas.

Concluding Remarks

The process of appreciating Chinese paintings not only requires careful analysis and study of the works themselves, but also requires an understanding of the cultural background of the paintings as well as the creativity of the authors, which requires a certain degree of knowledge in order to better grasp the strengths and weaknesses of the works of Chinese paintings. Especially in the modern cultural background, many people who study Chinese painting are screaming "revere tradition" and "innovation", if you do not know much about the tradition, or even the traditional things are still ignorant, and how to innovate? This requires us to learn the tradition, bold innovation, in order to open up the horizons, a better appreciation of Chinese painting.

Notes:

①Chinese Art History Teaching and Research Center. A Brief History of Chinese Art [M]. Beijing: China Youth Publishing House, 2003, 102.

②The Art Theory Teaching and Research Group of Tianjin Academy of Fine Arts. Ancient Chinese Painting [J]. Beijing: People's Fine Arts Publishing House, 1987, 122. Chinese Art History Teaching and Research Center. A Brief History of Chinese Art [M]. Beijing: China Youth Publishing House, 2003, 93.

③Chinese Art History Teaching and Research Center. A brief history of Chinese art [M]. Beijing: China Youth Publishing House, 2003, 93.

?Chinese Art History Teaching and Research Center. A brief history of Chinese art [M]. Beijing: China Youth Publishing House, 2003, 93.

5 Chinese Art History Teaching and Research Center. A brief history of Chinese art [M]. Beijing: China Youth Publishing House, 2003, 366.

6 Art Theory Teaching and Research Group of Tianjin Art Institute. Ancient Chinese Painting [J]. Beijing: People's Fine Arts Publishing House, 1987, 124.

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(From: Mr. Wu Tao's online school Office)