The content of painting

Compared with western painting, Chinese painting has its own unique characteristics, which are also manifested in its artistic techniques, artistic division, composition, pen and ink and color application. Chinese painting can be divided into three forms according to artistic techniques: meticulous brushwork, freehand brushwork and concurrent brushwork. Meticulous brushwork is a neat and meticulous painting with a pen, with clear and meticulous details and extremely delicate brushstrokes, so it is called "meticulous brushwork". And freehand brushwork? Compared with meticulous brushwork, vigorous and concise brushwork is used to describe the shape and spirit of objects and express the author's feelings. You should have high generalization ability, implicit artistic conception with twice the result with half the effort, accurate writing, skillful writing and handy writing. The form of part-time writing is the comprehensive application of meticulous brushwork and freehand brushwork.

From the branch of art, Chinese painting can be divided into three branches: figures, landscapes and flowers and birds, which are mainly divided according to the different objects depicted. Animals, pommel horses, insects, fruits and vegetables in Chinese painting can be classified into these three categories respectively.

Chinese painting also has its own characteristics in composition, pen, ink and color. Generally speaking, the composition of Chinese painting does not follow the Huang Jinlv of western painting, and it is either a long scroll or a vertical axis, and the ratio of length to width is "unbalanced". But it can well express the special artistic conception and the painter's subjective interest. At the same time, Chinese painting and western painting are different in perspective. Perspective is the term of painting, that is, when painting, all objects are correctly represented on the plane, so that it has a sense of space and three-dimensional sense. This method is called perspective. Because the phenomenon of perspective is that the near is big and the far is small, it is often called the "near-far method". Western paintings generally use focus perspective, just like taking pictures. It is fixed on a foothold. Due to the limitation of space, everything taken into the lens will be taken truthfully, otherwise it will not be taken. Chinese painting is not necessarily fixed on a foothold, nor is it limited by a fixed horizon. It can move its foothold to paint according to the painter's feelings and needs, and absorb all visible and invisible scenes into its own picture. This perspective is called scatter perspective or multipoint perspective. As we all know, the famous paintings in the Northern Song Dynasty and Zhang Zeduan's The Riverside Scene at Qingming Festival all adopt scattered perspective. The Riverside Scene at Qingming Festival reflects the rich, complex and colorful scenes inside and outside Bianliang, the capital of the Northern Song Dynasty. It takes Bianhe as the center, from distant Chinese painting to lively "Hongqiao"; The audience can see the city and the countryside; You can see both pedestrians on the bridge and ships under it. You can see not only the balcony trees nearby, but also the streets and river ports in the distance. Moreover, no matter where you stand, the proportion of scenery is similar. If you draw according to the method of focusing on machines in western painting, many places can't be drawn at all. This is a unique perspective method created by ancient Chinese painters according to the needs of content and artistic expression.

Pen and ink is an important part of Chinese painting modeling. Use a pen to emphasize thickness, slowness, depression, rotation, Fiona Fang and other changes to express the texture of an object. Generally speaking, when starting and stopping the pen, you should use force, your wrist should be stiff, the air in the middle should not be broken, and you should not pick the pen lightly. When using the pen, the force is light, floating, heavy, slippery, slow, thin, and the board is being used. Bend like a bow, straight like a ruler, all this means using a pen. Eighteen strokes of crochet summarized by the ancients can be said to be a summary of the experience of using pens in Chinese painting. As for the use of ink, it emphasizes the interaction of rubbing, rubbing, light and dyeing, and the rational allocation of dry, wet, thick and light to shape the body and set off the atmosphere. Generally speaking, the beauty of ink in Chinese painting lies in the matching of shades. There is no spirit in all shades, there must be shades, the shades should be wonderful but not stagnant, and the shades should be graceful but not gloomy. Using ink is the same as using color. In ancient times, there was the experience of dividing ink into colors, and there was also the painting style of cherishing ink as gold. When using ink, there should be a strong combination of life and harmony, so that there is light in the thick and strong in the light; There are strong and second strong, and there are light and light, which are all flexible ways to use pens in Chinese painting. Because China's calligraphy and painting have many similarities in tools and brush strokes, they have forged an indissoluble bond. The ancients have long said that "calligraphy and painting are of the same origin". However, there are also differences between the two. Calligraphy is changeable, especially cursive script, which is better than painting, and the ink used in painting is rich and colorful, surpassing calligraphy. The word pen and ink is considered as the general term of Chinese painting techniques. It is not only a means to shape the image, but also has independent aesthetic value.

Chinese painting also has its own emphasis on coloring. The pigments used are mostly natural minerals or powder in animal shells, which are wind-resistant and sun-resistant, and will last for a long time. The coloring method is mostly flat painting, which pursues the effect of the inherent color of the object and rarely changes the light and shadow.

General characteristics of Chinese painting

It is not easy to answer the above questions concisely in a few sentences. Chinese painting has a long history. It adapted to the cultural soil of China and took root and blossomed, with its own characteristics in conception, composition, techniques and stylized expression. These characteristics are exactly what Chinese painting theorists are discussing and summarizing at present. Here are a few examples.

First, focus on the idea, there is an answer-the idea of Chinese painting

In the creation of Chinese painting, conception is the first, and many painting theorists first emphasize this point, whether painting landscapes, figures or flowers and birds.

In the Tang Dynasty, Zhang Yanyuan wrote a passage about "Six Laws" in Notes on Famous Paintings of Past Dynasties: "The image of a husband should be shaped, and it should be shaped with backbone." The backbone is similar. Everything comes from the general idea and depends on the end of the pen. "He believes that intention is the purpose. Only in painting can there be abnormal and strange meaning.

Hua Guang, a famous monk who painted plum blossoms in Song Dynasty, was called Zhong Ren. As a work of Huaguang, there is a passage in Painting Plum Finger, which begins with "Painting Plum, Business First". In Qing Dynasty, Fang Xun wrote "On Painting in Jingshan". Here, he also emphasized the relationship between conception and painting. He said: "To paint, we must first define our own position, which means strange, high, far, deep and ancient." He believes that mediocre paintings will be mediocre and vulgar paintings will be vulgar, because paintings lack the painter's most precious "conception", so works are mediocre.

Leonardo da Vinci, an Italian painter in the Renaissance, had a similar experience. He once said, "A painter should describe two most important things, people and people's thoughts and intentions." This is very consistent with the idea of "wonderful and dense" put forward by Gu Xiaozhi, a figure painter in Jin Dynasty.

Where does the meaning come from? First, the painter's rich observation of real life and fully accumulated creative experience; Another point is the painter's self-cultivation, so that before the creation, what to draw and how to draw have formed a mature idea in his mind.

Song Dynasty painter Wen was praised by others as "well-thought-out", that is, before he started writing, he had the image of bamboo in his mind and was ready to start writing. "Planned" has become an idiom praised by our country for being good at planning and arranging things.

Before Zhang Yanyuan put forward the concept of "conception", Sheikh in the southern production era had the theory of "creativity" and "clear conception". Creative painting is unconventional, accurate in conception, living by scenery, with few strokes but many meanings. In this sense, as a painter, we should not only pay attention to practicing calligraphy and sharpen our personal performance skills in peacetime, but more importantly, we should seriously strengthen the skills of practicing ideas. It is worth noting that many painters often only pay attention to the practice of writing and ignore the practice of meaning.

Second, use line modeling to express the spirit-the modeling rules of Chinese painting

Chinese painting is in the form of lines, through which outlines, textures and volumes are drawn. Goethe, a German poet, said that art uses light to express its vivid expressions, and visible light is one of the modeling means in western painting. Chinese painting, on the other hand, is dominated by line modeling, which clearly distinguishes between Chinese and western painting in modeling means. However, this does not mean that western painting completely rejects the use of lines, but that light can be used as the main language of painting. French Rodin once emphasized that "a prescribed line runs through the universe", which refers to how plastic arts break away from the universe, and did not regard it as the main means of expression of painting. Traditional Chinese painting, on the other hand, has accumulated a very rich line type and skillfully portrayed various images, whether it is the broken lines of mountains and rivers or the lines of clothes.

"Writing God in Form" is a famous saying of Gu Kaizhi, a painter in Jin Dynasty, which established China's aesthetic view that artistic god is superior to form. It is very different from modern European aesthetics, which is purely abstract, that is, painting people is not only similar in shape, but also similar in spirit, drawing people's mental outlook, not stopping at the simulation of shape, not sticking to the truth of nature. This theory is the height that artists should strive to reach when establishing art. Under the guidance of this theory, many outstanding works with vivid descriptions have appeared in the past dynasties, which has become an important standard to guide painting.

Third, multi-point perspective counts white as black-the composition rules of Chinese painting

Chinese painting not only uses focus perspective, but also uses scattered perspective, which not only strictly adheres to the real space and white cloth, but also breaks the real space and white cloth according to the needs of composition, so that when an object appears in the picture, it can change its image and position according to the artistic needs of the object on the picture. Peony flowers below the horizon can also be placed above the Zhu Ping line to achieve the best perspective effect.

Chinese painting pays special attention to the management of blank space, and often borrows calligraphy techniques to make white black, that is, the part without painting should be carefully scrutinized and treated like the part with painting.

Fourth, the harmony between color and class-the color rule of Chinese painting

The color of Chinese painting is not limited by the cold and warm tone of light source, but pays more attention to the inherent color of the object itself, rather than emphasizing the conditional color under special light. When painting an object, give it basic colors to achieve harmony between color and object, color and line, color and ink, and color and color.

Five, the scene is vivid-the artistic conception of Chinese painting

Chinese painting requires the combination of pen and ink, emotion and scenery. In reality, there are infinitely rich scenes, and the painter has a strong image appeal. With this feeling, the painter aroused the passion to describe these scenes, so the works reappeared in the form of replicas of the scenes, blending the scenes together.

As for the vivid charm, that is, the artistic spirit created by the painter, which is different from the general sketch painting, should be vibrant, fresh and lively, poetic and fascinating to the viewer. If you don't show such vivid and rich connotations, you can't give people these feelings, and you can't reach the fascinating artistic conception of Chinese painting.

Six, poetry, calligraphy and painting, printing paper and pen-the unique form of Chinese painting.

It can be said that only Chinese painting can have the practice of inscription and seal. Not only can literati paintings show their unique skills in poetry, painting and calligraphy, but even ordinary paintings always need inscriptions and seals to have a strong traditional artistic atmosphere.

Inscriptions and poems can improve or supplement the audience's appreciation and understanding of the works, and can also enrich the structural changes, playing a variety of roles in setting off each other, complementing each other, embellishing and balancing the composition.

The performance of tools and materials of Chinese painting also determines the characteristics of Chinese painting. Chinese painting uses silk and paper, especially the appearance of raw rice paper, which gives full play to the pen interest and ink color. The permeability of Xuan paper and the sharp cone of the brush make the nib change endlessly, which produces wonderful effects. At the same time, various imitations and descriptions, paintings and brushwork have been formed.

A: The content of Chinese painting.

Chinese painting (also known as Chinese painting) is a unique painting in China. Due to the differences in national character, historical and cultural traditions, aesthetics and painting materials and tools, it is a painting with national characteristics formed through the efforts of countless painters and an important part of world art.

1 Chinese painting is one of the traditional plastic arts in China.

What are the tools of Chinese painting: pen, ink, paper and inkstone?

Chinese painting can be divided into figures, landscapes, flowers and birds, and can be divided into meticulous painting and freehand brushwork in the form of expression.

Chinese painting pays attention to the beauty of form, and requires works to have artistic effects of "both form and spirit" and "vivid charm". At the same time, it also attaches great importance to the use of pen and ink. Composition is not limited by time and space, nor by focus perspective. The use of blank screen is unique. Chinese painting emphasizes the perfect overall artistic effect of poetry, calligraphy, painting and printing.

5 ink is divided into five colors: coke, thick, heavy, light and clear.

There are five colors of ink in Chinese painting, namely, Jiao Mo, thick ink, heavy ink, light ink and clear ink.

In terms of the amount of pen water, there are dry and wet points, which can be summarized as: dry, wet, thick and light.

There are three methods about ink: dipping ink, splashing ink and accumulating ink.

Chinese painting utensils: raw rice paper, brush, backing paper, washing pen, palette, painting ink, Chinese painting or watercolor pigment.

7 Chinese painting brushwork: middle, side, reverse and positive. The brushwork of landscape painting: brush, brush, dot and dye.

There are mainly the following ways to use pens in Chinese painting: center, flank and counterattack. In addition, there are many ways to use the pen, such as hidden front, exposed front, scattered front and gathered front.