What is the formal beauty of Chinese painting, and what is the difference between it and form?

Compared with western painting, Chinese painting has its own obvious characteristics. Chinese painting does not pay attention to perspective, does not emphasize the change of light and color of objects in nature, does not stick to the appearance of objects, but emphasizes the expression of the author's subjective interest. Chinese painting emphasizes "vivid with form" and pursues a feeling that "beauty lies between similarity and dissimilarity": what about western painting? It emphasizes "writing form with form", and of course, it also pays attention to the expression of "God" in the process of creation. But it pays great attention to the integrity and generality of the picture. Some people say that western painting is an art of "reappearance" and Chinese painting is an art of "expression", which makes sense. 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. It's all a matter of using a pen to bend like a bow and straight like a ruler. 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. The characteristics of Chinese painting mentioned above mainly refer to Chinese painting. But these characteristics, with the progress of the times. The content and form of art are also updated and constantly changing. Especially after the May 4th Movement, a large number of western paintings poured in, and Chinese painting absorbed many techniques of western art with its broad mind, enriching the expressive force of Chinese painting. However, no matter how it changes, the basic characteristics of Chinese painting, a traditional nation, can't be lost. The fine tradition of Chinese painting should be maintained and carried forward, because Chinese painting has its own unique system in the world art field and shines alone in the art garden where the world art is full of flowers and mountains. Chinese painting is the crystallization of our nation's high wisdom, outstanding talent and hard work, and it is our nation's precious wealth.

From the content of painting, it can be divided into: figure painting, landscape painting, flower painting, flower and bird painting, animal, insect and fish painting, boundary painting and so on. Figure painting is one of the traditional painting themes in China, and its content is mainly to describe characters. Because of the different emphases of painting, it can be divided into portrait painting, story painting and genre painting. According to records, figure painting has reached a high level in the Spring and Autumn Period. The achievements of figure painting can be seen from the silk paintings unearthed from Chu tombs in the Warring States period. Figure painting has always been the most important theme of traditional painting in China. Landscape painting, referred to as "landscape", is one of the painting disciplines in China. This is a painting with the theme of depicting the natural scenery of mountains and rivers. It gradually developed during the Wei, Jin and Six Dynasties, but it still served as the background of figure painting. In the Sui and Tang Dynasties, many independent landscape paintings appeared. In the Five Dynasties and the Northern Song Dynasty, it became more and more mature, and the number of authors increased. Since then, it has become a major painting theme of Chinese painting. There are mainly turquoise, resplendent, boneless, light crimson, ink and other forms. In artistic expression, it emphasizes commercial position and artistic conception. Flower-and-bird painting is one of the traditional painting themes in China. To depict flowers, bamboo stones, birds and animals, insects and fish as the main body of the picture. The simple fish and bird patterns on pottery four or five thousand years ago can be regarded as the earliest flower and bird paintings. According to Zhang Yanyuan's Records of Famous Paintings in the Tang Dynasty, during the Eastern Jin and Southern Dynasties, flower paintings painted on silks gradually formed an independent painting branch, and some specialized painters appeared. By the Five Dynasties and the Song Dynasty, this branch of painting was more mature. Boundary painting is also one of China's painting themes. Tao put forward in the book "The Record of Dropping out of Farming in Ming Dynasty" that painting should be divided into thirteen branches: Buddha and Bodhisattva, Jade Emperor and Daoxiang King, King Kong and God Lohan, Fengyun Dragon and Tiger, Ancient Figures, Panoramic Painting, Flowers and Bamboo Feathers, Beasts, Humans and Animals, Terraced Fields, All Living Beings, Agricultural Weaving, Carving and Embedding Green. There is a division of drawing towers. It refers to paintings with palaces, balconies, houses and other buildings as the theme, and those drawn in straight lines are also called "palaces" or "house wood". From the form or color of painting, it can be divided into: ink painting, turquoise, resplendent, light crimson and so on. Ink painting refers to pure ink painting in Chinese painting. Legend has it that it began in the Tang Dynasty, became in the Song Dynasty, flourished in the Yuan and Ming Dynasties, and continued to develop since the Qing Dynasty. Take brushwork as the leading factor, give full play to the role of ink method, and achieve the artistic effect of "water dizzy ink printing" and "brilliant at the same time" It occupies an important position in the history of China painting. Zhang Tang and Yan Yuan's Notes on Famous Paintings of Past Dynasties: "Ink is transported in five colors." The so-called "five colors" have different opinions, or refer to burnt, thick, heavy, light and cyan, or refer to thick, light, dry, wet and black. Actually, it refers to the richness of ink color change. Turquoise refers to the painting in which azurite and turquoise are the main colors in Chinese painting pigments. If it is a landscape painting, there are big turquoise and small turquoise. The former has more hooks, fewer strokes and heavier coloring; The latter is dominated by the light color of ink and wash. Jinbi refers to the clay gold, azurite and azurite in Chinese painting pigments. All landscape paintings with these three pigments as the main colors are called "golden blue landscape", which is more clay and gold than "green landscape". Clay gold is generally used to hook and dye mountain contours, stone patterns, slopes, sand mouths, rosy clouds, official houses, pavilions and other buildings. Pale crimson is a light-colored landscape painting with ochre as the main tone on the basis of ink painting. Painters such as Huang and Wang Meng in Yuan Dynasty painted landscape paintings, forming their own school. Ochre, also known as "Earth Zhu", is made of fire and water. The ochre in the painting appears in hematite. The original stone is made of hematite, which feels greasy by hand and is a good raw material. Originated in Yanmen, Shaanxi Province, it belongs to Dai Jun in ancient times, so it is also called "Dai and Zhejiang". Where there is hematite, there is ochre. From the painting techniques, it can be divided into rough brush (splashing ink), fine brush (painting), sketch, freehand brushwork, painting, line drawing, boneless, finger painting and so on. Splashing ink is a technique of Chinese painting. According to legend, Wang Qia, a painter in the Tang Dynasty, splashed ink every time he got drunk. Later generations generally refer to this bold brushwork and splashing ink as "splashing ink". Meticulous brushwork is a method of meticulous brushwork in Chinese painting, which is symmetrical with freehand brushwork. Freehand brushwork is an indulgence of Chinese painting. It is required to write the form and spirit of the object with concise pen and ink to express the author's artistic conception. Imitation is a technique to express the texture of stone and bark in Chinese painting. The rock making methods mainly include pima group, raindrop group, cirrus group, Jie Suocun group, Niu Maocun group, lotus leaf group, folded band group, surrounded iron group, large and small split group and so on. The epidermis of a tree is represented by scales, ropes and stripes, all of which are named according to their respective shapes. These painting methods are the expression procedures created by ancient painters in their artistic practice according to the different texture structures of various rocks and the epidermis state of trees. With the continuous innovation and evolution of Chinese painting, this expression will continue to develop. Line drawing is the professional name of Chinese painting. Originated from the ancient "line drawing". A method of drawing objects with colorless ink lines. There is also a slight light ink rendering. Mostly used for figure and flower painting. Boneless is also the professional name of Chinese painting. Sketch doesn't need ink lines, you can draw objects directly with colors. After the Five Dynasties, the yellow spring in the middle of Shu painted flowers with thin hooks, and the handwriting was almost invisible after coloring, which was called "boneless flowers". In the Northern Song Dynasty, Xu Chongsi studied the yellow world as a primary school student, and the flowers he made were only painted in color, which was called "boneless painting", and later people called it "boneless painting". Another kind of landscape painting, called "Boneless Landscape" or "Boneless Map", is dyed with cyan, green and vermilion. According to legend, it was created by a monk in the Southern Dynasties, and Tang was good at this method. Finger painting is called "finger painting" for short. A special drawing method of Chinese painting. Draw on paper silk with fingers, nails and palms dipped in ink or color. Gao was good at this kind of painting in Qing Dynasty, and his nephew Gao Bing also wrote "On Fingering Painting". Gao said: "I draw by hand, and the Oracle bones are on my back;" There is nothing left in the hand, and there is nothing left in the hand "(quoted from Hu's Interesting Talk on China's Painting, page 195). This shows that he used all parts of his hand, nails, fingers, palms and the back of his hand. Analyze and draw small people, flowers and birds, fine lines, etc. , can be done directly or laterally with nails. For example, a painting as big as a lotus leaf or a rock can be painted with strokes, and the back of the hand and the palm of the hand can be touched in the painting; You can draw wicker running water with your little finger and nameless nails, and dip one finger or several fingers in ink with a little moss. Always think first, have a plan in your mind, and then your mind and hands will be natural, and you will be said to be superior if you don't show traces of hand painting. Therefore, "things become hands, nothing." "Since then, although many people have done finger painting, it was just an accidental finger painting game. Only Pan Tianshou, a famous painter in modern times, achieved the highest achievement in finger painting. From the era of painting, it can be divided into: ancient painting, new painting, recent painting, modern painting and so on. The law of formal beauty is an empirical summary and abstract generalization of the law of formal beauty in the process of creating beautiful forms and beauty. It mainly includes: symmetrical balance, simplicity and unity, harmonious contrast, proportion, rhythm and diversity. The significance of the law of formal beauty in the creation of beauty is: 1. Studying and exploring the laws of formal beauty can cultivate our sensitivity to formal beauty and guide people to create beautiful things better. 2. Mastering the law of formal beauty can make us more consciously use the law of formal beauty to express the content of beauty and achieve a high degree of unity between form and content of beauty. When applying the law of formal beauty, we should pay attention to: 3. When using the law of formal beauty to create, we should first deeply understand the specific performance function and aesthetic significance of different laws of formal beauty, make clear the formal effect we want to achieve, and then correctly choose the applicable law of formal beauty according to the needs, so as to form the formal beauty that suits the needs. The law of formal beauty is not immutable. With the development of beautiful things, the law of formal beauty is also developing improperly. Therefore, in the creation of beauty, we should not only follow the laws of formal beauty, but also make dogmatic mistakes and mechanically copy some laws of formal beauty. Instead, we should flexibly apply the law of formal beauty according to different contents and embody creative characteristics in formal beauty. Exploring the law of formal beauty is a common topic of all design disciplines, so what is its significance? In daily life, beauty is the spiritual enjoyment that everyone pursues. When you touch anything of value, it must have logical content and form. In real life, people have different aesthetic concepts because of their different economic status, cultural quality, ideological customs, life ideals and values. However, when evaluating a thing or a visual image only from formal conditions, most people have a basic common understanding of beauty or ugliness. In the west, since ancient Greece, some scholars and artists have put forward the theory of the law of formal beauty. Today, the law of formal beauty has become the theoretical basis of modern design. It is more important in the practice of designing compositions. The laws of formal beauty mainly include the following points: everything in a harmonious universe exists according to certain laws, even though its forms are ever-changing, from the movement of the sun and the moon to the movement of planets to the composition and movement of atomic structures. Einstein pointed out that the universe itself is harmonious. The broad interpretation of harmony is that when judging the relationship between two or more elements or parts, the feelings and consciousness of each part are a whole coordinated relationship. The narrow interpretation of harmony is that unity and contrast are not boring or chaotic. A single color, a single line does not matter harmony, only a few elements have basic * * * commonness and compatibility can be called harmony. For example, a set of coordinated color blocks, some orderly approximate graphics and so on. The harmonious combination also maintains some differences, but when the differences are strong and significant, the harmonious mode changes into the comparative mode. Contrast and unified contrast, also called contrast, successfully put two visual elements with great contrast together, making people feel distinct and strong feelings but still have a sense of unity, called contrast, which can make the theme more vivid and the visual effect more active. The contrast relationship is mainly through the lightness and coldness of visual image tones, the saturation and unsaturation of colors, different tones, the size, thickness, length, straightness, height, concavity and convexity, width, vertical direction, horizontal direction and inclination, quantity, arrangement density, up and down, left and right, height and distance of position, virtual shape, black and white and light. It embodies the contradictory and unified world view in philosophy. Contrast rule is widely used in modern design and has great practical effect. Symmetry can be seen everywhere in nature, such as the wings of birds and the leaves of flowers and trees. Therefore, the symmetrical form has a natural, stable, unified, coordinated, neat, elegant, solemn and perfect simple aesthetic feeling visually, which conforms to people's visual habits. Symmetry in plane composition can be divided into point symmetry and axial symmetry. Suppose a straight line is set in the center of a graph and the graph is divided into two equal parts. If the shapes of the two parts are completely equal, the figure is axisymmetric, and this straight line is called the axis of symmetry. Suppose a graph has a central point and rotates around this point to get the same graph, which is called point symmetry. Point symmetry includes centripetal symmetry, centrifugal emission symmetry, rotational symmetry, inverse combination symmetry, concentric circle symmetry extending layer by layer from the center of the circle, etc. The application of symmetry principle in plane composition should avoid monotony and dullness caused by excessive absolute symmetry. Sometimes, adding some asymmetric factors to the overall symmetrical pattern can increase the vividness and beauty of the composition layout and avoid the monotonous and dull weight borne by the weighing instruments at both ends of the balance supported by a fulcrum. When the two sides reach a mechanical balance, it is called balance. The balance in graphic composition design is not the equivalent relationship between actual weight and moment, but the balance that acts on visual judgment according to visual elements such as image size, weight and color. Plane composition usually takes the visual center (the midpoint of the place with the strongest visual impact) as the fulcrum, and each component maintains visual balance with this fulcrum (as shown in the figure). In real life, balance is a dynamic feature, such as human movement, birds flying, wild animals flying, wind and grass, waves of running water and so on. Therefore, the composition of balance has a dynamic proportion, which is the quantitative relationship between part or part and the whole. This is an accurate and detailed ratio concept. In the long-term production practice and life activities, people have been using the proportional relationship, based on the human body's own scale, and according to the convenience of their own activities, summed up various scale standards, which are reflected in the manufacture of utensils and tools for food, clothing, housing and transportation. For example, the golden ratio 1: 1.6 18, which was discovered as early as ancient Greece, is the ratio of height to width of human eyes. Proper proportion has a harmonious aesthetic feeling and becomes an important content of the law of formal beauty. The proportion of beauty is an important factor in the size of all visual units and the arrangement and combination between units in the plane composition. In physics, the center of gravity refers to the point where the resultant force of gravity acts on all parts of an object. The common methods for finding the center of gravity of general objects are: hanging the object with a line, and the center of gravity must be on the suspension line or the extension line of the suspension line when balancing; Then hold the other point of the messenger wire. After balancing, the center of gravity must also be on the new suspension line or the extension line of the new suspension line. The intersection of the front and rear lines is the center of gravity of the object. In plane composition, the position of the center of gravity of any shape is closely related to the stability of vision. The relationship between human visual stability and formal beauty is complex. When people's eyes touch the picture, they often quickly go from the upper left corner to the lower left corner, then through the central part to the upper right corner and then back to the most eye-catching central circle in the picture. This center point is the center of vision. However, the change of picture outline, the gathering and scattering of graphics, and the distribution of color or light and shade can all affect the visual center of gravity. Therefore, the treatment of the center of gravity of the picture is an important aspect of discussing the composition of the plane. In print advertising design, the theme or important content information to be expressed by an advertisement should not deviate too far from the visual center of gravity. Rhythm and prosodic rhythm originally refer to the change and repetition of the priority order of sound beats in music. Rhythm, a term with a sense of time, refers to the sense of movement when the same visual element is repeated continuously. Rhythm originally refers to the rhythm and rhythm of music (poetry). The combination of high and low tones, light and heavy tones and long and short tones in poetry, symmetrical pause or pause, repetition of the same tone in a certain position, and the use of homophones at the end of sentences and lines to enhance the musicality and rhythm of poetry are all the use of rhythm. Simple unit combination and repetition in plane composition are often monotonous, and images or color groups that change regularly are arranged in a number ratio and equal ratio, which makes them have a sense of melody of music and poetry. This is rhythm. Rhythm composition has positive vitality, energy to strengthen charm and association with artistic conception. Plane composition achieves a certain artistic conception through visual communication and association. Association is an extension of thinking, extending from one thing to another. For example, the color of graphics: red makes people feel warm, enthusiastic and festive; Green reminds people of nature, life and spring, thus giving people a feeling of calmness, vitality and spring. Various visual images and their elements will have different associations and artistic conception, and the symbolic meaning of the resulting graphics, as an expression of visual semantics, is widely used in graphic design composition. With the development of science and technology culture, the understanding of the formal law of beauty will continue to deepen. The law of formal beauty is not a rigid dogma, so it should be understood and applied flexibly.