Understanding of China's Landscape Painting

Only using water and ink to draw with a brush, paying attention to the idea of expressing an abstract consciousness, gives people a very broad imagination, which can only be expressed in words but not in words.

Landscape painting is a unique cultural concept of China people.

China people's landscape painting is different from foreigners' landscape painting. It does not reproduce the natural landscape, but endows nature with cultural connotation and aesthetic observation through the performance of the natural landscape.

the harmony between man and nature-the affinity between man and nature is the foundation of landscape painting.

Spring, summer, autumn and winter, morning and evening, wind, frost, rain and snow, and mountains and rivers show different faces and embody the meaning of life. Mountains and rivers, like people, have inherent life movement and spiritual strength.

China people's concept of landscape originated from primitive religion. People have experienced a long historical process in the worship and awe of mountain spirits and water gods. In a society ruled by God. All gods are hidden in the mountains and rivers. Landscape is the mother of gods. The mountain is high and the water is deep; The vastness of mountains and the vastness of water contain the infinite mystery of the celestial universe. In order to show their worship and awe of the gods of mountains and rivers, people depict the images of the gods of mountains and rivers for offering sacrifices or paying homage. Myth or divine painting inspired the independent formation of landscape painting.

The "Sun-Moon Mountain" in the portrait shows both a natural concept and a historical period. People can combine them into one, which has already shown their unique way of understanding nature. The concept of nature in China's art can be said to be innate, and this innate factor is that spirit is higher than matter and thinking is higher than existence.

The philosophical way determines China people's definition of nature, while religion adds life and spirit to the philosophical way. Heaven and earth coexist with me, and they are one. Zhuangzi opened the barrier between man and nature, and man began to communicate with heaven and earth spiritually. "benevolent Leshan, wise people enjoy water."

Mountains and rivers are "rich in quality and interesting in spirit", therefore, saints, sages and nobles must have a tour of mountains and rivers, including Xuan Ape, Yao and Kong. The famous mountains such as Kongtong, Juzi, Shugu, Jishou and Dameng have also interpreted the eternal story. "Youyou" is both a life and a culture, which embodies China people's love for nature and also shows China people's unique way of connecting nature and culture. Remembering Luheng, Qikuo Jingwu, the value of landscape has been confirmed by history.

it contains the Tao, and it is clear and delicious. In the landscape with spirit as the primary factor, people do not pay attention to what is shown, but pay attention to what is contained. Metaphysical Tao makes up for many defects and deficiencies in life, so "appealing to form" has become a life philosophy of China people.

Metaphysics in Wei and Jin Dynasties deduced the transformation of the concept of landscape, which made landscape gain new aesthetic significance. Zhuang Lao excused himself, and the landscape was beautiful. Beyond the metaphysical transcendence, the mysterious landscape becomes the nature of the landscape.

people pay attention to mountains and rivers, hope for their performance and expand their living space-"the beauty of Song Hua and the spirit of Xuan Zang can all be found in one picture". In order to realize the ideal of this era, the sages of Wei and Jin dynasties, who were fashionable and frank, invented the way of "lying and swimming". This way with ideal color and positive significance has promoted the independence and development of landscape painting. Zong Bingfa gave a practical explanation to the causes of landscape painting, which was not said by his predecessors: "The Kunlun Mountain is big, but the pupil is small;" If you force your eyes to inch, you will be invisible; If you are a few miles away, you can surround your eyes. If you throw it a little wider, you will see it as small. Today, Zhang Su is reflected in the distance, so the shape of Kunlun can be surrounded by square inches. " Zong Bing's thought was based on the development of landscape painting. He introduced the landscape concept which was too spiritual in the past into the visual concept, thus making an unprecedented contribution to the formation of landscape. Zong Bing also put forward the concepts of "understanding with eyes", "feeling with eyes" and "thinking beyond reason", which are his essential definitions of landscape painting. After a thousand years, there have been hundreds of painters, but the principles of landscape painting have never changed.

Mountains and rivers are separated from religious gods, and landscape paintings introduce human gods, which naturally reflects the cultural significance in the gods. This is a leap in history. "God is flying" and "thinking is mighty", and the landscape has inspired people's spirit. The landscape painting has realized people's ideal of life and expanded people's living space-"wearing a picture, sitting in the wilderness".

the Tang dynasty began in Wu Daozi and became the "change of mountains and rivers" by Li Sixun and Li Zhaodao. Its essence was the change from the pursuit of the spirit of mountains and rivers to the expression of the artistic conception of mountains and rivers. Wang Wei showed the painter's temperament with the poet's learning and cultivation, and revealed the relationship between poetry and painting in the field of literature and painting, thus putting forward a criterion for the expression of artistic conception in landscape painting-poetry in painting. From spirit to artistic conception, it is not a transition of vertical historical clues, but a branch of clues and a parallel relationship in aesthetics. The proposal of artistic conception in landscape painting is the change of emphasis in the development of landscape painting and the perfection of aesthetics.

Jing Hao, Guan Tong, Dong Yuan, Ju Ran, Li Cheng and Fan Kuan in the Five Dynasties and the Early Song Dynasty perfected the artistic expression of landscape painting and pushed it to a historical peak. Landscape painting became the mainstream art of the times in this period. The landscape paintings of the Five Dynasties and the Early Song Dynasty, known as the "Hundred Dynasties Standard Course", combined the physics and skills of landscape in the field of expression, and put forward a new historical topic, which turned the traditional landscape paintings' attention to the spirit and artistic conception to the technical level-form.

"Yuan Sijia" not only perfected the ink painting techniques of landscape painting, but also added the concept of "Yi" to the aesthetic category of landscape painting because of the characteristics of the times. Although this aesthetic fashion with obvious characteristics of the times has social reasons other than aesthetics, it has created a new standard in the field of artistic conception of landscape painting because of this opportunity, which will be pushed as the highest criterion by later generations.

Although literati painting despises skills, the aesthetic criteria attached to "pen and ink" put forward by literati painting in the landscape field cannot be divorced from certain technical norms. The form of painting and the program of landscape are based on a certain technology, so when the North and South are divided into sects, people's division and interpretation of it are also based on the technical standards to establish the aesthetic norms of the South Sect. The division of north and south in the development of landscape painting is inevitable in a certain historical period, and it is also an important event in the history of landscape painting development. Using new technical standards and aesthetic norms to ease the disorder in the development process and return to the historical tradition has actually shown the decline of landscape painting. Dong Qichang's exclamation of this world illustrates many of them.

the Ming and Qing dynasties have been powerless in the spirit and artistic conception of landscapes, and people can only admire and admire them in front of the peaks of the Song and Yuan Dynasties. In order to save the decline of history, Dong Qichang played a "retro" banner. In a fashion that overemphasizes pen and ink and formula, painters only spend their whole lives fighting for the Song and Yuan Dynasties, and people can only identify their traditional origins and establish their artistic value through "pro", "imitation", "caress" and "imitation". The last glory created by the "Four Kings" for landscape painting in the history of ancient painting in China finally disappeared in the twilight of the late Qing Dynasty.

At the dawn of the 2th century, a new chapter in the history of China was opened with the New Culture Movement, and landscape painting also entered the modern civilization. In the voice of "anti-tradition", the camp collapsed, and various figures representing the old and new forces appeared one after another. They set off an unprecedented cultural debate for their respective interests. When people haven't had time to use their own practice to shape the modern style of landscape painting, the civil war in War of Resistance against Japanese Aggression and China has turned the painter's attention to culture into that of the nation and its own survival.

In 195s, landscape painting faced a new era and stood the test of survival. "New Landscape Painting" stands out from the realistic requirements of reforming the old culture and undertakes unprecedented social responsibilities-expressing new life and reflecting new aesthetic requirements. "New Landscape Painting" has found a way to survive for traditional landscape painting. "When times change, pen and ink cannot remain unchanged". After Shi Tao's "Pen and ink should follow the times", Fu Baoshi once again put forward the relationship between pen and ink and the times.

In the later period of this century, landscape painting is facing a test in various ideological trends. Fortunately, landscape painting has not been changed to landscape painting to connect with the world. Modern people agree with landscape painting, which undoubtedly confirms the spirit, artistic conception and form of landscape painting. Therefore, cross-century painters have not given up their historical responsibility, and are still striving for this art with a long tradition to break through new time and space. However, the perfection and enrichment of the artistic spirit of traditional landscape painting and the comprehensiveness and diversity of artistic forms have made new creation the limit of history, so modern painters are still making efforts to develop on the technical level.

the change of landscape painting is obvious, and the change of landscape painting is a historical necessity.

times have changed, and landscape painting is still different from landscape painting.