What is the aesthetic point of view of Chinese painting?

The aesthetics of Chinese painting is mainly about the beauty of "mood"! It doesn't matter if the painting looks like a painting or not, it's the "divine resemblance" that counts!

Characteristics of Chinese Painting

1-First of all, Chinese painting is different from Western painting in terms of the materials and tools used. Chinese painting uses the traditional tools and materials such as brush, ink, paper, inkstone, color, etc., after several generations of working people and painters and calligraphers, continuous improvement and perfection, has reached a high degree of harmony and perfection, imagine that to complete a Chinese painting to leave a soft and elastic brush, thick and black and has a glossy ink, white and delicate rice paper, light and elegant and rich in decorative effects of the minerals, plants, color, it is absolutely impossible to do. Although, thousands of modern painters in China, are racking their brains to constantly explore a variety of new materials, tools and techniques of innovation, but only localized one or two aspects of change, but also not the mainstream. A large number of archaeological and data proved that the use of traditional materials and tools has been continued in China for thousands of years, and its national character has never ceased to exist, which is fundamentally due to its strong vitality.

2-China's brush and ink techniques are different from those of Western paintings, and the use of Chinese calligraphy is introduced into paintings in pursuit of the formal meaning and individual expression of painting. As the saying goes, "painting and calligraphy have the same origin", Chinese painting and Chinese calligraphy have been inseparable from each other since the beginning. Although brush and ink, as a means of artistic expression in Chinese painting, is only a part of the painting rather than the whole picture, brush and ink, as a key part of Chinese painting, is impregnated with all the characteristics of Chinese painting in every stroke. Such as Chinese painting line is the pursuit of the cone painting sand, house leak marks, hairpin folding stock, insect wood art effect; the pursuit of calligraphy brush, just soft and strong, hair astringent round and thick, fast, slow, light, heavy, press the staccato changes; the pursuit of ink, dry, wet, thick, light, heavy, burnt, withered, moist flavor; the pursuit of the pen, ink, color on the rice paper appeared in the natural complexity of the changes and the unexpected interest. A good Chinese painting, no matter from the overall appreciation or from the local appreciation, each line is about the intention of the pen first, the intention of the pen is not, each piece of ink and even each moss point, its abstract beauty can reflect a painter's ability, will give the viewer an unspeakable infection and enjoyment.

3-The mood of Chinese painting pursues a poetic mood, an empty and flowing mood, not subject to the constraints of the real situation, not subject to the constraints of the light source, perspective, and projection, and pay attention to the line boundaries of the shape, scattering points of perspective, and write its meaning without focusing on the shape, write God in the shape of the shape, and think of the wonderful, "between the seeming and the unseeming". Dare to use a romantic approach to simplify and simplify, boldly refining the trade-offs, small over large, few over many, counting white to keep black, so that people have a wealth of associations, resulting in 'intentional, taste outside the taste' of the intriguing image of art.

4-Chinese paintings have a unique way of expressing ideas and connotations, and painters can infuse their thoughts and feelings by skillfully mastering the ability of brush and ink. Or joy, or anger, or praise, or catharsis, through the bold intention to write shape, bold exaggerated deformation, in the pen to the natural flow, directly express the inner feelings, while being depicted by the objective entity is relegated to a secondary position. Such as the early qing dynasty 'four monks' painting bird painting fish, often painted as white eyes look at the sky, to reflect its arrogant temperament and metaphorically express its indignation to the qing government. Throughout the ages, literati have been fond of painting thin plums, orchids, bamboos and chrysanthemums to symbolize their innocence and inaction. Through the lightness of the brush and ink, they reflected the outlook on life and worldly thoughts of the literati and scholars in feudal China at that time. It is the responsibility of the times for us to follow the times and use the traditional brush and ink to write modern colorful paintings to reflect the life of the new era. The same brush and ink tools and the same subject matter can be given different ideological connotations, such as: landscape to show the style of the times, bamboo to show the upward trend, plum to show pride, peony to show prosperity and so on and so forth.

5-Chinese painting has its own unique compositional techniques, arranging the picture according to the content and subject matter, and painstakingly managing the picture. In the interspersed and broken, dense and scattered and large and small, more and less, vertical and horizontal, long and short to create danger and break the danger, in the harmony of change, change in the search for unity. A painting should have the potential first, that is, the general trend. Especially in flower and bird painting composition, but also pay attention to the appropriate use of draw, stretch, back, block, diarrhea means, to prevent the emergence of parallel, symmetrical, equal, balanced branches of flowers and trees of the common problem. Chinese painting using the method of scattered perspective, not subject to the limitations of time and space, you can focus on the four seasons of flowers in the same picture, gather the dangerous peaks, strange trees in one, according to the needs of the picture to arrange the layout.

6-Chinese painting combines poetry, calligraphy, painting and sealing into one, which is also unique to other paintings. After the Song Dynasty, the rise of literati painting, when many painters were calligraphers, poets, and good at printing. The introduction of poems, calligraphy, inscriptions and seal cutting into the picture further enriched the perfection of the expression of Chinese painting. The combination of poetry, calligraphy, painting, and sealing made the combination of poetry, calligraphy, painting, and sealing an integrated whole, thus laying down the basic characteristics of Chinese national painting.

7-Additionally, the unique way of mounting Chinese paintings also plays the role of a finishing touch. As the saying goes: "three parts painting, seven parts framing", originally wrinkled and uneven painting, after framing, so that the painting of the heart of the color, ink color set off bright and eye-catching. Especially with the antique damask, and then with the heaven and earth axis, suddenly make the picture shine, become a perfect work of art, and make its appreciation value, collection value to add value.

The above is a little shallow understanding of the characteristics of Chinese painting, Chinese painting is profound, rich in connotation, distinctive features, and by successive generations of masters continue to improve, has become the pride of our nation, the symbol of the nation, and its artistic value is also extensive and long-lasting.

The artistic value of Chinese paintings

1-The aesthetic value of Chinese paintings lies in beautifying people's lives, cultivating people's sentiments, enriching people's inner spiritual world, and satisfying people's spiritual and cultural needs. After thousands of years of refinement and generalization, the abstract beauty of its line strength and flavor completely exceeds the meaning of the painting itself, and becomes more helpful for personal cultivation and style to express the painter's mind. Its objective object "content" has been transformed into the subjective state of mind of the painter's "form" of ink and brush, leaving the viewer with unspeakable, subtle infection and the unique enjoyment of beauty. Human life is inseparable from material life, and at the same time, we need spiritual life and spiritual enjoyment. As a visual art of painting, it is y rooted in the hearts of Chinese people and all mankind, and Chinese painting has its unique charm and influence.

2-The historical value of Chinese painting cannot be ignored. Chinese painting, together with Chinese writing and other sister arts, occupies an important place in historiography as part of the cultural tradition of China's ancient civilization. The study of Chinese history cannot be separated from the history of traditional painting. A history of Chinese painting records all the traces of the development of Chinese history. Not to mention the Bronze Age decorations, pottery figurines and tomb bricks of the Qin and Han Dynasties, carvings and murals of the Tang Dynasty, take Zhang Zeduan's "Qingming Riverside Drawing" of the Northern Song Dynasty as an example, which depicts the customary paintings of Bianliang City, and almost takes the scenery stretching for dozens of miles from the outskirts of the capital to the center of the city, with five rows and eight crops, various kinds of buildings, various kinds of characters, and various kinds of costumes. The composition of the exquisite, rich in content, the subtlety of the carving is rare in the world. For the study of the Northern Song Dynasty historical development, economic prosperity, social change, customs and people provide a solid basis, is a rare art treasures. Another example is the Eight Monsters of Yangzhou in the Qing Dynasty, with the disgust of the official corruption at that time and the personal life encountered by the ups and downs and resentment, a unique way to create their own style of painting. With their poems and paintings, they reflected their attitude towards the social inequality at that time, sympathized with the poor and the weak, and scorned the feudal authorities, which vividly depicted the social life at that time. For today's study of social history provides a rare material, the modern history of the rise of the art of cartooning, Jiang Zhaoho's "picture of the displaced people", the white stone old man's style of painting changes, all permeated and recorded the trajectory of social development, reflecting the voice of the times.

3- With the birth of new China and the trend of reform and opening up, Chinese painting has been influenced by the world of fine arts, and has formed a situation of blossoming, colorful and numerous genres. Chinese painting to the world is a large number of art writers and care, support, love this oddball of all the people of the **** the same voice. Foreign exchanges in the art world, promote friendly exchanges with people around the world, spread the excellent cultural traditions of the Chinese nation, so that the world knows China, also makes China know the world.

The above is my own rough understanding of Chinese painting and its artistic value, Chinese painting, whether from the ink and brush techniques, forms of expression and the use of materials, have been through continuous development, trade-offs in the ever-changing changes, and in the development of the form and content of the continuous enrichment. There is no limit to exploration and no end to development. However, it is undeniable that at present, there are very different views on what direction Chinese painting is developing, how Chinese painting is going to the world, and whether the national tradition of Chinese painting is fully inherited or fully denied. One thinks that Chinese painting has fallen into the quagmire of form, and the traditional brush and ink have no life, followed by the rise of a group of anti-traditional, anti-cultural and anti-rational works of the new school and the tide school. Another view is that Chinese painting is perfect, from content to form is breathtaking, what else to develop? Reflected in the work is from tradition to tradition, words must be called a certain school, line must believe that eighteen chapped, eighteen depicted, pen has a source, dare not presume to cross the minefield one step. I thought these two views are one-sided, static, isolated idealism, materialistic view that the whole human culture is a dynamic balance in the development of the organism, which is not people's will to shift. There is no doubt that Chinese painting should go to the world, the key is the question of how to go. Worldwide art should not be a uniform model, as Chinese painting art, first of all, should reflect the life of the nation, with distinctive national artistic characteristics. Without ethnicity, we cannot talk about worldliness, but ethnicity is not static. A nation without development is a nation without a future, and a national art without development is likewise an art without a future. It is an objective law that mankind must develop, the nation must advance, and art must progress.