Is it the profundity of Chinese painting?

Appreciating a Chinese painting is often judged by whether you can "understand". The appreciation steps are: What is the painting? Does it look like it? What is the moral of the painter painting this image? If all the answers are answered, it is considered that you understand; If you can't answer them, you think you don't understand. This method is a traditional way of telling stories, and the appreciation of paintings often relies too much on the description of "literature and art". To appreciate Chinese painting in this way, generally speaking, meticulous and realistic works are easier to appreciate, because they are concrete and true and belong to the understandable category.

But if it is extensive. Freehand brushwork, especially ink freehand brushwork, is more difficult to appreciate, because it is not realistic, the image is not specific, you can't understand it, and you can't know what the author means. Of course, it is completely understandable for ordinary people to appreciate Chinese painting in this way, because when it is vivid and clear, it is easy to cause association and produce a sense of * * *. But we must understand that the quality of a Chinese painting is not measured by "similarity" or "similarity".

As far as art is concerned, we measure the quality of a painting, or we appreciate a painting. First of all, it is not whether you like it or not, but whether the theme of the painting, or some ideas, thoughts and emotions radiated from the painting, can firmly grasp the heartstrings of the viewer, give people full artistic and aesthetic enjoyment, and make people get some enlightenment and education from it. It should be said that this is the real purpose of all works of art. Image and non-image are only the means to achieve the purpose of a work, not the purpose itself. Therefore, image and non-image cannot be used as a standard to measure the quality of a work or appreciate it.

So, how did the painter come to see the painting? As far as Chinese painting is concerned, looking at a painting generally means looking at the overall momentum of the picture. As far as Chinese painting is concerned, it is to appreciate its "verve" or "likeness" first, and then look at its pen and ink interest, composition, coloring, brushwork and so on. Finally, look at its shape, that is, whether it is like or "similar". This appreciation method of "verve" is to grasp the essence of painting, because "verve" is a high-level artistic aesthetic enjoyment, which is often the goal pursued by China painters.

Of course, it is not easy to experience a kind of "verve" from painting, which requires not only certain aesthetic ability and artistic accomplishment, but also some basic knowledge of Chinese painting, especially a kind of "feeling" trained by "painting". Therefore, to appreciate Chinese painting well, you must have all kinds of talents and artistic accomplishment.

Art appreciation needs to go through three stages: aesthetic perception, aesthetic comprehension and aesthetic creation, and so does Chinese painting.

Aesthetic feeling requires us to intuitively perceive the aesthetic object, that is, the work of art itself. What can we perceive from the works? Whether the painting likes it or not, the brightness of colors, the fluency or clumsiness of lines, the meticulous or freehand expression, etc. In short, you should feel calmly by intuition.

The second step is aesthetic comprehension on the basis of aesthetic perception. That is, on the basis of intuitive feeling, we should understand and think, and grasp the meaning, significance and connotation of the work. This understanding includes the understanding of the artistic forms and techniques of the works; Understanding of the content and theme of the work; And the understanding of the background and spirit of the times. This needs to fully mobilize our thinking ability.

We can think step by step: what should the content of the painting show? How is it expressed? Is the artistic means adopted appropriate? Can you fully express the theme? At the same time, through the picture of the work, guess the author's mind, whether it is warm praise or bitter irony; Through the atmosphere of the picture, we can experience the emotional appeal of the picture: deep or bold, optimistic or sad. We can also analyze the author's life experience, creative characteristics and background of the times according to the existing knowledge structure.

At this step, the aesthetic appreciation of art is not over, and there is also the stage of aesthetic creation. That is to say, after aesthetic perception and understanding, re-create on the basis of aesthetic appreciation of works, enrich association and development through accumulated aesthetic experience, cultural knowledge and life experience, and then shape a new image.

Only in this way can you really get enlightenment and education, and the appreciation of Chinese painting can get real meaning. Friends may wish to appreciate Chinese painting (or other paintings) in this way and try it carefully to see if they can gain anything.

Appreciate Chinese painting and master the basic principles of China's ancient painting evaluation-

"Six laws" are necessary.

"Six Laws" was put forward by Sheikh, a famous figure painter and art theorist who lived in Nanqi during the Northern and Southern Dynasties. Sheikh is good at portraits and ladies. It is reported that he was trained with keen observation and profound dictation skills. However, his position in China's painting history mainly depends on his theoretical contribution. His Catalogue of Ancient Paintings initially laid a complete system of China's painting theory and put forward the artistic standard of painting-"six methods"

What are the contents of the "six laws"? Including vivid charm, bone technique, pictographic response, color matching, quotient position, transliteration and touch writing:

Vivid charm: What does charm mean? It is the spiritual temperament of the image, and is called "God" by Gu Kaizhi, a figure painter in the Eastern Jin Dynasty. Vivid charm means that the spiritual temperament of the image is lively, vivid and prominent. In other words, "both form and spirit", the requirement of Chinese painting is not only to describe the shape of objects, but also to express their spirit. Characters have spirit, so do landscapes, flowers and birds. Only when you reach the spirit likeness can you be vivid. Many painters believe that works without charm cannot be called paintings. Of course, to express the vividness and authenticity of artistic images, that is, charm, can not be separated from the other five methods. Vivid charm is also inseparable from composition conception and pen and ink techniques, so it is a whole with the other five methods. The other five methods are also inseparable from vividness, otherwise it will become a purely technical thing without soul.

Bone brushwork: Bone brushwork originally refers to the appearance characteristics of characters, and later refers to the outline of all painted objects. Using a pen is a unique skill of Chinese painting. Generally speaking, the use of bone pen refers to how to properly describe the shape and texture of objects with pen and ink techniques. If the charm is vividly understood as "spirit", it can be simply understood as "form", which is closely related to Gu Kaizhi's "writing spirit with form". The description of "shape" is written with the help of pen and ink, but writing shape is only a means, and its purpose is to express "God".

Pictographic representation of an object: that is, when painting an object, the painter should conform to the original appearance of the object and express it by modeling. In other words, describing things should be based on certain objective things as a support, and we can't make arbitrary assumptions. That is, objectively reflect things and portray objects. But as an art, we can also choose, generalize, imagine and exaggerate on the premise of respecting objective things. This can be said to refer to a creative attitude and method.

Classification coloring: refers to the application of colors, that is, different colors are applied according to different objects, times and places. The use of color in Chinese painting is different from that in western painting. Chinese painting likes to use inherent colors, that is, the original colors of objects. Although some changes have been noticed, the changes are very small.

Place of business: refers to composition. Management refers to the design method of composition, which is to arrange the image according to the needs of the picture, that is, to reflect the overall effect of the work through the layout of the article. Chinese painting has always attached importance to composition, and should pay attention to the relationship between subject and object, echo, truth, simplicity, density, concealment and unevenness.

Pass, touch and write: it means sketching and copying. Sketching real people and copying ancient works is a learning method to learn nature and inherit tradition.

For painters and painters, the six methods are the highest requirements, which are generally difficult to fully achieve. It is enough to be good at one section each. We understand and master the six methods, so that we can understand the standards and emphases of ancient people's evaluation of painting, and thus look at the artistic heritage of the motherland objectively, and we will also get some enlightenment from it when we appreciate Chinese painting.

Appreciation of Chinese painting is one of the criteria to measure whether China people have artistic taste. Appreciating Chinese painting requires the appreciator to have certain knowledge, talent and style.

A Chinese painting should be seen first and its layout should be harmonious. Whether there is the author's personal style, artistic conception and interest should be profound. Artistic conception or interest is the viewer's initial impression of a painting, and a good artistic conception or interest makes the viewer want to read it carefully. Any good pen and ink skills serve to express artistic conception or interest. Style is the characteristic that distinguishes China painters from other painters, and it is also the standard to test whether a painter is mature or not. The works of Chinese painting masters all have distinct artistic styles.

Layout is the strategy of painting, and it is also the most critical part of painting performance. If you draw a boulder on the left, a bird on the right, add some grass, and write a few words below, the painting will be completed. Even if the pen and ink are exquisite and artistic, the layout is improper and the picture is unbalanced, which makes the viewer feel uncomfortable, it is not a successful Chinese painting. Master Pan Tianshou's paintings pay great attention to artistic conception. One mountain, one stone, one insect and one bird all show the vitality of everything and the poetry of nature. His paintings are full of danger, strangeness and diversity. Through various images, they are resolved one by one in the fierce conflict, and finally the picture is balanced and harmonious. His great paintings are magnificent and fantastic, which often give viewers a shocking aesthetic feeling.

Secondly, look at the shapes and lines. The shape is too improper, people are not like people, mountains are not like mountains, and trees are not like trees. Even if the layout is good and the lines are good, it is still not wonderful. The shape should be reasonable and the lines should be natural and vivid. However, natural and vivid lines have various styles, some are beautiful, some are old, some are simple, some are thick and some are elegant. These lines will produce different aesthetic feelings by expressing different images. In these lines, there must be a sense of beauty in calligraphy. Generally speaking, Wu Changshuo's lines are from Gu Zhuo, Qi Baishi's lines are old, Pan Tianshou's lines are dignified, and Fan Ceng's lines are elegant.

Chinese painting writers without calligraphy skills often have weak, oily and immature lines, and the image connotation expressed by these lines is greatly poor. This kind of painting is common in tourist attractions or handicraft shopping malls. A large number of Chinese painting authors with low painting skills have created a large number of inferior and vulgar Chinese paintings, which greatly ruined the reputation and market of Chinese painting.

Look at the change of ink color. Some bad paintings are often partially black, without any change, and the ink is light but not ethereal. A good Chinese painting pays attention to the five colors of black: burnt, wet, thick, heavy and clear. Jiao Mo painting is only suitable for sketching, and it is feasible to collect landscape materials. No one's Jiao Mo landscape can be the top grade of Chinese painting. As a complete Chinese painting, the charm of Jiao Mo painting is greatly reduced. Just like Zhang Ding's Jiao Mo landscape painting, it makes people feel thirsty. Qi Baishi's sketches of flowers and birds are freehand and enjoyable, with a long interest. He is very good at using ink, water and color. The brush in his hand changes endlessly in life, so that viewers can still feel the wetness of the picture decades later. There used to be a farmer flower and bird painter Wang Hanshan in rural Hunan. His paintings are magnificent, reasonable in layout and vigorous, but he hasn't changed much and has been walking. He is not good at using water and color, and the picture is lively. He said, "We should give enough ink and color to draw", but he gave too much. He often sees his photos are black or red. His painting style is strong, but his painting is not high.

Chinese painting is dominated by ink, followed by color. Good Chinese painting, to achieve color does not hinder ink, ink does not hinder color. Because Chinese painting is not realistic, the color can't be too realistic, and it can't be out of harmony with the objects represented by black lines. Add a little light ink to the general color to make the color calm and quaint. When Fan Ceng painted characters, the color on his face was not all pink, with light blue flowers, and the background color was also with Zhu Xi's blue flowers, and even some light ink was added, all for the sake of high color. If the face is white powder and eosin, the vegetation in the background is green, and the rocks are cyanine or ochre, it will be tacky. Fine brushwork flower-and-bird painting and figure painting should also pay attention to the lines of outline and the colors of objects. Good Chinese painting colors, or calm, or antique, or elegant, can not be colored like oil painting or watercolor painting. In colored Chinese painting, don't draw too much pen and ink, but leave something to express color, while simple ink painting should be written as much as possible, and adding color becomes redundant.

Finally, look at the composition of the title and seal. The inscription depends on whether the calligraphy skill and writing content are exquisite, and the seal is very particular. Proper cover position is icing on the cake, and improper cover position is Buddha's head.

If a painting is mounted, it depends on the mounting process, the collocation of silk paper, whether the picture is flat and whether the length and width are harmonious. When drawing a frame, you can appreciate whether the material of the frame is exquisite and how the work is done. After all, it is a pity that a good painting is not well framed. It seems that a master wears rags, and Fengshen is much inferior.

Appearance:

When you first look at Chinese painting, don't appreciate the simple picture, but also see if the following items are exquisite.

Painter:

A painter's work can show the author's achievements. The image of the picture is the painter's concreteness. We often criticize the quality of paintings subjectively, which is greatly influenced by painters.

Calligraphy:

One of the differences between Chinese painting and western painting is calligraphy. Chinese painting is often accompanied by poetry, which is the soul of painting. Sometimes a poem, like the finishing touch, adds a lot of color to a painting. The calligraphy in the painting also greatly influenced the picture. Most painters who are not proficient in calligraphy dare not sign, although they only have signatures, but they can also see their quality.

Seal:

There are various common seals on the screen: painter's seal, signer's private seal, tin foil seal, collector's seal, admirer's seal, appraiser's seal and so on. The engraver, printing content and seal position of various seals. Are evaluated. Ancient paintings, in particular, often have the seals of emperors, famous artists, collectors and connoisseurs, which can help identify the authenticity.

Framework:

Traditional Chinese painting mounting is unique, and there are two common types: paper and silk. Nowadays, washing and silk mounting are more exquisite. The color, width, weight, connection and installation of the edge are very particular. The modern Japanese mounter has a unique flavor, which has an influence on the modern mounter method. Good mounting can set off a painting more beautifully, expensively and generously.

Frame decoration:

If the painting is hidden under the glass frame through the press mirror, the material, color and size of the frame edge have a great influence on the aesthetic feeling of the painting. In recent years, painters in North America have mostly replaced Chinese mounting with western-style framing, which is also considerable.

Connotation:

China people's appreciation of calligraphy and painting is not only superficial, but also the relationship between the work and the author.

Skills:

The longer he is engaged in painting and calligraphy, the more skill he shows, which beginners can't master. Especially in calligraphy, the veteran is vigorous and powerful. In Chinese painting, its lines, design and artistic conception also show the author's skills. Therefore, artists with rich life experience often have different performances from young painters, and this performance is skill.

Layout:

Layout seems to be the design of the picture, but it is actually the heaven and earth in the author's mind, which is manifested in the picture layout. There are many differences between Chinese painting and western painting, the most obvious of which is "blank space". Traditional Chinese painting does not add background color, so there is a lot of blank space, but it is sparse, dense, gathering and scattered, which becomes the layout of blank space. In the blank space, someone filled the blank space with calligraphy, poems, seals, etc. , but also empty it, so that you can see the author's special place from the layout.

Learning:

See the figure for strength and layout. As for the author's education, it has a great influence on his works. Therefore, China is known as "literati painting". Famous literati, whose works are different, are a kind of "bookish" learning, which is one of the conditions that distinguish a painter from a painter.

Characters:

Western painters often take pleasure in romance and playing games with others. And the appreciator only looks at his paintings, ignoring the painter's personal virtue. People in China are different. An immoral, notorious and guilty painter or calligrapher, even if his calligraphy is superb, is not sought after. The works of treacherous court officials such as Cao Cao and Qin Gui are hanging high, and Yue Fei's Return My Rivers and Mountains and Sun Yat-sen's The World Is Public have all become household names for this reason.

Poetry:

Poetry in calligraphy and painting often represents the voice of the master. A good poem can also reflect the author's connotation and knowledge. A good sentence also made the finishing touch of the title. The most rare thing is that the author can write poems for his own pictures without copying other people's old works, which is even more unique. As for calligraphy, copying an ancient poem, others only look at its words, because the content is not the author's voice, but the ancient prose copying, lacking the author's soul.

Seal:

Whether writing or painting, there are often "corner pressing" chapters. The so-called corner pressing is the blank corner of the picture or calligraphy. Printed words sometimes have a great influence on calligraphy and painting. We can also see the author's mentality or the environment at that time from the printed words. A good seal, combined with a good carving method, covers the calligraphy and painting and adds luster to the work.