The main types of traditional paintings in China. In ancient times, Chinese painting did not have a clear name, and it was generally called Danqing, which mainly refers to scroll painting painted on silk and paper and mounted. It is called Chinese painting in modern times, which is different from foreign paintings such as oil paintings (also known as western paintings) imported from the west. It is a painting created by China's unique pen and ink and pigments according to the long-term expression and artistic law. Chinese painting can be subdivided into ink painting, heavy color, light crimson, meticulous painting, freehand brushwork and line drawing according to its materials and expression methods. According to their themes, there are figure paintings, landscape paintings and flower-and-bird paintings. There are various forms of Chinese painting, such as long scrolls (also known as hand scrolls) and horizontal curtains, banners and nave, album pages and bucket squares, folding fans and round fans painted on fans. Chinese painting reflects the social consciousness and aesthetic taste of the Chinese nation in ideological content and artistic creation, and embodies China people's understanding of nature, society and politics, philosophy, religion, morality, literature and art related to it.
Historical development Chinese painting has a long history. As early as 2000 years ago in the Warring States period, there were paintings painted on silk-silk paintings, and before that, there were primitive rock paintings and painted pottery paintings. These early paintings laid the foundation for later Chinese paintings to take lines as the main modeling means. During the Han, Wei, Jin, Southern and Northern Dynasties, the society changed rapidly from a stable unity to a split, and the impact and integration of foreign culture and local culture made painting mainly religious, while local historical figures and literary works took a certain proportion, and landscape painting and flower-and-bird painting also sprouted at this time. At the same time, consciously grasp painting in theory and put forward evaluation criteria. During the Sui and Tang Dynasties, social economy and culture were highly prosperous, and painting also showed all-round prosperity. Landscape painting and flower-and-bird painting have matured, religious painting has reached its peak, and there has been a tendency of secularization; Portraits mainly show aristocratic life, with characters with characteristics of the times. By the Five Dynasties and the Song Dynasty, it was more mature and prosperous, figure painting had turned to depicting secular life, religious painting had gradually declined, and landscape painting and flower-and-bird painting had become the mainstream of painting. The appearance of literati painting and its development in later generations greatly enriched the creative concept and expression method of Chinese painting. During the Yuan, Ming and Qing Dynasties, ink and wash landscapes and freehand brushwork of flowers and birds got outstanding development, and literati painting became the mainstream of Chinese painting, but its last stream went to imitation, which was farther and farther away from the times and life. Since the end of 19, western artistic expressions and artistic ideas have been introduced into Chinese painting for a hundred years, and many schools, famous artists and constant reforms and innovations have emerged in the cultural environment that inherits the traditional Chinese painting.
/kloc-After the 9th century, a large number of painters gathered in Shanghai, Beijing (including Tianjin), Guangzhou and other central cities with developed politics and economy (especially commerce and culture), that is, Jiangsu and Zhejiang painters with Shanghai as the center, such as Ren Yi, Xu Gu, Wu Changshuo, Huang, Liu Haisu, Pan Tianshou, Zhu Zhan, Zhang Daqian, Fu Baoshi, Lu and so on. Northern painters with Beijing as the center, such as Qi Baishi, Jin Cheng, Jin Cheng,,, Jiang, and Li Keran. A group of Lingnan painters with Guangzhou as the center, such as Gao, Chen, He Xiangning,,, and so on. With the changes of the situation and times, painters in the above areas have also migrated. For example, during the War of Resistance against Japanese Aggression period, many painters came to the southwest. After 1949, many painters, such as Zhang Daqian, Huang Junbi and Zhao Shaoang, moved abroad and Hong Kong and Taiwan. Today, most provinces and cities in China have established painting academies. In addition to the three centers, many new centers have emerged, and the number of painters has expanded unprecedentedly.
Among the modern painters in China, many painters inherit and adhere to the basic pattern of traditional painting. They either follow the principle of imitating and inheriting the techniques and demeanor of the previous generation of painters, or try to change while inheriting the tradition and form their own style while preserving and developing the tradition. The former includes Jincheng and Gu, while the latter is represented by Qi Baishi, Huang and Pan Tianshou.
Since the May 4th New Culture Movement, with the massive introduction of western art and the deepening of the anti-feudal struggle, the reform of Chinese painting has become a new trend of the times. Represented by Gao, Liu Haisu, Xu Beihong and Lin Fengmian who studied in Japan and Europe and America, he advocated the integration of realism of western art and creative ideas of modern western art with Chinese painting, found a new way of reform and innovation of Chinese painting, and made Chinese painting glow with new vitality. Among them, Gao and other Lingnan painters advocate compromise between China and foreign countries, integration of ancient and modern, and combine Japanese painting with traditional water-rushing, powder-bumping and boneless painting to create a new style with a strong sense of the times. Xu Beihong integrated the realistic techniques of western painting into traditional pen and ink, which enriched the expressive force of Chinese painting. Lin Fengmian harmonizes China and the West, absorbs the simplicity and vitality of folk art, and forms his own unique style with far-reaching artistic conception and novel form. In addition, Chen Zhifo integrated the colors of Chinese and foreign decorative arts into the creation of meticulous flower-and-bird painting, and Zhang Daqian borrowed some techniques of western abstract expressionism to create splash-ink painting; Inspired by western paintings, Li Keran directly sketched and created scenes. Wu Guanzhong used the tool materials of Chinese painting and the forms and concepts of western modern art to express the traditional poetry and realm of Chinese painting, and made important achievements.
With the changes of the times, Chinese painting has changed from the aristocratic art of literati and nobles to the "people's art", from the ivory tower in the past to a crossroads. Chinese painting has undergone profound changes in theme and content. Painters turned their attention to social reality and created a large number of outstanding works with the characteristics of the times.
In the 1920s and 1930s, painters argued endlessly about the innovation and development of China's paintings. For example, Kang Youwei put forward the idea of "restoring ancient ways as innovation" and "combining Chinese and western styles as a new era"; Xu Beihong advocated that "those who are good at ancient laws should keep them, those who reject them should continue them, those who are not good should change them, those who are insufficient should increase them, and those who can take western paintings should be integrated"; Liu Haisu proposed to "develop the fine arts inherent in the East and study the elites of western art"; Lin Fengmian advocated "reconciling Chinese and Western arts and creating art of the times"; Chen Shiceng actively analyzed and answered the characteristics and significance of literati painting. Lin Shu, on the other hand, opposed innovation and called on people to despise "new foreign learning" and only take "ancient meaning as the Sect"; Jincheng, on the other hand, strongly advocated: "We should not forget the method of spreading sage and knowledge, and inherit the old chapter." In the late 1940s and 1950s, there was a discussion about whether sketch could be used as the basis of Chinese painting modeling, and how to treat pen and ink skills and various new Chinese paintings. In the mid-1980s, in the rapidly changing social environment of reform, opening up and modernization, how to innovate Chinese painting to meet the aesthetic needs of the times was deeply discussed in theory and practice.
The modeling characteristics and expression methods of Chinese painting reflect the traditional philosophy and aesthetic thoughts of the Chinese nation in observation and understanding, image shaping and expression techniques. In the observation and understanding of objective things, we adopt the method of observing and understanding objective things in activities, or even directly participating in things, rather than appearing locally or being limited to a fixed point. It permeates people's social consciousness, thus making painting have the cognitive function of "learning to paint after a thousand years of solitude" and the educational function of "warning the world with evil and showing the future with good". Even the purely natural objective objects such as mountains and rivers, flowers and birds are consciously linked with people's social consciousness and aesthetic taste in their observation, understanding and performance. They express their feelings through scenery and express their feelings through objects, which embodies the concept of "harmony between man and nature" in China. Chinese painting pays attention to conception, conception writing and image thinking, and the unity of subjective and objective artistic images. Modeling is not limited to superficial similarity, but emphasizes "beauty lies between similarity and difference" and "difference". Its image-building aims to convey the expression and emotion of the object and the painter's subjective feelings. Therefore, we can abandon those parts that are not essential or have little connection with image characteristics, and those parts that can reflect the five senses can be portrayed through exaggeration or even deformation. In composition, Chinese painting emphasizes management. It is not based on fixed space or time, but breaks the limitation of time and space in a flexible way. According to the painter's subjective feelings and artistic creation rules, it recombines objects in different time and space to build a space-time realm in the painter's mind. Thus, rain and snow, four seasons, ancient and modern figures can all appear in the same painting. Therefore, in perspective, it is not limited to focus perspective, but adopts multi-point or scattered perspective, moving up and down or left and right, moving back and forth, viewing objects and framing, and managing composition, which has great freedom and flexibility. At the same time, in the composition of a painting, we should pay attention to the contrast between reality and reality, emphasizing "sparse and easy to move" and "airtight", with reality in the virtual and reality in the real. Chinese painting, with its unique pen and ink skills, depicts the shape, skeleton, texture, light and shade and modal charm of objects and images in the form of points, lines and surfaces. The pen and ink here is not only an object, a skill to express feelings, but also a carrier of objects. At the same time, it is a meaningful form, and its traces reflect the interest of China's calligraphy, which has independent aesthetic value. Because it is not very similar to the surface of an object, Chinese painting can use all-black ink, or it can use color or ink color combination to describe the object. Later, the greater the proportion of ink painting, and now some people even call Chinese painting ink painting. The ink used is divided into five colors to adjust the amount of water, the speed and length of strokes, which leads to the ever-changing pen and ink skills and the rich and varied shades. At the same time, ink can also be combined with color, but ink does not hinder color, and color does not hinder ink, forming the diversity of complementary ink and color. However, in Chinese painting with color as the main factor, the emphasis of "color matching with class" is the inherent color of the object, and the color of light source and environment is not important, so it is generally not considered. But for some special needs, sometimes we can boldly use some exaggerated or hypothetical colors. Chinese painting, especially literati painting, emphasizes the homology of painting and calligraphy in creation, and pays attention to the painter's personal character and cultivation. Emphasizing the organic combination of poetry, calligraphy, painting and printing in specific works, expressing the painter's understanding of society, life and art by writing poems and inscriptions on the screen not only plays a role in deepening the theme, but also is an organic part of the screen.