The brilliance of China's calligraphy and painting lies in the invention of the brush. Soft, flexible and elastic brush appeared as early as Banpo people painted painted pottery. The so-called Meng Tian pen-making by later generations is just an improvement on the writing and painting tools used by primitive ancestors.
2. Both Chinese painting and calligraphy are based on lines, art media.
Calligraphy uses it to form and express words, emphasizing the expression of images and emotions with dynamic and static rhythm; Chinese painting, with its object of expression, emphasizes the sense of body, texture and quantity. The exploration of calligraphy lines in image, stereo and emotion endows painting with richer modeling power.
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For thousands of years, China's calligraphy and painting has been regarded as the sister art of siblings. The calligraphy and painting club has a long history, a long tradition of expression and a profound ontological foundation. "The homology of calligraphy and painting" is the most famous theoretical proposition of China's classical art.
In ancient times, literati painters attached great importance to painting with books, and their painting methods were often transformed into lofty, strange, smooth, round and accurate lines in calligraphy brushwork, which caused painting innovation. Freehand bamboo painting, Guo and Tang Di painting trees, Wen Riguan painting grapes, all draw lessons from cursive script, creating a generation of painting style; Wang Wei's raindrop carving, Li Sixun's axe carving and Wu Daozi's orchid painting are all related to calligraphy.
China social science network-the natural connection between calligraphy and Chinese painting