How to connect traditional Chinese painting with traditional Chinese opera?

I always like watching Chinese paintings and listening to operas. After a long time, she can realize something. Maybe this is also a kind of fun. In my opinion, there are so many similarities between Chinese painting and traditional opera. Traditional operas can be divided into "life, beauty, purity and ugliness", while Chinese paintings can be divided into "landscapes, figures and flowers and birds". There are various techniques of "hand, eye, body, method and step" in Chinese drama, and "point, edge, hook and painting" in Chinese painting. In traditional Chinese painting, men, women and children are outlined with three or five strokes, and the five colors of "coke, thick, heavy, light and clear" are separated by pen and ink. All these show the similarities between traditional Chinese opera and traditional Chinese painting. The similarities, in the final analysis, are all because the essence of these two traditional arts or traditional cultures lies in freehand brushwork, and the beauty of freehand brushwork lies in conveying a kind of charm, an art that deliberately expresses god rather than form, and a culture that conveys rhyme rather than scenery. Anyone who knows a little about the art of Chinese painting will know Zheng Banqiao, while Zheng Banqiao is famous for painting bamboo. Bamboo in Zheng Banqiao has always been painted with ink, and there is no color, but we all know that it is not real bamboo, because real bamboo is green and cannot be painted with ink. For example, Xu Wei, who is famous for painting ink grapes, also knows that real grapes are purple or green, at least not the same color as ink. But we have to admit that Zheng Banqiao wrote about real bamboo. Similarly, we also believe that what Xu Wei wrote is grapes, which is a rare artistic treasure. This contradictory combination of "yes" and "no" lies in the existence of "spirit" and "rhyme". Zheng Banqiao's ink bamboo depicts the "god" of bamboo and conveys Mr Banqiao's "festival". The charm of bamboo and Mr Banqiao is written in pen and ink. Chinese painting does not pay much attention to whether the shapes are similar or not and whether the colors are consistent, so do flower-and-bird painting and landscape painting. Landscape painting can be divided into "light crimson" and "turquoise", but no one has ever asked whether the "Lushan Mountain" in Chinese painting is exactly the same as the real "Lushan Mountain". As long as it conveys the charm of Lushan Mountain, it is an excellent painting, and figure painting does not pursue "true reproduction". It is said that flower-and-bird painting has broken branches, and often only part of it is painted, and some are simple and exquisite, pursuing "impenetrable or sparse." This technique is not very popular in the west, at least in the past, otherwise perhaps Van Gogh would not have to go to a mental hospital. Therefore, the art of Chinese painting has developed along the direction of freehand brushwork, with more complete theory and continuous fine products. Although meticulous painting occupies a place in Chinese painting, it is not the mainstream. Moreover, with the continuous development of photography technology, there are few fine meticulous paintings that reproduce the original scene. Even if there are fine works of meticulous painting, it is no longer a simple reproduction of the original scene. Traditional Chinese opera is also good at freehand brushwork. If a character is a "bad guy", no matter what he does, he will be given a white face or a white nose. Jia Sidao is a white face when he robs a commoner, Ouyang Fang is a white face when he collaborates with the enemy and betrays the country, and Cao Cao's generation of treacherous men is also a white face. Indeed, if there is no clear distinction, this kind of cosmetic treatment is really a bit "bad". What Cao Cao did is understandable to both you and Jia Sidao. However, it is the advantage of China's opera that it is related to the social background before China. In the past, the cultural level of ordinary people was not very high. Facial treatment allows ordinary people to distinguish who is a good person and who is a bad person without any difficulty. Therefore, opera is widely circulated in China and plays an important role in educating people to a great extent. In all kinds of novels, it is written that "... what is sung in the play ..." or adults educate children "... just like in the play. Different from the west, opera is an elegant art, and only a few people can see it in the theater. Therefore, the western drama art may be of high artistic quality, but it is definitely not as popular as China. Moreover, this kind of freehand brushwork of facial makeup makes it easier and less tiring to watch a play. The audience can enjoy their daily life while watching the theatre, and enjoy the aria while smoking. The theatre can also be a free market. Unlike in the west, the theater is quiet, and the audience hold their breath and dare not take a breath, for fear of ruining the atmosphere of the theater, my darling. The freehand brushwork of Chinese opera is also manifested in the use of costume props. People of different dynasties, different personalities and different official positions can wear the same clothes and use the same props on the stage of national drama. For example, Chen Shimei can wear a dress, so can Gao Wenju. Even riding a horse with a whip, three or five ranks represent hordes, turning around the stage for three or two times, that is, passing through Qianshan Mountain. This is the beauty and essence of China's traditional opera art, because people can't be distinguished from their costumes, which requires actors to work hard on performances and act people into different people. At the same time, this kind of treatment reduces the economic burden of the troupe, but unfortunately this advantage has been rejected by the mainstream until now. The mainstream troupe will always be a role, with a suit, new clothes and new makeup, and what new tricks have been added. I remember that there didn't seem to be so many famous plays at first, which was really puzzling. I guess there are only three reasons for this refusal: first, ostentation and decency. I guess this reason is the most important. If you don't distinguish it from other small troupes, it won't be too shameful. If you make yourself look like a country bumpkin, it will be too expensive. As soon as this precedent is set, everyone will eat money. Afraid of falling behind, leaving an excuse of "dirt" will naturally push the grass-roots troupe to the wall. Small troupes don't have that much money and can't afford clothes, so naturally they can't get prizes. Winning a prize is something that only rich people can do. What can you do if you have the skill? Fortunately, the majority of opera fans still don't buy the new drama. You get your prize, and I'll watch my dad. If this group of old opera fans didn't favor the classic plays, I think the situation of the small troupe would be even more difficult. I once jokingly designed two outlets for the grass-roots troupe. One is to dismiss and go home to mom. The other is to keep up with the real climate. We have no money to buy clothes, but we can still be realistic. The method is to shoot only two kinds of plays. One is to shoot primitive tribes, when people wore leaves to make clothes. Another is that in the Northern and Southern Dynasties, there was a dissolute emperor who ordered the ladies-in-waiting in the harem not to wear clothes, and the ladies-in-waiting eunuchs could only walk naked. We can shoot the harem scene in that period. Second, the actor pursues realistic interests and refuses to practice hard. Actors have no time for tricks. Ok, I'll stick my beard on my face and get rid of this course. I can't imagine that if one day an actor doesn't even have the basic skills of sightseeing, will he really lead a horse onto the stage? If so, will there be a powerful troupe with a racecourse and so on, and Guan Gong will take a red horse to the stage? Third, the misjudgment of the mainstream and advantages of art, influenced by Hollywood blockbusters, Hollywood movies are increasingly showing the characteristics of big investment and big hands. The scene is more and more grand, the picture is more and more realistic and tends to be "realistic". Of course, the box office income is getting higher and higher (but the box office has been declining every year since 2005), and TV dramas are also imitating the trend. Look at Jin Yong's martial arts dramas newly filmed in mainland China in the past two years. The scene is getting bigger and bigger, and it has also achieved success. Therefore, the drama also relies on a failure, because I think "realism" is the strength of film and television art, so the more realistic the film and television drama, the more obvious the visual impact, but the drama is not good, and it is no match for film and television than the realistic drama of the eighth generation. The advantage of drama lies in "freehand brushwork" and vivid rhyme. If you go in the wrong direction, everything else will be in vain. The freehand brushwork of Dingxi dialect's national drama called "whipping for change" is also reflected in the performance program, and the discussion in this respect is voluminous, so it is omitted here. Since the advantage of traditional opera lies in freehand brushwork, the reform and development of natural opera should be carried out in the direction of freehand brushwork, with more practice in basic skills and more breakthroughs in performance techniques. Unfortunately, many performance techniques have been lost, not to mention inheritance, let alone breakthrough and development, but some fancy new tricks have been tossed out, but unfortunately no fans have bought it. Lucky? Sad? extremely ...