New literati paintings photography

The main types of traditional paintings in China. From the perspective of art history, Chinese paintings before the Republic of China were collectively called ancient paintings. 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, rice paper and silk and mounted. Known as Chinese painting in modern times, it 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.

Chinese painting and western painting (Feng Zikai)

Eastern and western cultures are fundamentally different. So the performance of art is also different. Perhaps eastern art emphasizes subjectivity, while western art emphasizes objectivity. Oriental art is poetic, while western art is dramatic. Therefore, in painting, Chinese painting emphasizes charm, while western painting emphasizes shape. Compared with the two, there are five differences:

(1) Chinese paintings are full of lines, while western paintings are not obvious. Most lines are not original objects, but the realm used by painters to express two objects. For example, in Chinese painting, an egg-shaped line is drawn to represent a person's face. In fact, there are no such lines around people's faces. This line is the dividing line between face and background. Another example is to draw a ruler line to represent a person's nose. In fact, there is no such line on the nose. This line is the dividing line between nose and face. Another example is landscapes, flowers and so on. There are no lines in the object, but the painter uses lines. The lines in the landscape are specially named "Qiaofa (Qiaofa; A brief history of western painting). However, western paintings before post-impressionism are unremarkable.

(2) Chinese painting does not pay attention to perspective, while western painting pays attention to perspective. Perspective is the representation of three-dimensional objects on a plane. Western painting strives to be as simple as the real thing, so it pays great attention to perspective. Look at the streets, houses, furniture, utensils and so on in western paintings. The shapes are all right, but they are the same as the real thing. If you describe a corridor, you can show the distance of several feet in inches. If you draw the front of the railway (looking out from the middle of the railway), you can actually express the distance of miles in inches. Chinese painting, on the other hand, is not willing to draw things with obvious three-dimensional sense, such as streets, houses, furniture, utensils, etc., but is willing to write clouds, mountains, trees, waterfalls and so on that look like natural flat objects from a distance. Occasionally describing house objects, without paying attention to perspective, is arbitrary. For example, painting scenes deep in the courtyard, curved corridors and new houses, seems to be seen when flying in mid-air; And I haven't seen it for a while, but it's flying up and down. I've seen it several times. So the hand scroll of Chinese painting, the mountains and rivers stretch for dozens of feet, as if it were seen on the train. Chinese painting stands, mountains and rivers overlap, as if seen in a plane. Because painting and poetry are the same in China, you can paint wherever you want, and you can't be bound by perspective. So the perspective of Chinese painting is sometimes wrong. But it doesn't matter if it's a mistake. We can't use the rules of western painting to criticize Chinese painting.

(3) Oriental figure painting does not talk about anatomy, while western figure painting pays attention to anatomy. Anatomy is the study of the expression shape of human skeletal muscle. Westerners must learn anatomy before drawing characters. The English name of this anatomy is Anatomy of Art Students, that is, Art Anatomy. So it's not like a physiological anatomist. Physiological anatomy focuses on the structure and function of various parts of the human body, while artistic anatomy focuses on the form of expression. However, remembering the names of bones and muscles and their various abnormal shapes is a difficult study. But western painters must learn. Because western painting pays attention to realism, it must be depicted like a real human body. But China figure painters never needed this knowledge. People in China paint figures only to show the characteristics of their bodies, but they don't talk about the size and proportion of each part of the figure. So the men in Chinese painting look strange, quaint and don't bark. Women are moths, eyebrows, lips and shoulders. These characters will look terrible if you take off their clothes. But this is not only harmless, but also the benefit of Chinese painting. Chinese painting has a strong impression of desire, so it expands the characteristics of the characters, makes men more majestic and women more beautiful, and fully shows the character of the characters. So don't be realistic, use symbolic methods. Do not seek similarity, but God's similarity.

(4) Chinese painting does not emphasize the background, while western painting emphasizes the background. Traditional Chinese painting does not emphasize the background, such as writing plum blossoms, hanging in the air and surrounded by white paper. Write characters, hanging in the air alone, as if riding a cloud. Therefore, the paper of Chinese painting leaves a lot of blank space. A long piece of paper with a vegetable or a stone under it becomes a piece of paper. Western painting is not like this. Everything has a background. For example, it is a thing, and its background is a table. The background is people indoors or outdoors. So, all the drawings are filled in, leaving no blank. This difference between Chinese painting and western painting is also due to the difference between realism and vividness. Western painting emphasizes realism, so it is necessary to describe the background. Traditional Chinese painting emphasizes vividness, so Qiang Ming, whose subject matter is trivial and close-up, must be deleted to impress people.

(5) The theme of oriental painting is mainly nature, while the theme of western painting is mainly people. Before the Han Dynasty, Chinese painting also took characters as the main theme. But in the Tang Dynasty, landscape painting became independent. Until today, landscape is often the normal state of Chinese painting. Since the Greek era, man has been the main theme of the West. The religious paintings in the Middle Ages were mostly about the masses. For example, the final judgment, the victory of death, etc., there are countless people in a painting. It was not until19th century that there was an independent landscape painting. After the independence of landscape painting, figure painting did not give way, and nude painting is still the main theme of western painting.

The above five points are the differences between Chinese painting and western painting. It can be seen that Chinese painting is interesting and western painting is simple. Therefore, for art research, western painting is not as profound as Chinese painting. For people to appreciate, Chinese painting is not as common as western painting.

Classification of Chinese painting

Chinese painting has its own system in the world art field. According to the performance object, it can be roughly divided into; Figures, landscapes, boundary paintings, flowers, fruits, feathers, animals, insects, fish, etc. According to the methods of expression, there are techniques such as meticulous brushwork, freehand brushwork, sketching, color setting and ink painting, and color setting can be divided into jade, turquoise, boneless, splash color, light color and light crimson. Mainly use the changes of lines and ink color to describe the image and business place with hook, dot, dye, thick, light, dry, wet, yin, yang, direction, back, virtual, real, sparse, dense and empty; View layout, wide field of vision, not limited to focus perspective; According to the forms of expression, there are murals, screens, scrolls, picture books, fans and other frame forms, supplemented by traditional mounting techniques. Figure painting gradually matured from the late Zhou Dynasty to the Han, Wei and Six Dynasties. Mountains and rivers, flowers, paintings of birds and animals, etc. It was not until the Sui and Tang Dynasties that an independent painting discipline was formed. In the Five Dynasties and the Song Dynasty, various schools of thought competed for each other, and ink painting became popular, and landscape painting became a major branch. Literati painting developed in the Song Dynasty, but reached its peak in the Yuan Dynasty, and the painting style tended to be freehand. Ming and Qing dynasties and modern times continued to develop, paying more and more attention to expressing ideas and smoothing the mind. Wei, Jin, Southern and Northern Dynasties, Tang Dynasty and Ming and Qing Dynasties were successively influenced by Buddhist art and western painting art.. Traditional Chinese painting emphasizes "the nature of foreign teachers is the source of China's heart", requires "meaning to save the pen first, and draw as best as possible", and emphasizes the integration of things and the creation of artistic conception, so as to achieve the purpose of describing the spirit with form, having both form and spirit and vivid charm. Because calligraphy and painting are of the same origin, they are closely related to the operation of bone and line, so the seal cutting of calligraphy and painting affects each other and forms a remarkable artistic feature. The tool materials for painting are pens, ink, paper, inkstone and silk specially made in China. Modern Chinese painting has made a breakthrough and development in inheriting tradition and absorbing foreign techniques.

◆ Ink painting

A Chinese painting. Refers to a painting made of pure ink and wash. There are three basic elements: simplicity, symbolism and nature. Legend has it that it began in the Tang Dynasty, became in the Five Dynasties, flourished in the Song and Yuan Dynasties, and continued to develop in the Ming and Qing Dynasties and modern times. Give full play to the function of ink painting with brushwork as the leading factor. "Ink is color" means that the shade change of ink is a hierarchical change of color, and "ink is color" means that multi-level ink chromaticity can be used instead of colorful colors. In the Northern Song Dynasty, Shen Kuo's "Tu Song" said: "The south of the Yangtze River spread to Ju Ran, and the light ink and light blue became one." Which is ink painting. People in the Tang and Song Dynasties painted landscapes with wet strokes, which had the effect of "water fainting ink printing". People in the Yuan Dynasty began to use dry pen, and the ink color changed a lot, which had the artistic effect of "giving color at the same time". In the Tang Dynasty, Wang Wei put forward that "ink painting is the best", and later generations followed suit. Ink painting has always occupied an important position in the history of China painting.

◆ Courtyard painting

Referred to as "courtyard body" and "courtyard painting", it is a kind of Chinese painting. Generally speaking, it refers to the paintings of Hanlin Painting Academy in Song Dynasty and its later court painters. There are also works specifically referring to the Southern Song Dynasty Painting Academy, or generally referring to non-court painters who imitate the style of the Southern Song Dynasty Painting Academy. This kind of works mainly focus on flowers and birds, landscapes, court life and religious content to meet the needs of the court. They pay attention to statutes, have both form and spirit, and have a gorgeous and delicate style. Because different times and painters have different specialties, their painting styles are different and have their own characteristics. Mr. Lu Xun said: "It is advisable to give up the tender and gentle aspects of the courtyard paintings in Song Dynasty." Modern young and middle-aged painters represented by Zhang Quan, Jiang Hongwei, Jia Guangjian, Zhao Beixin and Hui Yu have made certain contributions to the development of modern college painting.

◆ Literati painting

Also known as "master painting". A Chinese painting. Generally refers to the paintings made by literati in China feudal society. Different from the paintings of folk painters and professional painters in the Palace Painting Academy, Su Shi put forward "literati painting" in the Northern Song Dynasty, and Dong Qichang advocated "literati painting" in the Ming Dynasty, with Wang Wei as the founder and the ancestor of Nanzong (see Nanbeizong). But in the old days, it was often used to raise the painting art of the literati class and despise folk painters and institutional painters. In the Tang Dynasty, Zhang Yanyuan once said in Notes on Famous Paintings of Past Dynasties: "Those who have been good at painting since ancient times are better than others without elegant clothes." This sentence has far-reaching influence. Modern Chen Hengke believes that "literati painting has four elements: personality, knowledge, talent and thought, and with these four elements, it can be perfected." Usually, "literati painting" takes landscape, flowers and birds, plum blossoms, bamboo, chrysanthemum, wood and stone as the theme. To express "spiritual spirit" or personal ambition, sometimes it also contains feelings of oppression to the nation or resentment against decadent politics. They admire "morale" and "one product", advocate algae interest, stress pen and ink interest, get rid of similarities, emphasize verve, and attach great importance to the cultivation of literature and calligraphy and the creation of artistic conception of painting. Mang Fu Yao's Preface to Scholars' Painting in China once had a high evaluation: "King Youcheng of the Tang Dynasty (Wei) helped poems to enter the painting, and then the pen became interesting, and the method changed at will. Needless to say, the palace merchants, the mountains and mountains are all rhyme, and the righteousness does not have to be more prosperous. " Literati paintings in past dynasties have a great influence on the aesthetic thought of Chinese painting and the development of ink painting, freehand brushwork and other techniques.

◆ Draw ten doors.

Chinese painting terminology. Chinese painting is divided into six branches, namely, figures, houses, landscapes, pommel horses, ghosts and gods, flowers and birds, etc. Xuanhe Garden in the Northern Song Dynasty is divided into ten gates, namely, Taoist Gate, Zimen Gate, Gongmen Gate, Gate, Arowana Gate, Shanshui Gate, Animal Gate, Flower and Bird Gate, Zhu Mo Gate and Vegetable Gate. Deng Chun's Painting with the Southern Song Dynasty is divided into eight categories (doors), namely, immortals, buddhas, ghosts and gods, biographies of people, landscapes, forests and stones, flowers, bamboo feathers, animals, insects and fish, houses, trees, boats and cars, melons and fruits, vegetables and grasses, and small miscellaneous paintings. See Thirteen Schools.

◆ Thirteen families

Terminology of Chinese painting. Chinese painting is divided into six branches: Zhang Yanyuan's Record of Famous Paintings in Tang Dynasty; In the Northern Song Dynasty, Xuanhe Huapu was divided into ten branches. Deng Chun's painting in the Southern Song Dynasty is divided into eight categories. Dong Tang's Painting Guide in Yuan Dynasty said: "There are thirteen secular painters, starting with mountains and rivers and based on boundary painting." Thirteen subjects of painters in Tao's Record of Descending Agriculture in the Ming Dynasty are: Buddha and Bodhisattva, Taoist temple of the Jade Emperor, King Kong and ghosts, Lohan holy monks, Fengyun Dragon and Tiger, ancient people, the whole mountain forest, flowers and bamboo feathers, wild mules and animals, people's use, boundary painting terraces, exclusive respect for all things, agricultural weaving and carving inlaid with green.

◆ Comics

Ink-and-wash painting has the characteristics of comics in conception, with a wide range of themes, satire and praise, but it uses the traditional ink-and-wash painting techniques of China and is elegant at the same time. Compared with ordinary comics, ink and wash comics have more ornamental value. Its appearance has expanded the forms of expression, viewing fields and varieties of comics. There are many excellent authors in China ink cartoon, such as Feng Zikai, Hua, Han Yu, Fang Cheng, Bi Ke Guan, Jiang Wenbing, He Wei, Chang Tiejun, Bai Shancheng and others, and many excellent works have also emerged.

According to the performance object

◆ Figure painting

A painting. The general term for paintings with figures as the main body. China's figure painting, referred to as "figure" for short, is a major branch of Chinese painting, which appeared before landscape painting and flower-and-bird painting. Generally, it can be divided into Taoist painting, lady painting, portrait painting, genre painting and historical story painting. Figure painting strives to portray the character's personality vividly, with vivid charm and both form and spirit. His vivid techniques are often reflected in the environment, atmosphere, characters, and the performance of characters in dynamic rendering. Therefore, Chinese painting is also called "vivid" in theory. The famous figure paintings in the past dynasties include Gu Kaizhi's The Goddess of Luo in the Eastern Jin Dynasty, Wen Yuan in the Tang Dynasty, Han Xizai's Banquet in the Southern Tang Dynasty, Wei Mo by Li in the Northern Song Dynasty, Wei Tu by Li Baixing in the Southern Song Dynasty, Yin Tu by Li Baixing and Yang Zhuxi by Liang Kai in the Yuan Dynasty. In modern times, it emphasized "imitating the law" and absorbed western techniques, and developed in modeling and color distribution.

◆ Landscape painting

Referred to as "landscape". A Chinese painting. Painting with natural scenery as the main body. The Wei, Jin, Southern and Northern Dynasties gradually developed, but it was still attached to figure painting, which was mostly used as a background. Independence began in Sui and Tang Dynasties, such as Zhan Ziqian's colorful landscape, Li Sixun's Jinbi landscape, Wang Wei's ink landscape and Wang Qia's splash-ink landscape. During the Five Dynasties and the Northern Song Dynasty, many authors appeared in landscape painting, such as Hao Jing, Guan Tong, Li Cheng, Dong Yuan, Ju Ran, Fan Kuan, Xu Daoning, Yan Wengui, Song Di, Wang Shen, Mi Fei, Mi Youren, etc., and green landscape painting reached a peak. Since then, it has become a major painting theme of Chinese painting; Landscape painting in Yuan Dynasty tends to be freehand brushwork, taking virtual as reality, focusing on the charm of pen and ink, and creating a new style; Ming and Qing dynasties and modern times, continuous development, a new look. Pay attention to the professional position and artistic conception in the performance. The traditional methods are ink painting, turquoise, resplendent, boneless, light red, light color and so on.

◆ Green landscape

A landscape painting. Landscape painting with mineral azurite and stone green as the main colors. There are big turquoise and small turquoise. The former has more hooks, fewer strokes, strong coloring and strong decoration; The latter is dominated by the light color of ink and wash. Zhang Geng in Qing Dynasty said: "Painting and painting have always been colorful." Dong Tang said in the Yuan Dynasty: "Li Sixun painted landscapes, reflecting them with golden jade, which is the family law." During the Southern Song Dynasty, there were two Zhao dynasties (Boju and Bojun), which were famous for their green landscapes. China's landscape painting is color painting first, followed by ink painting. In color-coded painting, there are heavy colors first, then light colors.

◆ Light crimson scenery

A landscape painting. On the basis of ink painting, a light-colored landscape painting with ochre as the main tone was laid. "Biography of Mustard Seed Garden" said: "Yellow is like a jade surface, and ochre is the best color. It is shallow and sometimes outlined with ochre pen. Wang Mengfu painted landscapes with ochre and gamboge, and his mountains were like pine grass paintings, and then he painted them with ochre, sometimes without coloring. He only used ochre to paint faces and pine skins in the landscape. " This coloring feature began in the Eastern Yuan Dynasty in the Five Dynasties and flourished in the Yellow Dynasty in the Yuan Dynasty, also known as "Wuzhuang" landscape.

◆ Jinbi

Clay gold, azurite and azurite in China's painting pigments. All landscape paintings with these three pigments as the main colors are called "golden blue landscape", which is more clay and gold than "green landscape". Clay gold is generally used to cross-dye mountain contours, stone patterns, slopes, sand mouths, rosy clouds, palaces, pavilions and other buildings. However, The Brief Discussion on Painting in the Ming Dynasty and the Tang Dynasty holds another view: "Those who cover gold and jade: the stone is green, that is, the green landscape is also green. Later generations don't pay attention to it, but mud gold is called golden pen landscape. It's ridiculous that the husband is in the name of gold and silver! "

◆ turquoise

Kyanite and turquoise in Chinese painting pigments. It also refers to the coloring method with these two pigments as the main colors. In the Qing Dynasty, Wang Yi said: "The color is green, the body should be serious, the gas should be light and clear, and the strength should be strong." It took you more than 30 years to realize the blue color method and it began to be wonderful. " The cloud also said: "turquoise is a heavy color, thick and easy, shallow and difficult, shallow and not deep, especially difficult to see thick." ..... Luck is empty, elegant and elegant, slim, and aura is faint. The lighter, the thicker. The so-called gorgeous or natural, one of the paintings has changed. "(Postscript of Ou Xiang Pavilion Painting) expounds the gist of cyan coloring. See "Green Landscape".

◆ Flower and bird painting

A Chinese painting. Xuan He Hua Pu in the Northern Song Dynasty. "On Flowers and Birds" said: "Poets have six meanings, and they know the names of birds, animals and herbs better, and they also remember the ups and downs of the four seasons, so the beauty of painting is more interesting here, which is different from poets." There are many flower-and-bird painters in the past dynasties, such as the crane in Snow Ji in the Tang Dynasty, the peacock in Bian Luan and the flower bamboo in Diao Guang Yin. The eagle of Guo in the Five Dynasties, the flower and bird in the grave; Flowers in Zhao Chang, birds in cypress and flowers and birds in Wu in the Northern Song Dynasty; Branches of Wu Bing in Southern Song Dynasty, flowers and fruits of Lin Chun, birds of Li Di; In Yuan Dynasty, Li Li's Bamboo, Zhang Shouzhong's Yuanyang and Wang Mian's Mei; Birds in Lin Liang in Ming Dynasty, ink flowers of Chen Chun and Xu Wei; Fish in Qing dynasty, lotus in clouds, birds in Hua Nie; Modern Wu Changshuo, Huadu and so on are all famous flowers of a generation. See "Four Gentlemen".

◆ New literati paintings

New literati paintings, or "New literati paintings of China", refers to a cultural phenomenon that appeared in China art circles in the late 1980s and early 1990s.

From 65438 to 0996, Beijing painter Bian Pingshan often met and chatted with Fuzhou painter Wang Heping and Hebei painter Bei Yu in Mr. Bian Pingshan's Pingshan Bookstore. Because they have many similarities in artistic views and pursuits, he came up with the idea of holding a joint exhibition of Chinese paintings. Later, it was agreed with Nanjing painters Wang Mengqi and Jun Fang that Tianjin painter Huo Chunyang would hold this exhibition in the exhibition hall of Tianjin Academy of Fine Arts, which was the beginning of "New literati paintings".

Later, painters from all over the country, such as Zhu Xinjian, Liu Ergang, Wang Yong, Xu Lele, Zhu Daoping, Chen Ping, Tian Liming and Jiang Hongwei, responded in succession and joined in, becoming a very influential cultural phenomenon in the country. "New literati paintings", "85 New Trends" and "Star Art Exhibition" became a brilliant page in the art history of China in 1980s and 1990s.

Mounting form of Chinese painting

Mounting traditional Chinese painting is an important job, which should be understood and understood by both creators and collectors of traditional Chinese painting. The success of mounting is directly related to the time and way of preservation, and the mounting style forms an excellent foil for works of art.

A complete Chinese painting needs to be more beautiful and easy to preserve, circulate and collect, so it is impossible to mount it. Because most Chinese paintings are painted on fragile rice paper or silk articles. Mounting, also known as "mounting", "mounting pool" and "mounting back", is a unique technology to protect and beautify calligraphy and painting inscriptions in China. Just like western oil paintings, they should be put into exquisite frames after completion, so as to achieve a higher artistic aesthetic feeling.

Mounting can be divided into original mounting and re-mounting. Mounting the original painting is to mount the new painting according to the mounting procedure. Re-mounting is to mount the calligraphy and painting handed down from generation to generation and published on it because of poor original mounting or poor management and storage, such as shelling, damp mildew, rot, moth-eaten, rat bite and other reasons. The framed paintings and calligraphy are firm and beautiful, and easy to collect and decorate. Re-mounted ancient paintings will also continue its vitality. The ancients said: "The restoration of historical sites will delay medical treatment ... doctors will rise at will if they are good, and they will die at will if they are not good."

So what is the procedure for mounting Chinese paintings? Generally, it is first mounted on the back of the painting with paper support, and then wrapped with twisted, silk, paper, etc. , and then installed as a layout. Traditional mounting is varied, but its finished products can be divided into three categories: hanging shafts, hand scrolls and picture books. Regardless of the size, shape and use of the original picture, there are only three steps: painting the heart, covering and mounting. It's just that the mounting of painting heart is an important process in the whole decoration process. It is quite difficult to re-mount old paintings and calligraphy. Tear down the old painting first, clean the mold, fill the hole, etc. , and then re-mount according to the mounting process of the new painting.

China's mounting technique came into being with the history of China's painting. According to the historical data preserved today, mounting technology appeared as early as 1500 years ago, and there are written records on the production of grain paste, anti-corrosion, selection of mounting paper, decontamination, repair and yellowing of ancient paintings. In the Ming Dynasty, Zhou Jia wrote Decorative Records, and in the Qing Dynasty, he learned to write Tuesday Corner, both of which are China's special works on mounting.

On the History of China's Painting

Before Wei, Jin, Southern and Northern Dynasties, flowers and birds, as the objects of China's art, always appeared on pottery and bronzes in the form of patterns and decorations. At that time, flowers and birds and some animals had mysterious meaning and complex social meaning. People don't describe it within the scope of art, but convey social beliefs and the will of the monarch through them, and the form of art is only subordinate to the needs of content.

Early human attention to flowers and birds was a hotbed of flower-and-bird painting.

According to historical records, many independent flower-and-bird paintings appeared in the Wei, Jin, Southern and Northern Dynasties, such as Gu Kaizhi's Wild Goose, Shi Daoshuo's Goose, Lu Tanwei's Half Goose, Gu's Cicada, Qian Yuan's Cangwu, Ding Guang's Cicada and Deer. Although we can't see these original works now, we can know from the background of other figure paintings that the flower-and-bird paintings at that time had a fairly high level, such as the birds in Gu Kaizhi's Ode to Luoshen.

The flower-and-bird paintings in this period are mostly about birds and beasts, because they are often related to myths, and some are even the protagonists in myths. For example, Jade Rabbit, the sun in the sun, the toad in the moon palace, as well as Qinglong, White Tiger, Suzaku and Xuanwu represent four directions.

Generally speaking, flower-and-bird painting became an independent branch in the Tang Dynasty, and pommel horse, which belongs to the category of flowers and birds, made great artistic achievements in this period. Now, Han Gan's Zhao Yebai, Han Han's Wu Niu Tu and Half Niu Tu all show that this theme has a high artistic level.

The pommel horse painted by Cao Ba and Chen Hong, the eagle painted by Feng Shaozheng, the crane painted by Xue Ji, the dragon painted by Wei Yan, the flowers and birds painted by Bian Luan, Teng Changyou and Diao Guangyin, and the pine and bamboo painted by Sun Wei, not only have a strong lineup, but also have their own masterpieces. For example, Xue Ji painted cranes, and Du Fu wrote poems praising: "Eleven cranes in Gong Xue all wrote Qingtian Town. Painted for a long time, pale but still dusty. High-spirited and interested, frank and honest as a long person. "

The artistic characteristics of Chinese painting (art B test related answers)

China, referred to as "Chinese painting" for short, is a painting with a long history and distinctive national characteristics created by the Chinese nation. Chinese painting takes line as the main modeling means, paying attention to pen and ink, so that line, ink and color complement each other and achieve the artistic effect of "vivid charm"; The second feature is "poetry in painting"; The third feature is the integration of poetry, emotion, painting and seal.

Traditional Chinese painting mainly depicts objects and business places by means of hook, dot, dye, thick, light, dry, wet, yin, yang, direction, back, virtual, real, sparse, dense and blank space, etc., using the changes of lines and ink colors. View layout, wide field of vision, not limited to focus perspective. There are murals, screens, scrolls, picture albums, fans and other picture frames, supplemented by traditional mounting techniques. Figure painting gradually matured from the late Zhou Dynasty to the Han, Wei and Six Dynasties. Mountains and rivers, flowers, paintings of birds and animals, etc. It was not until the Sui and Tang Dynasties that an independent painting discipline was formed. In the Five Dynasties and the Song Dynasty, various schools of thought competed for each other, and ink painting became popular, and landscape painting became a major branch. Literati painting developed in the Song Dynasty, but reached its peak in the Yuan Dynasty, and the painting style tended to be freehand. Ming and Qing dynasties and modern times continued to develop, paying more and more attention to expressing ideas and smoothing the mind. Wei, Jin, Southern and Northern Dynasties, Tang Dynasty and Ming and Qing Dynasties were successively influenced by Buddhist art and western painting art.. Traditional Chinese painting emphasizes "the nature of foreign teachers is the source of China's heart", requires "meaning to save the pen first, and draw as best as possible", and emphasizes the integration of things and the creation of artistic conception, so as to achieve the purpose of describing the spirit with form, having both form and spirit and vivid charm. Because calligraphy and painting are of the same origin, they are closely related to the operation of bone and line, so the seal cutting of calligraphy and painting affects each other and forms a remarkable artistic feature.