How to Improve China's Appreciation of Painting and Calligraphy

For ordinary people, whether they can appreciate a painting is often whether they can "understand". Their 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. To appreciate Chinese painting in this way, generally speaking, meticulous and realistic works are easy to appreciate because they are concrete, true and easy to understand. 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 painting in this way, because it is easy to cause association and produce a sense of * * * when the portrait is clear. But we must understand that the quality of a painting is not measured by "like" or "unlike". 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.

one

Charm and artistic conception are the soul of Chinese painting.

Chinese painting attaches great importance to the spiritual essence of the object, that is, the so-called "verve", whether it is very similar or not, so Mr. Qi Baishi said, "Painting is between similarity and dissimilarity. The creator is a natural phenomenon fused in the chest, inspired by emotion and born of natural painting with pure techniques. This is called the expression of "inspiration". Artistic conception is the soul of painting. The so-called "artistic conception" is to extract the essence of objective things, plus the melting of subjective thoughts and feelings, that is, to express feelings through scenery, and then through artistic processing, to achieve the "beautiful realm" and "artistic conception" of blending scenes.

two

"Blank space" gives the audience room for imagination.

The boundary characteristics of Chinese painting can be said to be rooted in the basic philosophy of the Chinese nation, that is, the world view of the Book of Changes: "One yin and one yang is the Tao. Therefore, the space of the picture is expressed by the flowing rhythm of one empty and one solid, one bright and one dark, with special emphasis on "vivid charm", which is a rhythmic life. Virtual and real set each other off, while white is black (virtual is real), reaching the realm of "told even more in silence than they had told in sound". Therefore, "blank space" is a great knowledge and feature in China's art. Generally speaking, Chinese painting rarely fills the whole picture, whether it is landscape, flowers and birds or figure painting, but leaves viewers with more imagination and freedom, so that their thoughts can wander in the infinite space of the universe, because a work is not the last narrative, but a beginning. China painters recorded not a single visual experience, but a collection of many experiences, which were expressed in form and given symbolic significance, such as the painter's "Huangshan Map".

For another example, the painter draws a bird on a tree. The bird is not a framed thing, but a symbol of life in infinite space and a "spiritual space" that "transcends the image". Its connotation strength lies in its ability to guide the concept of "detachment from self" and gain spiritual comfort and a fresh and refined feeling from the paintings he watched.

three

Look at the shape from a distance and look at the fun of pen and ink.

"Vivid" refers to the overall impression of the work and measures the author's level of interpretation and rendering of the theme (subject matter).

Whether the charm is vivid or not is not only the display of painting skills, but also the volume of aesthetic cultivation. Therefore, vividness is the first element of painting, and the other five methods, such as "using bone and pen", are all concrete measures to create vividness.

"Bone-writing with a brush" refers to the skill of pen and ink. Chinese painting uses pen and ink to shape images. If you don't see "pen and ink" in the painting, you will appreciate the photographic works. Yun (1633- 1690), the founder of Changzhou School of Painting in the late Ming and early Qing Dynasties, said: "There are pens, ink and paintings." Therefore, pen and ink are the soul of painting and the unique aesthetic taste of Chinese painting.

To some extent, Chinese painting is the art of lines. Through the changes of the pen's weight, length, thickness, rigidity, reality, Fiona Fang, turning point, frustration, and the dryness and wetness of the pen and ink, the structure and form of the object are expressed, the author's feelings are expressed, and the artistic conception of the theme (theme) is rendered.

The description of clothing lines, the carving of rocks and the outline of flowers and leaves are all pen and ink skills. The ancients said that there were eighteen strokes and twenty-six styles. The description includes the Four Wonders of Gao Gu You, the iron line painting, the Liu Yemiao, the running water painting, the nail-headed mouse-tail painting and so on. Painters use different methods to draw lines with different rhythms, create different visual effects and cultivate different emotional interests. The chopping methods are: horse chopping, straight chopping, horizontal chopping, raindrop chopping, cirrus chopping, Jie Suocun, Niu Maocun, lotus leaf chopping, small axe chopping, big axe chopping and so on. The author uses different strokes and different ink colors to express different textures of objects.

The boneless method is not without "boneless method", but a new method of hiding bones in ink, pens in color and replacing lines with pieces.

"Being pictographic" refers to the author's modeling ability. That is, the painter's description should be able to perfectly express the form and spirit of the object to be written, so as to achieve the effect of both form and spirit. Western realism, oriental freehand brushwork. China people don't copy the "form" in reality when painting, but pay more attention to conveying "God" through "form". Qi Baishi (1864- 1957) famously said, "Beauty lies in similarity and difference ..."

As we all know, the old man Baishi is good at painting shrimps. He observed and pondered the shape of prawns for a long time, constantly refined the shape of prawns, and made great efforts to enhance the dynamic and transparent feeling of prawns in the water, which finally made people feel that the prawns in the painting had the rhythm of life. From the anatomical analysis, there is indeed a gap between Baishi's Shrimp and the real form, but from the artistic point of view, this creative concept that comes from life but is higher than life is the key to the artist's success.

"Class-based coloring" refers to coloring techniques to improve the quality and attractiveness of objects. Landscape painting before the Song Dynasty paid great attention to color, not to the contrast of hue, chromaticity and warmth, but to the coordination of the overall light and shade structure of the picture.

The "color" of "coloring with the same class" not only refers to red, orange, yellow, green, cyan, blue and purple in the spectrum, but also includes different degrees of black formed by inks with different water contents, such as dark, light and dry, dry and wet.

Chinese painting often reflects the colorful changes of nature only by pen and ink instead of color. No matter whether it is Moho noodles or Zhu Mo noodles, there is no green, but it does not reduce its green feeling. Su Dongpo (1037-1kloc-01) painted bamboo with red cinnabar, which was unique and elegant. Huang (1865- 1955), the "first master of ink painting since ancient times", can still express the artistic conception of green mountains and green waters with rough, broken, accumulated, light, splashed and burned. Even Zhang Daqian (1899- 1983) invented "meticulous painting with heavy colors" or "throwing colors", whose colors are symbolic and subjective in the eyes of painters, and are not restricted by the colors of the objects themselves. This is the unique significance of "giving color" in Chinese painting.

"Business position", composition also. In order to express the theme and create an atmosphere, the artist arranges the positions of people or things in the picture according to his own needs in a certain space, and forms multiple or partial images into an artistic whole.

four

Read poems, books, seals and mounting.

Poetry: Poetry in calligraphy and painting often represents the master's voice. 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. The painting itself should be poetic. Many famous landscape paintings in China are accompanied by poems, and the combination of their pearls and poems is also a major aspect of people's aesthetic enjoyment. Chinese painting is a combination of poetry, calligraphy, painting and printing in form. Of course, every painting does not necessarily have poetry, but every painting must have a poetic context.

Inscription (book): One of the differences between Chinese painting and western painting is inscription. The calligraphy in the inscription 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. Some famous artists read the inscription first. If the handwriting is not good, he will stop looking at the picture.

Seal: There are various common seals on the screen: painter's seal, signer's private seal, tin foil seal, collector's seal, connoisseur'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.

It doesn't matter whether the painter knows how to manage printing, but the seal he uses can't. He used a low-level seal to show that he had a problem with his eyesight. There are also seals, and the seals used by Qi Baishi are very particular, such as "Hate the sun without a long rope" and "Crossing the Tianya Pavilion". If a painter has no literary spirit, it is easy to become a craftsman and tacky.

Poetry, painting and printing are all heartfelt wishes and the overall effect of the picture.

Finally, look at the composition of the title and seal. Inscriptions and seals are very particular. Proper location is icing on the cake, improper location is the Buddha's head stained with dung.

Mounting: 3 points for painting and 7 points for mounting. It also depends on whether it is installed by hand or by machine. Chinese paintings are mounted with patterns, and there are two common types: paper and silk. The mounter is 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.

five

Artistic conception: This is the most important point.

Distinguish and appreciate

Chinese painting is actually appreciating China's traditional literati spirit, or China's philosophy.

Chinese painting is an art rooted in the soil of the Chinese nation, because it has a profound cultural background, and behind it is China's traditional culture, such as the dialectical view in China's classical philosophy. The concept of heaven and man in Taoist philosophy and the theory of "benevolence" and "harmony" in Confucian philosophy all influence Chinese painting. Zen Buddhism is China Buddhism. After the Six Dynasties, Zen thought had a great influence on Chinese painting and had a direct impact on pen and ink. Zen emphasizes something between existence and nothingness, and pen and ink is the best way to express this feeling between existence and nothingness, so people who practice meditation deeply are unusual in painting, such as Wang Wei, Su Shi and masters in Yuan, Ming and Qing Dynasties. Therefore, appreciating China's paintings is inseparable from the background of China's classical philosophy.

Poetry is not outspoken. Painting should also be like this. There are endless meanings outside painting, which is called painting meaning.

Chinese painting is not only a painting language of visual beauty, but also a spiritual sustenance to express feelings and express freehand brushwork, and its spiritual level is more important than performance. The essence of an artist's expression is that he reflects everything in the world with his heart and soul and represents everything in the mountains and rivers.

Art is the reproduction and reappearance of emotion. An artist must be subjective and draw your feelings. Draw this feeling. Art is imagination and art is meaningful interest. Painting is a feeling.

Charm and artistic conception are still two concepts, and charm is an important condition for forming artistic conception. "Charm" is a high-level artistic aesthetic enjoyment given by the painter to the appreciator. Artistic conception is the goal pursued by artists. "Charm" is life and "artistic conception" is soul.

Finally, look at the age of the work. And have a general understanding of the author.