The spirit of the painting

Summary: The art of painting is the performance of the human mind with some material medium and craft activities. It as a spiritual product to show people it contained the spirit of thinking through some form of matter from thousands of years of Chinese painting conceived and developed before the craft decorative patterns, there is an extremely rich cultural heritage through the screen, meaning a certain outlook on life, world outlook and values, is the largest and most essential characteristics of Chinese painting. "fun ignited" and painting freehand "is a typical Chinese painting in order to express the two forms of the painter thought.

1, taste ignited

Painting and artistic creation is aesthetic way reflect the life of the author's point of view, thoughts and feelings, and aesthetic appeal are specific artistic ideas and art to convey manifested is ignited fun. Painting is a highly spiritual art inherent in the creation of the art of painting reflects the strong ideological and its relationship with the material world, the kind of ambiguous, both substances, but also the level of spirit, and thus the most close to the essence of art. Looking at the history of the development of the Chinese and Western painting art , we can see, the root invisible line in the pulling direction of its development, the traction artistic development always impartial towards it forward on the road of its development, and this has a huge "magic "invisible command is" spiritual thinking ". many schools of Chinese painting masters of giving birth, endless techniques, style, spirituality is naturally very strong traditional Chinese painting art creation by the aesthetics and the concept of arts affect Chinese people pay attention to the most political and religious values ​​of the plastic arts, the Tang Dynasty Zhang Yan Yuan pointed out that the fine arts have the enlightenment function. summed husband painted into enlightenment to help others Lun, Qiongshen change, measured renaissance men, and six citizenships isoenzyme four when and operational superiority of fine art evangelize and other means of education and also to do a comparison: Magazine So Syria being to not set out its capacity, Fu. Ode to chant its beauty, you can not prepare their as a picture of the system, so the chief also more or less are also talking about the role of the artistic spirit.

Taste ignited the biggest manifestation of the spirit of Chinese painting of a pen. Force of Chinese painting the core issues pen pen calligraphy has laid an aesthetic requirements. Ancient Southern Qi Sheikh >> << Raise of Law the bone pen "requires strokes organizations scouring aptly performance of the object, to express the feelings of the author. Chinese painting with a pen there are a lot of requirements, In addition to the emphasis on pen force, there are three very important requirement is artistically performance, extensive changes and ignited and fun. artistically tasting figures ethos degrees rhyme abbreviation of the Wei and Jin dynasties, is out to expose internal mental factors cited as standard or painting sum under the paper have to change, but also pride and hygiene conditions, CPT into a fun, this is a pen and ink taste requirements. mood painter emotions emotional colors, interesting painter spiritual life and material life fun., pen and ink contains with a strong spirit and lyricism of Chinese painting pen pay attention to the core of traditional Chinese painting techniques, Chinese painting is essentially a gene pen is the basis of the shape to be able to not only correct and accurate depiction of the object, but also the object itself "spineless" (see Note 1). artistically and spirited sense same, the painter must first deposit prior to the creation of think in the heart of the so-called "Purpose in first" write to be able to produce vivid artistically, "as should be God , image preparation and a look of complete and have to rely on the pen.

2 to draw freehand

The ideological content of the art of Chinese painting is reflected in the creation of Chinese painting in the shape, color, composition, subject matter, and so many aspects of screen content to express a certain sense of mood, to reflect the author's worldview, values ​​and philosophy of life is painting freehand First, the shape of the Chinese painting has a flat, decorative imagery characteristics, which are the product of the imagination of imagery and decorative. decorative imagination is that of the use of the images processed summarized deformation beautify the objective basis so that both objects, more of subjectivity. Imagery is just contrast, decorative subjective more extreme modeling more patterned imagery contains a natural real desire of Chinese painting to get rid of the shadow of the craft decoration of Gu Kaizhi on proposed "to form write God" of modeling requirements, shaped the importance of further attention. correct write-shaped to correct vivid, imago modeling of important law. traditional Chinese painting, both spirit and form to convert focusing express the spirit of the main painting stressed "shaped with God, Vivid, not rigidly adhere to the shape of the carving, and focus on the charm convey creative thinking, It is in recognition of got artistic creation in "shape" and "vivid" the dialectical relationship between the two complement each other. paintings emphasized nature outside, in the heart of the source, that the painter observe and grasp of objective things, outside to the inside emphasis on the understanding of the spirit characteristic of the artist's subjective spirit factors, including cultivation, moral character, disposition, etc., with the objective world phase fusion, thus creating a has profound connotations of beauty image and realm. strong spirit of resistance of Chinese painting. spiritual guidance for has an extremely important role and significance to the development of Chinese painting and Chinese painting art extremely pursuit of expression and manifestation of inner thoughts, which fully embodies the spirit of the art of painting, to some extent, is derived from China's traditional cultural heritage, as well as in thinkers subtle artist grew up under the influence of Chinese culture. the Song literati freehand painting "meaning" which contains the spirit of the object or artistically, and put into the spirit of the author, giving the images a certain sense the intrinsic. axis >> screen text with the << bamboo in deliberately depiction of the subject to some natural environmental constraints, thus bending the growth of bamboo, how tenaciously adhere to upward development, wanted to show the the true survival vibrant and author of the bamboo The high degree of unity of the force of personality.

Second view of Chinese painting with color. Had whale << of Wang Shimin small like >> example to discuss fully reflects "the Six" one of the categories to give color ", Sheikh typed, image, decoration of flattened features several colors completely flat coated lined plane constructive relations, blooming only slightly in the face, to show that he is only concerned about the spirit of the characters rather than a material entity. simple shape and color of the light plane, the material sexual performance to reduce prominent spiritual characteristics can not be at a low level - it is the Chinese painting with the color of the spirit of the performance. simultaneously worthy of attention is, of Chinese painting in the use of color is also particularly like to use ink it just embodies the ancient Chinese main cultural Confucianism. tract. Buddha's some philosophical concepts have these philosophical accomplishment of literati literati painters reflect "literati painting". Confucius will "blog on the road, with virtue, according to Yu Ren" as an artistic creation "tour in Arts premise, he swam in the arts of life activities, are built on the basis of "benevolence" spirit of Chinese landscape painting Heaven, in essence, also contains "Ren" values. landscape painting contains ancient Chinese personality and moral cultivation of self-improvement is an extremely important function, that is, by Confucianism. developed the art of painting in this case, is bound to be extremely strong ideological significance. ancient Chinese landscape painting gestation produce enormous impact on Taoism best embodies the Taoist philosophical ideas, but only with the ink painting landscapes I "mysterious" to describe a subtle but profound philosophical truth. "mysterious" in Taoism is very high, which further expand the authority of the influence of the ink to dominate the world I think colored people blindness "advocates see Su Bao Pu" only one ink leaving colored abstract up different Levels of ink can represent a variety of colors meaning exists only enough to show images, nor contrary to the beauty of simplicity, is reaching the highest natural artistic taste. he stressed that "caused by virtual pole, keep quiet Benedict philosophical realm, quiet mood by the" mysterious "color to reflect most appropriate, because of the "mysterious" idea was a deep silence. Taoism and pay attention to the cultivation of tranquil << Zhuangzi Heaven articles >> that: "Cardiff xujing the tranquil, lonely inaction, heaven and earth level and moral matter to. ..... this of all things. "static and light connected, peaceful black no VANGUARD lively stimulate the matter are both trademarks eyes, it seems tranquil, colorful gorgeous electrode classified as a single ink tranquil again to plus xujing and simple, they achievements Chinese Paintings from the philosophical nature of artistic creation soaring. aesthetic ideas of the pre-Qin, a great impact on the development of Chinese painting. the painting artistic creation guidance and constraints First, it advocates art useless, with good, benevolence, On the use of the rite is contradicted, but spread to future generations, so that the ancient Chinese society and painter individuals have conflicting aesthetic ideology While recognizing the art of painting positive social significance. while on the other hand to turn the art of painting as a non-fluff is worth mentioning that the social status of the painter. ancient literati both love to paint, and shame that the mentality of the industry so that they will draw painting only as an amateur pastime, rarely 100 percent enthusiasm betting painting to go, even with such pursuits are always subject to prior ideological shackles behave in the pre-Qin aesthetic ideology to good, benevolence, the ceremony concept also integrated in the cultural traditions of Confucianism headed, these ideas are accepted by the people for the society at large, and as the subject of ancient Chinese painting literati is the main recipient of, of course, they are also very conscious of painting adhere to this principle. creation thinking I Zhuangzi respect for nature, so enjoy the natural beauty of the main ideological theme. while their colored negation and plain advocate xujing tranquil philosophy accomplishment affected the later literati painters on meticulous re-color the contempt and on Ink freehand painting preference to ink is the only color of ink painting freehand drawing, centralized embodies Chinese ancient main culture, Confucianism, Taoism, Buddhism, some philosophical concepts. Warring States period in the ideological sphere appeared lively remarkable phenomenon of "a hundred schools of thought contend". has a different view of the world, values ​​thinkers in succession to advocate their own ideas and opinions made public. these ideas to some extent, also gave birth to the ancient Chinese people, whether or literati basic worldview and values ​​of the people, so in their consciousness has left a moral and ethical concepts of thinkers, and continue to affect them and the people they later this ideological shadow become the basic guidelines and based on their textual life painting and artistic creation is a spiritual activity put on the substance of a conscious human activity, of course, it is inevitable to bring subjective thoughts and ideas of the creators, and then also the achievements of the ideological content of their works by the Taoist thinking of painting, we can already understand. then look at Buddhism. Buddhism on Chinese painting Zen it is China sectarian, easy literati believe the concept of Chinese painting ink and followed in the shape of "Not Alike Like" concept as well as a blank composition concept reflects the influence of Zen "Zen" very stressed "no" on the cultivation concept. "no phase" is not " phase ", what do not have painted. << explained:" no phase, phase the Sixth Patriarch magic weapon altar after >> off phase "and" phase "maintain a first glance together first glance from the dialectical relationship, but The key lies in "off phase." Zen "paraphrase" peaceful contemplation ", while" off phase "embodies the" peaceful contemplation, do not have to be disturbed for "phase".

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painted everything with a single ink Figure hue, color abstract. History of the so-called "Zen painting with Chinese literati painting connected place, it Ink impressionistic painting was born in ink on the shape and composition concepts later and literati painting confluence jointly contributed to the best evidence that the ink painting pioneers by Taoist ideas affect their creative spirit and state. Zhang Yan Yuan once summed said: "husband material painting special bogey morphology color Chapter distinctly endowed, and even would like to very fine, while exposed Coincidentally dense." This is from the Taoist concept that color too much description too realistic, would like to fine, so unnatural ....... third talk about the composition of Chinese painting in the composition, including nine factors: cloth potential (also called layout or permissive, business location), Qimai, opening and closing, concealment and revelation, the actual situation in blank corner treatment, interspersed bet inscription chapter, reel Chinese painting, we can often see many gaps did not draw in Chinese painting, drawn to the place commonly known as real, not painting called virtual, virtual performance blank blank color problem , or the imagery of some of the specific things, but also has the unlimited spiritual capacity. among the inscription and stamp busy chapter is another manifestation of the spirit of Chinese painting. Finally, it comes to the subject of the more obvious manifestation of painting in Chinese painter projected mental factors. regardless of religious subjects, secular life, natural landscapes, flowers and birds fish beast ...... embody some spirit of the will of the painter, to borrow a picture to express some kind of ideological content, express certain thoughts and feelings, all contain a certain outlook on life, the the values ​​....... Eastern Jin Gu Kaizhi explicitly proposed the painting performance requirements of the object, he said: Where painting, people, the hardest time landscape, the times dog horse, Taixie, certainly is ear, difficult into easily understood, does not stay relocated Miao was also at this point that he inherited the a simple materialist ideology of the Warring States period have further play. particular, he focused on portraits "vivid", he puts on mentioned in the general discourse of painting to independent theoretical understanding of height, which pioneered the field of theoretical research of ancient Chinese art, have a far-reaching impact on future generations. the Southern Dynasties Sheikh "the Six" generation and the ancient art of painting more than a thousand years of artistically spirited chase, are directly or indirectly influenced by him, it shows that the idea of ​​inheritance of the art of painting and far-reaching amazing. (that is vivid, the traditional method used as Sheikh Raise of pen, should be the object pictogram categories to give color, location of operations, The Tradition write basic evaluation criterion in the traditional Chinese art The Raise of today remains vitality. example, categories to give color, it embodies the use of color is a type of ancient Chinese art creation born out of traditions and the profound craft decorative arts in order to maintain the unity of patterns, use of color must maintain a typed so he formed such a strong ideology appreciate habits Southern Dynasties, called Bing landscape in he >> << landscape painting sequence that its appearance reflects the "Road", thus figure painting landscapes image can comprehend nothingness Road but he "would have a sense of God, God theory "creative idea of ​​method, in a certain sense, can be understood as realizing the objects together in the heart repercussions, sparking creative passion fully demonstrates his aesthetic sense. Landscape Painting attributed to the" Meditation "that emphasizes The activities of the artist's imagination, the taste of the delight and has created and the pursuit of future generations "Emotion in the King," "scenes and" association of the same strain, which also fully shows that the ideological inheritance of artistic creation.

Western Jin Dynasty, Lu Ji, the social function of the painting is "<< Ya >> << Chung >> treatise on the great cause of the sweet smell of the United States, propaganda material is greater than words, shape, Mo Painting Zhang Yan Yuan of the Tang Dynasty more clear requirements: husband painted into enlightenment, to help others Lun Qiongshen change measured renaissance men, and six citizenships isoenzyme, seasons and shipped "this" eyes and ears of the desire of the pole mouths and stomachs will be parishioners level likes and dislikes and anti-humanitarian positive "view of art, constitute the core idea of ​​the creation of the China Academy of Art, had a profound impact on the development of the arts. Zhuangzi critical ethics of Confucius, advocating freedom of the spirit, thereby seeking to transcend any natural the Taoist awareness and re-ritual law, stresses ethics of Confucian ideology to form a close complementary relationship embodied in the creative arts is is loosening the artistic and political and religious the direct subordinate relationship. literati intervention painting, Confucianism sustains to tract health stressed artistic creation "Praising God", advocating "Mei Road" respected "free and natural, advertised" pure "further liberation of Fine Arts from the single educational function, and gradually evolved as a painter Tao Qingyi, Shuhuai Introduction Chi, that means of spiritual self-regulation. Zhang Yan Yuan stressed the educational function of the painting, and certainly painting the "delight temperament" headed by Su Shi of the Song Dynasty to the group of literati painters, more forward on the creation of real This creative tendencies. Yuan Ni Zan, Creative ideas on the "Yat pen hastily, not for the shape chatted write chest outgassing, this art ideas to make subjective starting point of the painting, as well as the concept of art, aesthetic ideals and criticism standards have undergone profound changes, epitomized in the fine art aesthetic function and subjective performance is further strengthened, and pay more attention to the charm of the pursuit of shape, God relations, and painting evolved into a kind of poetry, calligraphy and painting together as one integrated arts, painting and artistic creation has always been imbued with the ideology of both philosophy and literature, the formation of a unique concept and specification. the Chinese painting fun ignited "and" to draw freehand reflect the mental qualities of painting. the creation of any form of the art of painting, there are corresponding manifestations of this creative ideas. "ideas" here is what I am talking about the creation of the art of painting ideological, it is the spirit of things, in order to show in front of people, so they are expressed by means of some form of matter. Conversely, that is to say, art is the spirit and thoughts and feelings as to the content of their own performance .18 century European art history Winckelmann had done related to the discussions in this regard, is quite vague and not depth. then art historian of 19th-century European romanticism Hegel as an artistic expression of the mental factors do a thorough and complete exposition of his mental factors as art only fully confirmed and clarified the highest artistic pursuit on the one hand of departure from the constant search for the spirit of the art form suitable for the performance of hand, they stressed that the form has its own independent value. thus starting from a dialectical perspective, Find the perfect fusion of the spiritual content and form of expression. "arts matter to might come not with the spirit of the pass (see note 2. traditional Chinese painting emphasizes character paintings, in essence, is the emphasis on the humanistic spirit." character is not high-road can not be become a yardstick of traditional discourse. past decades with or without reason? bad answer., traditional Chinese paintings are painted on the front. Pan Tianshou need to stand products said: "Art for the nourishment of the human spirit" (see Note 3. Huang Bin said: ink spirit, eternal and inalienable "(see Note 4 things are emphasized painting behind the painting is not just painting from a sense of traditional Chinese painting is very" people "," text "of tradition, the very personification of the tradition. "objects are of color" (see Note 5 not say human relations, culture, traditional Chinese painting is speaking to civilized life for the inevitable. the Southern Song Tang << Plucking diagram >> depicted the history of the story, is a direct enlightenment of the ethics of human relations, Early Spring Song Guoxi << >> (Figure 3 depicts the early spring landscape indirect the Acura fortune symbolizes Chong Gaobo big spiritual strength, spiritual strength will nature personified imply.

China literati painting freehand painting is especially painting "four gentlemen" painting pine and cypress, painting Hemerocallis, painting everything sustenance and symbolic items painted with paint by the ideal of personality glued whom flaunt.

Note:
1, contains the "bone", "gas" two meanings. "Bone" is the image of the material factors, "gas" is the image of the spirit.

2 << ancient calligraphy paper selection • Continued Shu Pu >> Shanghai Fine Arts Publishing House, 1 October 1979

3 << listen Tin House painting talk essays >> Shanghai People's Fine Arts Publishing House, 1980

4, Collected Works >> << Binhong Shanghai Fine Arts Publishing House, 1998 edition


5 << >> Shanghai Ancient Books Publishing House, 1 September 1999 Human Words

References:

1, the China Academy of Fine Arts, Department of Art History, Department of Art History, edited << A Brief History of the Chinese Artists >> Higher Education Press, 1998, Revision 2, China Academy of Fine Arts, Department of Art History the Foreign Art History Department edited << A Brief History of Foreign Art >> Higher Education Press, revised edition 1998

3, Guo Xiaochuan book << Western art history methodology >> Hebei Fine Arts Publishing House, 1 June 2000


4 Hung Hui-town the << Chinese and Western painting >> Papers Hebei Fine Arts Publishing House 2000

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