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Analysis of the Spiritual Essence of Chinese Painting

Public number: Ningyuan Cultural Center Source: Time: 2020-02-21 01:56:25

Millennium Tongzhou vitality north stream

Xian Xia Xiu

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Mr. Li Keran once famously remembered the posters and calligraphers of the later generations: "Hit in with the greatest skill, and hit out with the greatest courage." Mr. Li is right. He originally wanted to warn post-learning arts to break into tradition and create new personality. However, there are always many post-learning scholars who say that they have done as Mr. Li said. After getting in, I couldn't get out until now, very frustrated. In fact, this kind of trouble is not necessary. If I say, what the people say is the poor end of life, in fact, otherwise, maybe because of methods, understanding, etc., people did not go in at all, why talk about it? If you really go in, you actually come out. This is actually a dialectical understanding. How to say it? Because no matter how you imitate the traditional inheritance of copying, you will never show the same touch. How you strengthen the actual copy and walk in and then it will never be the same. Your personality will always be the same. Among them, because the publicity of a person's personality is inherent and exists from time to time, we can only strengthen our copy and inheritance of tradition from time to time and suppress the personality from time to time. That's it, what you come out is still strong Personality is in it, not to mention that you are far away from tradition and exert your personality, that will be a habit of rivers and lakes, so I said, you go forward in your life, you will come out at the end, this is a dialectical relationship! ——Dong Jianghai commented every day!

Li Keran's works

The unification of Qin has brought about the unification of words and the unification of currency. This unification does not mean that traditional Chinese culture has only a single content and a single value orientation. On the contrary, the development of traditional Chinese culture is arguing in hundreds of schools. Great unity in the diversity of flowers. The ontological spirit of Chinese painting art is consciously generated in the historical background of the large culture. Chinese painting is a unique expression of the national spirit, which reflects the humanistic spirit and aesthetic style of the society. The tasks carried by Chinese painters are extremely important. They are by no means a simple repetition of painting and metaphysical skills. The painter's ideological connotation, moral conduct, and realization of metaphysical Tao are crucial. The artist is not only to describe life with his pen; to show the beauty, but also to be the reviewer, judge, admirer and discoverer of the standard of truth, goodness and beauty. In a word, it is important that artists should have a sense of social responsibility and responsibility. ——Dong Jianghai commented every day!

Works by Qi Baishi

Calligraphy and painting are connected with character, and high quality means high painting and calligraphy, and character is the expression of the state of mind. When the state of mind reaches the ancient culture of elegant and elegant, the painting and calligraphy will naturally be extraordinary. The situation of the modern development of Chinese calligraphy and painting is introduced into the thinking and deconstruction of traditional Chinese philosophy. Through the analysis of works, it seeks its inherent humanistic consciousness and aesthetic style. Thinking and practicing with different cultural ideas will lead to different conclusions. . Taking the cultural spirit of traditional Confucianism, Buddhism and Taoism as the starting point of the aesthetics of calligraphy and painting, seek the traditional aesthetic consciousness and the ontological connotation of the artistic spirit, and on this basis, test the humanistic feelings and cultural connotations in the works. The artwork shows the spirit of life, and determines It is not a photographic reproduction of real things, it is more of a higher level of lyricism of the spirit of life intention. The aesthetics of Chinese calligraphy and painting emphasizes the pursuit of life with personality aesthetics as the highest state. The so-called words are like people, and painting is like them. ——Dong Jianghai commented every day!

Tang Yin figure painting

The breakthrough and development of Chinese figure painting cannot be realized without the Chinese national cultural spirit and the unique environmental soil of Chinese national culture, let alone the genetic elements of traditional Chinese figure painting such as pen and ink, line quality, etc. The lack of Chinese cultural background or the humanistic background of modern society supported by traditional Chinese culture will weaken its artistic expression, and may also lead to the disorientation of the development of Chinese figure painting and continue to linger in confusion. ——Excerpts from Dong Jianghai's thesis!

Tang Yin figure painting

Looking back at centuries of painting and calligraphy, we suddenly discovered that after a period of more than half a century after the founding of the People ’s Republic of China, there was almost no master in Chinese figure painting, and the traditional Chinese freehand figure painting was almost lost. The Chinese figure paintings that have appeared in various exhibitions have been reduced to artisan paintings—painting pictures; the brushwork figure paintings that have been “ground” for a few months have become the mainstream of Chinese figure paintings in the current exhibition, and even Chinese paintings have appeared Without calligraphy, it is difficult to find the literati meteorology that can truly represent traditional Chinese freehand figure painting. It turned out that the titles of Chinese paintings in large-scale national exhibitions such as the 12th National Art Exhibition accounted for less than 10% of the Chinese paintings in the exhibition. , Freehand Chinese painting works are almost impossible to enter the exhibition, this result really shocked the art world, worried about the future of Chinese painting! ——Excerpts from Dong Jianghai's thesis!

Zhu Yawen

Yuan Zhao Mengfu's "The Red Man"

The mission of the modern freehand figure painter, whether the painter can find the most suitable artistic way to express himself or express his inner desire in the artistic exploration is an important step in the formation of his own style. The painter must find his place in the traditional ocean and tightly surround it. The traditional treasure is repeatedly copied from the classics. If you carefully understand the heritage of the ancients, you will naturally have both the shadow of traditional techniques and your own personality. At present, there are many strange phenomena in the creation of character paintings that cannot be ignored. The basic expression technique has discarded the basic elements of pen, ink and line quality, and the rigid production habits absorbed from Western paintings are full. Some painters either pursue extremely deformed and exaggerated figures. Almost grotesque, vulgar taste, or pursue Western realistic photographic technology to paint Chinese painting. It deviates from the spiritual connotation of elegant and restrained image, abandons the basic elements of the unique tools of Chinese painting and advocates for innovation, and loses the core gene bottom line of the core elements such as the core elements of Chinese painting. This one-sided emphasis on individuality is essentially a negation of traditional Chinese figure painting. The practical significance is that we must return to the traditional classics, dig deeper into the tradition, and continue to seek truth, methods, and wisdom from the tradition. Only by mastering the unique brush-and-ink skills and culturally rich spiritual concepts of traditional Chinese figure painting can we cultivate an innovative gene from the traditional paradigm and explore new peaks of traditional Chinese figure painting. ——Excerpts from Dong Jianghai's thesis!

Zhao Mengfu self portrait

Chinese figure painting has been a tool under the mainstream trend since its birth. It lacked independent spiritual personality and grew up in the gap between Chinese culture. Figure painting became "propositional painting", "political painting" or "Imperial Painting". Nonetheless, Chinese figure paintings are also full of great painters and classics during the thousands of years of hard work. These representative classics have become the essence of traditional Chinese figure paintings and mark a series of China with unique national characteristics. The maturity of figure painting techniques has become an important part of the spiritual connotation of Eastern culture. After 49 years, the new Chinese figure painting education system, led by Xu Beihong, transformed Chinese painting with Western paintings, which brought a fatal and subversive blow to the development of traditional Chinese figure painting. The language of figure painting with the spiritual connotation of traditional painting and calligraphy with national characteristics was Severe pollution and weakening, especially the basic brushstroke method and pen-and-ink form of traditional figure painting have disappeared, replaced by the decent relationship of western sketch pencil sketches, and the spirit of traditional freehand figure painting has almost died out. Returning to tradition, revisiting the classics, and recovering the lost expressiveness of the traditional figure paintings' brushwork, ink and calligraphy lines have been widely recognized by people with lofty ideals, the significance of traditional figure paintings is beyond doubt at this moment, and a new dawn of Chinese figure painting has arrived . ——Excerpts from Dong Jianghai's thesis!

Yuan Zhao Mengfu's "Drinking Horses in Autumn"

The meaning of "writing" in traditional Chinese freehand figure painting is that the calligraphy factor of "writing" was incorporated into Chinese painting after the Yuan Dynasty. It was widely accepted by later generations for its importance of "writing". The calligraphy factor of "writing" has become an important means of forming the personal style of traditional Chinese freehand figure painting since then. The meaning of "write" is extraordinary. For the painter, it is a channel to connect with the work outside the painting. For example, the artist's personal cultivation, the knowledge of Chinese studies, etc. In the painting, the painter's knowledge of nature and the perception of life in the world are summarized through pen and ink, or expressed in the work, that is, during the painting process, the painter "writes" or fluctuates, or sublimates , Or weight, or thickness, or coherent pauses, or dry and moist, written with the change of emotional thoughts, moods, and expression, become a unique aesthetic style of traditional Chinese freehand figure painting. ——Excerpts from Dong Jianghai's thesis!

Yuan Zhao Mengfu's "Riding Figure"

Author: Dongjiang Hai

Ningyuan Cultural Center (gh_0aed3619d98e)

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