In Chinese painting, the three families of figures, landscapes, flowers and birds are closely related to spatial expression is landscape painting. China's vast territory, mountains, rivers, magnificent rivers and mountains of the motherland and thousands of years of long cultural history are the objective conditions and foundation for the production of the great art - Chinese landscape painting. As one of the plastic arts of painting, how to express the infinite sense of space on a finite plane is a very important problem, especially the landscape painting that expresses the natural features of thousands of rivers and mountains, and there is a more prominent problem of how to treat spatial cognition and performance.
In figure painting, the space occupied by the activities of the characters is extremely limited, and the understanding and expression of the space will not become a constraint on the development of the figure painting technique. Landscape painting is different, the nature of the huge space traversed thousands of miles, to be reflected in the picture, if not from the theory and practice to solve the spatial expression method, will inevitably affect the development of landscape painting.
Author: Chen Banding
Name: Landscape
Collection of Qingweilou Fine Arts Museum
As early as the fourth century, Zong Bing and Wang Wei of the Southern Song Dynasty of the Six Dynasties, in the process of their artistic practice, had put forward extremely important views on the understanding and expression of space from theory. Zong Bing said in the "Preface to Painting Landscapes": "The fu kunlun mountain is large, the pupil is small, and if the eyes are forced to be inches, their shape is invisible." If you count the miles, you can look around. If the sincerity is slightly broader, then it is small. This is the most fundamental theoretical problem in perspective, the principle of "near large and far small". This predates the Italian architect Brunelleei's study of the law of perspective in which the subject is represented in a geometric plane, and the formal publication of the theory of perspective by Alberti in his Treatise on Painting in 1436.
Zong Bing also said: "Now that Zhang Xiusu is far away, the shape of Kun Lang can be enclosed within a square inch, and the vertical painting is three inches, when it is a thousand feet high, the horizontal ink is several feet, and the body is hundreds of miles away." He completely expounded the relationship between the three-dimensional concept of plane shaping in perspective today. How similar is Zong Bing's description of "today's Zhang Xiusu with a distant reflection" and the principle of glass plate framing used in today's perspective science! Today's artists seem to be the most common sense, but how amazing it is that it came from the understanding of the ancients fifteen hundred years ago!
The ancients were not only able to deal with the relationship between the high and low ratios of near and far, but also proposed a higher understanding of the space of expression. Wang Wei said in "Narrative Painting": "The paintings of the ancients are also not based on the case of the city area, the office of Fang Zhou, the biaozhen Fu, the dip in the stream, the original form, the fusion of the spirit and the heart of the changer." The spirit sees nothing, so it does not move, and it has a pole, so it does not see well. Therefore, with the pen of a tube, the body of doubt, the shape of the body, the clarity of the eyes. "This puts forward higher requirements for Chinese landscape painting." He was not satisfied with the objective reflection of the actual landscape as it was, locally, like a map. Because "what is seen is not well seen", it requires a more comprehensive and rich expression of objective existence, and requires the author to be able to look far ahead, from the surface and the inside, so that the objective and the subjective spirit are linked, with "a pipe of the pen, the body of doubt".
Author: Liu Haisu
Title: "Rising Sun in the Sea and Sky"
Zong Bing and Wang Wei jointly put forward the artistic realm of pursuing "writing the landscape and looking" for Chinese landscape painting, and put forward the artistic requirements of Chinese landscape painting. In this way, it has opened up a new path for the understanding of space in Chinese landscape painting, far beyond the perspective changes that geometry can solve, combining objective and subjective, combining scenery with emotion, producing "hills in the chest" and "artistic conception", pursuing changes in pen and ink, and making the space of the picture wider and richer through the contrast between virtual and real.
"Nanshi Xiao Ben Biography" commented that Xiao Ben painted landscapes on a fan surface, a very small picture, which can achieve the artistic effect of "feeling far away within a few feet". His skill in expressing space has reached an astonishing level. Chinese landscape painting, which expresses mountains, stones, trees, and peak clouds, does far exceed the spatial problems that can be solved by using the laws of perspective of geometric methods in terms of spatial expression methods. Perspective is based on the composition of the actual geometric diagram (hexahedron, polyhedra, etc.), fixed point as the starting point, limited by time, with sunlight as the light source, that is, the timing fixed point as the premise. When describing natural scenes, if the perspective change of a tree is analyzed according to the laws of geometric perspective, it is extremely unrealistic to turn the tree into a regular umbrella shape to find countless perspective disappearing lines to determine the change of branches in space.
Author: Tang Bohu
Name: Shanshui Fan
The understanding of space in Chinese landscape painting is not limited to objective space, but also has the problem of subjective space of "hills and ravines in the chest". The relationship between near and far in Chinese painting places great emphasis on feeling, emphasizing virtual reality to achieve artistic effects. In order to express the author's thoughts and feelings, various techniques of expressing space such as drawing the distant view closer or pushing the near view farther away are often used on the screen to strengthen the change of depth of field, strengthen the change of virtual and real contrast, and achieve the shaping of space. These understandings were elaborated as early as the fifth century by Zong Bing and Wang Wei in their writings. Compared with the later Gu Kaizhi's "Wonderful Imagination" and Tang Zhangxuan's "Obtaining the Source of the Heart" exposition, which have the same meaning, requiring the combination of "scenery" and "feeling", the combination of "form" and "god", and the combination of objective space and subjective space for expressive space.
Part of the work
Mr. Zong Baihua has a precise exposition in the article "Spatial Consciousness Expressed in Chinese Poetry and Painting": "Looking at all things in space with the eyes of the tilt of the mind, the spatial consciousness expressed in our (Chinese) poems and paintings is not like the contoured fixed statue representing the greek sense of space, not like the straight line in the tomb that expresses the Egyptian sense of space, nor the endless deep space in Rembrandt's oil painting that represents the spirit of modern Europe, but' Pitching's rhythmic musicality has a Chinese cosmic sense. The I Ching says, 'There is no going back and forth, and so is the world of heaven and earth.' This is the spatial consciousness of Chinese. "Chinese painters should establish such a unique sense of space.
Orchids and ink bamboo in Chinese flower and bird paintings, unlike still lifes in Western paintings, must be fixed in a certain position when painting, according to the perspective changes of the light and shade colors formed by the space occupied by the object under specific light. In order to highlight the main depiction of the object, Chinese painting can abandon all backgrounds, abandon all the changes in light and shade and projection that represent the locality, concentrate attention on observing the image characteristics of Lanzhu in the natural ecology, "integrate in the heart", "have a heart", and "have a heart" to describe the life charm of Lanzhu with the unique technique of Chinese painting brush and ink, and use the thick, light, dry and wet changes of ink to show the back of Lanzhu, fully describing the space for the life movement of Lanzhu.
Author: Pan Zhenyong
Name: "Bamboo Forest Lady"
Chinese painting, whether it is figure painting, landscape painting or flower and bird painting, is not satisfied with objective description, it requires more to write about God in form, both form and god, to write love with scenery, and to blend scenes. Therefore, on the screen, it is not only required to represent the objective world, but also to express the subjective world. In the spatial performance of the picture, it does not simply stay in the objective and superficial accuracy. The "thousands of miles" of Chinese landscape painting is not solved simply by relying on the laws of geometric perspective. In the Northern Song Dynasty Guo Xi's "Lin Quan Gao Zhi", he used the three-far method of high, flat and far-reaching to express the sense of space of the mountains. In the Complete Collection of Pure Landscapes, Han Huan expounded the three far-distance methods of broad distance, lost distance and remote distance, which were combined to form the six far methods. These are theoretical creations that express the spatial feeling of landscape painting.
Chinese painting expresses the sense of space not only in the expression of objective physical objects, but also in the imagination of subjective consciousness. The two are combined. The expressive technique of Chinese painting emphasizes the use of contrasting techniques. Chinese painting takes ink color as the main tone, so it uses blank space to contrast with black black, ink is real, white is virtual, virtual and real combines, turns reality into virtual, turns objective reality into subjective performance, constitutes an artistic image, produces an artistic conception, gives the artwork infinite vitality, creates infinite space, and gives people a sense of beauty within a thousand miles.
Qing Ren Zhengguang said in the "Painting Basket": "The real scene is clear and the empty scene is present, the real realm is forced to be born in the divine realm, the virtual reality is born, and everywhere there is no painting becomes a wonderful realm." These theoretical expositions all illustrate the artistic creation process of Chinese painting that turns scenery into sentiment, combines objective and subjective, and combines reality and fiction. Chinese painters often imagine white paper as a vast space in which to create a new realm of beauty. The laws of western geometric perspective could not be helped by Chinese painters. Chinese painters broke the constraints of viewpoint, time, light and geographical location and freely traveled in the midst of thousands of miles of rivers and mountains, resulting in countless great oriental artworks such as "Ten Thousand Miles of the Yangtze River" and "Heavy Mountains and Stacked Green Maps".
Author: Wang Yuanqi
Chinese paintings can have the form of hand scrolls with several zhangs, or they can have the form of long screen strips with high zhangyu; spring, summer, autumn and winter can be combined into one wall, and can also form a special form of Chinese unique middle hall and tongjing partition. Chinese painting mountains do not paint clouds, turning blanks into endless seas of clouds; painting shores without painting water, turning blanks into vast rivers and lakes; painting fish without painting water, blanks are the waters where fish swim; painting birds does not paint the sky, and blankness is where birds soar. The outdoor world of figure painting and the indoor plain wall can use the technique of virtual and real contrast, through the association of real scene and virtual scene, through the association of picture and outside the frame, to create a subjective sense of space.
The Qing Dynasty painter Fang Tushu said in the "Essays on Heavenly Lazy Temple": "Mountains and rivers, grass and trees, creating nature, this reality is also; the painter creates the realm because of the heart, and uses his hands to transport the heart, and this virtual realm is also." Virtual is real, in the pen and ink there is no. This shows that although the realm of artistic creation is taken from the creation of nature, the mountains and rivers expressed between pen and ink are all imagined in consciousness, beautiful, vivid new realm of art and new ideal space feeling. Because Chinese painting has a unique sense of space and breaks the constraints of space and time, it has a great freedom of artistic creation. Chinese painting has rich artistic expression.
Editor: Shi Cong
Review: Yang Xiangxiong
Past 丨 period 丨 inside 丨容
"Han Mo Ming Chu Xin Fu Poetry Praise the Party Grace" Xianyang Municipal CPPCC System Celebrated the 100th Anniversary of the Founding of the Party Calligraphy and Painting Exchange Exhibition opened in the Qingweilou Art Museum
Qingweilou Fine Arts Museum
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Exhibition Hall of Modern and Contemporary Chinese Painting and Calligraphy, Exhibition Hall of Contemporary Chinese Painting and Calligraphy
There are more than 1,500 works by Zhao Shaoang in the museum's collection
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