Introduction
of Traditional Chinese Painting
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Chinese
traditional painting dates back to the Neolithic Period
about six thousand years ago. The coloured pottery with
painted animals, fish, deer, and frogs excavated in the
1920s indicate that during the Neolithic Period the Chinese
had already started to use brushes to paint.
Chinese traditional painting is highly regarded throughout
the world for its theory, expression, and techniques.
According to the means of expression, Chinese painting
can be divided into two categories: the xieyi school and
the gongbi school. The xieyi school is marked by exaggerated
forms and freehand brush work. The gongbi school is characterized
by close attention to detail and fine brush work.
Xieyi,
however, is the fundamental approach to Chinese painting.
It constitues an aesthetic theory which, above all,
emphasizes the sentiments. Even in ancient times, Chinese
artists were unwilling to be restrained by reality.
A famous artist of the Jin Dynasty Gu Kaizhi (c. 345-406)
was the first to put forward the theory of "making
the form show the spirit". In his opinion a painting
should serve as a means to convey not only the appearance
of an object, but express how the artist looks at it.
Gu's views were followed by theories such as "likeness
in spirit resides in unlikeness" and "a painting
should be something between likeness and unlikeness".
Guided by these theories, Chinese artists disregard
the limitations of proportion, perspective, and light.
Take Qi Baishi, the modern painter, for example. He
does not paint shrimps, insects, birds, and flowers
as they are in nature; only their essence has shown
as a result of the artist's long-term observation and
profound understanding of the subjects.
Different
from Western paintings, a Chinese painting is not restricted
by the focal point in its perspective. The artist may
paint on a long and narrow piece of paper or silk all
the scenes along the Yangtse River. It can be said that
the adoption of shifting perspective is one of the characteristics
of Chinese painting. Why do the Chinese artists emphasize
the shifting perspective? They want to break away from
the restrictions of time and space and to include in
their pictures both things which are far and things
which are near. Also, the artists find that in life
people view their surroundings from a mobile focal point.
As one walks along a river or in a garden, one sees
everything on the way. The shifting perspective enables
the artist to express freely what he wants.
Chinese
calligraphy and Chinese painting are closely related
because lines are used in both. Chinese people have
turned simple lines into a highly-developed form of
art. Lines are used not only to draw contours but to
express the artist's concepts and feelings. For different
subjects and different purposes a variety of lines are
used. They may be straight or curved, hard or soft,
thick or thin, pale or dark, and the ink may be dry
or running. The use of lines and strokes is one of the
elements that give Chinese painting its unique qualities.
Chinese Painting-Chinese Brush Painting-China Painting-Oriental Painting
Traditional
Chinese painting is a combination in the same picture
of the arts of poetry, calligraphy, painting, and seal
engraving. In ancient times most artists were poets
and calligraphers. Su Dongpo (1037-1101), Ni Yunlin
(1306-1374), and Dong Qichang (1555-1636) were such
artists. To the Chinese, "painting in poetry and
poetry in painting" has been one of the criteria
for excellent works of art. Inscriptions and seal impressions
help to explain the painter's ideas and sentiments and
also add decorative beauty to the painting. Ancient
artists liked to paint pines, bamboo, and plum blossoms.
When inscriptions like "Exemplary conduct and nobility
of character" were made, those plants were meant
to embody the qualities of people who were upright and
were ready to help each other under hard conditions.
For Chinese graphic art, poetry, calligraphy, painting,
and seal engraving are necessary parts, which supplement
and enrich one another.
Since
the turn of the century, China has experienced great
political, economic, and cultural changes, and the art
of painting is no exception. While traditional Chinese
painting still occupies an important place in the life
of modern Chinese, many painters now desire to express
their experience of new times. By combining new modes
of expression with traditional Chinese painting techniques,
they are opening up a vast, new world of artistic expression.
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