Traditional Chinese Painting (Part 2)

Landscape painting is a special area of study in art; it mainly depicts natural scenery. It developed during the Wei, Jin, and South-North periods (220 – 589 AD) but it remained secondary to figure painting as it was often used only as a backdrop. During the Sui and Tang dynasties (581 – 907 AD), landscape painting became an independent art. During the Northern Song period (960 – 1127 AD), landscape painting soared in popularity to reach its apex, and many artists took to this art form. The painters aligned into a southern and a northern faction that competed with each other to excel in landscape painting. Despite the differences in life experiences, accomplishments, schools and methods, landscape painters could all demonstrate the beauty of nature on paper through their brush, ink, color, skills and sketches. In the Yuan dynasty (1271 – 1368 AD), landscape painting inclined towards freehand expression with an emphasis on beauty through brush strokes. Traditional classification of landscape painting includes six categories.
 
Before the Wei, Jin, and South-North periods, flowers and birds in Chinese art only appeared figures and patterns on pottery and copperware. Oftentimes birds and animals are painted as a connection to mythical beasts. Flower-bird painting became an independent category of painting during the Tang dynasty.
 
The Ideology of "Heaven and Man Are One"
 
Chinese painting attaches importance to conception, and it is particular about forming the concept first before painting. It emphasizes the subjective and objective unity of the artistic image and does not pursue precise resemblance in form; instead, it strives for "the ingenious effect that lies between resemblance and non-resemblance" and "resemblance in non-resemblance." Chinese painting uses unique brush and ink techniques to depict the object and express feeling, and by means of point, line, and surface depicts the shape, framework, texture, light, and the bearing of the object in the painting. The brush and ink serve not only as techniques to depict objects and to convey feelings, but also serve as carriers of the object of painting. At the same time, they, themselves, are a form of connotation, displaying tasteful charm in Chinese calligraphy and possessing unique aesthetic value. Chinese painting emphasizes the fact that the painting and the calligraphy are homologous. Moreover, it pays attention to the character and accomplishment of the artist. In a particular piece of work, particular attention is given to the harmonic combination of poem, calligraphy, painting, and seal. Through writing the poem, preface, and postscript on a painting, the artist expresses his understanding of society, life and, art. These not only enrich the theme of the painting, but also form part of the composition.
 
Chinese painting reflects the philosophical and aesthetic concepts of the Chinese in its observation, image creation, and expression. In its observation of reality, it adopts the method of seeing what is small from what is big, and from what is small to see what is big. It observes reality in real life or even directly becomes part of the reality, instead of just observing as an outsider or limiting itself to a particular point of view. Even when painting pure natural objects, such as landscapes, flowers, and birds, the artist may also link them with people's social consciousness and aesthetic interest, using the scenes to express feelings or express one's aspirations through depicting a particular object.
 
Traditional Chinese painting is not only time-honored, but also serves as a mirror to reflect China's traditional arts, demonstrating the Chinese traditional concept of "Heaven and Man are one."
 
历史悠久的国画 (下)
 
描写山川自然景色为主体的山水画是专门的艺术学科，山水画在魏晋、南北朝已逐渐发展，但仍附属于人物画，作为背景的居多；隋唐始独立，如展子虔的设色山水，李思训的金碧山水，王维的水墨山水，王洽的泼墨山水等；五代、北宋山水画大兴，作者纷起，如荆浩、关仝、李成、董源、巨然、范宽、许道宁、燕文贵、宋迪、王诜、米芾、米友仁的水墨山水，王希孟、赵伯驹、赵伯骕的青绿山水，南北竞辉，形成南北宗两大派系，达到高峰。自唐代以来，每一时期，都有著名画家，专尚从事山水画的创作。尽管他们的身世、素养、学派、方法等不同，但是，都能够用过笔墨、色彩、技巧，灵活经营，认真描绘，使自然风光之美，欣然跃于纸上，其脉相同，雄伟壮观，气韵清逸。元代山水画趋向写意，以虚带实，侧重笔墨神韵。表现上讲究经营位置和表达意境。传统分法有水墨、青绿、金碧、没骨、浅绛、淡彩等形式。
 
在魏晋南北朝之前，花鸟作为中国艺术的表现对像，一直是以图案纹饰的方式出现在陶器、铜器之上。花鸟画较多的是画一些禽鸟和动物，因为它们往往和神话有一定的联系，有的甚至是神话中的主角。如为王母捣药的玉兔，太阳中的金乌，月宫中的蟾蜍，以及代表四个方位的青龙、白虎、朱雀、玄武等。一般说花鸟画在唐代独立成科，属于花鸟范畴的鞍马在这一时期已经有了较高的艺术成就，现在所能见到的韩干的《照夜白》、韩滉的《五牛图》以及传为戴嵩的《半牛图》等，都表明了这一题材所具有的较高的艺术水准。而记载中曹霸、陈闳的鞍马，冯绍正的画鹰，薛稷的画鹤，韦偃的画龙，边鸾、滕昌佑、刁光胤的花鸟，孙位的画松竹，不仅表现了强大的阵容，而且各自都有杰作。如薛稷画鹤，杜甫有诗赞曰：“薛公十一鹤，皆写青田真。画色久欲尽，苍然犹出尘。低昂各有意，磊落似长人。”
 
“天人合一”的思想
 
中国画在创作上重视构思，讲求意在笔先和形像思维，注重艺术形像的主客观统一。造型上不拘于表面的肖似，而讲求“妙在似与不似之间”和“不似之似”。中国画以其特有的笔墨技巧作为状物及传情达意的表现手段，以点、线、面的形式描绘对像的形貌、骨法、质地、光暗及情态神韵。这里的笔墨既是状物、传情的技巧，又是对像的载体，同时本身又是有意味的形式，其痕迹体现了中国书法的意趣，具有独立的审美价值。中国画在创作中强调书画同源，注重画家本人的人品及素养。在具体作品中讲求诗 、书、画、印的有机结合，并且通过在画面上题写诗文跋语，表达画家对社会、人生及艺术的认识，既起到了深化主题的作用，又是画面的有机组成部份。
 
中国画在观察认识、形像塑造和表现手法上，体现了中华民族传统的哲学观念和审美观，在对客观事物的观察认识中，采取以大观小、小中见大的方法，并在活动中去观察和认识客观事物，甚至可以直接参与到事物中去，而不是做局外观，或局限在某个固定点上。它渗透著人们的社会意识，从而使绘画具有“千载寂寥，披图可鉴”的认识作用，又起到“恶以诫世，善以示后”的教育作用。即使山水、花鸟等纯自然的客观物像，在观察、认识和表现中，也自觉地与人的社会意识和审美情趣相联系，借景抒情，托物言志。
 
国画不仅历史悠久，还是折射中国传统艺术的一面镜子，体现了中国传统文化“天人合一”的思想。