四大國粹之國畫匯總PPT課件

1、A Brief Introduction of Chinese Painting Chinese Painting has got an age of more than 2,000 years old. Three major kinds of subject matter dominate Chinese painting. birds and flowers; figures; landscapes of the countryside, mountains and sea. 第1頁/共53頁 Chinese painters use black ink to produce diffe

2、rent tones and a brush to make many kinds of lines. In judging paintings, the Chinese paid more attention to the brushstrokes than to the subject matter.第2頁/共53頁 Styles of Chinese Painting Chinese painting, “Dangqing”.also known as the traditional national painting, one of the traditional fine paint

3、ings with a long history, has its unique and independent system in the worlds fine arts field. A painting is drawn on a special kind of paper (Xuan paper) or silk by ink and color.第3頁/共53頁 Traditional Chinese paintings rely on limited themes and on a preoccupation with details and the minute effects

4、 of brushstrokes. Strong contrasting colors depict love and other changing moods and feeling within the changing world. Chinese paintings have been concerned with historical event and the natural landscape. 第4頁/共53頁 Chinese painting developed and was classified by theme into three genres: figures, l

5、andscapes, and birds-and-flowers. By method into two genres: Free hand brushwork/ (Xieyi): with vivid expression and bold ,vigorous outlines. Detailed brushwork/ fine painting(Gongbi) the traditional realistic style characterized by fine brushwork and close attention to detail.第5頁/共53頁 Free-hand Bru

6、sh: great free-hand painting slight free-hand painting ( ink, brush,water) Fine Brush: line drawing fine brush with heavy color fine brush with light color boneless painting 第6頁/共53頁山有情 水有意陰陽合德 天人合一 氣勢磅礴 草書入筆 細(xì)膩嚴(yán)謹(jǐn) 形神兼?zhèn)?不勾墨線 直接著色 勾描物象 不著顏色 鮮明生動 先畫線條 淡彩敷之 工整細(xì)密 著色濃重第7頁/共53頁第8頁/共53頁第9頁/共53頁Line-drawing

7、第10頁/共53頁第11頁/共53頁Boneless painting 第12頁/共53頁History of Chinese Painting Chinese painting can be traced back to paintings on Neolithic pottery six or seven thousand years ago. Since similar tools and lines were used for the earliest painting and writing, painting is said to have the same origin as c

8、alligraphy. 第13頁/共53頁History of Chinese Painting The infancy of Chinese painting predated the appearance of written characters. The techniques used in figure painting had reached maturity during the periods form the later Zhou to the Han, Wei and the Six Dynasties. 第14頁/共53頁第15頁/共53頁 There were many

9、 schools of wash and landscape painting artists in the Five Dynasties and the Northern and Southern Song and landscape painting become a major sector. Landscape and flower-and-bird paintings had become an independent category in the Sui and Tang dynasties. 第16頁/共53頁隋唐重彩 明清水墨第17頁/共53頁Figure Painting

10、Figure painting has the most cognitive value and instructive significance. It covers various aspects of the feudal society such as morality and human relationships, ethics and rites , historical stories, legends and fairy tales, social customs, religion Buddhist monks and beautiful ladies and portra

11、ints, and has an apparent didactic function.第18頁/共53頁第19頁/共53頁第20頁/共53頁第21頁/共53頁第22頁/共53頁 It reflects to a great degree such aesthetic and artistic thinking of traditional Chinese scholars as being refined and cultivated, and being above vulgarism, all of which were propagated in the highly harmonio

12、us form of art so as to rectify ones mind and make people abstain from their desires.第23頁/共53頁Flower and Bird Painting In the flower-and-bird painting , both expressing the external life and expressing the inner sentiments are stressed (expressing the vitality and characteristics of the animal or th

13、e plant and expressing the sentiments of the painter)第24頁/共53頁 Although the painter depicts mainly the natural objects, yet his work has a subtle relation with society and life. This is an important Characteristic of the Chinese Landscape painting and flower-and-bird painting.第25頁/共53頁Landscape Pain

14、ting Beginning in the Tang Dynasty, the landscape painting came to the fore. The purpose was not to reproduce exactly the appearance of nature, but to grasp an emotion or atmosphere in such a way as to catch the “ rhythm ”of nature. In the Song Dynasty, landscapes of more subtle expression appeared.

15、第26頁/共53頁第27頁/共53頁第28頁/共53頁第29頁/共53頁第30頁/共53頁 Processed Brush: Detailed brushwork Unprocessed Brush: free hand brushwork第31頁/共53頁 The Features of Chinese PaintingLines in Chinese Painting ,lines play a decisive role in the formation of images; and variations in lines are determined, by the method of

16、 using brushed. Ink occupies an exceedingly important position in traditional Chinese painting, with black being the main color. 第32頁/共53頁 In Chinese paintings, the ink is the dominant feature while colours are peripheral. Chinese painters classify the black ink into five colours: concentrated, thic

17、k, heavy, thin and light. Black is considered a colour and more colours can be represented by varying the intensity.第33頁/共53頁 Unlike Western Landscape paintings, traditional Chinese landscape paintings go beyond the passive copying of nature. It is a unique tradition of Chinese landscape painting to

18、 create artistic conception, to seek a unity of form and spirit, of human feelings and natural settings with an emphasis on the expression of the painters own thoughts and feelings. 第34頁/共53頁 In comparison with Western painting, Chinese painting has a distinguished national form and artistic charact

19、eristics. A painter can discover the rules of its structure, and then produce it by the minds eye. It combines the object with the artistic concept of the producer, turning a natural image into an “ artistic image.”第35頁/共53頁 The object can become endowed with feelings, and instilled with the artists

20、 essence and personality to achieve the effect of “being alike not only in spirit, but also in appearance.”第36頁/共53頁 The special features of literati paintings were that likeness in spirit is better than likeness in form, pen and ink work excels mouding, and the chief thing is concept, with the pict

21、ures only for self amusement. NiZan even put likeness in form at a place of no importance at all, which mirrored the attitude of literati paintings as something to suit第37頁/共53頁 their dispositions and to enjoy themselves with True, the influence of calligraphy on painting had long been at work, but

22、those who clearly pointed out and self-consciously utilized it were the scholar painters of the Yuan Dynasty. 第38頁/共53頁 They introduced calligraphy into pictures, causing painting to become more equipped with the nature of script writing, the inking and the strokes to roam inside and outside the ima

23、ges.第39頁/共53頁 In fact, the Yuan Dynasty paintings lay stress on conception. Besides the conception on the face of the pictures, they also contained the conception in between the inking and the strokes, which, when becoming the objects of aesthetic appreciation themselves, would endow paintings and i

24、ndependent nature in the true sense of the word. 第40頁/共53頁Appreciation of Chinese Painting The appreciation of the traditional Chinese painting is influenced by the traditional Chinese philosophy, which advocates observing the micro by way of the macro, and vice versa, not to be limited by a definit

25、e space and time, and not laying emphasis on the light and shadow of or the changes in color, or the detail of the external feature.第41頁/共53頁 The painters perspective is mobile and many sided, and is not limited by a definite standpoint. The painters effort is directed to observing the implicit esse

26、nce and spirit of the object rather than the exact external apperance.第42頁/共53頁 Traditional Chinese painting, poetry, calligraphy, painting and seal engraving （書畫四絕）are necessary components that supplement and enrich one another. Painting in poetry and poetry in painting has been a criterion for excellent works. Inscriptions and seal impressions help explain the painters ideas and sentiments and also add beauty to the painting. 第43頁/共53頁 倪瓚 漁莊秋霽圖 胸中逸氣，空曠浩渺第44頁/共53頁 竹 石 清鄭板橋 咬定青山不放松，立根原在破巖中； 千磨萬擊還堅勁，任爾東西南北風(fēng)。 第45頁/共53頁 題 畫 （清）鄭板