Course type: Chinese landscape painting appreciation class.
Teaching purpose: In Chinese landscape paintings, Eastern culture is most profoundly reflected. There is the masculine beauty of Chinese martial arts, and the rhythmic beauty of mountains and flowing water, which further enriches the simplicity, diligence, bravery, and love of the Chinese people. Peace, the pursuit of harmony and the magnanimous beauty. Our traditional Chinese painting has a long history, is broad and profound, and carries rich culture and thoughts.
When appreciating landscape paintings, it is not enough to just pay attention to the brushwork, inkwork, composition and colors. Of course, this is the basis and you must start from here. Landscape paintings depict the mountains, rivers, clouds, trees and rocks of nature. Wood has beautiful forms and colors, and is even full of rhythm and melody. Its structure is open, free, and unrestrained, which is why it is broad and full of vitality. Chinese landscape painting pays attention to freehand brushwork and charm. It is vivid, pays attention to artistic conception, pays attention to momentum, pays attention to the unity of nature and man. It is the perfect place of harmony. The holy water of the mountains gives people aura, wisdom and broad mind.
Teaching focus: sort out and adjust students' knowledge structure and aesthetic shortcomings in a targeted manner.
Teaching difficulties: Let students learn to compare, learn to think, learn to evaluate, learn to string together new and old knowledge, and integrate it; Teaching process:
1. Organize teaching:
2. Introducing new lessons:
1. Teacher’s question: After the previous two studies on ancient Chinese landscape painting, who can tell me how to appreciate Chinese landscape painting? Students discuss in groups and send a representative from each group to express their opinions.
The content of this course is to understand the appreciation methods of ancient Chinese landscape paintings through the evaluation of typical masterpieces of ancient Chinese landscape paintings. ⑴The nature of ancient Chinese landscape painting and its important position in ancient Chinese painting:
We have learned in the last two lessons that ancient Chinese painting habits are traditionally divided into three painting categories: figures, landscapes, and flowers and birds. The main description object of ancient Chinese landscape paintings is natural scenery. It not only expresses the rich and colorful natural beauty, but also embodies the natural outlook and social aesthetic consciousness of the ancient Chinese people, and even indirectly reflects social life from the side.
As an independent painting discipline, Chinese landscape painting came later than figure painting, but it has achieved outstanding development in the history of Chinese painting, and in its long-term development, it has formed a variety of painting methods and artistic styles. The main ones are: green landscape, ink landscape, light crimson landscape, small green landscape, boneless landscape, etc.
(2) Secondly, in the processing of space, ancient Chinese landscape paintings adopt the method of "observing the big view obliquely and "seeing the big from the small". That is to say, the landscape painter himself is regarded as a giant, facing nature , just like people looking at a bonsai. In this way, thousands of miles of mountains and rivers can be seen, or expressed in the form of a long scroll, such as "Thousands of Miles of Rivers and Mountains", which is 11 meters long, or with the unique high, far and far-reaching composition of Chinese painting. Method, painting very complicated mountains, such as "Travel in Streams and Mountains", "Early Spring", "Hermitage in Qingbian", etc. Its spatial processing prominently reflects the unique composition method of Chinese landscape painting. The unique artistic method of dealing with spatial relationships not only reflects the unique way of observing nature by Chinese painters, but also contains the aesthetic vision of the Chinese nation and reflects the Chinese people's view of nature.
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(3) In addition, in the long-term development of Chinese landscape painting, many effective expression programs have been formed.
For example, there are various chamfering methods for expressing various mountains and rocks. In the application of these expressive methods, such as hemp chapped, raindrop chapped, lotus leaf chapped, etc., we advocate flexible use and continuous development. The brush and ink techniques of landscape painting are also more diverse, such as the above-mentioned mountains and rocks in the brushwork. There are various methods of chaffing and mossing; in the ink method, the wet method is called "dying", the dry method is called "rubbing", and there are also "breaking ink", "accumulating ink", etc. It can be seen that ancient Chinese landscape painting has also formed its own. Unique artistic tradition and system
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(1) Comparison between Chinese landscape painting and Western landscape painting
“Comparison can lead to identification. ", through the comparison of Chinese and Western paintings in teaching, students can have a further understanding of the expression content, modeling methods, space and perspective, painting concepts, etc. of ancient Chinese landscape paintings. In this way, they can correctly appreciate ancient Chinese landscape paintings. Here, we first Compare two aspects:
1. Comparison of performance content
Do you still remember the riddle of the ancient poem? "Looking at the mountains from a distance, the water is silent."
When spring comes, the flowers are still there, and the birds are not surprised when people come. "The answer to the mystery is "painting". However, does Western landscape painting fit this puzzle? What does this mean? It is also a painting that expresses natural scenery. Why do Chinese painters focus exclusively on mountains and water? "Landscapes", "mountains and rivers", and "rivers and mountains" What do these words symbolize in the field of Chinese thought and culture? ─Chinese landscape painting is not only about imitating, reproducing or copying nature, it also has profound spiritual connotations.
2. Comparison of space and perspective
Cézanne's "Landscape with Houses" is about standing on a mountain and looking into the distance. The breadth of space it depicts is more than a thousand miles away from Wang Ximeng's "Thousands of Miles of Rivers and Mountains". Until the late Impressionist period, Westerners had always painted the same. What you can see is the "scenery in your eyes". Chinese painters use the method of "seeing the small from the big" and "seeing the big from the small" in space processing. They regard the painter himself as a giant and the thousands of miles of mountains and rivers as a bonsai. This unique space processing technique created by ancient Chinese landscape painters not only reflects the unique method of observing nature by Chinese painters, but also embodies the aesthetic mind and spirit of the Chinese nation. The Chinese people’s view of nature. Their broad vision, broad mind, and active artistic thinking cannot even be matched by Picasso’s Cubism! Scattered perspective reflects the Chinese people’s open-minded view of nature, and focus perspective reflects the rigor of the West. A scientific view of nature. Do they form a complementary way of thinking?
From the perspective of the development of art, Western plastic arts have always held high the banner of "art imitates nature", and in concrete terms After hundreds of years of exploration in painting, it entered the advanced stage of imagery and abstraction in the late 19th century. As early as more than a thousand years ago in China, painters had already understood the true meaning of artistic creation - who said that Chinese painting is inferior. Western paintings?
(2) Comparison of natural landscapes and painted landscapes
1. Our motherland has different scenery from north to south and east to west, and the famous mountains and rivers have their own characteristics. Fortunately, we can use photography and video to let students experience the towering pines and rocks of Huangshan Mountain; the steaming clouds and flowing clouds of Lushan Mountain, and compare them with Liu Haisu's "Huangshan Pictures" and Zhang Daqian. Comparing it with "Lushan Picture", the landscape in the painting has more distinctive features and more vivid charm than the natural landscape.
Chinese painters "learn from nature and find the source of the heart" and "search all the strange peaks to make drafts". . Just from the various rock and stone chamfering methods, we can experience the serious academic attitude of Chinese painters and the highly refined brush and ink skills. It can be said: There are thousands of mountains and rivers in the land of China, and there are thousands of rivers and mountains in Chinese paintings! The painting of the Li River is called "Qingli". There are "Misty Misty Pictures", Fuchun Mountains "Dwelling in Fuchun Mountains", spring pictures "Early Spring Pictures", autumn pictures "Eight Scenes of Autumn", winter snow pictures "Xiaosi Mountain Pictures", and drizzle pictures " "Xiaoxiao Muyu Picture"? ──Who said that Chinese landscape painting is not realistic?
(3) The connection between scenery, emotion, intention and ambition
1. The connection between poetry and painting< /p>
Su Dongpo once said: "When you taste the poems of Mojie, there are paintings in the poems; when you look at the paintings of Mojie, there are poems in the paintings." He also said, "Poetry and painting are one, natural and fresh." Landscape poetry Similar to landscape painting. "Withered vines, old trees and dim crows, small bridges and flowing water, people's houses, the west wind and thin horses on the ancient roads, the setting sun, the heartbroken people are at the end of the world." There are paintings in the poems, and there is emotion in the paintings. "The solitary smoke is straight in the desert, and the sun sets over the long river." The poem creates an open and magnificent sunset scene in the desert, and the poem has a painterly feel. Ancient Chinese poets used words as pen and ink to express their feelings about landscapes. The painter uses pen and ink as language to express his emotions. Isn't the long scroll "A Thousand Miles of Rivers and Mountains" written by Wang Ximeng of the Song Dynasty when he spent his young life just a magnificent chapter praising the mountains and rivers of the motherland? Try to match the scene in the painting with Cao Cao's poem "Viewing the Sea" one-to-one. You will find that two people of different eras and identities have surprisingly similar perspectives, visions, and aesthetic realms. After all, poetry matches painting. , or painting with poetry? Chanting Han Yu's "Snow on the River" and savoring "Fishing Alone on the Cold River", I once again felt the same artistic conception and state of mind in poetry and painting. Looking at other exquisite landscape paintings, the concise brushwork and ink are like careful words and sentences, and the composition is like rhythm and rhyme. It reminds us that the painters are all literati who have read poetry and books. Poems and paintings are like their arteries and veins, making their The life of art is endless.
──Who said that the artistic conception of Chinese painting is difficult to appreciate?
2. Borrowing objects to express emotions and expressing one's aspirations
The objects shown in Chinese paintings are often used by painters as a carrier to express their thoughts and feelings. Some use poems and postscripts to do some "off-painting skills" in the text. ", some make good use of "Bixing", describing things expressively, many of which have meanings. From the creation of foreign masters in the Northern Song Dynasty to the poetic and artistic conception of the Southern Song Dynasty, Chinese landscape painting completed nearly a thousand years in advance the process equivalent to the Western process from the Renaissance to Post-Impressionism, from objective expression to subjective initiative. Then, driven by the wheel of history, Chinese painting creation entered another higher realm - the spiritual realm. "Words convey the Tao." The Tao at this time can be understood as the image of the picture, the conception of the picture, and the meaning of the picture. The Tao in plastic arts is not a direct preaching, but relies on the appeal of visual art images to enable people to be inspired by their appreciation and enter a spiritual realm of beauty. In Ni Zan's "Six Gentlemen", the six trees in front of the painting, standing on a barren soil slope, not too lush, and clustered with each other, are so far away from the prosperity of the world. The deep water separates integrity and temptation. The Yuan Dynasty's appreciation of The ethnic discrimination of Han intellectuals has become the spiritual motivation for artists to use their pen and ink. Compared with Ni Zan's "simple" which is not about eating the fireworks of the world, Wang Meng's "complex" expresses the determination to live in seclusion from the other extreme. With the help of the contemporary background and works of these two painters, it is clear at a glance that Chinese landscape paintings use objects to express emotions, support objects to express aspirations, and manage the individuality of the picture. The national integrity hidden in the landscape has been passed down by generations of literati painters. It has broken through the narrow sense of the Han nationality and risen to the broader sense of the integrity of the Chinese nation. ──Who said Chinese painting is boring?
(4) The artistic conception of ancient Chinese landscape painting
Landscape painting, especially freehand landscape painting, pursues the freedom, unrestrained, unrestrained and passionate expression of pen and ink. It pays attention to the use of brush and ink, and pays attention to the rubbing method. Pay attention to speed, slowness and pauses, pay attention to twists and turns, and pay attention to charm, just like the melody of music and the rhythm of dance. In fact, the high realm of art is the same. Chinese landscape painters of all dynasties fully express the spirit, rhyme, thought, scene, brush, and painting in the pictures. Ink, at the same time, the artistic conception beauty of "meaning and image" and "emotion and scenery" is expressed in three aspects: ethereal beauty, external image beauty and poetic beauty.
1. Ethereal beauty
The ethereal beauty reflected in the artistic conception of Chinese landscape painting is the main form of aesthetic interest in Chinese landscape painting art. The emptiness of emptiness is silence, emptiness, and nothingness; the spirit is aura, reality, and existence. The spirit of life presupposes emptiness. Without emptiness, qi cannot be produced. On the contrary, without spirit, emptiness means death and emptiness. Ethereality is the unity of opposites. The realm of ethereal beauty can only be understood by those with considerable cultural accomplishment, and can only be experienced through the quiet enlightenment of Zen. "In "Fishing Alone on the Cold River" by Ma Yuan of the Song Dynasty, he only showed a lone boat in the vast cold river, with the fisherman sitting alone on one end of the boat, his body as if frozen, concentrating on the fishing line floating with the flowing water. Except for a few around him, Outside of the microwave, everything else is blank. This creates an atmosphere of vastness and coldness, similar to Liu Zongyuan's poem "Thousands of birds fly away, and thousands of people disappear." The artistic conception described in "Lonely boat and coir raincoat man, fishing alone in the cold river snow" is different but has the same purpose. The layout of the picture has a unique density relationship. There is a large blank space in the painting, but the blank space is not nothingness. Instead, one can feel the breadth of the surrounding river, thus creating an ethereal and The artistic conception of profound and simple beauty. In Chinese landscape paintings, only a few strokes use extremely concise lines and ink to convey extremely connotative meanings. As Zong Baihua said, "The painting environment is a spiritual one." space?. Just like a good calligraphy work also expresses a spiritual space. "Chinese landscape paintings tend to be simple, but simplicity contains infinite realm." Ni Yunlin has one tree and one stone, and there are thousands of rocks and ravines that cannot be crossed. "On the one hand, the ethereal beauty allows the painter to gain full initiative in the composition of artistic conception, breaking the limitations of objective objects in a specific time and space. On the other hand, it also provides the viewer with a broad world of artistic imagination, making the limited content in the work Space and image contain an infinite world and rich ideological content.
2. The beauty of appearance
The beauty of appearance in Chinese landscape painting is not only reflected in the painting itself, but also in the painting. The infinity outside, that is, “there is painting outside the painting.” As the master of aesthetics Zong Baihua said: “The spirit expressed in Chinese painting is a kind of deep and silent integration with the infinite nature and infinite space. one".
Landscape painting is the highest realm of philosophy. It does not pursue the complicated world, but the perfect unity of nature and humanity. It is a spiritual pursuit that escapes the secular world. From the landscape paintings of Ni Zan in the Yuan Dynasty, Shi Tao, Dong Qichang and others in the Ming and Qing Dynasties, what we see is not only the language symbols of painting, but more importantly, the inner spiritual pursuit of the painter. "We are not satisfied with pursuing the external simulation and appearance of things, but we must try our best to express a certain inner wind spirit. This kind of wind spirit requires to be based on the true and general observation, grasp and description of natural scenery and objects." . Zong Baihua once said, "The artistic realm and the philosophical realm are the birth of the freest and most abundant deep-hearted self."
3. Poetic beauty
The poetic beauty of Chinese landscape painting has always been advocated by Chinese painting. The poetic beauty enriches the aesthetic conception of Chinese landscape painting. In the Song Dynasty Guo Xiqi's painting "Linquan Gaozhi" said: "Poetry is an invisible painting, and painting is a tangible poem... Only when you are familiar with the realm and have your mind and hand ready,
can you be able to balance both vertical and horizontal directions and have both sides." The consistency of poetry and painting is the highest ideal pursued by Chinese landscape painters and the highest realm of Chinese landscape painting. A landscape painting with wonderful artistic conception is inscribed with an interesting, fresh and beautiful poem, which makes it more poetic and picturesque. With the addition of calligraphy and seal cutting, poetry, calligraphy and painting are integrated into one furnace, thus poetry and painting, time and space, and hearing are combined. and visual sublimation, thereby inducing the spirit of thinking about the past and learning from the present and the elegance of the flowing pen. Wang Wei of the Tang Dynasty used his knowledge as a poet to develop his temperament as a painter, and revealed the relationship between poetry and painting in the fields of literature and painting, thus proposing a criterion for the expression of artistic conception in landscape painting - poetry in painting. His work "Scroll of Rivers and Mountains with Snow" reminds people of his poem "Rivers flow beyond the sky and earth, and the colors of the mountains are in and out of them". Su Shi commented on Wang Wei's paintings: "When you taste Mojie's poems, there are paintings within the poems; when you look at Mojie's paintings, there are poems within the paintings." 8 This is the meaning. Landscape painting is both descriptive and lyrical, and the scenes blend together; it is both "created by external masters" and "sourced from the heart", both "similar" and "not similar", and somewhere in between. The inscription and postscript in the painting is a unique form of Chinese landscape painting, which enriches the expressive power of the artistic conception of landscape painting. Of course, inscribing poems or postscripts in paintings is just a form. The real poetic mood in landscape paintings is not contained in poems, but is reflected in the poetic conception, composition, image and color of the painting, and the blending of poetry and painting. Although there is no title poem, it is also full of poetic artistic conception. "Without saying a word, you can be romantic."
3. Summary (After using the courseware)
Understanding ancient Chinese culture, seeking innovation and change is fundamental.
The artistic conception of landscape painting is cast in idealized and emotional artistic expression and highly processed. At the same time, it gives the audience ample room for association and re-creation, so that the audience can Only when you feel the scenery outside the scenery, the meaning outside the scenery, the emotion outside the scenery, and the taste outside the scenery can you be considered to have artistic conception. Therefore, the artistic conception of ethereal beauty, external appearance, and poetic beauty in Chinese landscape paintings is not only the end point of the painter's creation, but also the starting point of the viewer's re-creation. It is a bridge of communication between the painter and the viewer. Chinese landscape painters, facing the nature of mountains and rivers, "become inspired by the wonderful things", capture its spiritual beauty, and match the spiritual beauty of the object with a selfless heart to achieve the spiritual state of oneness between things and myself, thus creating a painting that embodies the painter's spiritual world. works. When appreciators look at the pictures, in a state of emptiness and tranquility, they can reach the state of "all kinds of interests blending into their spiritual thoughts", thereby capturing the charm of the landscape works and achieving the purpose of "smoothing the spirit".