Classical Chinese painting and calligraphy, also known as "Chinese painting", pays attention to "learning from nature and taking its spirit", and its themes cover three categories: figures, flowers and birds, and landscapes, each of which is independent, but also learns from each other and influences each other. Classical Chinese painting emphasizes that "things win over gods with form", "form" and "form" are combined, and "form" and "form" are combined.
We can easily see that in traditional Chinese painting, paintings with the theme of disaster are not very common, on the contrary, this type of painting is more in the West, but in modern times, such themes are more and more. From an objective point of view, traditional painting in ancient China focused more on spirituality than on the aesthetics that prevailed in the world, and in the world, it was more about realism.
Chinese classical painting has achieved a high level, and Chinese abstract art has also reached a high level, but realistic things are still rare. In fact, this is not just a question in the history of traditional Chinese painting, but a common choice between the painter and this period.
1. Classical Chinese painting focuses on the spirit rather than on depiction.
The art of the theme of disaster is more realistic, but the ancient literature and art belong to the "spring and white snow", while the literature and art of disaster realism belong to the "lower riba people", and the ancient literature and art are mainly oriented to the elites of the upper class, which is not so important to the reality of the disaster.
For example, in Western sculptures, there are often human bodies exposed, and the human body or landscapes are depicted, and this kind of artistic expression is very realistic. Chinese painting is completely different, it uses very little brush and ink, but we can judge from the unique characteristics it shows, which is to see the essence through the surface, it is obvious that our Chinese painting pays more attention to Shen Yun, which itself is an abstract art, rather than a simple flat and straightforward narrative.
Moreover, it is also very difficult to portray the disaster theme at the level of "spring and snow". Most of the countries in Europe and the United States are mainly based on survival at sea, either going to the sea to fish to resist the wind and rain, or going to the mountains and forests to hunt birds of prey, their survival style is full of passion, expression and thinking are very unrestrained, while China is a traditional small-scale farmer business model, with a relatively stable and stable production model.
Chinese advocate peace, advocate peace, therefore, the theme of tragedy is not popular, Chinese prefer auspicious things, while Westerners are more inclined to explore, therefore, more about real subjects, Chinese traditional art, since the Tang Dynasty, is biased towards abstraction, and European and American abstract art, also worse than us by hundreds of years, and our disasters and truth, also hundreds of years behind.
2. The impact of the traditional Chinese cultural system on Chinese painting.
In ancient times, there were four classes, namely, scholars, farmers, and industrialists, and artists were at the third level of "work". At that time, most of the paintings were toys of the powerful, and they were not popular and were not accepted by the people. Therefore, with literati as the main object of painting, the basic characteristics of painting art are biased towards the spiritual level, which is the result of the traditional Chinese system.
"Qingming", which is a rare theme of Gongbi like "Qingming Riverside Picture", depicts the prosperity of Bianjing in the Song Dynasty while depicting more of the prosperous scenes of the Song Dynasty. China is a highly centralized country, paying attention to the management of the first and paying attention to the life of the peasants, and in terms of literature and art, they are not "pragmatic", they prefer to express their "intentions" in an exaggerated way.
Maybe it's because of the way of working, the current society is very realistic, nothing is static, only those things that are full of mystery will attract people's attention.
Moreover, in the feudal era, the royal power was very centralized, so their ideas were restricted, in contrast, the literati painters did not have so much autonomy, and the paintings with tragic themes seemed to symbolize a kind of accusation against the king, and the taboo of the emperor was something that all painters had to avoid.
3. The role of Confucianism, Taoism, and Buddhism in Chinese painting.
The central content of Confucius's doctrine is "benevolence and righteousness", while Confucius regarded "happiness without lewdness, sorrow without harm" as the highest state of literary and artistic emotion. However, the theme of disaster realism is incompatible with this theme because of its "mourning". Confucius's philosophy is a positive idea of accession to the WTO, hoping that people will be able to cultivate like "sages", but paintings about disasters and reality are not considered, because they are too partial and not accepted by the public.
As the main cultural trend in China, Taoism has caused Chinese painting, especially the "retreat" of landscapes, due to its pursuit of retreat and the mentality of "non-action" advocated by Lao Zhuang, and its concept of "birth" is too self-interested, such as "bitter happiness" and "bitter happiness", which are all to be avoided, and are not consistent with the spiritual core of Taoism.
Zen is a kind of spiritual enlightenment that stays on conscious intellect"Swim"Zen is to understand the true meaning of life, transcend time and space, see through the red dust, see through the red dust, and push the Chinese abstract art to a new peak, this kind of "disdain" to describe the truth of "fireworks in the world".
Therefore, under the combined effect of the three major beliefs, there is almost no room for the survival of the ** of the real disaster theme.
IV. Concluding remarks.
In short, as a treasure with obvious national characteristics and national characteristics, classical Chinese painting and calligraphy focuses on "Shen Yun", however, its success lies in its failure, which leads to a serious lack of its subject matter. Until recently, the real theme of disasters has appeared, filling this gap, in the final analysis, it still depends on the situation of a country, a country's literary and artistic concept, is in line with the country's national conditions, in line with a country's national conditions.
Compared with traditional culture, traditional art has its own special ability, it has played a pivotal role in the past years, stabilizing the regime, uniting the people, and at the same time bringing us a sense of beauty.
Nothing can be independent of time, and traditional art is exactly like this, it contains the influence of political, ideological and social factors, the lack of disaster reality theme of art works is regrettable, but also created a different kind of brilliance, we must look at it with a dialectical vision, absorb the essence of it, and contribute to the future development of art.
Citation: 1, The Power Space of Classical Chinese Calligraphy and Painting - Cui Qiang.
2. Chen Dan's Confucian view of space in traditional Chinese art.
3. "The Ideological Origin of Ancient Chinese Painting Advocating Character", the author put forward his own views in the book "Classical Chinese Painting Art".
4. The essence of Yang Zhu in classical Chinese painting.