What were the characteristic features of Chinese painting? Chinese art

Development of the MHC lesson

Topic: Features of traditional Chinese painting (grade 9)

The purpose of the lesson: to create in students a holistic image of traditional Chinese painting.

- assistance in identifying the features (genre, type and stylistic) of traditional Chinese painting;
- promoting the development of the emotional sphere of adolescents, aesthetic taste, creativity, artistic flair;
- promoting tolerance and developing intercultural competence.

Equipment for the lesson: audio recording of morin khur (bowed instrument), PC, screen, projector, presentation “Traditional Chinese painting” (reproductions of works by Chinese artists, necessarily works by Wang Wei), blank tables on desks, paper, ink, brush.

During the classes

Exposure (3 min.)

The teacher enters the classroom. He greets students with a smooth nod and performs a lyrical piece on the morin khur, a folk instrument of the peoples of East Asia (China, Monglia). The poem “House in the Bamboo Grove” is written on the board:

In the bamboo grove

I while away my night

And I touch the lute

And I sing the song protractedly.

And people don’t know my shelter,

And only the moon

In the bamboo grove

One visits me.

On the screen is a media presentation of reproductions of masterpieces of traditional Chinese painting.

Set-up (3 minutes)

1. Conversation:
- - What did you imagine while reading these lines, listening to music? (Night, loneliness, etc.)
- - Was it easy to imagine? (Yes, it’s easy. Because it’s written precisely, it’s as if the poet is painting a picture.)
- - What impression do the paintings, reproductions of which you looked at, make? (Calmness, tranquility, contemplation, etc.)
- - Yes. These masterpieces of traditional Chinese painting create a feeling of peace, universal harmony and silence.
- - What is the secret of the attractiveness of Chinese painting? ( A number of different questions are possible here depending on the children's reaction. The main thing is to create a situation of awareness of your ignorance)
2. Formulating and recording the lesson topic:
- - Please formulate the purpose of the lesson. (Learn the features of Chinese painting, identify distinctive features, etc.). And the theme (Traditional Chinese painting, silk painting, etc.).
- - Let's write down the topic of the lesson ( By student's choice).
- - So what are the features of traditional Chinese painting? painting chinese artistic aesthetic
3. Basic concepts. Lecture (15-18 minutes)

The traditional art of China is an original and holistic historical type that has evolved over the centuries from various ethnic sources. In 4 thousand BC. e. in the river basin On the Yellow River, a group of tribes of the Mongoloid race formed (self-named “Hanren”). There are assumptions about the Tibetan origin of the Chinese and about the “Sino-Caucasian” linguistic relationship. In a clash with tribes of southern origin, the kingdom of the Xia dynasty arose, and then the Shang civilization (1765-1122 BC) with its center in the city of Anyang. At the end of 2 thousand BC. e. The Shans were conquered by the Zhou tribes. The unification of the ancient kingdoms took place during the Qin (632-628 BC) and Han (206 BC - 220 AD) dynasties. At the stages of formation of the ethnic community, the Chinese, thanks to their natural receptivity, easily absorbed the achievements of other cultures - Mesopotamia, Persia of the Sassanid era, Buddhist India, Asian nomadic peoples, Hellenized Middle Eastern tribes. In the IV-VI centuries. China found itself divided into North and South. Ancient authors called the northern tribes Semras (Greek serikon, Lat. seres - after the name of the silk fabrics exported from this country), and the southern ones - Simnami (Middle Latin sinae - after the name of the Qin dynasty of rulers). On the world map published at the end of the 16th century. Order of the Jesuits to educate the Chinese, their country is placed in the middle (the origin of the Turkic word kytan - "middle" - is explained by the name of the Manchu people K"itan). The mythological geography of China is symbolized by five tigers. The most important one - the yellow tiger - is the emperor, he is in the middle of the world and controls four tigers. The red tiger rules the south (which is located at the top of the map), it rules summer and the element of fire, the black tiger rules the north, and the blue tiger rules the east. and the plant world. White - the west, commands the autumn and the elements of metals. The Chinese worldview and worldview are significantly different from European ones. In this country there was no consistent development and change of artistic directions and styles, as in European art. The very concept of history does not exist in China. signs of "duration", and art - of evolution. Artistic movements do not follow one another, and "styles" and "schools" are associated not with differences in creative methods, but with technical techniques and materials. In China " we find an unusually stable way of life, thought out and aesthetically reworked to the smallest detail, a coherent and consistent worldview, a complex but durable fusion of artistic styles The stylistic unity of Chinese art is the result not only of the deep penetration of Chinese masters into the nature of things but above all, their sincere and impeccable trust in life in all its diversity." While rationalism was born in Western European civilization, mysticism in the Middle East, a special culture of following the flow of life was formed in Central Asia. In China, the measure of all things was not man, but nature, which is infinite and therefore unknowable. In art, it was not the reflection of life, but its continuation in the movements of the brush and strokes of ink. On this unique basis, the “self-typing” of Chinese art was carried out, the subject of which was not the image of a human hero and not spiritual ideals. and the life of nature. Hence the special aesthetic taste and artistic tact of the traditional art of China. In the ancient beliefs of the Chinese, any objects of nature were deified: trees, stones, streams, waterfalls, and religion was considered the art of life, and the contemplative attitude required complete and humble fusion with nature. They like to repeat that if for an active European, overwhelmed by the idea of conquering nature and demonstrating strength, there is no greater pleasure than climbing to the top of a high mountain, then for the Chinese the greatest happiness is to contemplate the mountain at its foot. Buddhism, which spread in the countries of Southeast Asia from the 5th century. BC e., contributed to the strengthening of the pantheistic worldview in China. Therefore, the central place in Chinese art is occupied by landscape - a sophisticated technique of painting mountains, waterfalls, and plants with brush and ink. The traditional genre of Chinese landscape is called Shan Shui (“mountain-water”). Mountain (shan) represents Yang (the light, active principle of nature), water (shui) represents Yin (feminine, dark and passive). The philosophy of Chinese landscape painting is revealed in the interaction of these two principles, which is conveyed by looking at the landscape from above, from a high point of view, by alternating plans: mountain peaks, stripes of fog, waterfalls. The aesthetics of the Chinese landscape is set out in the treatise of the painter Guo Xi (c. 1020 - to 1100) “On the High Essence of Forests and Streams.” The object of the image in this form of art is not even the landscape itself in the European sense of the word, but the subtly changing state of nature and the experience of this state by man. Therefore, the person himself, even if he is depicted in a landscape, never occupies the main place in it and looks like a small figure, an outside observer. The mood of poeticized reality is conveyed in two manners: gong-bi (“careful brush”), based on the finest graphic elaboration of details and clarity of lines, and se-i (“expression of thought”), a manner characterized by pictorial freedom, washes of ink that create a feeling "scattered perspective", stripes of fog and endless distances. The landscapes of the wen-ren-hua school ("paintings of people of written culture") were complemented by exquisite calligraphy - poetic and philosophical inscriptions that do not directly reveal the content, but create an "expression of thought", as well as tibs - epigrams. They are written by fans of the artist at different times on free areas of the image. The symbolism of Chinese painting also differs from European symbolism; it is revealed in poeticized concreteness. For example, on the landscape there may be an inscription: “In spring, Lake Xihu is not at all the same as at other times of the year.” It is difficult to imagine such a name in European painting.

In China, to perpetuate oneself meant not so much to leave a material monument about oneself, but to glorify one’s name “written on bamboo and silk.” Chinese art has never followed the interests of religion, philosophy or politics. If religion and philosophy are the art of life, then life is an art. In the teachings of the ancient philosophers Lao Tzu (Chinese, “Old Teacher”; 604 BC - ?) and Confucius (552-479 BC) it was argued that the nature of art is not determined material conditions of life, but on the contrary, the artistic worldview teaches work, philosophy, morality and law (there was no separate concept of “artistry” in China; it dissolved in life). For this reason, the European category of morphology of art, the division of art into genera and types, easel and applied, fine and technical, or artistic crafts, is not applicable to traditional Chinese art. In China, as in the traditional art of Japan, all types of art are both easel and applied, fine and decorative. The Latin word “decor” or the name “Chinese decorative art” is completely inappropriate here. For example, in Chinese art there is no framed easel painting at all - one of the main achievements of European artists. The Chinese master (painter, graphic artist, calligrapher, poet and philosopher at the same time) paints walls, silk scrolls, paper screens and fans. The Chinese tradition does not know the gap between the rational and the expressive, the sensual beginning of creativity, “ideological” and “ideologicalless” art, realism and formalism - those troubles that the European exaltation of man brings with it. Therefore, in China there were no separate artistic movements - Classicism and Romanticism, or the struggle of ideological movements. There is a tradition based on thoughtful contemplation of nature, and painting styles differ not in the ambitions of the artists, but in the state of the landscape depicted: “a running stream”, “a bamboo leaf in the wind”, “the skies cleared after a snowfall”. There were the “angular brush” and “splattered mascara” styles. Theoretical treatises speak of eighteen types of contour lines and sixteen types of strokes in the depiction of mountains. The detachment of the artist’s personality determines another important feature of traditional Chinese aesthetics: the master does not reflect on the frailty of his life, but contemplates and aestheticizes the frailty of material things. The unfinished form or patina of time acquires value, in comparison with which the symbolism of the “Eight Immortals” and the “Eight Jewels” is comprehended. Any everyday object has a symbolic meaning (this attitude towards things can only be conditionally correlated with the European concept of decorativeness). Therefore, works of Chinese art are elegant and colorful, but do not seem pretentious. In Chinese literature, there are constant themes of sleep, dreams and miraculous transformations, revealing the highest meaning of simple things. The body is not perceived as a material form, it is a continuation of conceivable space. Therefore, in particular, in Chinese art, even in erotic pictures, there is no “nudity”, or aestheticization of the tactile value of form. The symbolic relationship to form is well illustrated in the parable of a Chinese artist who eventually reduced the image of a dragon to a single line. The esotericism of aesthetics, philosophy and the art of living inevitably led the country to isolation from the outside world. From the 3rd century BC e. China was fenced off from the north by the Great Wall of China, and then the name “inner China” appeared. Beijing also has its own "inner" or "Forbidden City". Geographically, China is not a continental country, but a coastal country. Having in the XIV-XV centuries. navy, the Chinese gradually abandoned sea travel. They have become unnecessary. Amazingly, invented by the Chinese in the 10th century. Gunpowder reached nearby Japan only in the 17th century. with the help of Dutch sailors! This is the fate of many other inventions. China closed in on itself (in 1757 the country was officially closed to foreigners) and from the outside seemed in a state of immobility. Therefore, the periodization of Chinese art is also very peculiar - the count is not by years, but by reigning dynasties, and their change does not mean progressive development. The main advantage in art has always been the repetition of the work of old masters and fidelity to tradition. Therefore, it is sometimes quite difficult to determine, say, whether a given porcelain vase was made in the 12th or 17th centuries. Chinese art is also characterized by a special attitude towards the material, its natural properties, careful processing and clarity, purity of technical technique. These qualities are characteristic of the earliest, archaic ritual vessels made of bronze of a zoomorphic nature from the Shang and Zhou periods (2-1 thousand BC), but most of all - Chinese porcelain. The first examples of so-called proto-porcelain date back to the Han Dynasty (206 BC - 220 AD). White porcelain of a clear and clear mass was produced during the Tang Dynasty (618-907). The “discovery” of porcelain occurred gradually over the centuries, but it was not by chance that it was made by the Chinese. The technology of its production, in addition to the necessary components, requires ideal cleanliness, patience and careful preparation of materials. Porcelain products of the Song period (960-1279) are distinguished by their plasticity of shape, glaze of a white or bluish tint or ivory color, sometimes with a crackle pattern or engraved sgraffimto type ornament (Fig. 388, 389). During the reign of the Mongolian Yuan dynasty (1279-1367), the classical style of painting porcelain with cobalt blue developed, which became most widespread in the Ming era (1368-1644). The technique of painting porcelain is based on the centuries-old tradition of sophisticated drawing and calligraphy with brush and ink on paper (also a Chinese invention). A special attitude towards the material gave rise to poetic names for the glazes: “the color of the moon”, “blue fog”, “the color of the sky after rain”, “peacock feather”, “the color of the skin of a yellow fish”, “the color of a newly born mouse”. In wood carvings and bronze products, a geometric pattern is common, surprisingly similar to the Greek meander, a swastika motif (a sign of good wishes), a spiral pattern - the so-called Chinese clouds, a wave, a zigzag - lei wen, a lightning sign, a symbol of blessed rain. The symbol of rain, vital for farmers, was also the dragon. The yellow dragon is the emblem of the emperor (nine dragons with five claws on their paws could only be depicted on imperial attire). The blue-green dragon was the symbol of the Han Dynasty. The phoenix bird (as Europeans called images of a pheasant) is a sign of wishes for strength, beauty and supreme bliss. Each month of the year was associated with a specific flower: chrysanthemum - a symbol of autumn, wild plum - winter, peony - spring, lotus - summer. During the hottest month, “a person of good taste” will enjoy at home the contemplation of “a landscape with shady groves, which provide good shelter from the heat,” and images of “withered trees and bamboo among stones” can be kept in the room at any time of the year. The Chinese invented silk fabrics (the earliest finds date back to the end of 3 thousand BC). At first, banners and umbrellas were made from silk, their colors serving as insignia. Yellow was reserved for the emperor and empress, purple for members of the imperial family, blue for the highest military ranks, red for middle ranks, and black for low-ranking officials. Since the Tang era, the production of painted and embroidered silk fabrics has developed. During the reign of the Manchu Qing dynasty (1662-1796), a variety of products were created that became classic for Chinese art. Porcelain from the reign of Emperor Kangxi (K"ang Hsi, 1662--1722) was especially famous. At this time, pale green celadons and vases with bright red glaze "ox blood" and sparkling "flambé" were made. Colorful paintings of porcelain products were called by Europeans "green", "pink" and "black family". The exquisite decoration of products of the "pink family" was called the "brocade style". It is interesting that, unlike colored stone, wood and porcelain, glass was practically not used in China. Along with carving on red varnish, furniture, boxes, and music stands were made from “painted varnish” - a special technique of multi-layer varnish coating of wooden products with painting and interlayer inlay with foil and mother-of-pearl. This technique was borrowed from the Chinese by the Japanese. and Korean masters. The art of openwork silhouettes made of colored paper and foil has survived to this day. When studying Chinese art, one gets the feeling that its masters enjoyed their work, giving philosophical meaning to solving the most complex technical problems. For example, work on the openwork carving of bone balls rotating one inside the other is on the verge of reasonable, from a European point of view. This type of work took the craftsmen many years to complete. Quite conventionally, satisfying the need for analogies with the history of European art, the Tang era (VII-IX centuries) can be compared with the early European Middle Ages, the Song (X-XIII centuries) can be called the era of classical Chinese art (late Middle Ages). The Ming era (XIV-XVII centuries), chronologically correlated with the European Renaissance, is more suitable under the definition of mannerism and academicism. Chinese products have always been of interest to Europeans; they attracted people with their special aesthetics, the beauty of the material and the thoroughness of its processing. Chinese porcelain and silk were worth their weight in gold in the literal sense of the word.

During the Art Nouveau period of the late XIX - early XX centuries. European symbolist poets paid attention to the art of the Far East. They saw in Chinese painting the ability to “enchant objects” and lead away from reality “to waking dreams.” By this quality, Chinese art correlates with the European romantic tradition, one of the expressions of which was the movement of symbolism of the “Silver Age”. After all, the Art Nouveau style began with the passion of French painters for Japanese color woodcuts. And the name of the Chinese landscape “Evening ringing of a distant temple” correlates with the names of the paintings of the Dresden romantics.

Development (Work in groups)

Group instruction (4 min.)

We will look for answers to this question in groups. Please form 4 groups. We work for 5 minutes. Each will be given a separate task:

Group 1. Identification of genre features

Look at the reproductions again. Try to identify what genres exist in Chinese painting. Remember what genres you know, compare, try to fill out the table.

Group 2 and 3. Identification of types and styles of painting

Take a look at the reproductions; on what basis, besides genre, can they be grouped? Try to identify two different features: the type of painting and the style. Each group then gives a description of the identified feature.

Group 4. Revealing the unity of painting, poetry and calligraphy

- And one more feature is inherent in Chinese painting in contrast to pan-European painting. Try to identify.
2. Group work (5 min.)
3. Summing up the work in groups (8 min.)
- So, the allotted time has expired. So, what are the features of traditional Chinese painting?
1st group:

The teacher should help students formulate a conclusion about the genre features of Chinese painting, give specific names for the genres: “Mountains and Water”, “Flowers and Birds”, “Ceremonial Portrait”.

Group 2: We identified two main types of Chinese painting: color and black and white.
- Give the name of the types of painting, using knowledge of English, possibly Latin.

The teacher should lead students to formulate the terms “polychrome” and “monochrome” painting.

Group 3: We saw that some works were written carefully, others - carelessly. That is, there are 2 styles of Chinese painting ( By analogy, children can derive terms and give their names).
- Absolutely right. These are the two main styles. One of them is called gun-bi - diligent brush, and the other is sho-i - idea painting. Match the title and the canvas. (Gong-bi are neat, carefully crafted paintings, while sho-i are sweeping, with the feeling that they were painted quickly)
Group 4: We found one more feature: in all the paintings, in addition to the image, there are inscriptions, perhaps these are poems.
- The unity of painting, poetry and calligraphy is another feature of traditional Chinese painting.

Climax (2 min.)

So what are the features of traditional Chinese painting? ( Students summarize, write down features)

Denouement

Recognition (3-5 reproductions are offered, the last of which is the work of Wang Wei) (2 min.)

- Now, knowing the features, can you identify the canvases of Chinese traditional painting? (Yes)
- Look at the reproductions. Do the works belong to European or Chinese painting? Justify your answer.

Children perform a recognition task. Wang Wei's work is also easily recognized.- Yes. This is the work of the famous Chinese artist, poet and calligrapher Wang Wei. It was about his work that they wrote: “His poetry is full of picturesqueness, and his paintings are full of poetry.” Fair? (Yes)

Creative work (15 min.)

And now I invite you to become artists yourself and in 10 minutes create your own masterpiece in the traditions of Chinese painting. Here are the inventions of the Chinese: paper, ink and a brush. Try creating an illustration for Wang Wei's lines.

Children draw. The teacher plays the morin-hur. (In our opinion, it is important here to create the intimacy of the creative act, not to interfere in the creative process. If there is an audio recording, then the teacher must also draw.) At the end of the creative work, an express exhibition of works, contemplation of the works. Demonstration of Wang Wei's painting for poems written on the board. Final reading of the poem.

Lesson summary (3 min.)

- So, what are the features of traditional Chinese painting?
- Have we achieved the goal of the lesson?
- What image of Chinese painting have you formed?
- Homework (Aftereffect) - create your own painting masterpiece in the traditions of Chinese painting.

List of sites used

1. Malyavin B. China in the XVI-XVII centuries. Tradition and culture. M.: Art, 1995. P. 5--6.
2. Arapova T. Chinese painted enamels. M.: Art, 1988. P. 27.

While walking around the Forbidden City, we told the guide that we would like to get acquainted with Chinese painting. She took us to a pavilion with paintings from the 11th to 20th centuries. It was very interesting to see these paintings, unusual for the European eye, in person. To say that Chinese culture is completely different from European culture is like saying nothing. European artists created drawings and images using volume and shape, color and light and shade, and a distinctive feature of Chinese painting is that images are created through linear drawing. Painting and calligraphy are very close. This suggests that the basis of Chinese fine art is line. Both artists and calligraphers use the same materials and tools: a brush, soft porous paper made from bamboo or hemp fiber, and ink. To work with color, polychromes are used, the golden rule of which is that ink should not block the path of color, and color should not block the path of ink.

Guo Xi. "The beginning of spring in the mountains" Scroll. Mascara. 11th century

Mu Qi. "Monkey with babies." Mascara. 13th century

Distinctive features:

Multi-point and diffuse perspective, which, unlike focal perspective, makes it possible to create an artistic picture of the world without being bound by the boundaries of a space limited by the horizon;

A laconic and clear composition of spots of local color;

Expressive, rhythmic contours;

Flat, linear design, without chiaroscuro;

The main ideological principle is the desire to convey in painting the mood of the artist, the spirit of all living things, essence, and not external naturalistic similarity.

Instead of a signature, Chinese artists left a mark on the painting with their personal seal.

Lu Zhi. 1496-1576.

I’ll briefly talk about the genres, although, of course, each of them deserves an entire article.

Landscape "mountains and water". Nature was seen as a place of salvation from the oppression of society and solitude from the bustle of the world. The artist tried to convey a lyrical mood, calling for harmony and unity with her. The miniature nature of human figures against the backdrop of grandiose landscapes was supposed to evoke thoughts about the greatness of the universe, in which man is only a grain of sand, a part of it. This, by the way, is another difference between Chinese painting and European painting, where the main attention was paid to man.

Painting "flowers and birds". Symbols are of great importance here.

Portrait. This genre does not play the most significant role. Two directions can be distinguished here:
1) Confucian tradition of the social and ethical significance of man. Artists of this movement painted memorial portraits of historical and statesmen, high dignitaries, members of their families and court beauties. They worked primarily in color, in a detailed, meticulous manner.
2) The second direction was based on the Taoist-Buddhist philosophy of the value of the human personality, and therefore artists sought to reveal unique character traits. They created images of poets, hermits, and saints. Preference was given to drawing with ink in a free sketchy manner.

An animalistic genre in which it is important to understand the meaning of allegories.

Favorite symbols:

Trees (willow - a symbol of refined female beauty, pine - restraint and perseverance, bamboo - a symbol of human character, high moral qualities)

Flowers (chrysanthemum - a symbol of sublime loneliness, modesty and chastity, many flowers - a symbol of the flourishing of Chinese art, lotus - a symbol of inner purity)

Fish, birds, animals (magpie - a symbol of a clear conscience, a dove - a symbol of peace, two fish, a drake with a duck, two butterflies - a symbol of marital happiness)

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Introduction

Fine art originated in China back in the Neolithic era (about 6 thousand years ago). This is evidenced by archaeological excavations near the city of Xi'an, where items depicting humans, animals and plants of that period were found.

The charm of Chinese painting lies in the depth of its poetic penetration into the life of nature. This art tells the story of the changing seasons, gives the viewer the opportunity to look into the world of forest thickets, and introduces him to the eternal secrets of the earth.

Relevance of the topic due to the fact that in our time people are awakening more and more interest in Asian culture. China is no exception. Chinese painting is distinguished by great originality and is completely different in material, technique and artistic means from European painting.

An object: Chinese fine art.

Item: examples of paintings and descriptions of writing techniques.

The purpose of this work is to identify features of Chinese painting, interpretation of images and symbols, study of the stylistics of paintings using the example of the work of Qi Baishi.

The purpose of the work defines the following tasks:

1. Based on the studied literature, identify the features of Chinese painting;

2. Based on the analysis of literature, consider the concept of image and symbol in Chinese literature;

3. Based on the analysis of literature, highlight the features of Chinese painting and differences from European fine art;

4. Based on an analysis of the work of the artist Qi Baishi, highlight the distinctive properties of Chinese fine art.

The goals and objectives set in the study determined research methods and techniques. This study combines several approaches to the phenomenon under study. During the writing of the first chapter, the method of comparative analysis, descriptive and logical-conceptual methods were used. To write the second chapter, the method of component analysis, as well as techniques of cultural analysis, were used.

Work structure determined by the goals and objectives of the study. The work consists of an introduction, two chapters, a conclusion and a list of references.

Base of empirical material served as paintings by the master of Guohua painting, artist Qi Baishi.

1. Features and varieties of Chinesepainting

1.1 Basics techniques and distinctive featuresChinese painting

Chinese national painting Guohua appeared in ancient times. It is distinguished by great originality and is completely different in material, technique and artistic means from European painting. Chinese paintings are painted with ink, mineral and vegetable paints such as watercolors on silk (sometimes on cotton or hemp fabric) or on special paper made of soft thin fiber and have the form of scrolls - horizontal for viewing on the table and vertical for decorating walls. Artists use brushes of different sizes, from very thin to very thick (from 5 millimeters to 5 centimeters). A stroke can be as light as a cloud or as powerful as a dragon. One of the distinctive features of Chinese painting is that the images in it are created through linear drawing, while in European painting the images are expressed using volumes and shapes, color and chiaroscuro 1.

In China, they have long talked about the closeness of painting and calligraphy. Painters and calligraphers use the same materials and tools (brush, paper and ink) and the same linear writing method. There are so many similarities between Chinese calligraphy and painting that they are considered sisters. Developing in stylistic unity, they are interconnected and move each other forward. This suggests that the basis of Chinese fine art is line. With the simplest lines, Chinese painters created works of high artistic perfection.

In painting, a special ink is used, completely different from that used in the West. In China, for writing and drawing, they always use tiles of first-class, black lacquered ink, in the preparation of which the Chinese have achieved great perfection. By rubbing tiles with water to a thick or thin consistency, ink is obtained, with which artists create a wide variety of tones. Thanks to the washes of diluted ink, painters convey the finest shades from thick black to transparent pale gray. In China, writing instruments: brush, ink, paper and ink were considered the “four jewels” [wen fan si bao].

Chinese painting is characterized by multi-point and diffuse perspective, a laconic and clear composition of spots of local color with expressive and rhythmic contours, as well as planar painting without chiaroscuro modeling. A Chinese artist can reproduce a river on a long and narrow paper or silk scroll, creating a feeling of infinity of the river expanse seen from above or from the side, as well as many landscapes seemingly hidden from viewers by the horizon line. This cannot be achieved using focal perspective. The multifaceted perspective of Chinese painting allows the artist to give full play to his imagination and create an artistic world without being bound by a limited horizon of space.

The realistic principle of direct observation of reality is combined in Chinese painting with a number of conventional canons. Its majestic simplicity and noble severity do not exclude the subtlety of decorative details.

1.2 Images and genres

Deep philosophical ideas are often embodied in the images of Chinese painting. At various periods in the development of painting, Confucianism, Taoism and Buddhism left their imprints on it. The founder of the theory of painting, Se He, in his “Notes on the Categories of Ancient Painting” (490), formulated six basic principles that should guide artists. And the very first of them was the requirement to convey in painting the “spiritualized rhythm of living movement,” which is inherent in everything in nature, to convey its essence, and not an external naturalistic image.

In traditional Chinese painting, certain genres have been established: landscape “mountains and waters”, painting “flowers and birds”, portrait and animalistic genre.

The images of Chinese painting were given symbolic meaning associated with the ideas of ancient cosmogony. The structure of a pictorial scroll is determined by the most important principles - Heaven and Earth, between which the main actions unfold that determine the internal dynamics of the picture. Treatises on the art of composition taught the artist: “Before you lower your brush, be sure to determine the place of Heaven and Earth... Carefully place the landscape between them.” The dualistic structure of the world, established in ancient times, was represented as two opposing principles of the universe visibly embodied in Heaven and Earth: male power - [yang] and female power - [yin]. The interaction of these forces gave rise to five primary elements: water, fire, wood, metal and earth, which formed everything real, everything that exists.

The annual cycle embodied the cycle of birth and death of things. “The Four Seasons” is a favorite motif of Chinese artists. The culmination of this cycle was the day of the winter solstice, when the power of yang experienced the greatest tension, when the mystery of the merger of Heaven and Earth took place, when light was born in the depths of darkness. Therefore, the winter, snowy landscape was considered the best form in expressing the essence of existence.

In Chinese landscapes, mountains were considered the personification of the male light principle of yang, and water - the female dark principle of yin, from the combination of which, according to ancient ideas, the universe arises. Mountains are the bones of the earth, streams of water are veins, blood pulsating, carrying life and movement. The artist sought to convey the essence, world harmony, and rhythm underlying natural phenomena. Therefore, naturalism and the desire for external similarity were alien to him.

In Chinese painting there is an aesthetic cult of wood. The willow is especially often depicted, which is a symbol of modest beauty and sophistication. She is a sign of spring in nature, an attribute of the goddess of motherhood Guanyin and therefore a symbol of beauty and kindness. Feminine grace is always compared to the flexibility of willow.
Pine is especially popular in Chinese painting, representing both Confucian restraint and fortitude, and the Taoist ideal of “usefulness of the useless,” that is, curved, knotty and unsuitable for crafts, and the ancient idea of eternal youth. Trees, like stones, are perceived as living. A special section of the “flowers and birds” genre is the painting of the so-called “four noble ones”: orchids, wild plum meihua, bamboo and chrysanthemum. Among these plants, meihua carries a cosmogonic idea. The monochrome painting of bamboo contains the meaning of Confucian ethics and Taoist philosophy. Orchids and chrysanthemums have a more personal, hidden meaning. The orchid embodies simplicity, purity and hidden nobility. Chrysanthemum is beautiful, modest and chaste, the embodiment of the triumph of autumn. This flower is a symbol of sublime loneliness.

One of the most favorite objects of aesthetic embodiment in painting is bamboo. In Chinese paintings, bamboo is not just a plant, but a symbol of human character. Depicting bamboo, the artist glorifies a real husband of high moral qualities, sometimes comparing his own character with him.

The popularity of bamboo is rivaled only by the image of a branch bearing the soft pink, white or yellow flowers of the wild meihua plum. It also symbolizes a proud person of crystal purity, inflexibility and perseverance, since living juices are preserved in trees even in frosts. The flower means the solar principle of yang, and the tree itself, the trunk and branches, filled with the juices of the earth, personify its yin power. The symbolism of meihua is specific: the peduncle is the absolute beginning; the cup supporting the flower is drawn with three strokes, as it embodies three forces - Heaven, Earth and Man. The flower itself is the personification of the five primary elements and is therefore depicted with five petals. All parts associated with wood have an even number of elements, which reflects stability - a property of the Earth 3.

The image of the “three friends of cold winter” (meihua, bamboo and pine) together with the orchid, making up the “four perfect ones,” symbolized pure noble people whose friendship and mutual support had passed all tests. The language of symbols, devoid of objective reality, is close and understandable to a true connoisseur of Chinese art. Anyone who does not understand the meaning of allegories cannot comprehend Chinese painting. Let's name some more popular symbols in fine art: the dragon and the phoenix bird are symbols of power, might and strength, and the dragon is also a symbol of the emperor, and now China and masculinity; phoenix - empress, feminine principle; lion is a symbol of power and nobility; tiger protector from evil spirits; crane, turtle old stones - symbols of longevity; bat, magpie - symbols of happy news; the dove, a symbol of peace, appeared recently; a drake with a duck, two fish, two butterflies, two lotus flowers on one stem - symbols of marital happiness; lotus - a symbol of inner purity; peony is a symbol of human beauty, wealth, abundance, honor and splendor; peach is a symbol of longevity and immortality; carp fish - a symbol of wishes for happiness and success; pomegranate - a symbol of the wish for large male offspring; many flowers are a symbol of the flourishing of Chinese art.

The portrait and, in general, the image of a person played a noticeable role only at the early stage of the formation of the aesthetic phenomenon of Chinese painting. After the Tang period (618-907), portraiture began to be given a less significant role until it took last place. In portrait art, two directions can be distinguished. One came from the Confucian official tradition of the social and ethical significance of a person, the other was based on the Taoist-Buddhist philosophy of the value of the individual and therefore sought to reveal the unique character traits and properties of a given person. Artists of the first movement most often depicted memorial portraits of historical and statesmen, high dignitaries, members of their families and court beauties. Artists belonging to the second direction created images of poets, hermits, and fantastic portraits of saints. The former most often worked in color, in a detailed, meticulous manner. The latter gave preference to drawing with ink, sometimes resorting to light shading, in a free, sketchy manner.

1.3 Stylistics

In Chinese painting, there are two styles of writing: gongbi - diligent brush and sei - painting of ideas. The first style is characterized by a subtle and detailed graphic style of painting with careful application of paints. The second is a free sketch style of writing with a wide brush.

Artists of this style strive to convey not the external similarity of an object, but its essence, which is the main goal of the master. These two styles complement each other. But the basis for the development of this style is the style of writing gunbi. This millennium has developed its own capacious and laconic artistic language, with the help of which the artist expresses the inner essence of the subject and, thus, his thoughts and feelings. This is what real art strives for.

In Chinese painting, there is a special type of paintings - huafu or huajuan scroll paintings. They are rolled into a roll called juan cheyuu and stored in special elegant cases 4 . This method is convenient for storing and collecting paintings. Ancient paintings - scrolls, thanks to the then-existing high technology of pasting paintings and methods of storing them, even after a millennium retain their pristine freshness, which allows you to admire them in museums.

The source of the emergence of paintings - scrolls were Bihua frescoes, paintings on Pinghua screens, which appeared before our era.

The emergence of this kind of paintings was associated not only with the purpose of ease of storage, but also with the emergence of the wenjunhua style of painting - painting by scientists. Wenrenhua masters, like ordinary painters, disdained to paint palaces and temples. Their paintings and scrolls were hung in offices and were intended for viewing by friends, writers, scientists and the service class.

Wenrenhua combines painting with poetry and calligraphy. The grace of the hieroglyphs and the poetry of the verse not only complemented and emphasized the main content and idea of the picture, but also, in combination with each other, gave it special beauty and completeness. This style has become a prominent feature of Chinese painting and is popular in China today.

Another feature of Chinese paintings is that they are marked with the artist’s personal seal, replacing his signature. It is made of metal, stone (jasper, jade), rock crystal, wood, ivory, and now plastic. The seal is most often square in cross-section. On its surface, hieroglyphs, usually in ancient writing, mottos or good wishes are embedded or raised in relief. The print is made using a special red mastic (made from cinnabar, glue and wormwood pulp). Seal making is a special branch of art. The seal can be decorated with carved figures and stored in a special case.

At present, Guohua national painting has emerged from the narrow framework of traditional themes, following the times. Modern paintings executed in the Guohua style have been filled with new content and a living spirit of the times.

2. Traditional Chinese painting using the example of Qi Baishi's work

2.1 Traditions and innovationorality in the works of Qi Baishi

A traditional painting in ancient China had to include five basic elements. The first is an interesting plot or story that will be captured in the picture. The second is the artist's skill, which is acquired through years of hard work. The third element is a poem or phrase that conveys the deep meaning of the painting, which was part of the overall composition and written in one of the calligraphy styles. The fourth is the artist’s personal stamp.

And finally, the painting was rolled up into a scroll so that it could be conveniently carried and shown to the audience. Only when all five components are present does a real work of art emerge.

Prominent representatives of traditional Chinese painting are the paintings of the great artist Qi Baishi (see Appendix, Fig. 1). His works attract the attention of viewers of all generations. Old people and children, men and women - no one will remain indifferent to the paintings of this great master.

What is so fascinating about the work of Qi Baishi and what fundamentally new did he bring to the usual images of birds and insects, plants and animals, simple tools of peasant labor? What do the events of our time have in common with sheets of paper or long scrolls depicting mustachioed crabs, nimble tadpoles, flowers, fruits or village pitchforks?

Under the brush of Qi Baishi, works were born imbued with sympathy for the people. 3 Concerning the fate of the peasants, the inscription to the picture, which depicts an ordinary pumpkin ripening in the sun, sounds: “This pumpkin is sweet and fragrant. In a good year it can serve as a delicacy, and in a hungry year it can replace rice. Don’t forget to plant it in the spring and water it well!” (see Appendix Fig. 2)

Qi Baishi, like a wizard, made silent objects “speak.” Mushrooms or cabbage, bindweed exposing its bright head to the sun, chickens fighting over a worm, painted with amazing skill and knowledge of life, are perceived as part of the larger natural world. Through small details, Qi Baishi talks about the tastes, habits and customs of his people. Wise, sometimes humorous, full of anxiety and sadness, caustic and satirical inscriptions accompanying his works complement their figurative meaning. At times, the poetic inscriptions of Qi Baishi burned with anger, scourging the oppressors of the Chinese people. For example, his paintings depicting bureaucratic officials with the following texts are known: “There is a white fan in his hands, and a black soul. Oh, how much self-satisfaction there is in this nonentity! “Or: “It’s better to live in poverty than to be an extortionist official!” 5 For his progressive views, the master was repeatedly attacked by the reactionaries of old China.

2.2 Artistic techniques

chinese painting artistic qi baishi

Qi Baishi's artistic techniques are both traditional and new. He, like all the masters of national painting "Guohua", paints quickly with a damp brush on easily wet paper, and not a single stroke can be erased or corrected. This kind of work requires precision of the eye and hand. The artist’s creative style is characterized by impetuosity, temperament, scope and courage. With his quick, seemingly random sketches, he evokes thoughts and images stored in the memory of every person. Looking at his paintings, where a bright flower opens and reaches for the light, where swamp frogs sing their trills, and dragonflies flutter their light wings over lotus leaves, the viewer begins to feel close to the natural world and participation in its secrets. He feels himself not so much as an outside observer, but as if he were a co-author of the works of the great master.

Qi Baishi revealed and made many secrets of Chinese art more understandable and accessible to people around the globe. He managed to reveal the very essence of natural life, to convey the hidden meaning of its phenomena. Discarding the secondary, the master sought to reveal the soul of the subject. Thus, when drawing a pumpkin, he conveys not so much its structure as the feeling of ripeness and juiciness of the fruit, the glossiness of the skin, and the velvety roughness of the leaves. When depicting a flower, the artist also shows not so much the structure of the petals, but rather reveals its fragrant freshness and tenderness. Drawing a lake, with a few strokes he transforms a sheet of paper into the surface of water and the expanse of heaven. Fiction and reality are intertwined in his work. That’s why Qi Baishi’s landscapes, sketches and sketches have such a meaningful capacity and contain so much poetry and feeling. The master’s artistic solutions seem unusually bold and unexpected, born easily and freely, like improvisation. In fact, behind every stroke, seal, and bend of a hieroglyphic inscription there are years of work and close study of nature.

Qi Baishi maintains the balance between truth and fiction very accurately in his paintings. The visible world of nature, transformed by his imagination, fascinates with its understatement. And although at times the master’s artistic decisions seem unexpected, one can feel the deep truth of life and emotional upliftment in them. Let us take as an example an album sheet on which Qi Baishi depicted in black ink a hut on the shore of a pond overgrown with blooming lotus. “Lotus Pond” (see Appendix Fig. 3) evokes a feeling of rural silence, peace and quiet. It is perceived as a complete landscape, although everything in it is not completed and is conveyed by hint. After all, the viewer sees neither the sky, nor the earth, nor the borders of the picture, and the hut itself, depicted in the corner of the composition, can only be guessed. We understand perfectly well that black ink spread in blots on a white sheet of porous paper that easily absorbs moisture is not an accurate image of a lotus pond. But these soft, velvety streaks of ink, completed with subtle strokes, easily and naturally scattered across a white field, have an independent picturesque charm.

Qi Baishi allows the viewer to feel the distance that separates the world of art from a photographic copy that does not allow poetic generalizations. The artist masterfully brings out the soul of nature in the landscape. Unlike his predecessors, the masters of old Chinese painting, he depicts the natural world, which is not separated from man, but is close to him, warmed by the charm of the artist’s personality.

Qi Baishi's paintings are poems full of bright musical images. The great sage and philosopher is revered by the whole world and everyone who loves nature and art. Under the brush of Qi Baishi, works were born imbued with sympathy for the people. 3 Concerning the fate of the peasants, the inscription to the picture, which depicts an ordinary pumpkin ripening in the sun, sounds: “This pumpkin is sweet and fragrant. In a good year it can serve as a delicacy, and in a hungry year it can replace rice. Don’t forget to plant it in the spring and water it well!” 6

Let us take as an example an album sheet on which Qi Baishi depicted in black ink a hut on the shore of a pond overgrown with blooming lotus. “Lotus Pond” evokes a feeling of rural silence, peace and quiet. It is perceived as a complete landscape, although everything in it is not completed and is conveyed by hint. After all, the viewer sees neither the sky, nor the earth, nor the borders of the picture, and the hut itself, depicted in the corner of the composition, can only be guessed. We understand perfectly well that black ink spread in blots on a white sheet of porous paper that easily absorbs moisture is not an accurate image of a lotus pond. But these soft, velvety streaks of ink, completed with subtle strokes, easily and naturally scattered across a white field, have an independent picturesque charm.

Conclusion

In connection with this goal, the characteristic features of Chinese painting were identified:

1. Paintings are created through a linear drawing, while in European painting images are expressed using volumes and shapes, color and chiaroscuro.

2. Chinese fine art has a huge variety of images that embody philosophical ideas and thoughts.

3. There are two styles of writing: gunbi - diligent brush and sei - painting of ideas. The first style is characterized by a subtle and detailed graphic style of painting with careful application of paints. The second is a free sketch style of writing with a wide brush.

Chinese classical painting has made a significant contribution to the artistic culture of mankind. Anyone who spares no effort in penetrating its meaning will discover a rich and complex world.

Listliterature

1. Gorbachev B.N. Russian-Chinese phrasebook, 1994

2. Zavadskaya E.V. Qi Baishi. M.: Art, 1982

Malyavin.V.V. Chinese civilization. - M.: Astrel, 2000. - 627 p.

3. Samosyuk K.A. Guo Xi. - M.: Art, 1978.

4. Encyclopedia for children. T. 7: Art. Part 1. - 2nd ed., revised. / ch. ed. M.D. Aksenov. - M.: Avanta+, 1998. - 688 p.

5. http://asiapacific.narod.ru/countries/china/art.htm

6. http://nnm.ru/blogs/natasha571/kartiny_kitayskogo_hudozhnika_ci_bay-shi

7. http://www.tonnel.ru/? l=gzl&uid=831

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The difference between Chinese painting and European painting

The visual tradition combines painting, graphics and calligraphy. This is the main thing difference between Chinese painting and European painting. For centuries, Chinese masters created their masterpieces on a narrow strip of thin paper or silk using a brush and ink. Such paintings were never framed like European paintings. They were kept in scrolls and taken out only to show the masterpieces to guests or admire them. Horizontal scrolls were intended for contemplation on a table, vertical scrolls were intended for hanging on a wall.

How to understand Chinese painting

The talent of the artists, unsurpassed technique of execution, thrifty attitude towards the created works, towards tradition, the work of the artist, the ability of an entire people to understand and see what the master reflected on his canvas, from century to century formed this unique phenomenon in world art.

To understand Chinese painting, it is not enough just to be able to mechanically draw smooth lines with a brush. You need to learn to see the beauty of the world around you, to feel it. Learning Chinese painting is a leisurely process, imbued with spirituality and meditative calm. Guohua canvases are not painted, but written. The plot is not considered, but read. Please note that all the stories told by the artists on these canvases carry only a positive spark.

mountains and water;
flowers and birds;
portraits;
animals;
plants.

Is it worth mentioning that guohua is symbolic. Each plot is filled with deep meaning and metaphor.

Chinese painting courses will help you discover more than just your creative potential. Learn to enjoy fleeting moments, see beauty and poetry in the blowing wind, in a blooming garden, hear music in the murmur of a stream. It is the philosophical perception of existence that best tunes in Chinese painting training, to understand plots and techniques.

Guohua does not recognize sketches. All drawings are written immediately without rough sketches or sketches. Even the paper traditionally used for such work will not allow you to draw with a pencil, erase and redraw. Xuanzhou paper absorbs ink very well. It is thanks to this property that the magnificent works of ancient Chinese artists have survived to this day.

And if you want to admire your work several years or decades later, then you will have to learn how to control ink and brush as gracefully and deftly as Chinese artists do. And they will help you with this in Chinese painting courses. It should be noted that brushes for Chinese painting, which are made according to ancient tradition, are no less important than rice paper. And ink pots, designed for rubbing ink sticks, are themselves works of art.

IN Chinese painting It is not only the artist’s talent and painting style that are valuable, but the objects and materials themselves that the master uses.

What were the characteristic features of Chinese painting? Chinese art

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