Nowadays, there are two kinds of understandings of the development of Chinese painting in the painting art circle: one thinks that the development of Chinese painting is stagnant, and Chinese painting, as a part of feudal ideology, has existed for thousands of years in an absolutely closed and autocratic society. At the same time, the weakness of Chinese painting theory restricts the practice of Chinese painting, making the development of Chinese painting "stagnant" and now it has reached the state of "the end of the road"; Another understanding is a one-sided understanding around the view that pen and ink are equal to zero. Now it is considered that Chinese painting should be "pen and ink equals zero", and the pen and ink technique of Chinese painting has developed to the end. That "is equal to zero, so there is no need to talk about development". Obviously, these two understandings are too one-sided. Some people just draw a conclusion about the development of Chinese painting based on their simple understanding and some puzzles encountered in the current development of Chinese painting, which is very wrong.
Chinese painting has a long history of development, and outstanding painters of past dynasties constantly innovate on the basis of inheritance, making this art last forever. At present, we must have the following three understandings about the development of Chinese painting.
First, inheritance is the premise of understanding and understanding the development of Chinese painting. First of all, inheritance and development complement each other. Without inheritance, there can be no development. Chinese painting needs to be passed down. Without inheritance, we can't really understand the spiritual connotation of Chinese painting. All we know is that we don't know why, or even why. On the basis of inheritance, we should constantly explore the traditional culture of China's broad spirit, constantly absorb the essence of China's traditional culture, and constantly discover the cultural extension of Chinese painting, so as to understand the source of strong vitality of Chinese painting. Without inheritance, we can't deeply understand and understand, and we will have wrong views. For example, the perfect combination of poetry, calligraphy and seal is one of the important features of Chinese painting, and it is also the comprehensive expression of the four outstanding traditional cultures in China. Many people don't know this thing now. The so-called Chinese painting, only painting, no inscriptions, no seals, no poetry books, euphemistically called "innovation." For another example, the pursuit of the artistic realm of painting has been the goal of China painters since ancient times, and it is also a manifestation of the beauty of Chinese painting. So is the so-called "God". Gu Kaizhi, a great painter in the Eastern Jin Dynasty, once put forward the ideas of "being right", "being right" and "realizing being right" to show the artistic realm of "writing", "transmitting" and "communicating". But now some people don't understand at all. Under the banner of emphasizing self-feeling, they make something that no one can understand in some strange ways. There is no rhyme or skill, but they flaunt to express themselves and break through the traditional shackles. Secondly, China painters should maintain their own Chinese paintings, be confident, develop well and let the world accept them. Therefore, we should seriously study and explore the traditional culture of China, inherit and develop the art of Chinese painting in the profound traditional culture of China, so as to get rid of the disadvantages of blindly worshipping foreign painting art, blindly imitating the West, blindly belittling or even denying the traditional art of Chinese painting in China, and don't let ourselves lose everything we are familiar with, and others are unfamiliar with things. In the end, we can only pick up people's tears and spit on them. Not to mention the phenomenon of "flowers inside the wall, fragrance outside the wall" in Chinese painting. A friend once told me that when he visited an art museum in Holland, a western artist asked him doubtfully that many western artists wanted to absorb and draw lessons from the cultural and artistic essence of China for thousands of years when creating. Why not inherit and carry forward by yourself, but imitate us blindly?
Second, the pace of development has never stopped. Chinese painting is always developing, always advancing, always making progress and never ending. First of all, from the perspective of dialectical materialism philosophy, everything is constantly developing and changing, and Chinese painting is no exception. In fact, painting, as a form of life record and decoration, has gradually evolved into a traditional Chinese painting with a distinctive social brand of China, which is also a great development and evolution. In the process of thousands of years of feudal society in China, Chinese painting has also experienced many changes and evolution. For example, in Wei, Jin, Southern and Northern Dynasties, Chinese painting was dominated by figure painting, while in Sui and Tang Dynasties, the development of figure painting and landscape painting reached a peak. In Song Dynasty, freehand brushwork and meticulous brushwork made the development of Chinese painting enter a small climax. All these reveal the inheritance, development and innovation of Chinese painting. It is not only unscientific but also anti-scientific to say that the development of Chinese painting is "stagnant" and has reached a so-called "dead end". Secondly, from the perspective of the tools and carriers of traditional Chinese painting, Chinese painting is also constantly advancing and developing. As we know, the earliest painting art started from the rock wall, then went to bamboo slips, and then to silk and paper. This is a process of continuous development, evolution and perfection. Technically speaking, taking landscape painting as an example, before the Tang Dynasty, sketching and sketching were the main methods. After the Tang Dynasty, various painting methods gradually appeared, and concrete methods of drawing rocks were found in sketching. In terms of figure painting, it used to be mainly sketch, then ink painting, and then to the present level. At present, the development of Chinese painting has indeed encountered some confusion, which is inevitable in the process of constant change and development of anything. However, it is doubtful to jump to a conclusion that Chinese painting will end here.
Third, the development direction is diverse. Chinese painting has been enduring for thousands of years from its origin to the present. In the modern society with the rapid development of society, economy and culture, Chinese painting has experienced the collision between history and reality, classical and modern, and eastern and western cultures, showing a new development trend. First, develop in the direction of science and closely integrate with science. In the current Chinese painting creation, people have begun to use many scientific means to replace traditional painting techniques, such as modeling techniques. In the past, it relied entirely on sketching techniques, but now it has begun to be realized by modern technical means such as "taking pictures" and "copying"; Another example is the animation technology that has appeared abroad, which can make a painting show in a dynamic form by means similar to movies. The Riverside Scene at Qingming Festival, which appeared dynamically some time ago, is a good example. Second, the connotation elements are getting richer and richer. A painting contains many elements of Chinese painting, such as pen and ink lines, as well as elements of western woodcut oil painting color. There are more and more connotative elements, which are not limited to the original things in China, but absorb many elements of Chinese and Western painting arts. Third, the carrier forms are diverse. Chinese painting has always been based on silk, rice paper and other carriers, and now other carriers such as cloth have begun to appear. Therefore, it is entirely possible that a better carrier will appear in the future to show the painting art of Chinese painting. Fourth, the composition forms are diversified and diversified. Chinese painting pays great attention to composition. From ancient times to now, Chinese painting pays attention to a composition, whether it is the content of the picture or the distribution of pen and ink. At present, we see that many modern composition methods have been applied to Chinese painting. The fifth is to develop in the direction of multi-texture. The future development of multi-texture is a visible trend. The current development of Chinese painting is obviously not satisfied with the existing texture model. People use various properties of materials and various means to make the carrier produce various textures to achieve the best effect of Chinese painting performance. For example, Liu, a famous painter in Taiwan Province, embedded ribs in the paper he painted, and then extracted them one by one after the painting was completed, thus creating a brand-new texture. Sixth, it is more inclined to decorative development. Chinese painting itself as a decoration began to develop slowly. In the Tang Dynasty, it became a line drawing-based painting, which gradually appeared later, and now there is a combination of painting and reason. Seventh, more and more technology applications have brought about new development trends, such as the development of animation. Eighth, the development trend of imagery is becoming more and more distinct. Chinese painting is actually an artistic conception painting, unlike western painting. Chinese painting comes from life, but it is not a camera-like pure record and repetition of life. It does not follow the actual reproduction object, but adds the painter's thinking and understanding of life on the basis of the actual object, which shows the author's understanding and understanding of everything in the world, which is higher than life.
In a word, Chinese painting is the essence of thousands of years of historical and cultural accumulation in China, and it is a well-deserved national quintessence. As a Chinese painting artist, only by constantly digging in the inheritance can we give Chinese painting new connotation and feel the strong vitality and endless development momentum of Chinese painting.