Whether it is important for a painting to be realistic or the artistic conception in it is more impo

Realism and freehand are not important, the problem depends on three key points; The first is the theme conception of the painting, which involves the subject that the artist wants to express, and what kind of expression is needed for this theme; the second is the way and method of expressing the painting work, and what kind of method can be used to express the theme idea more appropriately; The third is that the desired effect of the painting work, the audience of the work, the value of the work, the influence and dissemination of the work should be taken into account. Therefore, it is not possible to simply say which method is effective, but to consider and conceive comprehensively. Through careful conception and research, there must be one path that is the smoothest compared to the others.

Realism, abstraction.

Realism should be as concrete as possible; Abstraction is to emphasize artistic conception.

If you are realistic, as long as you have studied art and have a certain foundation and patience, you can basically draw hyper-realistic works. But.. This is not a pursuit or goal that art should have, each of our works must have its own thoughts, that is a living flesh and blood work.

Of course, this is just my thoughts.

It depends on what type of drawing you have.

If you are realistic, gouache and sketch are the most commonly used to express the reality of things.

Artistic conception of the comic oil painting is more suitable.

Both are applicable to Chinese painting.

I hope you are happy with this answer.

The main purpose of this article is that artistic conception is the soul of landscape painting, and the creation of artistic conception requires the painter to be immersed in the scene and observe the objective object for a long time. The example of Li Taibai is cited to demonstrate the view that people's thoughts and feelings are fully expressed by writing scenes, and the "Three Songs of Sixteen Character Orders" is further illustrated that "writing scenes is writing love." Poetry and painting have a meaning, and there is a soul.

The original text (partial) is attached

The artistic conception of landscape painting.

Li Keran. When painting landscapes, the most important issue is "artistic conception", which is the soul of landscape painting.

What is Mood? In my opinion, artistic conception is the combination of scenery and emotion; To write a scene is to write love. Landscape painting is not a description of geography and natural environment, needless to say, it certainly requires the accuracy of physical geography, but more importantly, it is to express people's thoughts and feelings about nature, see the scenery and feelings, and combine the scenery and feelings.

If you pursue the natural science side one-sidedly, painting flowers and birds will become dead specimens, and painting landscapes will also lack interest, and if you don't have the intention of painting, you will not be moved, and of course you will not be moved by others.

In our ancient poems, there is often a good artistic conception. Although he didn't write a word about "people", he fully expressed people's thoughts and feelings by writing scenes, such as Li Taibai's poem "Sending Meng Haoran to Guangling":

The old man left the Yellow Crane Tower in the west, and the fireworks went down to Yangzhou in March.

The lonely sail is far away and the blue sky is endless, and only the Yangtze River skyline can be seen.

It contains the melancholy of a friend's farewell, reminiscent of the scene of Yiyi's farewell: the sail is far away and has disappeared, and the person who is saying goodbye is still looking at the river from afar, as if his heart has gone to ...... with the sail and the flowing waterLove in the scenery. In these four lines of poetry, there is not a single sentence of the writer's feelings, especially the last two lines, which completely describe the natural scenery; However, it is in these two lines that one deeply understands the poet's deep friendship.

The artistic conception of the poem is very deep. For example, in "Three Songs of Sixteen Characters", each song is a scene, and every word is a mountain, but every song and every word fully expresses people's thoughts and feelings. The three poems reflect the nobility, momentum and power of the mountain, and they do not directly describe people, but in fact they all praise people and their heroism.

The ancients said that "fate and things send affection", and writing scenes is writing love. Poetry and painting have a meaning, and there is a soul.

How can we get the mood? I think that in order to have a deep understanding of the object, we must have strong and sincere thoughts and feelings.

The difference between freehand and realism is:

Realism: Realistic depiction of things. It is like looking at things in a mirror, emphasizing "likeness". Even the things in the mind must be similar to the things in life. Realism pays attention to the spatial relationship of objective objects and the reproduction of the shape and color of the object itself.

Freehand: Outline the demeanor of the object with concise brushwork to express the artistic conception. It is a kind of painting method of Chinese painting, which does not seek meticulous workmanship, but deliberately pays attention to the expression of demeanor and the expression of the artist's interest. Freehand painting is the opposite of "gongbi painting".

Why is freehand the biggest feature of Chinese painting? It is related to the ancient poets and literati who liked to paint. Poets and literati all emphasized the "artistic conception", and in addition to writing, they used residual ink and paper, dotted a few grasses, an autumn insect, and a thin stone, and inscribed a few sentences to make the most of their fun.

This habit influenced the tradition of Chinese painting.

I understand that the biggest difference is whether or not to pursue the realism of the scene. Freehand does not pursue realism, pursues the overall artistic conception, and realistically pursues realism.

Freehand focuses on artistic conception, not requiring the appearance to be like the main feeling. The splash of ink is on that splash of words.

Realism demands appearance and reality, just like sketching people.

It's the same as the painting, so you can't tell whether it's a painting or a painting. European classicism is like that. Realism aims to represent such a real picture, but it is still illusory. ...It's very meaningful.

Summary. "Artistic conception" has always been regarded as a long-standing, far-reaching and important concept in traditional Chinese literary and artistic creation theory, the highest state of artistic creation, and the long-term goal pursued by painting artists. - Generally speaking, painting will express a specific artistic conception through a certain image, embody the beauty of artistic conception, convey the thoughts and emotions that the creator wants to express, express his own voice, and how to understand the characteristics of Chinese painting in pursuit of artistic conception.

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"Artistic conception" has always been regarded as a long-standing, far-reaching and important concept in the traditional literary and artistic creation theory of Chinese infiltration, which is the highest state of artistic creation and the long-term goal pursued by painting artists. - Generally speaking, painting will show a specific artistic conception through a certain image, embody a kind of artistic conception beauty, convey the thoughts and emotions that the creator wants to express, and express his own heart

The evolution of traditional Chinese figure painting from "realism" to "freehand", and what is the background of its production?

In the field of Chinese painting, figure painting has a long history. In the feudal society, because the feudal ruling class used painting as a tool for political propaganda and education"Educate and help others"Therefore, in the field of painting, figure painting was first developed, and the painting technique matured rapidly.

The evolution of traditional Chinese figure painting from "realism" to "freehand", and what is the background of its production?

Our generation understands "realism" from the concept of realism in Western painting, and the application of painting science is the basis of the concept of realism in Western painting, such as light and shadow, structure, perspective, anatomy, contrast, etc. The introduction of these scientific concepts into the arts is the result of the great progress made in the basic sciences of society. If we compare the development of basic science in China and the West, it is not difficult to find that the science of art observation has a high demand for anatomy, and this mainly comes from the development of medicine.

We are now more clear about the difference between Western medicine and Chinese medicine, and the most important thing is my former brother Qing's understanding of human medical anatomy. From a metaphysical point of view, the understanding of human anatomy was applied to art, which obviously promoted the development of artistic anatomy, so Western painting and sculpture gradually moved towards "scientific" realism. However, the development of medicine in China does not involve anatomy, and the diagnosis of internal pathology of the human body mainly comes from the reasoning derived from the observation of the outside of the human body, so anatomy has not been greatly developed in China, which will also produce restrictions on artistic observation, and the understanding of the structure of the human body in the field of art mainly relies on the results deduced from external observation to determine what kind of expression is used in painting - imagery lines.

Summary. We will now make a simple classification of the Chinese state. 1. In terms of expression, it can be divided into:

Freehand and fine brushwork. 2. From the content of paintings, they can be divided into three categories: figures, flowers and birds, and landscapes.

Freehand Landscape Painting Qi Baishi's Shrimp (Freehand) Freehand Flowers and Birds Gongbi Figures Gongbi Flowers and Birds Gongbi Flowers and Birds Chinese painting is divided into three categories: figures, landscapes, and flowers and birds, which is not a simple division of subjects, but reflects a traditional humanistic thinking. Figure painting depicts people and people and society; Landscape painting expresses man and nature; Flower and bird paintings depict animals and plants that get along with people. Together, these three aspects are a complete world.

Chinese flower and bird painting is a painting method that uses plants, animals, insects and other creatures in nature as the subject matter. Painters find the beauty of nature in seemingly ordinary flowers, plants, insects and birds, and then use brush and ink skills to express it, and express their inner emotions. The meaning in elegance The hibiscus brocade chicken painted by Zhao Ji, the emperor painter of the Song Dynasty, has the intention of borrowing objects and expressing feelings.

In ancient times, the brocade rooster was considered a symbol of both civil and military neutrality, and the painter used it as a metaphor. Hibiscus flowers emerge from the middle left of the picture, and a golden pheasant stands on the branch, looking back at the colorful butterfly in the upper right corner.

We will now make a simple classification of the Chinese state. 1. From the form of expression, it can be divided into: freehand and gongbi.

2. From the content of paintings, they can be divided into three categories: figures, flowers and birds, and landscapes. Freehand Macro Quiet Water Painting Qi Baishi's Shrimp (Freehand) Freehand Flowers and Birds Gongbi Figures Gongbi Flowers and Birds Gongbi Flowers and Birds Chinese painting is divided into three categories: figures, landscapes, and flowers and birds, which is not a simple division of subject matter, but reflects a traditional humanistic thinking.

Figure painting depicts people and people and society; Landscape painting expresses man and nature; Flower and bird paintings depict animals and plants that get along with people. Taken together, the three aspects are a complete world. Chinese flower and bird painting is a painting method that uses plants, animals, insects and other creatures in nature as the subject matter.

Painters find the beauty of nature in seemingly ordinary flowers, plants, insects and birds, and then use brush and ink skills to express it, and express their inner emotions. The meaning in elegance The hibiscus brocade chicken painted by Zhao Ji, the emperor painter of the Song Dynasty, has the intention of borrowing objects and expressing feelings. In ancient times, the brocade rooster was considered a symbol of both civil and military neutrality, and the painter used it as a metaphor.

Hibiscus flowers branch out from the middle left of the picture, and a golden pheasant stands on the branch, looking back at the colorful butterfly in the upper right corner.

Chinese painting* pays attention to "vividness", not confined to the appearance of the object, but emphasizes the subjective taste of the artist. Chinese painting emphasizes "depicting the gods in form", and pursues a sense of "wonder between the similar and the unlike".

This kind of freehand in Chinese painting still comes from observing nature, that is, "learning from the law to create nature" (Xu Beihong). However, the expressiveness of Chinese painting, especially landscape painting, is the result of the painters' subjective memory, not the result of on-site sketching. Landscape painting emphasizes the meaning of the chapter, the skill of using the pen and ink rather than the truth, for example, there are many kinds of painting techniques of mountains and stones, what axe splitting, draping hemp, lotus leaves, etc., which forms its unique style and tradition, the ancient Chinese map is the strongest expression of this tradition, in the form of landscape painting on the map, people can not see the distance and proportion.

Mountains, rivers, cities are all pictorial, approximating an aerial bird's eye view. In landscape paintings, there is no perspective relationship at all, there is no passing point (perspective focus), it is the use of ink to reflect the relationship between the distance and the near of the scene. In order to explain this unscientific tradition of painting, the instructors of Chinese painting invented a strange concept from Yuanqi:

Scattered perspective. That is to say, Chinese landscape painting does not ignore perspective, but adopts a kind of scattered passing point.