On the status of Chinese art in the world

One. There is no way to say about status at the moment. After all, it is a completely different art category from the West. Which do you think is higher in status, your dad or your mom? They are all your elders, and their identities are completely different.

Second, because of three reasons, history, philosophy, and economics. The historical reason is that the circulation of art in the West is different from that of China, and everyone influences their neighboring countries. At that time, transportation and communication were not developed, so the opportunity for communication between the two sides was almost zero.

Philosophy is because the most significant difference between Western art and Eastern art is realism and freehand. If you look at Greek sculptures, you can see the sculptures in China during the same period. In modern times, Western society has become a strong country.

The influence of art is actually the influence of national strength, your national strength is strong, and everyone takes learning and appreciating your art as fashion and beauty. Don't think this is ridiculous, you know that our powerful Tang Dynasty and Ming Dynasty, Western countries also took our art as the fashion first.

Three, ** is normal. It's still because of the difference in national strength. China's 1 million is a huge amount of money, and it is a small amount of money when converted into dollars and put it in the world.

International auctions are commercial activities, which means that everyone is chasing after the expensive things they collect. If you put Chinese paintings on the international level, assuming that no one likes them and no one collects them, they will not be able to sell them for money. Artistic value does not mean that there are many people who like it.

Fourth, as for the genre ......You're certainly not an art ......In addition, relatively speaking, the dissemination of art theories and theories in China is indeed too weak.

There are also schools in China that are also very finely divided, but they are not like foreign countries, and the common people know about the schools. These nouns and names of ours are in an ivory tower, and you won't know them unless you learn them.

I can tell you that every master is the source of a genre. Or inherited a certain genre.

If you don't go to graduate school in art now, you don't know anything. I don't know who paints in China and who is a painter. Not to mention ordinary people.

I can only say that in fact, you don't know about Chinese painting, and it's also very one-sided, you don't see the status of Chinese art in the world, and your ideas are related to the current social situation in China, and it is still not developed enough, and the local people still don't understand their own civilization, so how can they talk about international influence.

In fact, many of the ingredients in the auction are copied and made, and they are all illusions, of course, Chinese paintings are rarely auctioned at such sky-high prices as oil paintings, in fact, it is a matter of cognition, and most of the people who really invest in collectibles are outsiders, and China is basically a bad man.

In fact, there are many schools of Chinese painting, there are no less than 20 influential in the Ming and Qing dynasties alone, and each school is a branch of literati painting, academy painting and craftsman painting system and coexist for a long time.

Chinese painting is only a band, not as strong as Western painting, which makes you have a unclear sense of the genre, which is limited by the use of tools and the culture it contains.

One is to treat the object rationally; One is the emotional treatment of the object. In the field of painting is an eternal topic. Before this kind of problem, it is not possible to be sincere.

The issue of size is the key to avoiding getting lost; Dialectical analysis is the only way to get out of the theoretical labyrinth. In this article, I have no intention or ability to make an evaluation of this ancient theoretical case, but I just want to sort out various points of view into a context. Resemblance (referred to as form), as the name suggests, is similar in the shape of the object.

But this one meaning is in different contexts (Chinese and Western, ancient and modern......is different. In ancient Greece and the Renaissance in Western Europe, the status of resemblance was related to the success or failure of painting. In ancient China, the status of resemblance was a little more subtle.

Gu Kaizhi is an advocate of both form and spirit. His: "The portrayal of the gods is in the middle of the eye."

It has been quoted by later generations through the ages. Later, it was also included in the "New Six Laws" by Xu Beihong. This tradition was successfully maintained in the Song Dynasty painting academy.

However, at that time, with the rise of literati painting, the treatment of similar forms changed subtly. Under the advocacy of Su Shi, painting pays attention to self-expression, pursues artistic conception and god-like atmosphere, and is generally recognized by literati and doctors. Wen Tong, Li Gonglin, Wang Xu, Zhao Lingsui, Mi Fu father and son, etc., rose along the waves, bowing to practice.

The god seems to have become synonymous with the taste of painting (the look here is different from Gu Kaizhi's look.) That is, the difference between the God of the image and the God of the picture, the author. ）

Therefore, the appearance of the god is far from being as simple as the appearance. First of all, it is not only the grasp of the charm of the object, but also the addition of one's own feelings to the artwork, so that the artwork has its own thoughts, which is also another kind of godlikeness.

I was afraid that the topic would get bigger and bigger, so I stopped there.

True art knows no borders Chinese art is an indispensable and important element in the world's art palace (there is no one) Personal opinion, correction!

That's your opinion: Chinese paintings are much more expensive than foreign ones.

Now there is a lot of junk goods in China, and there is no shortage of art cells in China.

The West is still learning.

Not good. Because the economy of foreign countries is more developed.

There are also many good ones in China in foreign countries.

Chinese do not lack art cells.

I just don't want to delve into it.

In the history of Chinese art, the mainstream position is the noisy circle literati painting.

Literati painting is also called"Freehand painting of scholars"、"Shifu painting", Ancient Art Educational Content. It generally refers to the paintings of Chinese people and doctors in Chinese feudal society. It is different from the paintings of folk and court painting academies. It began with Wang Wei in the Tang Dynasty.

The author generally avoids social reality and mostly draws on landscapes, flowers and trees to express himself"Sexual spirit"There is also a sense of resentment against national oppression or decadent politics. flaunted"Morale"、"Yipin"It emphasizes the taste of pen and ink, detaches the shape of the shape, emphasizes the charm, and attaches importance to the cultivation of calligraphy and literature and the expression of the artistic conception in the painting. It has had a great influence on the development of traditional aesthetic education ideas and techniques such as ink painting and freehand.

In modern times, Chen Hengke thinks"There are four elements in literati painting: character, learning, talent, and thought. With these four things, it can be perfected"。

Chinese literati painting sprouted in the Tang Dynasty and flourished in the Song and Yuan dynasties. In the Song and Yuan dynasties, due to the vigorous development of literati thought, they broke through the cumbersome exhortations of the Han and Tang dynasties, and presented a new trend of thought that was not bound to the rules of things, and the most significant and brilliant expression of this trend of thought was painting. Therefore, history called the Song and Yuan dynasties the first era of literati painting.

The dominant position in the history of Chinese art is literati painting.

Chinese art has a long history, dating back thousands of years to the ancient times. After a long period of historical precipitation, Chinese art has formed a unique artistic style and cultural connotation, the most famous of which is literati painting. Literati painting is a mainstream form of painting in the history of Chinese art, which has a profound cultural heritage, superb skills and unique aesthetic style, and has become a treasure in the history of Chinese art.

Literati painting is a form of painting based on Lu Zhi's calligraphy, poetry, literature, etc., which reflects the aesthetic concept and cultural spirit of Chinese literati. The main characteristics of literati painting are poetic and pictorial, emphasizing the freedom of brush and ink and the richness of artistic conception. The creation of literati paintings mainly focuses on landscapes, flowers and birds, and human figures, which are closely related to traditional Chinese culture and represent the core values of Chinese culture.

The importance of literati painting

Chinese culture is the most brilliant pearl in the treasure house of world culture, and painting culture occupies an extremely important position. As an important branch of Chinese painting, literati painting is an indispensable part of Chinese culture. Literati painting is not only rich in artistic and aesthetic value, but also one of the important representatives of Chinese culture.

The literary conceptions, philosophical thoughts, historical traditions, and political attitudes expressed in literati paintings are all important parts of Chinese culture. Chinese painting has a long history, and after thousands of years, it has formed a unique artistic style. As a unique form of expression of Chinese painting, literati painting has a strong Chinese cultural atmosphere and a unique artistic style.

Literati painting occupies a dominant position in the history of Chinese art.

Literati painting, also known as "Shidafu freehand painting", generally refers to the paintings of Chinese Huishen people and Shidafu in Chinese feudal society, and this kind of painting is very different from folk and court paintings.

Literati painting began in the Tang Dynasty Wang Wei, who painted literati paintings, most of which expressed the author's avoidance of reality, drawing on landscapes, flowers and trees, expressing the artistic conception of personal feelings, as well as satirizing national oppression or political decadence, reflecting morale.

Literati painting attaches great importance to calligraphy, literary accomplishment, and the expression of artistic conception in painting. The creation of literati painting is a flourishing, Li Fan carries the mood of the painter at that time, it is also a comprehensive art, integrating literature, calligraphy, painting, seal carving, etc., reflecting the painter's extremely high literary quality.

The Department of Chinese Painting has gathered a group of famous artists and art educators with the most artistic achievements in modern and contemporary times. Qi Baishi, Huang Binhong, Wang Xuetao, Guo Weiqu and others have been hired to teach, especially Jiang Zhaohe, Ye Qianyu, Li Keran, and Li Kuchan, who are symbols of the academic character and artistic peak of the Department of Chinese Painting. Their teaching and creative practices in the fields of figures, landscapes, flowers and birds undoubtedly occupy an important page in the history of modern Chinese art and art education, and have a far-reaching influence.

The Department of Chinese Painting adheres to the teaching policy of basing itself on tradition, keeping up with the times, swallowing the ancient and modern, dabbling in China and foreign countries, and encouraging originality, and grasps the three basic links from tradition to modernity, from life to art, and from basic skills to creativity, forming the teaching characteristics of "the trinity of tradition, life, and creation" and "close combination of copying, sketching, and creation", and has cultivated a large number of Chinese painting professionals who love the motherland and can adapt to the needs of society in many aspects with their learning, intelligence, personality, and creativity.

The teaching of the Department of Chinese Painting is based on the basic theory and practice of Chinese painting, and the core of the traditional course is to creatively comprehend the connotation of Chinese imagery aesthetics. The core of the sketching class is based on experiencing the creative spirit of Chinese art; The core of the creation course is to inherit the spirit of Chinese culture, based on the times, and open up a new realm of Chinese humanistic aesthetics.

Undergraduate students learn to master traditional painting techniques and understand the spirit of traditional aesthetics based on the teaching of the first and second years. Curriculum: Sketching, Line Drawing, Landscape Copying, Flower and Bird Copying, White Drawing Calligraphy, Ink Composition, Social Practice, etc.

In the third year, students will enter the four professional directions of ink and wash figure painting, gongbi figure painting, landscape painting, and flower and bird painting (students voluntarily choose the major direction) to consolidate and improve their basic ability, correctly master and understand the language of professional painting techniques, and deepen their understanding of the spirit of traditional aesthetics.

Year 4 enters the studio and learns under the guidance of a studio instructor.

The current head of the department is Professor Tian Liming, the executive deputy director is Professor Tang Yongli, and the deputy director is Professor Hu Wei.

Fourth-year students in the Department of Chinese Painting began to choose professional studios, and the two-way selection principle of individual declaration and studio admission was implemented.

The Department of Chinese Painting has established a calligraphy studio, and in the near future, it will set up studios for freehand figure painting, gongbi figure painting, landscape painting, flower and bird painting, and materials and expressions (the materials and expression studio is open to graduate students and graduate students). Studio teaching takes the consolidation, improvement and improvement of the basic comprehensive technique language as the starting point, explores the personality potential of students, cultivates students' imagination and creativity, encourages students' spirit of exploration, pays attention to teaching students according to their aptitude, and guides students to give full play to their talents.