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Painting | History, Artists, Elements, Techniques, Types, & Facts | Britannica

Painting | History, Artists, Elements, Techniques, Types, & Facts | Britannica

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painting

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painting

Table of Contents

IntroductionElements and principles of designElements of designLineShape and massColourTextureVolume and spaceTime and movementPrinciples of designDesign relationships between painting and other visual artsTechniques and methodsMediumsTemperaFrescoFresco seccoBuon frescoSgraffitoOilWatercolourInkGouacheEncausticCaseinSynthetic mediumsOther mediumsFrench pastelsOil pastelsGlass paintingsIvory paintingLacquerSand, or dry, paintingPaperCollageMechanical mediumsMixed mediumsForms of paintingMural paintingEasel and panel paintingMiniature paintingManuscript illumination and related formsScroll paintingScreen and fan paintingPanoramasModern formsImagery and subject matterKinds of imageryKinds of subject matterDevotionalNarrativePortraitureGenreLandscapeStill lifeOther subjectsSymbolism

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Art in Context - What is Painting? – Explore the World of Visual Art Painting

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History World - History of Painting

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Tate - Painting

Boise State Pressbooks - Introduction To Art - Painting

Art in Context - What is Painting? – Explore the World of Visual Art Painting

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painting - Children's Encyclopedia (Ages 8-11)

painting - Student Encyclopedia (Ages 11 and up)

Written by

Peter D. Owen

Painter and printmaker. Former Senior Lecturer, Croydon College of Design and Technology, England. Author of Painting: Appreciation of the Arts.

Peter D. Owen

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Encyclopaedia Britannica's editors oversee subject areas in which they have extensive knowledge, whether from years of experience gained by working on that content or via study for an advanced degree. They write new content and verify and edit content received from contributors.

The Editors of Encyclopaedia Britannica

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Feb 9, 2024

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Key People:

Julie Mehretu

Tom Lea

Chris Ofili

Tamara de Lempicka

Charles H. Alston

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Western painting

Chinese painting

mural

oil painting

cave painting

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Recent News

Feb. 7, 2024, 11:35 PM ET (The Guardian)

Stolen Van Gogh on display for first time since being returned to Dutch art sleuth

painting, the expression of ideas and emotions, with the creation of certain aesthetic qualities, in a two-dimensional visual language. The elements of this language—its shapes, lines, colours, tones, and textures—are used in various ways to produce sensations of volume, space, movement, and light on a flat surface. These elements are combined into expressive patterns in order to represent real or supernatural phenomena, to interpret a narrative theme, or to create wholly abstract visual relationships. An artist’s decision to use a particular medium, such as tempera, fresco, oil, acrylic, watercolour or other water-based paints, ink, gouache, encaustic, or casein, as well as the choice of a particular form, such as mural, easel, panel, miniature, manuscript illumination, scroll, screen or fan, panorama, or any of a variety of modern forms, is based on the sensuous qualities and the expressive possibilities and limitations of those options. The choices of the medium and the form, as well as the artist’s own technique, combine to realize a unique visual image.(Read Sister Wendy’s Britannica essay on viewing art.)Earlier cultural traditions—of tribes, religions, guilds, royal courts, and states—largely controlled the craft, form, imagery, and subject matter of painting and determined its function, whether ritualistic, devotional, decorative, entertaining, or educational. Painters were employed more as skilled artisans than as creative artists. Later the notion of the “fine artist” developed in Asia and Renaissance Europe. Prominent painters were afforded the social status of scholars and courtiers; they signed their work, decided its design and often its subject and imagery, and established a more personal—if not always amicable—relationship with their patrons.During the 19th century painters in Western societies began to lose their social position and secure patronage. Some artists countered the decline in patronage support by holding their own exhibitions and charging an entrance fee. Others earned an income through touring exhibitions of their work. The need to appeal to a marketplace had replaced the similar (if less impersonal) demands of patronage, and its effect on the art itself was probably similar as well. Generally, artists in the 20th century could reach an audience only through commercial galleries and public museums, although their work may have been occasionally reproduced in art periodicals. They may also have been assisted by financial awards or commissions from industry and the state. They had, however, gained the freedom to invent their own visual language and to experiment with new forms and unconventional materials and techniques. For example, some painters combined other media, such as sculpture, with painting to produce three-dimensional abstract designs. Other artists attached real objects to the canvas in collage fashion or used electricity to operate coloured kinetic panels and boxes. Conceptual artists frequently expressed their ideas in the form of a proposal for an unrealizable project, while performance artists were an integral part of their own compositions. The restless endeavour to extend the boundaries of expression in art produced continuous international stylistic changes. The often bewildering succession of new movements in painting was further stimulated by the swift interchange of ideas by means of international art journals, traveling exhibitions, and art centres. Such exchanges accelerated in the 21st century with the explosion of international art fairs and the advent of social media, the latter of which offered not only new means of expression but direct communication between artists and their followers. Although stylistic movements were hard to identify, some artists addressed common societal issues, including the broad themes of racism, LGBTQ rights, and climate change.

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Cubism: Art and Artists

This article is concerned with the elements and principles of design in painting and with the various mediums, forms, imagery, subject matter, and symbolism employed or adopted or created by the painter. For the history of painting in ancient Egypt, see Egyptian art and architecture. The development of painting in different regions is treated in a number of articles: Western painting; African art; Central Asian arts; Chinese painting; Islamic arts; Japanese art; Korean art; Native American art; Oceanic art and architecture; South Asian arts; Southeast Asian arts. For the conservation and restoration of paintings, see art conservation and restoration. For a discussion of the forgery of works of art, see forgery. For a discussion of the role of painting and other arts in religion, as well as of the use of religious symbols in art, see religious symbolism and iconography. For information on other arts related to painting, see articles such as drawing; folk art; printmaking. Elements and principles of design Frederick R. Spencer: Family GroupFamily Group, oil on canvas by Frederick R. Spencer, 1840; in the Brooklyn Museum, New York. 74 × 91.4 cm.(more)The design of a painting is its visual format: the arrangement of its lines, shapes, colours, tones, and textures into an expressive pattern. It is the sense of inevitability in this formal organization that gives a great painting its self-sufficiency and presence.

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The colours and placing of the principal images in a design may be sometimes largely decided by representational and symbolic considerations. Yet it is the formal interplay of colours and shapes that alone is capable of communicating a particular mood, producing optical sensations of space, volume, movement, and light and creating forces of both harmony and tension, even when a painting’s narrative symbolism is obscure.

painting是什么意思_painting的翻译_音标_读音_用法_例句_爱词霸在线词典

ting是什么意思_painting的翻译_音标_读音_用法_例句_爱词霸在线词典首页翻译背单词写作校对词霸下载用户反馈专栏平台登录painting是什么意思_painting用英语怎么说_painting的翻译_painting翻译成_painting的中文意思_painting怎么读,painting的读音,painting的用法,painting的例句翻译人工翻译试试人工翻译翻译全文简明柯林斯牛津painting高中/CET4/CET6/考研/TOEFL英 [ˈpeɪntɪŋ]美 [ˈpeɪntɪŋ]释义n.绘画; 油画; 上色，着色; 颜料，油漆v.绘画（ paint的现在分词）; 涂色于大小写变形:Painting点击 人工翻译，了解更多 人工释义词态变化复数: paintings;实用场景例句全部绘画油画上色着色颜料油漆a collection of paintings by American artists美国艺术家绘画作品集牛津词典cave paintings洞窟里的壁画牛津词典Her hobbies include music and painting.她的爱好包括音乐和绘画。牛津词典painting and decorating油漆和装潢牛津词典...a large oil-painting of Queen Victoria.维多利亚女王的大幅油画柯林斯高阶英语词典...two hobbies she really enjoyed, painting and gardening.她的两大嗜好: 绘画和园艺柯林斯高阶英语词典...painting and decorating.粉刷和装潢柯林斯高阶英语词典There is no other misfortune that could be compared with the loss of time.没有一种不幸可与失掉时间相比.期刊摘选The painting isn't flawless.这幅画并非完美无缺.《用法词典》The ancient painting was purchased for 50,000 francs in 1989.那幅古画是1989年以5万法郎买下的.《现代汉英综合大词典》The painting was a forgery.这张画是赝品.《简明英汉词典》The distortion of form is a constant in his painting.曲线型是他绘画的一贯特点.《现代英汉综合大词典》Painting is his bread and butter.他靠绘画谋生.《简明英汉词典》The painting is a representation of a storm at sea.这幅画描绘的是海上的暴风雨.《简明英汉词典》This painting exemplifies the artist's early style.这幅画是该画家早期艺术风格的典型.《简明英汉词典》The subject of the painting is very clear.这幅画的主题很明显.《现代英汉综合大词典》Every bit of Huangshan Mountain scenery is worth painting.黄山山景,处处可以入画.《现代汉英综合大词典》The craftsmen have ensured faithful reproduction of the original painting.工匠保证要复制一幅最接近原作的画.《简明英汉词典》The painting represents the scene of a bumper harvest.这幅画描绘了丰收的景象.《简明英汉词典》He received tuition in painting for one year.他学了一年绘画.《简明英汉词典》She stood contemplating the painting.她站在那儿凝视那幅图画.《简明英汉词典》We have made inroads into our painting job; we finished the kitchen already.我们的粉刷工作有进展了, 已经把厨房刷好了.《简明英汉词典》He is painting her a picture.他正在为她作画.《简明英汉词典》He attained perfection in landscape painting.他画山水的技巧达到了炉火纯青的地步.《现代汉英综合大词典》His painting had tactile appeal.他的画作具有质感美.《简明英汉词典》This painting is their joint work.这幅画是他们合作的.《现代汉英综合大词典》This isn't much of a painting.这幅画画得不怎么样.《现代汉英综合大词典》收起实用场景例句真题例句全部四级六级高考考研In his spare time, he visited the local art galleries, and the paintings are now lodged deep in his autobiographical memories.出自-2017年6月阅读原文Have you finished that painting for the new student center?出自-2012年12月听力原文He needs another week for the painting出自-2012年12月听力原文The painting was completed just in time.出自-2012年12月听力原文While Gail Obcamp, an American artist was giving a speech on the art of Japanese brush painting to an audience that included visitors from Japan, she was confused to see that many of her Japanese listeners have their eyes closed.出自-2011年12月听力原文"Imagine being able to remember every painting, on every wall, in every gallery space, between nearly 40 countries," he says.2017年6月四级真题（第一套）阅读 Section B"There's an ancient legend that as long as these eggs are made, evil will not prevail in the world," says Joan Brander, a Canadian egg-painter who has been painting eggs for over 60 years, having learned the art from her Ukrainian relatives.2017年6月四级真题（第一套）阅读 Section CSince there were few museums anywhere in Europe before the close of the eighteenth century, Grand Tourists often saw paintings and sculptures by gaining admission to private collections, and many were eager to acquire examples of Greco-Roman and Italian art for their own collections.出自-2017年6月阅读原文The example of Rembrandt's painting suggests that a distinction should be made between effort and accomplishment.出自-2010年6月阅读原文What do you think Picasso's painting exhibited in the city museum?出自-2014年6月听力原文He is not quite impressed with modern paintings出自-2014年6月听力原文They offer to let me exhibit some of my paintings here.出自-2013年6月听力原文The gallery space is big enough for the man's paintings出自-2013年6月听力原文While Gail Obcamp, an American artist was giving a speech on the art of Japanese brush painting to an audience that included visitors from Japan, she was confused to see that many of her Japanese listeners have their eyes closed.出自-2011年12月听力原文And when it comes to the hyper-connected super-smart world that technology firms are painting for us, it seems that consumers are growing more uneasy about handing over the massive amounts of consumer data needed to provide the personalized, customized so2016年12月六级真题（第二套）阅读 Section BEfforts like painting eyes on cow butts may seem crazy at first, but they could make actual headway in the fight for conservation.2018年12月六级真题（第一套）阅读 Section AIn what's probably the craziest headline I've ever written, I've reported that advances in livestock protection are happening with scientists painting eyes on the butts of cows.2018年12月六级真题（第一套）阅读 Section AIt's possible Merian used a magnifying glass to capture the detail of the split tongues of sphinx moths depicted in the painting.2018年12月六级真题（第二套）阅读 Section BAbsorbed in painting, john didn't notice evening approaching.2015年高考英语天津卷 单项填空 原文Benjamin west, the father of American painting, showed his talent for art when he was only six years of age.2017年高考英语浙江卷（6月） 阅读理解 阅读A 原文By painting buildings white, cities may slow down the warming process.2017年高考英语江苏卷 阅读理解 阅读D 原文He provided him with painting materials.2017年高考英语浙江卷（6月） 阅读理解 阅读A 选项He spent much of his childhood in France where he spent many hours each day outdoors painting pictures.2019年高考英语全国卷2 听力 原文He took him to see painting exhibitions.2017年高考英语浙江卷（6月） 阅读理解 阅读A 选项I'd skipped nearby Guilin, a dream place for tourists seeking the limestone mountain tops and dark waters of the Li river which are pictured by artists in so many Chinese paintings.2015年高考英语全国卷1 语法填空 原文In Peru, local farmers around a mountain with a glacier that has already fallen victim to climate change have begun painting the entire mountain peak white in the hope that the added reflectiveness will restore the life-giving ice.2017年高考英语江苏卷 阅读理解 阅读D 原文Once, after a trip to Hollywood, I returned to Australia so depressed and spent months in my bedroom painting, listening to Eckhart Tolle's music and trying to find myself again.2017年高考英语天津卷 阅读表达 原文So he spent time improving his painting skills and began to sell his paintings.2019年高考英语全国卷2 听力 原文The boy began a landscape 风景 painting.2017年高考英语浙江卷（6月） 阅读理解 阅读A 原文The pompidou centre in Paris is showing its respect and admiration for the artist and his powerful personality with an exhibition bringing together over 200 paintings, sculptures, drawings and more.2015年高考英语全国卷1 阅读理解 阅读C 原文We are lucky now to have so many paintings of American birds by John Audubon.2019年高考英语全国卷2 听力 原文When most people think of the arts, they imagine the end product, the beautiful painting, a wonderful piece of music, or an award-winning performance in the theater.2018年高考英语江苏卷 阅读理解 填空题 原文Williams was impressed with Benjamin and gave him two classic books on painting to take home.2017年高考英语浙江卷（6月） 阅读理解 阅读A 原文Humans are unique in their capacity to not only make tools but then turn around and use them to create superfluous material goods - paintings, sculpture and architecture - and superfluous experiences - music, literature, religion and philosophy.出自-2012年考研阅读原文Derek Jarman's yellow-tinted film Towards Avebury, a collection of long, mostly still shots of the wiltshire landscape, evokes a tradition of English landscape painting stretching from Samuel Palmer to Paul Nash.2014年考研真题（英语二）阅读理解 Section Ⅱ收起真题例句英英释义Noun1. graphic art consisting of an artistic composition made by applying paints to a surface;"a small painting by Picasso""he bought the painting as an investment""his pictures hang in the Louvre"2. creating a picture with paints;"he studied painting and sculpture for many years"3. the act of applying paint to a surface;"you can finish the job of painting faster with a roller than with a brush"4. the occupation of a house painter;"house painting was the only craft he knew"收起英英释义词根词缀词根: paint=paint,表示"描画"n.painter 画家, 油漆匠paint油漆, 颜料+er人→n.画家, 油漆匠painting 上油漆, 着色, 绘画, 油画paint[n.&v.油漆, 颜料, 涂料]+ing状态,物品→n.上油漆, 着色, 绘画, 油画n.&v.paint 油漆, 颜料, 涂料paint描画→n.&v.油漆, 颜料, 涂料同义词辨析drawing, illustration, cartoon, diagram, picture, sketch, painting, portrait这些名词都表示"画，图"之意。drawing： 指用线条或色彩绘成的图画。illustration： 指插入书页之间帮助说明的任何插图或图解。cartoon： 指幽默或讽刺性漫画。diagram： 多指科技书籍或文献中具有概括解说作用的图表、图样或略图。picture： 指广义的"图画"，现多用来指相片、画像。sketch： 通常指只画出物体主要特征的图画。painting： 指着色的画。portrait： 指肖像，只用于指人。同义词n.绘画,着色,上油漆emblazonrypigmentationlacqueringtintingtincturecolorationvarnishingprimingenamellingundercoatingdyeingn.绘画作品,画,油画,水彩画等seascapeartfrescocanvasminiaturemasterpiecerepresentationstudyportrayallandscapewatercolorpicturedelineationoilwaterscapedepictioncompositionscenedrawingworkpanoramadesignportraitillustrationtableauportraituresketchofmuraln.绘画风格,绘画艺术cubismneoclassicismneo-impressionismimpressionismpointillismrealismsurrealismpost-impressionismclassicismromanticismmodernism其他释义art行业词典医学涂抹   "又称 :涂抹(smearing,daub) "   机械涂装   将涂料涂覆于基底表面形成具有防护、装饰或特定功能涂层的过程。   石油涂漆   涂覆   航天涂装   航海科技涂漆   释义词态变化实用场景例句真题例句英英释义词根词缀同义词辨析同义词行

Drawing / Painting 的词源是什么？两者本质上有区别吗？ - 知乎

Drawing / Painting 的词源是什么？两者本质上有区别吗？ - 知乎首页知乎知学堂发现等你来答​切换模式登录/注册A 和 B 有什么不同英语词源Drawing / Painting 的词源是什么？两者本质上有区别吗？论文奋斗中，反复遇到对“drawing”“painting”这两个词语的使用混乱的情况。中文里基本上用绘画可以一言蔽之，但是分开翻译drawing指的…显示全部 ​关注者8被浏览17,808关注问题​写回答​邀请回答​好问题​添加评论​分享​3 个回答默认排序摩西英语www.mosesenglish.com，词源法系列词汇课程​ 关注drawing的draw的本意是拖动，画画的时候拖动画笔是，拖拽地上的重物是，beast of draught 是供拉曳的牲口，它就与pack animal相对，pack animal是驮兽，因为身体结构决定了驮兽能背负重物。更深词源层面其实稍复杂了些，你就知道和drag等有关就可以了。painting的paint，其词根本意是刻划，与日耳曼词源的单词file的锉刀这层含义同源。你就能想象出了，在岩石等硬面上的就是painting。后来有了纸张了，笔也有了软笔和硬笔了，drawing才有了可能。编辑于 2017-09-24 14:52​赞同 3​​2 条评论​分享​收藏​喜欢收起​张兴巴黎美院造型艺术硕士​ 关注您好，试着回答一下，首先说素描，中文素描新华字典的解释是“单用线条描写﹑不加彩色的绘画。是造型艺术的基础。”但如果这样定义，我们就无法在西方语言中找到一个可以与之完全相对应的词，以英文为例，我们常会用两个词来指代“素描”，一个是DRAWING，另一个是SKETCH，但是这两个词都与“素描”无关。牛津英英词典的解释，DRAWING是用硬笔画的画（比如钢笔铅笔或者蜡笔），这种画是与PAINTING所指的软笔绘画相对应的（因此从表面看来，Drawing / Painting只是工具上的不同）；而SKETCH是绘制快速，未完成的，或者说为了完成某件艺术品而创作的准备性稿件，可以是硬笔画也可以是软笔画（并不强调工具，而是强调草的，未完成的，预备的性质。而且从操作上来说，这种草图即便画得很好也不能直接转化成成品），相当于“草稿”。中文的“素描”虽然并不来自于西方绘画体系，却依然被认为是舶来品，这应该说是一种认识上的偏差。但其实，SKETCH自身含义就带有未完成和便捷随手的特性，这些使得它不具备成为艺术品或者说艺术商品的工艺性和价值（有些大师的SKETCH之所以能够成为艺术商品是名人效应的缘故）。而DRAWING与SKETCH大同小异，从美术史的角度来看早期西方绘画中的硬笔就是一种专门用来快速绘制的草图的工具。当然随着时代的发展，有些DRAWING也会进入艺术市场成为流通艺术品，但是这种情况目前都不算太主流。再说PAINTING，现在看来指的得是软笔绘画，但是从词源上可以看出他才是西方美术史的正统长子，最开始是指的装饰（建筑的附属品）然后指称颜色，在往后到涂颜色用的东西和过程，一直到今天指的是软笔画。所谓的软笔本身是没有颜色的，需要沾着颜料并且借助画笔的机械结构把颜色涂在画的表面上，换句话说通过控制笔的痕迹（硬笔留下的痕迹是线，刷子留下的是片），把颜料留在表面上。为了让颜料留存的长久，会在呈色剂上添加粘合剂，媒介剂等一系列东西，最后形成的画作具有永固性和制作性，最终由于这些特性，形成了有品质保证能够流通的艺术商品（也就是艺术作品）。所以不提汉语，只看“drawing”“painting”其实使用起来完全不混乱---painting涵盖一切绘画作品，更特制成品画，drawing指的是硬笔画（非软笔画）或者草图。汉语混乱的元凶就在于把本来是草图的辅助性硬笔画，所谓"素描“当成了和“painting”同一层面的相对的概念。发布于 2017-08-01 14:54​赞同 25​​4 条评论​分享​收藏​喜欢收起​​

painting_百度百科

ting_百度百科 网页新闻贴吧知道网盘图片视频地图文库资讯采购百科百度首页登录注册进入词条全站搜索帮助首页秒懂百科特色百科知识专题加入百科百科团队权威合作下载百科APP个人中心painting播报讨论上传视频英文单词收藏查看我的收藏0有用+10painting，英文单词，名词、动词，作名词时意为“绘画；油画；着色，人名；(英)佩因廷”，作动词时意为“绘画（paint的ing形式）；涂色于”。外文名painting词    性名词、动词单词发音英[ˈpeɪntɪŋ]美[ˈpeɪntɪŋ]目录1单词发音2短语搭配3双语例句单词发音播报编辑英[ˈpeɪntɪŋ]美[ˈpeɪntɪŋ] [1]短语搭配播报编辑oil painting[社科]油画 ; 金山一角 ; 现代树 ; 油画作品Finger painting指画 ; 手指画body painting人体彩绘 ; 身体彩绘 ; 身体绘画 ; 体绘Chromoskedasic Painting折光画lacquer painting漆画 ; 磨 ; 涂漆 ; 漆绘wall painting壁画 ; 墙面粉刷 ; 墙体彩绘 ; 墙画painting brush画笔 ; 油画毛笔 ; 油画羊毫 ; 发刷back painting底面涂漆 ; 布景背面作画curtain painting[涂料]幕帘涂装 [1]双语例句播报编辑Why do you like painting ?为什么你喜欢画画吗？I like this painting.我喜欢这幅画。I like painting.我喜欢绘画。 [1]新手上路成长任务编辑入门编辑规则本人编辑我有疑问内容质疑在线客服官方贴吧意见反馈投诉建议举报不良信息未通过词条申诉投诉侵权信息封禁查询与解封©2024 Baidu 使用百度前必读 | 百科协议 | 隐私政策 | 百度百科合作平台 | 京ICP证030173号 京公网安备110000020000

PAINTING中文(简体)翻译：剑桥词典

PAINTING中文(简体)翻译：剑桥词典

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painting 在英语-中文（简体）词典中的翻译

paintingnoun uk

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/ˈpeɪn.tɪŋ/ us

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/ˈpeɪn.t̬ɪŋ/

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A2 [ C or U ] a picture made using paint

（使用颜料的）绘画，油画

The walls are covered in oil paintings.

墙上挂满了油画。

an exhibition of 19th-century French painting

19世纪法国绘画作品展

A2 [ U ] the skill or activity of making a picture or putting paint on a wall

绘画;（上）油漆

We were taught painting and drawing at art college.

我们在美术学院学过绘画和素描。

When we bought the house, we had to do a lot of painting and redecorating.

我们买下这幢房子的时候，不得不好好油漆装修一番。

更多范例减少例句Any painting by Van Gogh is worth a fortune.He always uses vibrant colours in his paintings.The curator guided us round the gallery, pointing out the most famous paintings in the collection.Edvard Munch's "The Scream" is a famous Expressionist painting.The painting portrays a beautiful young woman in a blue dress.

(painting在剑桥英语-中文（简体）词典的翻译 © Cambridge University Press)

A2,A2

painting的翻译

中文（繁体）

（使用顏料的）繪畫，油畫, 繪畫, （上）油漆…

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pintura, cuadro, pintura [feminine…

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絵, 絵画, 絵を描くこと…

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yağlı boya tablo/resim, ressamlık, yağlı boya işi yapma…

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tableau [masculine], toile [feminine], peinture [feminine]…

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schilderkunst, schilderij…

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வண்ணப் பூச்சைப் பயன்படுத்தி வரையப்படும் படம், ஒரு படத்தை உருவாக்கும் திறன் அல்லது செயல்பாடு அல்லது சுவரில் வண்ணப் பூச்சு செய்வது…

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पेंट का प्रयोग कर बनाई गई तस्वीर, पेंटिंग, तस्वीर बनाने या दीवारों को रंगने का हुनर…

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det at male, maleri…

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målning, målande, måleri…

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melukis, lukisan…

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das Malen, das Gemälde…

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maleri [neuter], maling [masculine], malerkunst [masculine]…

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مصوری, پینٹنگ, نقاشی…

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живопис, картина…

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картина, живопись, малярное дело…

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తైలవర్ణ (కళా) చిత్రం, పెయింట్లు లేక ద్రవ రంగులను ఉపయోగించి వేసిన చిత్రం, వర్ణచిత్రకళ…

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পেইন্ট ব্যবহার করে তৈরি একটি ছবি, একটি ছবি তৈরি বা একটি দেয়ালে পেইন্ট স্থাপন করার দক্ষতা বা কার্যকলাপ…

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malování, malba…

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seni lukis, lukisan…

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การวาดภาพ, รูปภาพ…

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hội hoạ, bức hoạ…

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obraz, malowanie, malarstwo…

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painting的发音是什么？

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“每日一词”

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/ˈhelθ.spæn/

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/ˈhelθ.spæn/

the number of years that someone lives or can expect to live in reasonably good health

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Chinese painting

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IntroductionGeneral characteristicsAesthetic characteristics and artistic traditionsArt as a reflection of Chinese class structureThe role of calligraphy in Chinese artCharacteristic themes and symbolsCharacteristics of paintingFrom the Shang dynasty to 220 ceZhou dynasty (1046–256 bce)Qin (221–206 bce) and Han (206 bce–220 ce) dynastiesFrom 220 to 1206 ceThree Kingdoms (220–280) and Six Dynasties (220–589)Sui (581–618) and Tang (618–907) dynastiesFive Dynasties (907–960) and Ten Kingdoms (902–978)Landscape paintingFlower paintingSong (960–1279), Liao (907–1125), and Jin (1115–1234) dynastiesFrom 1206 to 1912Yuan dynasty (1206–1368)Ming dynasty (1368–1644)Qing dynasty (1644–1911/12)Since 1912Painting and printmakingPainting at the turn of the 21st century

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Written by

Jerome Silbergeld

P.Y. and Kinmay W. Tang Professor of Art History, and Director, P.Y. and Kinmay W. Tang Center for East Asian Art, Princeton University, New Jersey. Author of Chinese Painting Style and others.

Jerome Silbergeld,

Michael Sullivan

Christensen Professor Emeritus of Oriental Art, Stanford University, California. Author of The Birth of Landscape Painting in China and The Arts of China.

Michael Sullivan,

Liu Qiyi

Associate Professor, Art Education Department, East China Normal University, Shanghai, China.

Liu QiyiSee All

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Chinese painting, one of the major art forms produced in China over the centuries. The other arts of China are treated in separate articles. These include Chinese calligraphy, which in China is closely associated with painting; interior design; tapestry; floral decoration; Chinese pottery; metalwork; enamelwork; and lacquerwork; as well as Chinese jade; silk; and Chinese architecture. The present political boundaries of China, which include Tibet, Inner Mongolia, Xinjiang, and the northeastern provinces formerly called Manchuria, embrace a far larger area of East Asia than will be discussed here. “China proper,” as it has been called, consists of 18 historical provinces bounded by the Plateau of Tibet on the west, the Gobi to the north, and Myanmar (Burma), Laos, and Vietnam to the southwest, and it is primarily painting as it developed in China proper that will be treated here. (See also Central Asian arts; and Southeast Asian arts.)The first communities that can be identified culturally as Chinese were settled chiefly in the basin of the Huang He (Yellow River). Gradually they spread out, influencing other tribal cultures, until, by the Han dynasty (206 bce–220 ce), most of China proper was dominated by the culture that had been formed in the cradle of northern Chinese civilization. Over this area there slowly spread a common written language, a common belief in the power of heaven and the ancestral spirits to influence the living, and a common emphasis on the importance of ceremony and sacrifice to achieve harmony among heaven, nature, and humankind. These beliefs were to have a great influence on the character of Chinese painting, and indeed all the arts of China.Chinese civilization is by no means the oldest in the world: those of Mesopotamia and Egypt are far older. But, while the early Western cultures died, became stagnant, or were transformed to the point of breaking all continuity, that of China has grown continuously from prehistoric settlements into the great civilization of today.The Chinese themselves were among the most historically conscious of all the major civilizations and were intensely aware of the strength and continuity of their cultural tradition. They viewed history as a cycle of decline and renewal associated with the succession of ruling dynasties. Both the political fragmentation and social and economic chaos of decline and the vigour of dynastic rejuvenation could stimulate and colour important artistic developments. Thus, it is quite legitimate to think of the history of Chinese painting primarily in terms of the styles of successive dynasties, as the Chinese themselves do.

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General characteristics Aesthetic characteristics and artistic traditions Art as a reflection of Chinese class structure One of the outstanding characteristics of Chinese art is the extent to which it reflects the class structure that has existed at different times in Chinese history. Up to the Warring States period (475–221 bce), the arts were produced by anonymous craftsmen for the royal and feudal courts. During the Warring States period and the Han dynasty (206 bce–220 ce), the growth of a landowning and merchant class brought new patrons. After the Han there began to emerge the concept of “fine art” as the product of the leisure of the educated gentry, many of whom were amateur practitioners of the arts of poetry, music, calligraphy, and, eventually, painting. At this time a distinction began to arise between the lower-class professional and the elite amateur artist; this distinction would have a great influence on the character of Chinese art in later times. Gradually one tradition became identified with the artists and craftsmen who worked for the court or sold their work for profit. The scholarly amateurs looked upon such people with some contempt, and the art of the literati became a separate tradition that was increasingly refined and rarefied to the point that, from the Song dynasty (960–1279) onward, an assumed awkwardness in technique was admired as a mark of the amateur and gentleman. One effect of the revolutions of the 20th century was the breaking down of the class barriers between amateur and professional and even, during the Cultural Revolution of 1966–76, an emphasis on anonymous, proletarian-made art like that of the Tang dynasty (618–907) and earlier.

绘画（艺术类型之一）_百度百科

术类型之一）_百度百科 网页新闻贴吧知道网盘图片视频地图文库资讯采购百科百度首页登录注册进入词条全站搜索帮助首页秒懂百科特色百科知识专题加入百科百科团队权威合作下载百科APP个人中心绘画是一个多义词，请在下列义项上选择浏览（共7个义项）展开添加义项绘画[huì huà]播报讨论上传视频艺术类型之一收藏查看我的收藏0有用+10绘画（Drawing 或Painting）在技术层面上，是一个以表面作为支撑面，再在其之上加上颜色的做法，那些表面可以是纸张或布，加颜色的工具可以通过画笔，也可以通过刷子、海绵或是布条等，也可以运用软件进行绘画。在艺术用语的层面上，绘画的意义亦包含利用此艺术行为再加上图形、构图及其他美学方法去达到画家希望表达的概念及意思。绘画在美术中占大部分。中文名绘画外文名drawing 或 painting元    素点、线、面、体积等表面的例子纸张、布、木材等作    用陶冶性情等目录1释义2理论基础▪核心要素▪基本功▪关于主动性▪到位与拉开▪黑白灰▪重视修改3绘画类型▪水墨画▪油画▪版画▪水粉画▪壁画▪漫画▪工笔画▪写意画▪抽象画▪青绿山水画▪水墨山水画▪白描画▪指画▪界画▪内画▪素描4绘画体系▪中国绘画▪印度绘画5中国绘画史▪学习方法▪整体意识▪体积意识释义播报编辑绘画（painting）在艺术层面上，是一个以表面作为支撑面，再在其之上加上颜色的行为，那些表面的例子有纸张、油画布（canvas）、木材、玻璃、漆器或混凝土等。在艺术用语的层面上，绘画的意义亦包含利用此艺术行为再加上图形（drawing）、构图及其他美学方法去达到表现出从事者希望表达的概念及意思。明 张宏《西山爽气图》（局部）1、造形艺术的一种。用色彩和线条在纸、布、墙壁或其他平面上绘写事物形象。明朝胡应麟《少室山房笔丛·九流绪论上》：“艺主书、计、射、御，而博弈、绘画诸工附之。”鲁迅《书信集·致李桦》：“就绘画而论，六朝以来，就大受印度美术的影响，无所谓国画了。”沈从文《从文自传·预备兵的技术班》：“若机会许可他上外国去学艺术，在绘画方面的成就，会成一颗放光的星子。”2、作画。唐韩愈《进撰表》：“乾坤之容，日月之光，知其不可绘画，强颜为之，以塞诏旨。”宋苏轼《怪石供》：“今齐安江上，往往得美石，与玉无辨，多红黄白色，其纹如人指上螺，精明可爱，虽巧者以意绘画有不能及，岂古所谓怪石者耶？”清富察敦崇《燕京岁时记·灯节》：“各色灯彩多以纱绢、玻璃及明角等为之，并绘画古今故事，以资玩赏。”鲁迅《且介亭杂文·连环图画琐谈》：“没有和地球一样大小的纸张，地球便无法绘画。”明 张宏《阊门舟阻图》扇绘画，按工具材料和技法的不同，以及文化背景的不同，分为中国画、油画、版画、水彩画、水粉画等主要画种。中国画又按技法的工细与粗放，分为工笔画和写意画。版画又根据版材的不同，分为木版画、铜版画、纸版画、石版画、丝网版画等；版画还依制版方法和印色技法分类，常见的有腐蚀版画、油印木刻、水印木刻、黑白版画、套色版画等。以上画种，又依描绘对象的不同，分为人物画、风景画、静物画等。人物画又依据描绘题材内容的不同，分为肖像画、历史画、宗教画、风俗画、军事画、人体画等。绘画，是指用笔、板刷、刀、墨、颜料等工具材料，在纸、纺织物、木板、墙壁等平面（二度空间）上塑造形象的艺术形式。现代可以通过计算机软件用鼠标手写板进行数码绘图，实现无纸化数字图像保存，避免了资源的浪费。也使得观看照片更加方便、美观。理论基础播报编辑绘画理论基础知识形体的点、线、面所描绘的物体都是立体的，而最基本的形体是立方体、球形、柱体与椎体。素描写生可从这四类形体出发，去研究主体构成的基本因素与形体塑造的关系。点表示位置，是形体塑造的标记，对于造型有着特定的数量意义。先看位置点，找出它的基点与顶点、右点、左点、近点和远点，这些点规定着物体的整体范围和个面之间的大小比例关系。再看转折点，这些点如同交通枢纽，联系着形体中的线与面。核心要素一幅画作，最重要的是思想的呈现，评论家王进玉认为，作者的主张、观点、认识、情感等，才是最核心要素。脱离画家思想的表达、画面实际需要和具体表现对象，纯粹为了笔墨而笔墨，为了技巧而技巧，这样的作品无太多价值可言。 [1]基本功基本功好，是不是就创造力强呢。答案是：一定。世界上很多优秀的艺术家的基础功都很“扎实”。在中国，纯技术人才已经不多见，这也可以说是基础教育的一大通病。之所以要搞基础教育，又要推进基础教育的课程改革，主要是针对人才的基本功普遍低下这一致命问题的。不缺想象力，而且可以说世界领先，缺的是扎实的绘画基础。所以，处理好基础教学与创造性思维的培养两者之间的关系就显得非常重要。有必要更新的创造观，但是打基础也不只是死记硬背、机械重复训练，也可以是广泛的阅读、欣赏、见识、交流、合作、讨论、调查、综合、比较、怀疑、探究、想象、创造、逆向思维、发散思维、打破常规等，在日常学习生活中逐渐培养创造力。打素描基本功与训练创造力应该是可以同步的，因为素描负载着全部有价值的艺术信息，也包含创造力，艺术的本质就是“技法”，回顾一下美术史就清楚∶只有具备扎实基础的艺术家才能被记载。所以，要做个学艺上的勤奋人。关于主动性学习素描的主动性，一是指行动上的积极实践，二是指思维上的勤于探索。二者合二为一，光说不练不行，光练不想也不行。某人学习很主动、作品很有想法，就有这意思。即使是初学素描，也不能纯客观地再现，一定要加入自己的主观感受、理性理解和主观处理。以通过学习素描来感受生活、认识艺术。要用自己的大脑来思考，要用自己的眼睛来看世界。主动性是一种学习状态，一种会自觉寻求各种方式获得知识、能力的方法，要珍惜利用书店、图书馆、网络、美术馆、博物馆等学习资源，不要太依赖你的教师，要能积极自修，勤于动脑，放眼世界，要会主动地对各种信息进行知识分类、归纳、批判、取舍。在多元中不迷失自己，在前进中不断学习。到位与拉开“到位”的内容包括构图、结构、特征、形体、比例、朝向、节奏、力度等等，到位是一种基本功、一种能力，它同通常听到的“准确”、“逼真”的意思并不完全相同。“到位”更多地是指主观感受、艺术上的到位，层次要高一些，主观的发展空间也大些，就是“真实”也只是艺术上的真实。“拉开”则是一种人文素质，一种主观手段，“拉开”的内容包括∶艺术语言、形体特征、黑白灰、主次、虚实、强弱、刚柔、浓淡、曲直、前后、疏密等，是更高意义上的简化与归纳，它比“到位”又更加主观、自由，是艺术家个体主观能动性的精神表现，是一幅成功素描作品的重要指标，是风格的俗与雅、格调的高与低的主要区别所在。“到位”与“拉开”，相当于客观与主观、描写与表现、丰富与简练的关系；它们对立统一、相互牵扯；过分的“到位”显得沉闷、平庸，需要“拉开”来注入生气与活力；过分的“拉开”又显得花、碎、简单，需要“到位”加以整合，难就难在如何掌握这个“度”，或者说“恰到好处”，适当的“过点”也并无坏处。黑白灰这里强调“黑白灰”概念的重要性，完全是出于多年经验的明证，因为它的确给我及众多学生带来许多好处。将素描或者所有色彩的学习、设计、创作中导入“黑白灰”概括手法，特别对于初学者将有事半功倍好的效果。具体的操作是：将表达的物象，不管有多复杂、多凌乱，在明度上都把他（它）们概括归纳为画面黑白灰三大块，这是一种对宏观整体的主观把握和有序组织，而任何一块又包涵许多层次（调子、体面），只是它们必须在“黑”、“白”或者“灰”的绝对统治之下；一般“灰”块的层面较为丰富，“黑”块的层面较为简练，三大块各自的面积具体而定，但必须得有。这样就可以很容易地克服画面的“灰”、“乱”、“脏”等初学者常见毛病，从而使作品的画面结构更加有力、层次更加分明、组织更加有秩序。“黑白灰”是一种对画面主动的整体把握与控制，它的意义可能还会更多。重视修改这里的“修改”类似于一般意义上的调整，所不同的是：调整大都基于常规的循序渐进，而“修改”则是基于主动表现中的果敢、直干；因为敢画、敢错，才有“修改”的必要；而每一次的“修改”都是一次思索、进步的过程，有时大刀阔斧的“修改”竟是一种升华、或是一种起死回生。因此，不用怕脏、不用过分地小心谨慎，要敢做敢为；不用担心留有改过的痕迹，这痕迹应该是前进的足迹。“修改”是一种脚踏实地的学习态度，一种自信进取的学习探索。初学者常常一错就重来，总想立竿见影、急功近利、一鸣惊人，却不知是一种浮躁的表现。绘画类型播报编辑水墨画明 张宏《华子冈图》（局部）水墨画（Chinese Brush Painting）是由水和墨经过调配水和墨的浓度所画出的画，是绘画的一种形式，更多时候，水墨画被视为中国传统绘画，也就是国画的代表。也称国画，中国画。基本的水墨画，仅有水与墨，黑与白色，但进阶的水墨画，也有工笔花鸟画，色彩缤纷。后者有时也称为彩墨画。在中国画中，以中国画特有的材料之一，墨为主要原料加以清水的多少引为浓墨、淡墨、干墨、湿墨、焦墨等，画出不同浓淡（黑、白、灰）层次。别有一番韵味称为“墨韵”。而形成水墨为主的一种绘画形式。 [2]水墨画，是中国绘画的代表，也就是狭义的“国画”，并传到东亚其他地区。基本的水墨画，仅有水与墨，黑与白色，但进阶的水墨画，也有工笔花鸟画，色彩缤纷，后者有时也称为彩墨画。中国水墨画的特点是：近处写实，远处抽象，色彩微妙，意境丰富。 [3]油画油画（an oil painting；a painting in oils），是以用快干性的植物油（亚麻仁油、罂粟油、核桃油等）调和颜料，在画布亚麻布，纸板或木板上进行制作的一个画种。作画时使用的稀释剂为挥发性的松节油和干性的亚麻仁油等。画面所附着的颜料有较强的硬度，当画面干燥后，能长期保持光泽。凭借颜料的遮盖力和透明性能较充分地表现描绘对象，色彩丰富，立体质感强。油画是西画主要画种之一。版画版画（print）是视觉艺术的一个重要门类。广义的版画可以包括在印刷工业化以前所印制的图形普遍具有版画性质。当代版画的概念主要指由艺术家构思创作并且通过制版和印刷程序而产生的艺术作品，具体说是以刀或化学药品等在木、石、麻胶、铜、锌等版面上雕刻或蚀刻后印刷出来的图画。版画艺术在技术上是一直伴随着印刷术的发明与发展的。古代版画主要是指木刻，也有少数铜版刻和套色漏印。独特的刀味与木味使它在中国文化艺术史上具有独立的艺术价值与地位。水粉画水粉画，是用水调合粉质颜料描绘出来的图画。水粉颜色一般不透明，有较强的覆盖能力，可进行深细致的刻画。运用得当，能兼具油画的浑厚和水彩画的明快这二者的艺术效果。壁画绘在建筑物的墙壁或天花板上的图画。分为粗底壁画、刷底壁画和装贴壁画等。壁画是最古老的绘画形式之一，埃及、印度、巴比伦保存了不少古代壁画，意大利文艺复兴时期，壁画创作十分繁荣，产生了许多著名的作品。我国自周代以来，历代宫室乃至墓室都有饰以壁画的制度；随着宗教信仰的兴盛，又广泛应用于寺观、石窟,例如敦煌莫高窟、芮城永乐宫，现在大量保存着著名的佛教壁画和道教壁画遗迹。漫画漫画是绘画种类之一，又称讽刺画。高速画一词来源于意大利文Caricare，义为夸张，后来演变为专指具有讽刺和滑稽意味的图画，即Caricature一词。通过夸张、变形、假定、比喻、象征等手法，以幽默、风趣、诙谐的艺术效果，表现、讽刺、批评（或歌颂）现实生活中的人和事。工笔画工笔画是以精谨细腻的笔法描绘景物的中国画表现方式。工笔画须画在经过胶矾加工过的绢或宣纸上。工笔画一般先要画好稿本，一幅完整的稿本需要反复地修改才能定稿，然后复上有胶矾的宣纸或绢，先用狼毫小笔勾勒，然后随类敷色，层层渲染，从而取得形神兼备的艺术效果。唐代花鸟画杰出代表边鸾能画出禽鸟活跃之态、花卉芳艳之色。作《牡丹图》，光色艳发，妙穷毫厘。仔细观赏并可确信所画的是中午的牡丹，原来画面中的猫眼有“竖线”可见。又如五代画家黄筌写花卉翎毛因工细逼真，呼之欲出，而被苍鹰视为真物而袭之，此见于《圣朝名画评》：“广政中昶命筌与其子居农于八卦殿画四时山水及诸禽鸟花卉等，至为精备。其年冬昶将出猎，因按鹰犬，其间一鹰，奋举臂者不能制，遂纵之，直入殿搏其所画翎羽。”工笔画在唐代已盛行起来。所以能取得辉煌的艺术成就的原因，一方面绘画技法日臻成熟，另一方面也取决于绘画的材料改进。初唐时期因绢料的改善而对工笔画的发展起到了一定的推动作用，据米芾的《画史》所载：“古画至唐初皆生绢，至吴生、周、韩斡，后来皆以热汤半熟，入粉捶如银板，故作人物，精彩入笔。”中国的工笔画历史悠久，从战国到两宋，工笔画的创作从幼稚走向了成熟。工笔画使用“尽其精微”的手段，通过“取神得形，以线立形，以形达意”获取神态与形体的统一。在工笔画中，无论是人物画，还是花鸟画，都是力求于形似，“形”在工笔画中占有重要的地位。与水墨写意画不同，工笔画更多地关注“细节”，注重写实，唐代周昉的《簪花仕女图》《挥扇仕女图》，张萱的《捣练图》《虢国夫人游春图》描绘的都是现实生活，这些作品不仅具有很强的描写性，而且富有诗意。明末以后，随着西洋绘画技法传入中国，中西绘画开始相互借鉴，从而使工笔画的创作在造型更加准确的同时，保持了线条的自然流动和内容的诗情画意。写意画写意画是用简练的笔法描绘景物。写意画多画在生宣上，纵笔挥洒，墨彩飞扬，较工笔画更能体现所描绘景物的神韵，也更能直接地抒发作者的感情。写意画又分小写意与大写意。写意画是融诗、书画、印为一体的艺术形式。扬州八怪之一的李鱓，喜在画上作题跋，长长短短，错落有致，使画面更加充实，也使气韵更加酣畅。“画不足而题足之，画无声而诗声之，互相为用”（葛金《爱日吟庐书画录》），既反映了李绘画的实际，也体现了写意画的基本特点。写意画是在长期的艺术实践中逐步形成的，其中文人参与绘画，对写意画的形成和发展起了积极的作用。相传唐代王维因其诗、画俱佳，故后人称他的画为画中有诗，诗中有画，他一变勾斫之法，创造了水墨淡，笔意清润的泼墨山水。董其昌尊他为“文人画”之祖。五代徐熙先用墨色写花的枝叶蕊萼，然后略施淡彩，开创了徐体"落墨法"。之后宋代文同兴"四君子"画风，明代林良开“院体”写意之新格，明代沈周善用浓墨浅色，陈白阳重写实的水墨淡彩，徐青藤更是奇肆狂放求生韵。经过长期的艺术实践，写意画代已进入全盛时期。经八大、石涛、李鱓、吴昌硕等发扬光大，如今写意画已是影响最大、流传最广的画法。写意画主张神似。董其昌有论：“画山水唯写意水墨最妙。何也？形质毕肖，则无气韵；彩色异具，则无笔法。”明代徐渭题画诗也谈道：“不求形似求生韵，根据皆吾五指裁。”写意画注重用墨。如徐渭画墨牡丹，一反勾染烘托的表现手法，以拨墨法写之。元代吴镇论画有云：“墨戏之作，盖士大夫词翰之余，适一时之兴趣，与夫评画者流，大有寥廓。尝观陈简斋墨梅诗云：‘意足不求颜色似，前身相马九方皋。’此真知画者也。”抽象画抽象绘画(31张)抽象艺术一般被理解为一种不描述自然世界的艺术，反而透过形状和颜色以主观方式来表达。20世纪初期，抽象艺术主要是指表达自然世界的艺术，譬如立体主义和未来派艺术。虽然夺取某事它不变的内在质量而不是由仿效它的外在表现。抽象派被定义为没有比喻现实参考的艺术。更广阔的定义是以简化但又可以保留原始自然的方式来描述真实题材。Joan Miro的抽象画是这个更宽的定义一个好例子。抽象艺术，特别是由抽象绘画是现代艺术中一个非常突出的现象，他完全打破了艺术原来强调主题写实再现的局限，把艺术基本要素，进行抽象的组合，创造出抽象的形式，因而突破了艺术必须具有可以辨认形象的籓篱，开创了艺术新的发展天地。青绿山水画青绿山水是具有独特风格的山水型，在古代绘画艺术上占有重要地位，这种画以青绿颜色为主，用笔工整，细笔重彩，色彩浓烈，富有生气。在勾线内用石青石绿着色。色彩浓烈的叫大青绿山水，彩色浅淡些的叫小青绿山水，有用金彩勾勒山石纹理的，显得画面富丽堂皇，这种叫金碧山水。水墨山水画明 张宏《浮岚暖翠图》水墨山水是唐代大诗人王维奠定的基础，不用色彩，以墨的浓淡、干湿，表现峰峦山石景色。王维属杰出的诗人，又是山水画家。他常把景色写成诗，又把诗画成画，后人说他的诗中有画，画中有诗。到五代水墨画又有了飞跃，开始用皴法表现效果，使山石更加雄伟壮丽。到明代徐渭的泼墨大写意在水墨画上发展了水墨的技巧把墨洒在纸上，几笔画就做到了挥洒自如。他的画法对清代的石涛、朱耷（八大山人）影响很大。清代的郑板桥就是受徐渭的影响。白描画中国画中完全用线条来表现物象的称为“白描”。白描有单勾和复勾两种。用线一次画成的叫单勾。单勾有用一色墨勾成的，也有根据不同对象用浓淡两种墨勾成的，例如花用淡墨勾，叶用浓墨勾。复勾是先用淡墨完全勾好，然后根据具体情况决定复勾一部分或全部。复勾的线不能依原路的线刻板地重叠地勾一道。复勾的目的是加重质感和浓淡的变化，使物象显得更有神采。白描是用线条、用墨线浓淡、粗细、虚实、轻重、刚柔、曲直的表现技法。宋代李公麟，发挥了古代传统绘画线描作用，创造了白描技法。元代钱选、明代陈洪绶白描画都很成功。指画史前壁画指画又称指头画，指画至今已有300多年的历史，是中国传统绘画一个旁支。指头画，一般不用或极少用毛笔。史书上记载得比较明确的创始人是清初康熙年间的高其佩。界画史前壁画在画的一部分或大部分，用直尺画墨线组成的画。主要表现庄严雄伟的建筑物，如宫殿，庙宇、楼阁、亭台等。五代时卫贤、元代郭忠恕达到了高峰。清代袁江、袁跃都是画界画的。内画史前壁画内画，是我国一种特有的传统工艺，它的产生起源于画鼻烟壶。内画的画法是以特制的变形细笔，在玻璃、水晶、琥珀等材质的壶坯内，手绘出细致入微的画面，格调典雅、笔触精妙。内画艺术分为京、冀、鲁、粤四大流派，其中尤以冀派内画水平最高、规模最大、发展最快、影响最大，不久前已入选国家非物质文化遗产保护名录，冀派内画的发源地——河北衡水，还被文化部命名为“中国内画之乡”。法国史前壁画涂鸦手绘，也叫手工绘画，或者涂鸦。在中国应该算是近些年新起的一行，大概2000年左右吧，如手绘鞋、手绘T恤、人形抱枕、手绘钱包等，都是主要的手绘对象。手绘即在原纯色物品基础上，根据产品的款式、面料以及顾客的爱好，画师在鞋面上用专门的手绘颜料绘画出精美、个性的画面，在不影响产品使用性的基础上，更增添其可观性。如一双鞋子的画面，可以是漫画卡通、真人素描，亦可以是风景、图案或装饰纹样；可以是故事片段配上文字，亦可以是顾客自己的所爱图片加真情告白。只要是可以绘画的，基本都能在鞋面上呈现出来。简单地说，鞋面上有手工绘画画面的鞋子就称为手绘鞋。因为其手工性，比印刷品的工业机械性更具有欣赏价值；因为其绘画性，比工业设计以实用为先更具有艺术价值。它借鉴了印刷品，但更多的灵感来自于画家，它以工业设计并生产好的产品为载体，但并不为其左右，绘影手绘设计师可以尽情发挥。手绘鞋，因为是鞋，是商品，必然具有商品属性，但是手绘鞋的价值又具有双重性：一是鞋的价值；二是手绘的价值。因此，它的价格，就不能只用鞋子的价格来比较，还要考虑到手绘的价值。手绘鞋因其能够充展现年轻人的个性和对艺术的追求，并极大满足了现代人DIY的心理，又是一种新奇特的产品，从产生以来一直受到时尚年青人的追捧，在欧美、日韩、台湾等地刮起了“涂鸦文化”的旋风，手绘品开始成为时代的新宠，并开始在中国的大型商场、手绘批发公司、专卖店里面出现。素描绘画赏析素描，简而言之就是单色画。却又不尽然，素描过程是同一时间要考虑许多问题的综合思维活动。当今美术院校各专业都把它作为基础课，虽然各专业的侧重点不同，油画重体积、调子，国画重线条，版画、设计重结构等；但素描的共性是差不多的。同时，素描作为独立的艺术种类，自有其独特的艺术价值。理解多少就能表现多少法国史前壁画素描是很理性的，素描的过程是脑、眼与手高度结合的人的活动。大脑是总指挥，充实的理性显得尤为重要；眼睛偏感性，生动、鲜活，但常常出现片面与误差；手只是实现脑眼商量的结果的工具，只要听话就行了，属于技术类（当然还有其它工具）。所以大脑要不断地学习与思考，只有思考才会有创新，会思考是人区别于动物的最大特征。首先，要学美术史，了解美术的发展过程，了解诸大师独特的成长过程、艺术理念、风格区别及技巧表达，经过不断评判思考后才能给自己正确地定位，促使自己更好地发展，从而避免茫然失措和重复浪费；学习素描就不能不学习达·芬奇、米开朗基罗、拉斐尔、丢勒、鲁本斯、康伯夫，仅仅知道契斯恰科夫是不够的。解剖学、透视学诞生给素描注入了更多的科学理性因素，而解剖学、透视学这两门学科就需要花时间精力去学习与掌握，比如：表现一个人，仅仅了解表面的轮廓起伏而不知道其下的骨骼构造、肌肉走向作用及视觉上的透视变形是不行的；每画一条线、一个起伏都要能体现解剖学和透视学知识，这些内在知识能使素描作品更深刻、更完整。构图知识使素描作品更趋于个性化，更有画面感、更有艺术性。对结构、特征、比例、形体、朝向、节奏、对比、点、线、面等要素的熟练运用与驾驭，无疑对素描的充分表达起到深度与广度的关键作用，几何概念的把握与深入塑造技能又起到画面的宏观与微观的调控作用。基础·能力·素质法国史前壁画素描是造型艺术的基础，素描学习训练的目的在于培养学习者正确的认识能力、观察能力、造型能力、表达能力和审美能力，宽厚扎实的基础已经成为进入艺术殿堂必备的素质，就如同高楼大厦的根基，厚实、深藏、无华；也像武术中的站桩功，站都站不稳，“功夫”也只是个花架子。初学者学习素描一定得沉住气耐住寂寞，要能吃苦，要有难度意识，冰冻三尺非一日之寒，古人百步穿杨、庖丁解牛也非一日之功。素描作为一种绘画形式，有其自身的艺术生命力，单凭“基础”两字已难以容纳素描的全部意义，它不单是打基础那么简单。有时，培养良好的审美素质，可以为一生的艺术活动奠定基础。绘画体系播报编辑已知最古老的绘画位于法国肖维岩洞（Grotte Chauvet），部分历史学家认为它可以追溯至32000年前。那些画经由红赭石（red ochre）和黑色颜料作雕刻及绘画，主题有马、犀牛、狮子、水牛、猛犸象或是打猎归来的人类。石洞壁画在世界各地均十分常见，例如法国、西班牙、葡萄牙、中国、澳大利亚及印度等。古代绘画一般认为，从古埃及和中国等东方文明古国发展起来的东方绘画，与从古希腊、古罗马发展起来的以欧洲为中心的西方绘画，是世界上的两大绘画体系。这两大绘画体系在历史上互有影响，对人类文明都作出了各自独特的重要贡献。绘画本身的可塑性决定了它具有很大的自由创造度，它既可以表现现实的空间世界，也可以表现超时空的想象世界，画家可以通过绘画来表现对生活和理想的各种独特的情感和理解，因为绘画是可视的静态艺术，可以长期对画中具有美学性的形式和内容进行欣赏、玩味、体验，所以它是人们最容易接受而且最喜爱的一种艺术。中国绘画中国绘画又名国画，是现代人为区别于西洋画而对中国传统绘画的泛称。它包括卷轴画、壁画、年画、版画等各种各样的门类。有时特指以中国独有的笔墨等工具材料按照长期形成的传统而创作的绘画。中国画现分为三大画科：人物画、山水画、花鸟画；有工笔与写意两大种画法；有卷、轴、册、屏等多种装裱形制。明 张宏《青绿山水图》中国绘画，分工笔画和写意画两科，也有兼工带写。这三种不同的表现形式，工笔画用笔工整细致，敷色层层渲染，细节明彻入微，要用极细腻的笔触，描绘物象。写意画用简练、豪放、洒落的笔墨，描绘物象的形神，抒发作者的感情。写意画在表现对象上是运用概括、夸张的手法，丰富的联想，用笔虽简，但意境深远，具有一定的表现力。它要有高度概括能力，要有以少胜多的含蓄意境，落笔要准确，运笔熟练，能得心应手，意到笔随。从唐代起就有这两种绘画风格。有的介于两者之间，兼工带写，如在一幅画中，松行用写意手法，楼阁用工笔，使两者结合起来，发挥用笔、用墨、用色的技巧。按世界性文化艺术进程，中国绘画广义地指传统中国画，既有狭义的相互独立，也有广义地与西方美术融合融汇，其主要表现为艺术构思和图画寓意的显著不同。南宋 夏圭《雪堂客话图》印度绘画印度绘画，印度艺术是印度次大陆中不同艺术学派的一个总称。印度绘画的种类十分广泛，例如有埃洛拉石窟的大型湿壁画、错综复杂的莫卧儿微型画、坦贾武尔学派的金属装饰画。腱陀罗（Gandhar）至塔克西拉（Taxila）的绘画受到西方伊朗艺术的影响。而有东方特色的绘画则在那烂陀艺术学派附近发展。那些作品大部分都受到印度神话的不同场景所启发。岩石壁画最早的印度绘画为史前时期的岩石壁画（Petroglyph），其发现地点位于比莫贝卡特石窟（Rock Shelters of Bhimbetka），部分年代可以追溯至前5500年。它在几千年间直到7世纪不断有壁画完成，当中突出的例子有阿旖陀石窟中雕刻柱上的印度绘画，它主要由矿物中提炼出来的红色及橙色颜料组成。印度马哈拉施特拉邦的阿旖陀石窟为前2世纪的石切建筑（Rock cut architecture），在其中收藏了被认为在佛教宗教艺术上及通用图像艺术上均可被称为杰作的绘画及雕刻。印度绘画的“六支”印度绘画在前1世纪，印度的绘画发展出谢丹伽（sadanga），意即"六支"，说明了印度传统绘画的六种法则。3世纪哲学家伐蹉衍那（Vātsyāyana）的著作《欲经》中在13世纪加入的一条注释列举了以上六点：1.形别（Rupabheda），对于对象外形的认知。2.诸量（Pramanam），对于对象的大小及结构有正确的认识。3.情（Bhava），对于对象外形的感觉。4.美（Lavanya Yojanam），加入优雅及艺术性的表现方法去表达对象。5.似（Sadrisyam），与对象的相似性。6.笔墨（Varnikabhanga），以艺术性的手法使用颜色及画笔。从其后出现的佛教绘画可以看出六支被后期出现的印度画家采用，并成为他们作品的基本元素。中世纪的印度绘画开始发生几个重大的转变，其原因是受到伊朗艺术的影响。在此期间印度绘画出现了不同的学派，包括：德干小型画画派（Deccan School of Miniature Painting），受到波斯及土耳其影响并溶合了当地元素而成。名作有胡塞因·沙黑手稿（Husayan Shahi Manuscript）、拉迦玛拉（Ragamala）等。冈格拉画派（Kangra School），由拉杰普特人（Rajput）提倡的帕哈里绘画（Pahari painting）画派，并成为帕哈里绘画的发展中心。当中最著名的主题为黑天与罗陀（Radha）的传说。莫卧儿画派（Mughal）。拉杰普特画派（Rajput）。中世纪后期则由有"印度写实画之父"之称的拉加·拉维·维马（Raja Ravi Verma）所主导。中世纪代表画家：达·芬奇、拉斐尔、伦勃现代的印度绘画在20世纪出现，并受到欧洲的影响而出现了孟加拉画派。此时的印度绘画特色为表现出高度的个人主义，而这时的印度画家亦人才辈出，有加入了中国及日本风格的阿巴宁德罗纳特·泰戈尔（Abanindranath Tagore），与及其他多才多艺的有名画家如罗宾德拉纳德‧泰戈尔（Rabindranath Tagore）、难陀婆薮（Nandalal Bose）、贾米尼·罗（Jamini Roy）等。中国绘画史播报编辑北宋 郭熙《早春图》中国的绘画工艺十分古老，可以上溯到原始社会的新石器时代，距今至少有七千余年的。最初的中国绘画，是画在陶器、地面、和岩壁上的，渐而发展到画在墙壁、绢、和纸上。使用的基本工具是毛笔和墨，以及天然矿物质颜料。在无数画家不断探索、创新的努力之下，逐渐形成了鲜明的民族风格和民族气派，并有着自己独立的绘画美学体系。照这么说中国工艺也十分古老，也可称之史前绘画。中国绘画的历史最早可追溯到原始社会新石器时代的彩陶纹饰和岩画，原始绘画技巧虽幼稚，但已掌握了初步的造型能力，对动物、植物等动静形态亦能抓住主要特征，用以表达先民的信仰、愿望以及对于生活的美化装饰。先秦绘画己在一些古籍中有了记载，如周代宫、明堂、庙祠中的历史人物、战国漆器、青铜器纹饰，楚国出土帛画等，都己达到较高的水平。秦汉王朝是中国早期历史建立的中央集权制大国，疆域辽阔，国势强盛，丝绸之路沟通着中外艺术交流，绘画艺术空前发展与繁荣。尤其是汉代盛行厚葬之风，其墓室壁画、画像砖、画像石，以及随葬帛画，生动塑造了现实、历史、神话人物形象，具有动态性、情节性，在反映现实生活方面取得了重大成就。其画风往往气魄宏大，笔势流动，既有粗犷豪放，又有细密瑰丽，内容丰富博杂，形式多姿多彩。明 唐寅《落霞孤鹜图》魏晋南北朝时期，战争频仍，民生疾苦，但是绘画仍取得了较大的发展，苦难给佛教提供了传播的土壤，佛教美术勃然兴起。如新疆克孜尔石窟，甘肃麦积山石窟，敦煌莫高窟都保存了大量的该时期壁画，艺术造诣极高。由于上层社会对绘事的爱好和参与，除了工匠，还涌现出一批有文化教养的上流社会知名画家，如顾恺之等。这一时期玄学流行，文人崇尚飘逸通脱，画史画论等著作开始出现，山水画、花鸟画开始萌芽，这个时期的绘画注重精神状态的刻画及气质的表现，以文学为题材的绘画日趋流行。隋唐时国家统一，社会相对稳定，经济比较繁荣，对外交流活跃，给绘画艺术注入了新的机运，在人物画方面虽然佛教壁画中西域画风仍在流行，但吴道子、周昉等人具有鲜明中原画风的作品占了绝对优势，民族风格日益成熟，展子虔、李思训、王维、张缲等人的山水画、花鸟画己工整富丽，取得了较高的成就。在中国，绘画的真实性在12世纪宋朝时已发展到高峰，尤以郭熙的早春图为写实主义的巅峰，以后就开始转向主观情趣的抒发，自王维被盛赞诗中有画，画中有诗后，文人画悠久的传统便延续至今。又自北宋後，中国绘画渐趋注重笔墨情趣的形式主义，举例而言文徵明的画即意不在山水的描绘，而是藉由山水来堆砌各种运笔的手法。到15世纪的明朝末年，清朝初期时，画家已经开始向表现自我方向转化，不注重客观世界的描绘，而是，八大山人、扬州八怪等都有很强的自我风格，而不再计较再现自然的真实性。明 张宏《村径柴门图》五代两宋之后，中国绘画艺术进一步成熟完备，出现了一个鼎盛时期，朝廷设置画院，扩充机构编制，延揽人才，并授以职衔，宫廷绘画盛极一时，文人学士亦把绘画视作雅事并提出了鲜明的审美标准，故画家辈出，佳作纷呈，而且在理论上和创作上亦形成了一套独立的体系，其内容、形式、技法都出现了丰富精采、多头发展的繁荣局面。绘画发展至元、明、清，文人画获得了突出的发展。在题材上，山水画、花鸟画占据了绝对的地位。文人画强调抒发主观情绪，“不求形似”、“无求于世”，不趋附大众审美要求，借绘画以示高雅，表现闲情逸趣，倡导“师造化”、“法心源”，强调人品画品的统一，并且注重将笔墨情趣与诗、书、印有机融为一体，形成了独特的绘画样式，涌现了众多的杰出画家、画派，以及难以数计的优秀作品。中国绘画是中国文化的重要组成部分，根植于民族文化土壤之中。它不单纯拘泥于外表形似，更强调神似。它以毛笔、水墨、宣纸为特殊材料，建构了独特的透视理论，大胆而自由地打破时空限制，具有高度的概括力与想象力，这种出色的技巧与手段，不仅使中国传统绘画独具艺术魄力，而且日益为世界现代艺术所借鉴吸收。学习方法从严格意义上讲，学习绘画之初要先从学习素描开始，一般从石膏几何体、静物、人物石膏像、结构、人物头像等这样循序渐进的学习方过程，但是很多初学者没有这种条件，有的考生临时“抱佛脚”，在没有接触基础训练时，直接画人物头像，这样的学生往往不可能画得好。培养正确的学习方法，也就是建立在对物体的深入理解上。画素描要懂得素描的基本要素，如形体、比例、结构、明暗调子、质量感和空间感等。这些名词看起来好像不难，但具体的操作确实是很不容易的。这里先来理解一下头部的形体结构及比例。头部的形体，从整体上可以概括成一个卵形或立方体或楔形，进一步分析知道颅骨象球形，额骨呈扁方形，额骨之下至下颔骨底的正面呈倒梯形，下大上小的梯形体的鼻子竖于其间。头部的比例有“长三停、横五眼”。这是对头部一般规律的总结，但是个体之间还存在着一定的差异。面对一个模特，初学者可能在短时间内也可完成一幅肖像，但画面简单空洞，需要多加练习，而受过良好素描训练的人却可表现得深入而丰富。因为视觉上的敏感不同，感觉到的内容就会有差异，后者可以抓住物体的本质，在表达中能够概括简洁、明确肯定地表达对象，在短时间里抓住对象的最基本的特征，培养敏锐的观察方法。整体意识整体意识的建立在绘画领域中是一个很重要的因素，对学生将来的绘画发展产生很大的影响。无论是从事何种绘画创作，都要涉及这个问题。整体是相对局部而言，局部是整体的一部分，局部存在于整体之中，而整体通过局部得到体现。对于初学者来说，一方面是加强对整体意识的理解，另一方面是在观察和表现中关注整体关系，克服注意力局限在某一个点上的不良习惯。例如在画一个头像时，必须整体地观察对象，如画眼睛时要考虑到和耳朵或鼻子之间的关系，而不能孤立地画眼睛，陷入局部，必须相互对比，要把它们有机地联系起来。整体存在于造型的各种因素里，从轮廓到色调，从形体表现到空间表现无处不在。培养整体意识可从观察事物入手，多观察多比较，这样才能明确各个事物之间的关系，以便更好地把握整体。从整体到局部、从局部再到整体，贯穿于整个作画的过程中，反复比较，培养局部与整体关系的能力，建立良好的整体意识。体积意识把握形体、表现体积感和空间感，是基础素描另外一个重要因素，不但要明确物体的形状、比例、大小，同时还要克服平面描绘，对造型要有最基本的理解和掌握。没有体积空间意识，就不能养成对体积空间的观察习惯，更不能表现好空间关系。对空间的表现是绘画的基本能力。如：人物头部在正面时眼睛和耳朵在同一方向，初学者往往表现不出它的空间感，没有空间感就表现不出体积感。“方形”和“方块”是不一样的，方形是一个平面，而方块是一个体积。所以应该建立空间意识来表现物体的体积的能力。表现力在素描教学中是很关键的。有了敏锐的观察力，还要建立整体意识和体积空间意识，因此要实现这些还需要有表现的能力。素描是表现或再现对象的最基本的绘画形式。素描作为学习绘画的方法和手段，必须掌握形体构成因素和结构，理解光影色调，理解边缘轮廓线和明暗交界线，以及对节奏的感受。素描相对色彩而言更具理性，特别是基础素描的训练。用理性指导观察，用观察丰富理性，把素描建立在理性的认识上，从而达到素描的完整性。以上就素描教学中的一些较为突出的要点进行分析理解。绘画是一门技巧课，必须从实践中获得飞跃。所以动手实践是非常重要的，有了量的积累，才能得到质的飞跃。打好坚实的素描基础才能考出理想的成绩绘画是一种在二维的平面上以手工方式临摹自然的艺术，在中世纪的欧洲，常把绘画称作“猴子的艺术”，因为如同猴子喜欢模仿人类活动一样，绘画也是模仿场景。在20世纪以前，绘画模仿得越真实，技术越高超。不同的画家风格不同，也有不同的艺术价值。20世纪初，有些画家的风格因评画者不能接受而被冷落甚至贬低，这就是为什么有些画家画的很好而并不出名或甚至被冻死、饿死的缘故。油画及水彩画是西方文化艺术中知名度最高的绘画门类，它们在风格和主题上有丰富且复杂的传统。在东方，黑色及彩色的水墨画则主导了绘画媒体的选择，但是它在风格和主题上和西方一样同样有着丰富且复杂的传统。新手上路成长任务编辑入门编辑规则本人编辑我有疑问内容质疑在线客服官方贴吧意见反馈投诉建议举报不良信息未通过词条申诉投诉侵权信息封禁查询与解封©2024 Baidu 使用百度前必读 | 百科协议 | 隐私政策 | 百度百科合作平台 | 京ICP证030173号 京公网安备110000020000

Chinese Painting – China Online Museum

Chinese Painting – China Online Museum

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Chinese Painting

       The history of Chinese painting can be compared to a symphony. The styles and traditions in figure, landscape, and bird-and-flower painting have formed themes that continue to blend to this day into a single piece of music. Painters through the ages have made up this “orchestra,” composing and performing many movements and variations within this tradition.

     It was from the Six Dynasties (222–589) to the Tang dynasty (618–907) that the foundations of figure painting were gradually established by such major artists as Gu Kaizhi (顧愷之) and Wu Daozi (吳道子). Landscape painting started to become popular in the Sui (581–618) and Tang dynasties by the effort of Zhan Ziqian (展子虔), Li Sixun (李思訓), and Wang Wei (王維). Variations based on geographic distinctions then took shape in the Five Dynasties period (907–960). For example, Jing Hao (荊浩) and Guan Tong (關仝) depicted the drier and monumental peaks to the north while Dong Yuan (董源) and Juran (巨然) represented the lush and rolling hills to the south in Jiangnan (south of the Yangtze River). In bird-and-flower painting, the noble Tang court decorative manner was passed down in Sichuan through Huang Quan (黃筌)’s style, which contrasts with the more relaxed style of Xu Xi (徐熙) in the Jiangnan area.Read more: Six Dynasties Period, Tang Dynasty, Five Dynasties and Ten Kingdoms Period

Gu Kaizhi

Zhan Ziqian

Dong Yuan

      In the Song dynasty (960–1279), landscape painters such as Fan Kuan (范寬), Guo Xi (郭熙) and Li Tang (李唐) created new manners based on previous traditions. Guided by the taste of the emperors, especially Zhao Ji (趙佶), painters at the court academy focused on observing nature combined with “poetic sentiment” to reinforce the expression of both subject and artist. The focus on poetic sentiment led to the combination of painting, poetry, and calligraphy (the “Three Perfections”) in the same work (often as an album leaf or fan) by the Southern Song (1127–1279). Scholars earlier in the Northern Song (960–1126) thought that painting as an art had to go beyond just the “appearance of forms” in order to express the ideas and cultivation of the artist. This became the foundation of the movement known as literati (scholar) painting.Read more: Song Dynasty

Fan Kuan

Zhao Ji

Ma Yuan

Yang Wujiu

Xia Gui

     The goal of literati painters in the Yuan dynasty (1271–1368), including Zhao Mengfu (趙孟頫) and the Four Yuan Masters, namely Huang Gongwang (黃公望), Wu Zhen (吳鎮), Ni Zan (倪瓚) and Wang Meng (王蒙), was in part to revive the antiquity of the Tang and Northern Song as a starting point for personal expression. This variation on revivalism transformed these old “melodies” into new and personal tunes, some of which gradually developed into important traditions of their own in the Ming and Qing dynasties. As in poetry and calligraphy, the focus on personal cultivation became an integral part of expression in painting.Read more: Yuan Dynasty, Four Masters of the Yuan Dynasty

Zhao Mengfu

Huang Gongwang

Wu Zhen

Ni Zan

Wang Meng

       Starting from the Ming dynasty (1368–1644), painting often became distinguished into local schools that formed important clusters in the history of art. The styles of “Wu School” artists led by Shen Zhou (沈周) and Wen Zhengming (文徵明) in the Suzhou area, for example, were based on the cultivated approaches of scholar painting by the Four Yuan Masters. The “Zhe School” led by Dai Jin (戴進) consisted mostly of painters from the Zhejiang and Fujian areas; also active at court, they created a direct and liberated manner of monochrome ink painting based on Southern Song models.Read more: Ming Dynasty, Four Masters of the Ming Dynasty, Wu School of Painting

Shen Zhou

Wen Zhengming

Qiu Ying

Shen Zhou

Tang Yin

Dai Jin

       The late Ming master Dong Qichang (董其昌) from Songjiang (modern Shanghai) and the Four Wangs, namely Wang Shimin (王時敏), Wang Jian (王鑑), Wang Hui (王翬) and Wang Yuanqi (王原祁) of the early Qing dynasty (1644–1911) adopted the lofty literati goal of unifying certain ancient styles into a “grand synthesis” so that all in mind and nature could be rendered with brush and ink. The result was the vastly influential “Orthodox School”, which was supported by the Manchu Qing emperors and was in contrast to a group of Individualist painters, such as Zhu Da (朱耷) and Shitao (石濤).

Dong Qichang

Wang Hui

Zhu Da

      In the mid Qing dynasty, the court also took an interest in Western painting techniques (brought by European missionaries) that involved volume and perspective, which became known to and used by some Chinese painters to create a fused style. Outside the court, the major commercial city of Yangzhou in Jiangsu developed the trend toward individualism to become a center for “eccentric” yet professional painters, such as Zheng Xie (鄭燮). It also spread to Shanghai, where the styles of artists like Ren Bonian (任伯年) and Wu Changshuo (吳昌碩) were also inspired by “non-orthodox” manners, which themselves became models for later artists.Read more: Qing Dynasty, Modern China

Lang Shining

Ren Bonian

Qi Baishi

       In the early 20th century, the Shanghai regional style was passed on to Beijing through the art of Chen Shizeng (陳師曾) and Qi Baishi (齊白石). In southern China, on the other hand, Gao Qifeng (高奇峰) and others who had visited Japan inaugurated a “New National Painting” movement, which in turn gave rise to a Cantonese, or Lingnan, regional style that incorporated Euro-Japanese characteristics.       Increasingly, by the mid-1920s, young Chinese artists were attracted not just to Japan but also to Paris and German art centers. A trio of these artists brought back some understanding of the essential contemporary European traditions and movements. Liu Haisu (劉海粟) was first attracted to Impressionist art, while Lin Fengmian (林風眠) was inspired by the experiments in color and pattern of Henri Matisse and the Fauves. Xu Beihong (徐悲鴻) eschewed European Modernist movements in favor of more conservative Parisian academic styles.       Throughout the 1950s, as Socialist Realist standards were gradually implemented. While the early 1960s provided a moment of political relaxation for Chinese artists, the Cultural Revolution of 1966–76 brought unprecedented hardships.       The passing of Mao and Maoism after 1976 brought a new and sometimes refreshing chapter in the arts under the leadership of Deng Xiaoping. In the 1980s a resurgence of traditional Chinese painting occurred, featuring the return of formerly disgraced artists, including Li Keran (李可染) and Huang Yongyu (黃永玉), and the emergence of such fresh talents as Wu Guanzhong (吳冠中). Chinese artists began to experiment with new subjects and techniques in their attempt to bring Chinese painting to a new height.

       Thus, throughout the ages, a hallmark of Chinese painting has been the pursuit of individuality and innovation within the framework of one’s “symphonic” heritage. The painting galleries at China Online Museum represent a selection of individual “performances” in order to provide an overview of some major traditions and movements in Chinese painting.Based on articles from the National Palace Museum in Taipei.

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Famous Painting Replicas

Ai Qimeng: Ten Fine Hounds

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Anonymous: Dream Journey along the Xiao and Xiang Rivers

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Bai Xueshi: Contending Greenery among Thousands of Peaks

$289 – $489

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Chen Xianzhang: Jade Tree Surrounded by Mist

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Dai Jin: Returning Late from a Spring Outing

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Fan Kuan: Travelers among Mountains and Streams

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Fang Zhaolin: Boating under the Cliff

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Fang Zhaolin: Harvest and Longevity

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Fu Baoshi: Mountains in Sichuan

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Gao Jianfu: Cotton Roses and Mandarin Ducks

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Gao Jianfu: Plum Blossoms

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Guan Shanyue: Navigating Rafts in Autumn Streams

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Huang Gongwang: Dwelling in the Fuchun Mountains

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Lang Shining: Brocade of Spring

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Lang Shining: Immortal Blossoms of an Eternal Spring

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Lang Shining: One Hundred Horses

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Lang Shining: Yellow Panther

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Li Keran: Bathing Buffalo under a Willow Tree

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Li Sixun: Sailboats and Pavilions

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Lu Zhi: Pear Flowers and Twin Swallows

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Ma Lin: Layered Icy Silk

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Ma Yuan: On a Mountain Path in Spring

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Miao Fu: Fish and Water Plants

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Muxi: Returning Sails Off Distant Shore

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Ni Zan: Dwelling amidst Water and Bamboo

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Ni Zan: Rongxi Studio

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Qian Xuan: Dwelling in the Mountains

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Qian Xuan: Plum Blossoms

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Qian Xuan: Wang Xizhi Viewing Geese

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Qing Court: Along the River during the Qingming Festival

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Qiu Ying: Fishermen in Reclusion at the Lotus Stream

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Qiu Ying: Red Cliff

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Shen Zhou: Lofty Mount Lu

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Home Travel Guide Culture

Traditional Chinese Painting

977 Words/4 Minutes, By Nora Zheng, Updated January 13, 2023

The History of Chinese Painting

Chinese painting, commonly known as “dan qing/丹青” or “guo hua/国画” in Chinese (meaning the national painting), is mainly drawn on silk or paper and then framed in a scroll. It involves the use of a brush, ink, and paint. To draw a Chinese painting, a set of fixed rules and artistic forms are to be followed, which are passed down from generation to generation.

Chinese painting enjoys a time-honored history. Over the past thousands of years, with the accumulative and innovative efforts of painters and craftsmen, among whom the majority are the Han Chinese while the others are ethnic minorities, a unique Chinese painting system has been formed featuring rich art forms of various ethnic groups, exerting a profound influence on the Oriental art circle and even that of the world. The history of Chinese painting can be traced back to the primitive society of the Neolithic Age when colored pottery and rock paintings made their way into the daily life of ordinary people. The painting techniques found in these works were quite simple, yet demonstrated that the people back then had a basic mastery of portrait painting. They were able to reflect the striking features of the animals and plants to show their aspiration and wishes for a better life.

Deeply rooted in the cultural identity of the Chinese nation, Chinese painting constitutes a vital part of the traditional Chinese culture. It lays an equal emphasis on both the art form and the spirit of the painted object. The use of a writing brush, ink, and rice paper contributes to a unique theoretical system of Chinese painting. The drawings are not limited to time or space but call for imagination and simplicity. These unique painting techniques not only showcase the charm of Chinese painting but also enrich the world’s art treasury trove.

Chinese Painting and Its Culture

In terms of the theme and artistic form, Chinese painting embodies the ideology and aesthetic orientation of the Chinese nation. It is also a reflection of the Chinese people’s understanding of nature and society as well as the related politics, philosophy, religion, morality and art. The earliest Chinese painting can be found in the images painted on the rocks and potteries of primitive society, and in the Warring States Period, people drew images on silk. All these works are characterized by the use of simple lines, laying a foundation for the future development of painting techniques. During the Western and Eastern Han Dynasties and the Wei and Jin Dynasties, the theme of painting shifted to religion, while other paintings depicting historical figures and literary elements also accounted for a large proportion. Meanwhile, landscape paintings and bird and flower paintings were in their burgeoning phase. With all these new developments, a theoretical foundation based on which a painting was judged was also formed during this period. The Sui and Tang Dynasties witnessed the boom of Chinese painting. Landscape paintings, as well as bird and flower paintings, entered a mature stage of development, while religious paintings experienced their prime time and became more accessible to ordinary people. Back then, figure painting mainly depicted the daily life of the nobility and had its unique way of characterization. During the Five Dynasties and the Northern and Southern Song Dynasties, the focus of figure painting shifted to the daily life of ordinary people, while religious paintings started to decline. As a result, landscape painting and bird and flower painting became the mainstream of Chinese painting. Later, the emergence of humanistic paintings enriched the themes and drawing techniques of Chinese painting. During the Yuan, Ming, and Qing Dynasties, landscape paintings and bird and flower paintings excelled in other forms to become the mainstream of Chinese painting. The paintings of other styles were simply copied from one another, consequently withering away in people’s lives.

Initially, Chinese paintings were created for the appreciation of the nobility but as time elapsed, they gradually became accessible to the ordinary folk. Accordingly, the themes also witnessed a profound change. The painters started to focus on the reality of society and created a wealth of fine works that reflected the features of their age.

Chinese Painting, Aesthetics, and Philosophy

The theme, portrayal, and techniques of Chinese painting offer insights into traditional Chinese aesthetic standards and philosophy. When observing an object, painters would usually approach it from both micro and macro perspectives and regard themselves as participants rather than outsiders. So their perception would not be fixed on a certain perspective or simply focus on the exterior of the object. Usually, the paintings are subject to the ideological influence of the painters, and sometimes enlighten people on moral education. Though the objects can be landscapes, birds, or flowers, they are mingled with the perceptions of the painters when created on a piece of paper or silk. The paintings, therefore, are associated with the ideology and aesthetic orientation of the painters and embody the idea that man is an integral part of nature.

Where can I appreciate and learn Chinese painting during my trip to China?

Children and students accompanied by their parents can have a Chinese painting learning experience in most tourist cities. Beijing hutong, Shanghai Art Gallery, the ancient city of Xi'an, and the West Street of Yangshuo are all ideal places for you to have a glimpse of Chinese painting.

Hi, I’m Nora Zheng, if you like my article, please share it with your friends. Any sugguestions on this article, please contact me. Thanks!

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Painting - Techniques, Methods, Media | Britannica

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painting

Table of Contents

painting

Table of Contents

IntroductionElements and principles of designElements of designLineShape and massColourTextureVolume and spaceTime and movementPrinciples of designDesign relationships between painting and other visual artsTechniques and methodsMediumsTemperaFrescoFresco seccoBuon frescoSgraffitoOilWatercolourInkGouacheEncausticCaseinSynthetic mediumsOther mediumsFrench pastelsOil pastelsGlass paintingsIvory paintingLacquerSand, or dry, paintingPaperCollageMechanical mediumsMixed mediumsForms of paintingMural paintingEasel and panel paintingMiniature paintingManuscript illumination and related formsScroll paintingScreen and fan paintingPanoramasModern formsImagery and subject matterKinds of imageryKinds of subject matterDevotionalNarrativePortraitureGenreLandscapeStill lifeOther subjectsSymbolism

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Visual Arts

Painting

Techniques and methods Paul Cézanne: Mont Sainte-Victoire, Seen from the Bibemus QuarryMont Sainte-Victoire, Seen from the Bibemus Quarry, oil on canvas by Paul Cézanne, 1897; in the Baltimore Museum of Art, Baltimore, Maryland, U.S.(more)Whether a painting reached completion by careful stages or was executed directly by a hit-or-miss alla prima method (in which pigments are laid on in a single application) was once largely determined by the ideals and established techniques of its cultural tradition. For example, the medieval European illuminator’s painstaking procedure, by which a complex linear pattern was gradually enriched with gold leaf and precious pigments, was contemporary with the Song Chinese Chan (Zen) practice of immediate, calligraphic brush painting, following a contemplative period of spiritual self-preparation. More recently, artists have decided the techniques and working methods best suited to their aims and temperaments. In France in the 1880s, for instance, Seurat might be working in his studio on drawings, tone studies, and colour schemes in preparation for a large composition at the same time that, outdoors, Monet was endeavouring to capture the effects of afternoon light and atmosphere, while Cézanne analyzed the structure of the mountain Sainte-Victoire with deliberated brush strokes, laid as irrevocably as mosaic tesserae (small pieces, such as marble or tile). The kind of relationship established between artist and patron, the site and subject matter of a painting commission, and the physical properties of the medium employed may also dictate working procedure. Peter Paul Rubens, for example, followed the businesslike 17th-century custom of submitting a small oil sketch, or modella, for his client’s approval before carrying out a large-scale commission. Siting problems peculiar to mural painting, such as spectator eye level and the scale, style, and function of a building interior, had first to be solved in preparatory drawings and sometimes with the use of wax figurines or scale models of the interior. Scale working drawings are essential to the speed and precision of execution demanded by quick-drying mediums, such as buon fresco (see below) on wet plaster and acrylic resin on canvas. The drawings traditionally are covered with a network of squares, or “squared-up,” for enlarging on the surface of the support. Some modern painters preferred to outline the enlargement of a sketch projected directly onto the support by epidiascope (a projector for images of both opaque and transparent objects). In Renaissance painters’ workshops, pupil assistants not only ground and mixed the pigments and prepared the supports and painting surfaces but often laid in the outlines and broad masses of the painting from the master’s design and studies. The inherent properties of its medium or the atmospheric conditions of its site may themselves preserve a painting. The wax solvent binder of encaustic paintings (see below) both retains the intensity and tonality of the original colours and protects the surface from damp. And, while prehistoric rock paintings and buon frescoes are preserved by natural chemical action, the tempera pigments thought to be bound only with water on many ancient Egyptian murals are protected by the dry atmosphere and unvarying temperature of the tombs. It has, however, been customary to varnish oil paintings, both to protect the surface against damage by dirt and handling and to restore the tonality lost when some darker pigments dry out into a higher key. Unfortunately, varnish tends to darken and yellow with time into the sometimes disastrously imitated “Old Masters’ mellow patina.” Once cherished, this amber-gravy film is now generally removed to reveal the colours in their original intensity. Glass began to replace varnish toward the end of the 19th century, when painters wished to retain the fresh, luminous finish of pigments applied directly to a pure white ground. The air-conditioning and temperature-control systems of 21st-century museums make both varnishing and glazing unnecessary, except for older and more fragile exhibits.

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history of Europe: Painting and sculpture

Renaissance cassoneRenaissance cassone, painted and gilded wood, Florence, 15th century; in the Victoria and Albert Museum, London. (more)The frames surrounding early altarpieces, icons, and cassone panels (painted panels on the chest used for a bride’s household linen) were often structural parts of the support. With the introduction of portable easel pictures, heavy frames not only provided some protection against theft and damage but were considered an aesthetic enhancement to a painting, and frame making became a specialized craft. Gilded gesso moldings (consisting of plaster of paris and sizing that forms the surface for low relief) in extravagant swags of fruit and flowers certainly seem almost an extension of the restless, exuberant design of a Baroque or Rococo painting. A substantial frame also provided a proscenium (in a theatre, the area between the orchestra and the curtain) in which the picture was isolated from its immediate surroundings, thus adding to the window view illusion intended by the artist. Deep, ornate frames are often unsuitable for many modern paintings, where the artist’s intention is for forms to appear to advance toward the spectators rather than be viewed by them as if through a wall aperture. In Minimalist paintings no effects of spatial illusionism are intended, and, in order to emphasize the physical shape of the support itself and to stress its flatness, these abstract geometrical designs are displayed without frames or are merely edged with thin protective strips of wood or metal. Mediums By technical definition, mediums are the liquids added to paints to bind them and make them workable. They are discussed here, however, in the wider meaning of all the various paints, tools, supports, surfaces, and techniques employed by painters. The basis of all paints is variously coloured pigment, ground to a fine powder. The different expressive capacities and characteristic final surface texture of each medium are determined by the vehicle with which it is bound and thinned, the nature and surface preparation of the support, and the tools and technique with which it is handled. Hear artist Peter Blake discuss the history of blue paint from the 16th-century ultramarine used by Hans Holbein the Younger to the modern acrylics used by David HockneyLearn from artist Peter Blake about the history of blue paint from the costly lapis lazuli-based ultramarine used by Hans Holbein the Younger in the 16th century to the ubiquitous acrylic-based pigments used by David Hockney in the 20th century.(more)See all videos for this articlePigments are derived from various natural and artificial sources. The oldest and most permanent pigments are the blacks, prepared from bone and charcoal, and the clay earths, such as raw umber and raw sienna, which can be changed by heating into darker, warmer browns. In early periods of painting, readily available pigments were few. Certain intense hues were obtainable only from the rarer minerals, such as cinnabar (orange-red vermilion), lapis lazuli (violet-blue ultramarine), and malachite (green). These were expensive and therefore reserved for focal accents and important symbolic features in the design. The opening of trade routes and the manufacture of synthetic substitutes gradually extended the range of colours available to painters. Tempera Sandro Botticelli: The Birth of VenusThe Birth of Venus, tempera on canvas by Sandro Botticelli, c. 1485; in the Uffizi, Florence.(more)A tempera medium is dry pigment tempered with an emulsion and thinned with water. The ancient medium was in constant use in most world cultures, until in Europe it was gradually superseded by oil paints during the Renaissance. Tempera was the mural medium in the ancient dynasties of Egypt, Babylonia, Mycenean Greece, and China and was used to decorate the early Christian catacombs. It was employed on a variety of supports, from the stone stelae (or commemorative pillars), mummy cases, and papyrus rolls of ancient Egypt to the wood panels of Byzantine icons and altarpieces and the vellum leaves of medieval illuminated manuscripts. The word tempera originally came from the verb temper, “to bring to a desired consistency.” Dry pigments are made usable by “tempering” them with a binding and adhesive vehicle. Such painting was distinguished from fresco painting, the colours for which contained no binder. Eventually, after the rise of oil painting, the word gained its present meaning. Simone Martini: Christ Discovered in the TempleChrist Discovered in the Temple, egg tempera on panel with gold leaf by Simone Martini, 1342; in the Walker Art Gallery, Liverpool. 49.5 × 35 cm.(more)The standard tempera vehicle is a natural emulsion, egg yolk, thinned with water. Variants of this vehicle have been developed to widen its use. Among the man-made emulsions are those prepared with whole egg and linseed oil, with gum, and with wax. Simone Martini: detail of The AnnunciationDetail of The Annunciation, tempera on wood by Simone Martini and Lippo Memmi, 1333; in the Uffizi Gallery, Florence.(more)The special ground for tempera painting is a rigid wood or wallboard panel coated with several thin layers of gesso, a white, smooth, fully absorbent preparation made of burnt gypsum (or chalk, plaster of Paris, or whiting) and hide (or parchment) glue. A few minutes after application, tempera paint is sufficiently resistant to water to allow overpainting with more colour. Thin, transparent layers of paint produce a clear, luminous effect, and the colour tones of successive brushstrokes blend optically. Modern tempera paintings are sometimes varnished or overpainted with thin, transparent oil glazes to produce full, deep-toned results, or they are left unglazed for blond, or light, effects. The great tradition of tempera painting was developed in Italy in the 13th and 14th centuries by Duccio di Buoninsegna and Giotto and continued in the work of Giovanni Bellini, Piero della Francesca, Carlo Crivelli, Sandro Botticelli, and Vittore Carpaccio. The 20th century saw a revival of tempera by American artists Ben Shahn, Andrew Wyeth, and Jacob Lawrence and by the British painter Lucian Freud. Tempera was largely replaced mid-century by acrylic paints.