Chinese Landscape Painting.docx
- 文档编号:16100208
- 上传时间:2023-07-10
- 格式:DOCX
- 页数:12
- 大小:2.25MB
Chinese Landscape Painting.docx
《Chinese Landscape Painting.docx》由会员分享,可在线阅读,更多相关《Chinese Landscape Painting.docx(12页珍藏版)》请在冰点文库上搜索。
ChineseLandscapePainting
ChineseLandscapePainting
Huangshan,China,2012
GeorgeDeWolfe
TraditionalChineseLandscapePaintinghasenduredforalmost1500years,longerthananygenreinWesternculture.Whatperceptualqualities(thatwecanseeforourselves)liebehindthis?
Howcanweadoptthesetothemediumofdigitalphotography?
Lookingatthevisualstructureofpaintingsbeganforusasawaytoanalyzewhatmakesanimage“work,”andithasgrownintoafascinationwithaverydifferentwayofseeing–thatoftheclassicalChineseLandscapepainters.
GeorgeDeWolfe:
Inthespringof1986Iwasinthecollegelibrarypreparingsomenotesforalecture.ItwaslateatnightandIwastheonlyonethereexceptforthelibrarian.AttheotherendofthelongtablewhereIsatwasalargetatteredbook.CuriosityfinallygotthebestofmeandIwentoverandopenedit.Thetitle,TheTaoofPainting,wasintriguingtome,asIhadreadtheancientTaoTeChingandunderstoodthatitwasoneofthesacredtextsofthegreatreligions.AsIreadtheintroductionandthefirstchapterastrangethinghappened:
Istartedtosubstitutethewordphotographyforpainting.Here,inmyhands,wasthestoryandtechniqueofagroupofartistswhoweretryingtodothesamethingIwasstrugglingwith–but1500yearsago–withastickofblackink,water,abrush,andpaper. Butitwasn’tsomuchthetechniquethatseemedsimilar,asthesimpletoolsusedtoproduceblackandwhiteimagesofthelandscapeandtheinspirationthesepaintersreceivedfromtheTaoTeChing.ItwastheparadigmshiftIneededtoaccomplishthesynthesisofsurfacevisualperceptionandadeeperexpressionofthemysteriesofnatureaccessedthroughawareness.
LydiaGoetze:
Myfirstquestionwas,“Howdidtheycomeuponsuchstrangelyshapedmountains?
”Theanswerturnedouttobe“bylookingattherealityaroundthem;”Thesemountainsareforreal.WehaveseenthematHuangshan,atZhangjiajie,andintheLiRiverValley.ThemenwhopaintedtheseprecipitousspireswalkedandlivedamongthemandfeltthemselvestobeanintegralpartofnatureinawaythatfewWesternpaintersorphotographershave.Theyoftenlived(bynecessity)verysimply,asmonksorhermitswithfewmaterialpossessions,incavesorsimplemountainhuts.Theyworkedwithmonotoneinkandanassortmentofbrushesonsilkorpaper.
TheancientChineselandscapepainterscreatedanartthatpossessesamazingresiliencetoovercomethearbitrarymovementswithwhichWesternart,includingphotography,iscontinuallyplagued.Itisthelongestlivingartgenreintheworld.Itrepresentsandunifiesthehumanspirit,nature,andtheuniverse.Itwascreatedwithawareness,reflection,andsilence.Itisastrueaformofexpressionasexistsintheworld,whereartandspiritcollideandbecomeone.
IntheyearssinceourfirstencounterswithChineselandscapepaintingwehavediscoveredandbroughtthestructureoftheancientChinesepaintingstolifeinmoderndigitalphotographyandinkjetprinting.Thecornerstonesofthispracticeare:
agroundinginthebasicprinciplesofhumanvision,learningtheskillsofawareness,andthesynthesisofawarenessandvisionbroughtaboutbystudyingthestructureofChineselandscapepainting.ThisarticletalksaboutthebasicvisualstructureofChineselandscapepaintings.
WhenweanalyzethevisualstructureofChineselandscapepainting,wenoticeseveralthingsthatseemstrangetous.TheuseofnegativespacederivesitsvisualandspiritualimportancefromTaoistandChanBuddhistphilosophicaltraditionsandfromtheirskillinmeditationaspreparationforpainting.Thepainter’swayofshowingdepthanddistanceinthreeverticalplanesisradicallydifferentfromthewesternideaoflinearperspectivealongahorizontalplane.Theuseofscrollsmakesfortallverticalimagesorlonghorizontalimages–theselatterdesignedtobeviewedassegmentsthewidthofacomfortablearmspan. Sometimesapaintingcontainsmultiplepointsofview.And,becausetheprimarymediumwasIndiainkonsilkorpaper,theselandscapeweremostoftenmonochrome,blackandwhiteandmanygraytones.
Zhangziajie,China,2012
LydiaGoetze
Emptiness
EmptinessistheprincipalthemeintheChineseaesthetictheoryofart.Theartistfirstcalmsthemindandallowsittobecomequietandemptyofthoughtsandemotions–theage-oldpracticeofmindfulness.Intothisquiet,emptymindflowsinspirationandasenseofrelationshipamongthingsintheworld.Thispracticethenallowstheartisttopaintwithacalmhandandresponsivebrushstrokeasthoughthewindhadonlyblownthatwaybefore.Itisanactofspontaneityandauthenticitycombined.
ThephysicalactofpaintingwithanemptymindmanifestsitselfinthepaintingprimarilyintheuseandimportanceofNegativeSpace.IntheWestweareusedtopaintingandphotographingthings,buttheancientChineselandscapepaintersstartedwithEmptinessandNegativeSpace.ItisthemostimportantelementinChineselandscapepainting.
Inphotography(andpainting),thefoundationofallcompositionisNegativeSpace.Itistheplacewhereallsecondaryrulesofcompositionareborn.UnderstandingNegativeSpacethoroughlyenablesyoutoseebothpurelyandauthenticallywithouttheoverlayofcompositionalrules.ThebestwayweknowtolearnNegativeSpaceisthroughBettyEdwards’TheNewDrawingontheRightSideoftheBrain..SheexplainsandgivesexercisesinNegativeSpaceintheworkbookthataccompaniesthebook.
BambooandSnow,GeorgeDeWolfe,1995
Noticehowthewhitenegativespaceworkswiththebamboosubject.It'snotjustNegativeSpace,
butatrulymindfulemptinesstypicalofChineseLandscapePaintings
TheThreePlanes
Torepresentdepth,mostChineselandscapepaintingscontainthreeindividualverticalplanes,likethreepictureshangingoneinfrontoftheother:
Foreground,MiddleGroundandBackground.Theforegroundusuallyconsistsof“earthlybound”objectslikepeople,animals,buildings,andforest.Themiddleplaneoftenrepresentsemptinessintheformofclouds,mistorwater.Thebackgroundplaneoftenincludes“heavenly”elementssuchashillsandmountainsaswellassky.TheChineselandscapepaintersdidnotuseperspectiveaswepaintitinrepresentationalart(orseeitviatheone-pointperspectivelensofacamera),butinsteadshoweddepthwiththethreeplanes.Ineachoneoftheseplanesnegativespace–emptiness–playsakeycompositionalrole.Theflattenednatureofmostofthesepaintingscanberoughlyapproximatedbyusingamoderatetelephotolenstoflattenopticalperspectiveincombinationwithoneofthethreeformatsbelow.
ThisisanabstractofaChinesePaintingshowingthe3Planes.
TheforgroundisseparatedfromthebackgroundplanebyathirdplaneofEmptiness
ImagecourtesyofTheMuseumofFineArts,Boston usedbypermission
Huangshan,China2006LydiaGoetze
Thisonehasmorethanthreeplanes,buttheideaistogetgoodNegativeSpaceinalloftheplanes
TheThreeFormats
Chineselandscapepaintingshadthreegeneralformats–Verticalscrolls,Horizontalhandscrolls,andsquare.TheVerticalScrollswerepaintedinlongverticalsheetsofsilkor,later,onpaper.Theaspectratiosvariedconsiderably,butthemajorityhaveawidth:
heightratioofabout1:
2and1:
3.Horizontalscrollsweresometimesverylong(likeverylongpanoramas)–somemeasuredintensoffeet.Themainideaofahorizontalscrollwastounraveltimethroughatravellogorstory.Eachpartofthevisualstorywaspaintedatthewidthofacomfortablearmspan.Squareformatswereusuallysimplecompositionsthatemployedemptinessandsimplicityashallmarks.Photographerscanadjusttheiraspectratiotomimictheseancientstyles.
SquareFormat
LydiaGoetze
VerticalFormat
LydiaGoetze
HorizontalFormat
GeorgeDeWolfe
Bothoftheseimagesseemthesame,yettheyweretakeninentirelydifferentplaces.ThefirstwasmadeinZhangziajie,China,and
theonebelowitwasawinterstorminYosemite. ThetechniquesofChinesePaintingcanbeusedanywhere.
bothiamgesbyGeorgeDeWolfe
- 配套讲稿:
如PPT文件的首页显示word图标,表示该PPT已包含配套word讲稿。双击word图标可打开word文档。
- 特殊限制:
部分文档作品中含有的国旗、国徽等图片,仅作为作品整体效果示例展示,禁止商用。设计者仅对作品中独创性部分享有著作权。
- 关 键 词:
- Chinese Landscape Painting
![提示](https://static.bingdoc.com/images/bang_tan.gif)