中国书画.ppt

1、Traditional Chinese Flower-and-Bird Painting,Bird-and-flower painting is a kind of traditional Chinese painting that takes animals and plants as its subjects A folk art with unique techniques of artistic creation and rich national features.,Traditional Chinese Flower-and-Bird Painting,Bird-and-flowe

2、r painting can be further divided into the paintings of flowers, birds, vegetables, fruits, insects, grass, animals, shells and fishes . While depicting the outward features of the objects, traditional Chinese flower-and-bird painters try to integrate with the paintings their knowledge, understandin

3、g, sentiment of and attitude towards nature, society and life.,Traditional Chinese Flower-and-Bird Painting,托物言志 Expressing ideas through certain objects,Traditional Chinese Flower-and-Bird Painting,Traditional Chinese bird-and-flower painting has a long history of development. As far back as in the

4、 primitive society, this kind of painting was already in the bud, but it did not begin to take shape until the Eastern and Western Han dynasties and the Six Dynasties. After the Tang Dynasty, the Five Dynasties and the Northern Song Dynasty, it became fully developed,Traditional Chinese Flower-and-B

5、ird Painting,Huang Quan of the Five Dynasties was famous for his refined and colored paintings of exotic birds and rare flowers, which was known as the Rich and Noble Huang Style. “黄家富贵”,Traditional Chinese Flower-and-Bird Painting,Xu Xi was noted for his ink-and-wash paintings of riverside bamboos

6、and water birds and fishes, which was known as the Wild and Easy Xu Style “徐熙野逸”,Traditional Chinese Flower-and-Bird Painting,During the Song Dynasty, the imperial bird-and-flower painting was characterized by fine brushwork, coloring, elaborateness, sketching, details, and truthfulness. “宋代宫廷花鸟画”,T

7、raditional Chinese Flower-and-Bird Painting,At the same time, there also appeared the compendious and unrestrained freehand brushwork dominated by ink and brush. Such subjects as plums, orchids, bamboo, chrysanthemums became very popular among the literati painters. A new style, called baimiao, or l

8、ine drawing in traditional ink and brush style, also sprang up during this period freehand brushwork in ink and brush “水墨画”,Chinese Calligraphy,seal character official script regular script running script cursive script,Chinese Calligraphy,Inscriptions on oracle bones Inscriptions on ancient bronze

9、objects Inscriptions on drum-shaped stone blocks 甲骨文 钟鼎文 石鼓文 belong to the system of da zhuan,Chinese Calligraphy,da zhuan was current in the Zhou Dynasty After the unification of China by Qinshihuang, the first emperor of China , xiao zhuan was adopted for the purpose of standardizing the script.,C

10、hinese Calligraphy,Xiao zhuan is characterized by its roundness and naturalness, all the strokes more or less the same in thickness, and the character looking comparatively longer.,Chinese Calligraphy,It is on the basis of xiao zhuan that the official script came into being in the Qin Dynasty. Known

11、 as qin li . In the early days of the Western Han Dynasty, qin li became han li .,Chinese Calligraphy,The character becoming flatter, with the appearance of the turning stoke, left-falling stroke, right-falling stroke, etc.,Chinese Calligraphy,Regular Script is derived from the Official Script of th

12、e Han Dynasty Regular Script is fewer in strokes, without violating the character-building rules. It is precise and rational in terms of the organization of the strokes and radicals or the right and left part of a character. Therefore it is both scientific and artistic.,Chinese Calligraphy,Ouyang Xu

13、n (557641), alias Xin Ben He was the most important person in initiating the process of the Regular Scripts development from free variety to strict norms. He was the founder of the Ou School, which is famous for its tight structure Square yet round, powerful and graceful, the brushwork of this schoo

14、l is tight yet loose,Chinese Calligraphy,Yan Zhenqing (709785), alias QingChen graceful, elegant, grand, and well-balanced horizontal strokes are very thin while the dots, vertical strokes, left-falling strokes and right-falling strokes are very thick,Chinese Calligraphy,Liu Gongquan (778865), alias

15、ChengKen Typified by its even strokes, both square and round, and its well-balanced structure, it is superior to the schools of Ou and Yan by exploiting to the fullest their merits and avoiding their demerits.,Chinese Calligraphy,Zhao Mengfu (12541322), alias Ziang With a trace of the Running Script

16、, the Regular Script of the Zhao School displays continuity, permeating the static characters with a strong sense of motion and flow.,Chinese Calligraphy,One cannot talk about calligraphy without mentioning the Cursive Script, for the Cursive Script is a calligraphic school with a pure aesthetic value. In the course of its development, the Cursive Script gradually shifted its focus from stressing utility to emphasizing aesthetic appeal. Bit by bit, it lost its practical value and became a pure form of art.,Chinese Calligraphy,Call