The Evolution and Visual Application of Chinese Characters 3

叁, Chinese Painting and Calligraphy

Chinese painting and calligraphy is a traditional painting created jointly by the people of all ethnic groups in China. It has a long history. Chinese traditional paintings are rich in nature and complexity. From the stratification, there are scholars and civilian paintings. There are portraits, landscape paintings and flower and bird paintings on the subjects. There are many kinds of expressions such as brushwork and freehand brushwork. In essence, it emphasizes brushwork and ink, seeking shape and artistic conception. It is not yet gorgeous and interesting.

I. Visual application of Chinese traditional calligraphy and painting

(I) Using Scatter Perspective

The so-called scatter perspective refers to the fact that it is not restricted by a fixed eye, and it is organized at different points of view and cleverly organizes the things observed in different visual circles in a single painting, making the point of view appear to be moving. This scatter perspective method is used more often in some of the more complex and wide-ranging designs. (such as Qingming Shanghe map)

(B) Calculate White as Black

In Chinese painting, blanks are part of the image. Not only set off the subject of the screen, but also expand the artistic conception of the picture, which is the continuation of the so-called image. The "white space" in Chinese art is a greater modesty. Although it is not inked, it can seduce people's spirits and thoughts with enthusiasm, and they get infinitely subtle understandings. If they are filled in full, they will be very revealing. However, there is a sense of anger and chaos. The greatest role of blanks is noticeable. The composition of this kind of screen is also widely used in Western-style modern layouts. Although Figure 21 uses black as the bottom, it is obvious that the circle in the upper right corner highlights the large black space that is vacated. There is a "white space" effect.

(Figure 21: Design by Rudy VanderLans/1987)

(III) Plane layout

The common vertical and long scroll composition forms of Chinese paintings are: the former is near the bottom, the far is above, and the nearer is the farther away; the farther is the higher; as the Xihu Liu boat diagram made by Xia in the Song Dynasty (Figure 22). The latter is more and more to the left or right. Due to the flat layout, people, landscapes, flowers and birds do not have a clear horizon on the screen.

(Figure 22)

(D) Ink and ink techniques

Pens include dots, lines, faces, lines, and rubs. Lines are the most important; inks sometimes include colors, but ink and ink are commonly used. In the use of pens, there are positive sides and turning points; ink is thick, light, dry, wet, black, and white. These are the basic contents. The brushwork is the physical structure of the object image, and the ink method is the representation of the shade of the object image, and even the sense of volume and quality.

(e) Delete light and darkness

Because Chinese painters and artists like to observe and paint from different perspectives, they cannot draw a fixed light source and use western paintings to “discriminate light and darkness”. Instead, it focuses on the use of shades of ink and ink, the turning of lines, and the use of lines to sum up the image to represent its structure, the so-called "bone pen." As shown in Figure 23 of Xu Beihong's "Chan", the body of the sparrow in the figure is expressed by the shade of ink and ink, and the trunk is drawn using the thickness of the line. (Figure 23) This “bone pen method” has also been widely used in the West. It is also used in hand-painted manuscripts for clothing designs (Figures 24, 25).

(Figures 24, 25)

(6) Use of Color

Due to the extensive use of vegetable pigments, the color style of Chinese paintings is mainly fresh and elegant. However, we can find that in Chinese paintings, comparative reconciliation is often used. For example, the lithographs of lithographs and cinnabars, freehand paintings of cyanine and meteorites, are all reconciled from strong contrasts, and rarely have intermediate shades. It is particularly evident in the performance of Gongbi paintings.

Second, the use of text in traditional painting

(a) The homology of painting and calligraphy

The text began as a pictographic and was a common phenomenon among the peoples of the world. Later, it gradually changed to pinyin. However, the meaning of the Chinese text in accordance with the form of sound is always preserved, and the style of the original depicting model has been preserved. In particular, the inscription on the bronze ware of the early Shang dynasty was more intensive. The book painter Lv Fo-ting, on the basis of painting and painting homology and the diversion of paintings and calligraphy, created the text paintings, using the pictographs of Oracle as the image (Figure 26). Birds and fish in the picture are Oracle.

When the writing progresses to the cursive stage, due to the advancement of writing instruments and materials, the writing of the writing is produced by the static point painting. The posture of the character has an affection, that is, the so-called word power. The book consists of a dotted line of text and symbols. The painting relies on the point and line to ingest objects. The two are homologous, and they are distributed, developed, and reconnected. This completely enriches the form and connotation of Chinese painting.

(Figure 26: Lv Fo Ting's paintings)

(II) Addition of Poems

Adding a poem in the painting is a unique national form for Chinese painting. The deep meaning and concise vocabulary (including the use of seals) is the supplement and elucidation of the picture, breaking the limitations of the painting. The writing expresses something that the painting can't express or does not need to express. It also brings out the poetic feeling of the picture and increases the depth of the content of the picture. It helps the artist to express his thoughts and feelings, and also enables the viewer to feel the situation. The structure of Chinese fonts is a combination of dots, strokes, skulls, and skulls. In addition to the changes in calligraphy, calligraphy has both formal beauty and rich rhythm and rhythm. Add more vitality to Chinese painting.

The rise of posters can be said to be an extension of the addition of poems in Chinese paintings. It also has images and texts. The text (text) can increase the content of the screens, but most of the posters are based on texts, supplemented by images. The artistic design is mainly based on the traditional Chinese calligraphy and painting, and the order of the text is somewhat different. Because of the different nature of the poster, the nature of the copy used is also different. Figure 27 is based on the theme of the picture, using words to reveal the author's thoughts and feelings. Figure 28 is an art and paper poster of Dai Xiujing's New Year concert designed in 1986. It directly writes the theme in words and uses the image to express the artistic conception that the concert brings to people.

(Figure 27: Qi Baishi (Agricultural Tools) [Chai Climbing]) (Figure 28: Dai Xiujing, 1986, New Year Concert)