The Great Infection Of Calligraphy To Huang Binhong's Chinese Landscape Painting

Huang Binhong is a typical case in the modern history of Chinese painting, who attaches importance to tradition and tries to solve the problem of development from within the Chinese painting itself. His artistic practice contributes significant enlightenment to the Chinese painting in its transformation from tradition to modernity.This dissertation centers around the clue of 'drawing calligraphy into painting', puts much emphasis on the vital role of calligraphy in forming Huang's type of painting style. Based on his profound mastery of traditional culture and unique insight, and inspired by the structure of points and strokes in both calligraphy and painting, Huang defines the breaking point of 'drawing calligraphy into painting', and lays the epigraphical foundation of painting and calligraphy. He combines archaeology into epigraphy, epi(?)raphy into philology, philology into calligraphy, and calligraphy into paintings. By (?)a academic cycle, he finally concludes the transformation from calligraphy description to painting description.Huang Binghong sums up the principle of 'five tips of a writing brush and seven tips of ink' by integrating the motion forms of brush, technique characteristic and the esthetic penetration, and etc. This principle adds much more operationability to the abstract of theory of 'drawing calligraphy into painting'. In order to utilize calligraphy more directly in the Chinese landscape painting and enhance effects of its implication, Huang fuses the shape of 'three waves to a single stroke' in calligraphy with the texture of rocks and mountains in the Chinese landscape painting. In this way, calligraphy becomes an important part of the landscape painting. His theory of 'drawing calligraphy into painting' not only changes the painting style, but also elements of description, and turns the structure of points and strokes into a language of free flow. Huang Binhong enriches the expression ability of description by refining and reorganizing the use of ink and brush, and he establishes description relationship between ink and nature. Huang Binhong liberated painting from the shackles of traditional formula, combined refined elements of description into his paintings, and completed modernization of the traditional Chinese painting, thus providing infinite space for the development of the Chinese landscape painting.Hunag Binhong's 'drawing calligraphy into painting' also refers to the fine arts of both China and the western countries. He not only finds the integration of calligraphy and painting, but also makes great efforts to explore the resemblance between China and the west when they transcend material shape, doing his utmost to absorb the essence of western drawing. In this way, he has put the Chinese painting into the perspective of overall pattern of cosmopolitan art development.From the course of 'drawing calligraphy into painting', it can be concluded that calligraphy is a great resource and has real influence to the development of Chinese painting, and that the Chinese painting has full capacity to accomplish modernity and dialogue with cosmopolitan art on an equal footing.