The Pen And Ink In The Process Of Creating The Landscape Painting

Chinese painting,as a unique style and form of Chinese painting,has a long history of thousands of years,has a set of painting theory and results.The most familiar thing in Chinese culture is the and soft of things,in any field of life,Fusionist and soft cultural heritage,the view of Chinese painting also integrates this view,the so-called " just" can be interpreted as " potential "," soft" can be interpreted as " spirit "." potential " : the whole,the embodiment of the rules,the " physique" embodiment in the painting," spirit" embodies the verve,theEmbodiment of the content,landscape image.Both continuity and continuity,for the first pulse of spirit," qizhe,heart essay,imaging,melodious,hidden tracks,beiyi,incomum." "(1)the rhythm and potential continuity coexist in the creation,through the paintings,the rocks and mountains,the mountains and mountains,and the spirit shows them,far away,A Closer Look,Take,hunyuanyiti.In practice creation,to understand Gufa,apply it,natural spirit,All painting.Chinese painting speaks of its form and spirit,and continuity coexist,which is the highest realm in Chinese painting.Huazhe must know Gufa and use it,do not know how to yanxin.The relationship between " artistic conception" and " potential" in Chinese landscape painting,including the law of orientations in creation,is divided into three parts in detail.In the first chapter of this paper focuses on the " potential" in Chinese painting." Shi" plays a very important role in the structure of Chinese painting,and the quality of orientations directly affects the performance of " artistic conception" in the painting,and the orientations is one of the key roles.The paper discusses the importance and function of orientations.The second chapter of the second section describes the role and significance of Mountain in the creation.In the landscape painting,especially the creation of the mountain,Mountain is the most important,in which Mountain embodies the " momentum" and " spirit" is the most direct,is a form of Surface to,played a vivid effect.In the third chapter of this paper is elaborated in the creation of the rhythm and operation of the " potential" and " charm" to combine the creation of god,huazhe first,the author qi.Through potential and artistic conception,it also shows that the expression of " potential" and " charm" in Chinese landscape painting is thenatural gas,and determines the quality of landscape painting,and also determines the quality of landscape painting,focusing on the different momentum of painting,focusing on the momentum and local scenery interspersed,deal with the subtle relationship of The relationship between " artistic conception" and " potential" in Chinese landscape painting,including the law of orientations in creation,is divided into three parts in detail.In the first chapter of this paper focuses on the " potential" in Chinese painting." Shi" plays a very important role in the structure of Chinese painting,and the quality of orientations directly affects the performance of " artistic conception" in the painting,and the orientations is one of the key roles.The paper discusses the importance and function of orientations.The second chapter of the second section describes the role and significance of Mountain in the creation.In the landscape painting,especially the creation of the mountain,Mountain is the most important,in which Mountain embodies the " momentum" and " spirit" is the most direct,is a form of Surface to,played a vivid effect.In the third chapter of this paper is elaborated in the creation of the rhythm and operation of the " potential" and " charm" to combine the creation of god,huazhe first,the author qi.Through potential and artistic conception,it also shows that the expression of " potential" and " charm" in Chinese landscape painting is the natural gas,and determines the quality of landscape painting,and also determines the quality of landscape painting,focusing on the different momentum of painting,focusing on the momentum and local scenery interspersed,deal with the subtle relationship of Through the analysis and application of " artistic conception" and " potential ",The fourth chapter and the fifth chapter are the creation of pen and ink,the creation of some personal ideas and creative programs,and the skill level of creation,through the analysis and application of " spirit "," potential ",writing style,it plays a role of theoretical support for my own " Ma Pushan" works,so as to better create this series of works,the points described in the works are depicted in the travel literature.Through the analysis and application of " artistic conception" and " potential ",it plays a role of theoretical support for my own " Ma Pushan" works,so as to better create this series of works,the points described in the works are depicted in the travel literature.