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Chinese Paintings Origin
Starting around 4000 B.C. traditional Chinese painting has developed
continuously over a period of more than six thousand years. Its
growth has inevitably reflected the changes of time and social
conditions. In its early stage of development, Chinese painting was
closely related to the other crafts, from pottery to the decorations
used on the bronzes, carved jade and lacqerware.
Following the introduction of Buddhism to China from India
during the 1st century A.D. and the consequent carving of grottoes
and building of temples, the art of painting religious murals
gradually gained in prominence.
The range of subject matters dealt with in figure painting
was extended far beyond religious themes during the Song
dynasty(960-1127),. Paintings of historical character and stories of
everyday life became extremely popular. Techniques were also further
refined.
Landscape painting had already established itself as an
independent form of expression by the 4th century. Then gradually
developed into the two separate styles of “blue-and-green
landscapes” and “ink-and-wash landscape”. The
blue-and-green landscape used bright blue, green and red pigments
derived from minerals to create a richly decorative style. The
ink-and wash landscape relied on vivid brushwork and varying degrees
of intensity of ink to express the artist's conception of nature,
and his own emotions and individuality.
Flower-and-bird painting was separated from decorative art
to form an independent genre around the 9th century. A great many
artists painted in this genre during the Song dynasty and their
subject matter included a rich variety of flowers, fruits, insects
and fish. Many of the scholar painters working with ink and brush
used a great economy of line. They produced paintings of such things
as plum blossoms, orchids, bamboo, chrysanthemums, pines and
cypresses, using their subject matter to reflect their own ideals
and character.
Modern painters have often mixed several colors on one brush or
mixed their colors with black inks. As a result, they have obtained
more natural and richly varied colors. Such techniques have been
widely adopted and further developed in the contemporary period.
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In imperial times,
painting and
calligraphy were the most highly appreciated arts in court
circles and were produced almost exclusively by
amateurs--aristocrats and scholar-officials--who alone had the
leisure to perfect the technique and sensibility necessary for great
brushwork. Calligraphy was thought to be the highest and purest form
of painting. The implements were the brush pen, made of animal hair,
and black inks made from pine soot and animal glue. In ancient
times, writing, as well as painting, was done on
silk.
But after the invention of
paper
in the
1st century A.D., silk was gradually replaced by the new and
cheaper material. Original writings by famous calligraphers have
been greatly valued throughout China's history and are mounted on
scrolls and hung on walls in the same way that paintings are.
Painting in the traditional style involves
essentially the same techniques as calligraphy and is done with a
brush dipped in black or colored ink; oils are not used. As with
calligraphy, the most popular materials on which paintings are made
are paper and silk. The finished work is then mounted on
scrolls,
which can be hung or rolled up. Traditional painting also is done in
albums and on walls, lacquerwork, and other media.
Beginning in the
Tang dynasty (A.D. 618-907), the primary subject matter of
painting was the landscape, known as shanshui (mountain-water)
painting. In these landscapes, usually monochromatic and sparse, the
purpose was not to reproduce exactly the appearance of nature but
rather to grasp an emotion or atmosphere so as to catch the "rhythm"
of nature. In
Song dynasty (960-1279) times, landscapes of more subtle
expression appeared; immeasurable distances were conveyed through
the use of blurred outlines, mountain contours disappearing into the
mist, and impressionistic treatment of natural phenomena. Emphasis
was placed on the spiritual qualities of the painting and on the
ability of the artist to reveal the inner harmony of man and nature,
as perceived according to
Taoist
and
Buddhist concepts.
Beginning in the
13th century, there developed a tradition of painting simple
subjects--a branch with fruit, a few flowers, or one or two horses.
Narrative painting, with a wider color range and a much busier
composition than the Song painting, was immensely popular at the
time of the
Ming dynasty (1368-1644).
During the Ming period, the first books
illustrated with colored woodcuts appeared. As the techniques of
color printing were perfected, illustrated manuals on the art of
painting began to be published. Jieziyuan Huazhuan (Manual of the
Mustard Seed Garden), a five-volume work first published in 1679,
has been in use as a technical textbook for artists and students
ever since.
Beginning with the
New Culture Movement, Chinese artists started to adopt Western
techniques. It also was during this time that
oil painting was introduced to China.
In the early years of the
People's Republic of China, artists were encouraged to employ
socialist realism. Some
Soviet Union socialist realism was imported without
modification, and painters were assigned subjects and expected to
mass-produce paintings. This regimen was considerably relaxed in
1953, and after the
Hundred Flowers Campaign of 1956-57, traditional Chinese
painting experienced a significant revival. Along with these
developments in professional art circles, there was a proliferation
of peasant art depicting everyday life in the rural areas on wall
murals and in open-air painting exhibitions.
During the
Cultural Revolution, art schools were closed, and publication of
art journals and major art exhibitions ceased. Nevertheless, amateur
art continued to flourish throughout this period.
Following the Cultural Revolution, art schools
and professional organizations were reinstated. Exchanges were set
up with groups of foreign artists, and Chinese artists began to
experiment with new subjects and techniques. |
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