Chinesecalligraphyandpai教学讲解课件

ChineseCalligraphy&PaintingGroupmembers:林**郭**彭**苏**ChinesecalligraphyisaformofcalligraphywidelypracticedandreveredintheSinosphere(汉字文化圈),whichoftenincludesChina,Japan,Korea,andVietnam.ApracticeAnartPicassooncesaidthathadhebeenbornChinese,hewouldhavebeenacalligrapher,notapainter.EvolutionandStylesAncientChinaJiǎgǔwéncharacterscarvedonoxscapulasandtortoiseplastronsaround14th-11thcenturyBCE.

Jīnwén(Bronzewarescript)Dàzhuàn(LargeSealScript)

InfluenceCalligraphyhasalsoledtothedevelopmentofmanyformsofartinEastAsia,includingsealcarving(篆刻)、ornatepaperweights(纸镇)andinkstones(砚台)。CalligraphyhasinfluencedmostmajorartstylesinEastAsia,includingInkandwashpainting(水墨画)

,astyleofChinese,Korean,Japanesepainting,andVietnamesepaintingbasedentirelyoncalligraphy.EvolutionandStylesImperialChinaXiǎozhuàncharacters.Inabout220BC,theemperorQinShiHuang,imposedseveralreforms,andexcutedthecharacterunification.TheLìshūstyle(clericalscript)ismoreregularized,andinsomewayssimilartomoderntext,werealsoauthorisedunderQinShiHuang.Kǎishūstyle(traditionalregularscript)—stillinusetoday—andattributedtoWangXizhi(王羲之,303-361)andhisfollowers,isevenmoreregularized.EvolutionandStylesCursivestylessuchasXíngshū(semi-cursiveorrunningscript)andCǎoshū(cursiveorgrassscript)arelessconstrained(拘泥的)andfaster,wheremoremovementsmadebythewritingimplementarevisible.Thesestyles‘strokeorders(笔画顺序)varymore,sometimescreatingradicallydifferentforms.TheyaredescendedfromClericalscript,inthesametimeasRegularscript(HanDynasty),butXíngshūandCǎoshūwereuseforpersonalnotesonly,andwereneverusedasstandard.Cǎoshū(cursiveorgrassscript)Xíngshū(semi-cursiveorrunningscript)ToolsFourTreasuresoftheStudy(文房四宝)inkbrushes,Chineseink,paper,&inkstoneDeskpads(桌垫)andpaperweights(纸镇)SealandSealpaste(印章&印泥)Technique:principlesTheshape,size,stretchandtypeofhairinthebrush,thecoloranddensityoftheink,aswellastheabsorptivespeedandsurfacetexture(表面纹理)ofthepaperarethemainphysicalparametersinfluencingthefinalresult.Thecalligrapheralsoinfluencestheresultbythequantityofink/waterheletsthebrushtakeup,thenbythepressure,inclination,anddirectionhegivestothebrush,producingthinnerorbolderstrokes,andsmoothortoothedborders.Eventually,thespeed,accelerationanddecelerationofthewriter‘smoves,turns,andcrochets(钩边)andthestrokeordergivethe"spirit"tothecharactersbyinfluencinggreatlytheirfinalshape.Technique:principlesCalligraphyissheerlifeexperiencedthroughenergyinmotionthatisregisteredastracesonsilkorpaper,withtimeandrhythminshiftingspaceitsmainingredients.------Stanley-BakerStudyPeoplebornafter1980tendtohaveadistinctivestyleofhandwriting:alittlebitsloppy,alittlebitchildishandalmostneverincursive.Sincethedevelopmentofregularscript,nearlyallcalligraphershavestartedtheirstudybyimitatingexemplarymodelsofregularscript.

StudyTraditionally,thebulkofthestudyofcalligraphyiscomposedofcopyingstrictlyexemplaryworksfromtheapprentice'smasterorfromreputedcalligraphers,thuslearningthembyrote.Themastershowingthe'rightway'todrawitems,whichtheapprenticehavetocopystrictly,continuously,untilthemovebecomesinstinctiveandthecopyperfect.Derivationfromthemodelisseenasafailure.StudyCompetencyinaparticularstyleoftenrequiresmanyyearsofpractice.Correctstrokes,strokeorder,characterstructure,balance,andrhythmareessentialincalligraphy.AstudentwouldalsodeveloptheirskillsintraditionalChinesearts,asfamiliarityandabilityintheartscontributestotheircalligraphy.evaluationandappreciation1.Thecharacters(汉字)mustbewrittencorrectly.

Calligraphicworksoftenuse

variantChinesecharacters(汉字的变体)，whichareconsideredcorrectorincorrectonacase-by-casebasis(在个案基础上),

butingeneral,morepopularvariantsaremorelikelytobecorrect.

2.Thecharactersmustbelegible(清晰的容易辨认的）

Ascalligraphyisthemethodofwritingwell,acalligraphicworkmustberecognizableasscript,furthermore，beeasilyrecognizedtothosefamiliarwiththescriptstyle(字体),althoughitmaybeillegible(难辨认的)tothoseunfamiliarwiththescriptstyle.3.Thecharactersmustbeconcise（简明的，简洁的）

GoodChinesecalligraphymustbeunadorned(朴素的)script.Itmustalsobeinblackinkunlessthereisareasontowriteinotherink.4.Thecharactersmustfittheircontext.

AllreputablecalligraphersinChinawerewelleducatedandwellread.Inadditiontocalligraphy,theywereskilledinotherareas,mostlikely

painting,

poetry,

music,

opera,

martialarts,and

chess.Therefore,theirabundanteducationcontributedtotheircalligraphy.

Whentheywrite,theircharacters'shapeandweightagreeswiththerhythmofthephrases,especiallyinlessconstrained(受限制的)stylessuchas

semi-cursive（行草）

and

cursive.（草书）5.Thecharactersmustbeaesthetically

pleasing(有美感)

Generally,charactersthatarewrittencorrectly,legibly,concisely,andinthecorrectcontextarealsoaestheticallypleasingtosomedegree.

Name:WangXizhi(王羲之）

Time:JinDynastySpecialty:runningscript(行书)

Feature:naturalfluentexquisiteTitle:Sageofcalligraphy

Name:OuYangxun(欧阳询）

Time:TangDynastySpecialty:regularscript(楷书)

Feature:

fullofpower(笔力险劲)uniquestructureclear

Title:oneofthethreegreatcalligraphersinTangDynastyName:ZhangXu(张旭）

Time:TangDynastySpecialty:cursivescript(草书)

Feature:powerfulexplosive

Title:Sageofcursive(草圣)oneoftheEightimmortalsofthewinecup(饮中八仙)

ModernChinesecalligrapherWhatkindofcalligraphytheyare?ChinesepaintingTheearliestpaintingswerenotrepresentationalbutornamentalguóhuà(国画),meaning'national'or'nativepainting',asopposedtoWesternstylesofartwhichbecamepopularinChinainthe20thcentury.donewithabrushdippedinblackorcoloredink;oilsarenotused.Themostpopularmaterialsarepaperandsilk.mountedonscrolls。Representational:adj.代表的；具象派的,ornamental:adj.装饰的，装饰性的Mounted：安装好的，裱好的；scroll：卷轴，画卷ItwasonlyduringtheWarringStatesPeriod(475-221BC)thatartistsbegantorepresenttheworldaroundthem.EvolutionDuringtheTangDynasty,figurepaintingflourishedattheroyalcourt.themasterWuDaoziFromhistimeon,inkpaintingswerevaluedasfinishedworksofart.IntheSongDynastyperiod(960–1279)Emphasiswasplacedonthespiritualqualitiesofthepaintingandontheabilityoftheartisttorevealtheinnerharmonyofmanandnature

AttheendofNorthernSongperiod,thepoetSuShiandthescholar-officialsinhiscirclecreatedanewkindofartinwhichtheyusedtheirskillsincalligraphytomakeinkpaintings.DuringtheMongolYuanDynasty(1271–1368),paintersjoinedtheartsofpainting,poetry,andcalligraphybyinscribing(题写)poemsontheirpaintings.

Thefirstbooksillustratedwithcoloredwoodcuts（木版画）appearedaroundtheMingperiod(1368–1644).JieziyuanHuazhuan,afive-volumeworkfirstpublishedin1679,hasbeeninuseasatechnicaltextbookforartistsandstudentseversince.Inthelate19thand20thcenturies,ChinesepainterswereincreasinglyexposedtoWesternart.Modernpainting

BeginningwiththeNewCultureMovement,ChineseartistsstartedtoadoptusingWesterntechniques.AftertheHundredFlowersCampaignof1956-57,traditionalChinesepaintingexperiencedasignificantrevival.

WangYani–bornin1975-whostartedpaintingatage3andhassinceconsiderablycontributedtotheexerciseofthestyleincontemporaryartworkPaintingmode:Sixprinciples

XieHe,awriter,arthistorianandcriticin5thcenturyChinatakenfromthepreface（前言）tohisbook"TheRecordoftheClassificationofOldPainters"(古画品录)"SpiritResonance“气韵生动是也resonance:共振；共鸣Vitality:活力，生命力Flow：流动，流量Vitality;Theflowofenergy2."BoneMethod“骨法用笔是也Texture（纹理）andbrushstroke（笔触）Thecloselink3.“CorrespondencetotheObject“应物象形是也4."SuitabilitytoType“随类赋彩是也Thedepicting（描绘）offormLayers，value，tone5."DivisionandPlanning“经营位置是也6.“TransmissionbyCopying”传移模写是也CompositionspacedepthThecopyingofmodels，theworksofantiquity（古人作品）Classifications:Baseontechniques（技术手法）Accordingtopaintingtechniques,Chinesepaintingcanbedividedintotwostyles:xieyistyleandgongbistyle.Xieyi(写意),(

literally‘paintingthefeeling‘),ismarkedbyexaggerated(夸张的)formsandfreehandbrushwork.Gongbi

(工笔)(literallymeticulous（极仔细的）brushwork),ischaracterizedbycloseattentiontodetailandfinebrushwork.Itgeneralizes(强调)shapesanddisplaysrichbrushworkandinktechniques

Base

onsubjectmatters(主旨)Classifications:figurepaintings(人物画)Landscapepaintings(风景画)flower-and-birdpaintings(花鸟画)figurepaintings(人物画)

AswithmanyaspectsofChinesebrushpainting,figurescanbepaintedasthemainsubjectoftheproposedpaintingormayfeatureasasmallpartofalandscape.FigurepaintingisthoughttobetheoldestelementintraditionalChinesepainting.Landscapepaintings(风景画)

LandscapepaintingshavetraditionallybeenChina’sfavouriteChinesepaintingastheyshowthepoetryinnature.Itisthe“natureofnature”thattheartisttriestoconveyinaChineselandscapepainting.So,itisnotsomuchaportrait(描写)ofamountainbutacomposite（混合式）ofmanyelementsofnaturethatinviteyoutowanderinimaginationthroughthelandscape.

Literallytranslated,theChinesecharactersforlandscapemean“mountainandwater”.AlmostallChineselandscapepaintingsdepict（描写）mountainsandwater,generallyariver.Themountainsrepresentalonglife,andwatertheseaofhappiness.Inharmonytogether,mountainsandwatersymbolizealonghappylife.

MostChineselandscapepaintingswillalsoshowmistorcloudswhichsymbolizegoodfortuneandhappinessandareunderstoodtoarisefromtheunionofthetwomainprinciples,yinandyang.

flower-and-birdpaintings(花鸟画)

FlowersandbirdswerefavoritesubjectsinpaintingsinancientChina,offeringakindofspecialaesthetic（美学的）interest.Asanindependentschool(学派）ofpaintings,flower-and-birdworksoriginatedintheTangDynasty(618-907)