Newly written Chinese and flowers and birds painting

Author: Xie Qing
Publisher:
Publish Date: 2005-08-01
Features: This series of books is designed for college and university students as well as, serving as a fundamental textbook for learning and studying Chinese calligraphy and painting. The series consists of nine specialized works: 《New Compendium of Chinese Art History》, 《New Compendium of Gongbi Figure Painting》, 《New Compendium of Xieyi Figure Painting》, 《New Compendium of Gongbi Flower-and-Bird Painting》, 《New Compendium of Xieyi Flower-and-Bird Painting》, 《New Compendium of Green-and-Gold Mountain-and-Water Painting》, 《New Compendium of Ink Mountain-and-Water Painting》, 《New Compendium of Calligraphy》, and 《New Compendium of Seal Carving》. 《New Compendium of Chinese Art History》 is presented in the form of a general outline of art history, with concise and vivid content complemented by illustrations. It systematically presents the historical context and theoretical manifestations of Chinese visual aesthetic culture, incorporating the latest archaeological discoveries and academic research findings. The other eight specialized works focus on introducing and studying the history and current state of various painting genres from multiple perspectives. They emphasize both the exploration and evaluation of traditional techniques and the attention to contemporary innovations and developments. The entire series nearly covers all major aspects of Chinese calligraphy and painting, reflecting the developments and latest academic standards of the new century. The series has three main characteristics: historical, technical, and appreciative.
Historical Aspect. Each research topic in the series traces the origins of the respective painting genre from the perspective of its historical development. It systematically examines the formal language features, origins, and evolutionary processes of the discussed genre. Through in-depth analysis of representative painters and their classic works that created new forms, techniques, languages, and styles in specific historical eras, cultural environments, and intellectual trends, the series highlights key points, enabling readers to grasp the developmental trajectory, aesthetic characteristics, and historical trends of the genre in a relatively short reading time.
Technical Aspect. The series focuses on teaching specific representation techniques. Starting from the basics—such as the painting of individual branches, leaves, rocks, and mountains—and gradually progressing to the creation of grand mountain-and-water paintings that span vast landscapes, the series provides a step-by-step, progressive learning experience. Typical examples are used to explain drawing steps and procedures, with each step illustrated to demonstrate the continuous process and techniques involved. The series introduces traditional techniques of the ancients, teaches modern techniques of the present, and imparts personal special skills developed by the author through years of creative practice. This includes methods of copying, experiences in coloring, insights into shaping, craftsmanship in composition, the inspiration for creativity, and the nurturing of artistic conception. By understanding the technical processes and expected artistic outcomes, readers can not only inspire their own creative desires and enhance their artistic appreciation but also deepen their understanding of the essence of painting—“entering the realm of art through technique.”
Appreciative Aspect. The series dedicates considerable space to analytical appreciation of representative ancient and modern works. Through appreciation, readers can improve their aesthetic discernment and enhance their artistic sensitivity, cultivating the ability to interpret images to convey meaning. By analyzing and appreciating classic works, readers can perceive the creativity of spiritual life, grasp the mysteries of artistic conception creation, and savor the cultural significance, aesthetic charm, and spiritual depth of the works. Appreciation is an experience of the soul and a collision of souls. Its methods are diverse—some begin with an analysis of artistic form and language, others approach it from the perspective of visual psychology, some use cultural criticism or sociological methods, and more often, a comprehensive approach is employed. The process of appreciation is one of analysis and synthesis. Through this process, readers can discern the quality of artistic works, differentiate between their abilities, brilliance, spirit, and elegance, and understand the truth and aesthetic value of artistic creation. They can also appreciate the profound and extensive unity of nature, humanity, and the universe in Chinese aesthetics, thereby elevating their own humanistic qualities. To learn from the heart of the ancients rather than their traces is the correct approach. Specific painting techniques are merely guides to entry. Mastering techniques alone does not guarantee the creation of excellent calligraphy and painting. No technique should be rigidly adhered to. Once inside the hall of art, one must fully understand and grasp the fundamental principles of the art itself. The highest art is to have no method—“learn from the heart” to comprehend the great creative spirit of the artist.
The central issue of the Chinese painting scene in the new century is how to create a national and new form of Chinese calligraphy and painting in the context of a new era and an open cultural environment, so that it can stand among the world’s nations. The 20th century was a critical period for Chinese painting to transition from a classical to a modern form. Reform, the practice of reform, and dialogue between Eastern and Western art became the theme of the last century, and the innovation of Chinese painting achieved remarkable accomplishments, opening up a new distinct from any historical stage. However, it is inevitable that the era itself had limitations, reflected in both creative concepts and artistic practice. By summarizing experience, we can better prepare for the future. This series reflects this historical transformation and its achievements from multiple perspectives. Historical experience teaches us that artistic innovation and its maturation to a peak often require the efforts of several generations. The new century looks forward to the great national revival and the new brilliance of national art. The journey is arduous, and we must continue to carry forward and strive.