In the Yuan Dynasty, Zhenwu had a theory of painting: "Besides the rich words of the Gestapo, the works of Mohist drama are suitable for a moment's interest and flow with the critics of husband's paintings, which are very broad. Freehand brushwork pays attention to meaning. Appreciating China's painting creation should follow the six standards of Sheikh in Southern Qi Dynasty, namely, six methods, namely: 1, expressive and verve; 2. Bone pencil; 3. It should be pictographic; 4, the color follows the class; 5. Place of business; 6. Transfer, touch and write. The interpretation of the six methods here is: vivid charm: it means clear theme, true performance and vivid image. Bone brush: refers to the strokes and lines that depict images. Pictograph of object: refers to the degree of choice of subject matter, and the observation and description of object should be profound, meticulous and correct. Make accurate and necessary coloring according to different depicting objects. Commercial positioning: refers to the selection and organization of the theme, the conception and arrangement of the screen. When appreciating China's freehand brushwork, we should grasp the following characteristics in order to gain artistic enjoyment from it. The ancients said that painting must be conceived first, and the so-called conception is the theme of painting. Before painting, a painter should put his intention before his pen, express his views on life through painting, and combine natural scenery with personal feelings. If you draw plum blossoms, you must draw the plum blossom's character of resisting snow and cold in the wind. Painting chrysanthemums should have the spirit of Ao Shuang, and painting bamboos should be graceful, modest and vigorous. The vivid artistic conception is the expression of the inherent beauty of Chinese painting, which includes both the subjective factors of the painter and the subjective factors of the appreciator. The so-called painter's subjective factor is the painter's observation, feeling and experience of the objective natural scenery described, and his feelings are moved into it. The so-called subjective factors of the appreciator are the imagination and association generated by the appreciator when he looks at the painting. Because the appreciation level is determined by the different perspectives of the appreciator and the cultural quality of the appreciator. For example, Mo Lian, painted by contemporary painter Li Kuchan, is incisive and unrestrained, creating a freehand brushwork style of the modern generation in China, which looks like a painter painting horizontally and vertically. However, in a specific time and space, it often shows a specific personality. Form, spirit, form and spirit have always been important issues in the creation and appreciation of Chinese painting. It is not comprehensive to appreciate China's freehand brushwork with natural scenery as the criterion. Pursuing the accurate and realistic shape of the object is not the main mission of freehand brushwork. Proud of freehand brushwork. It not only writes the shape of the object, but also writes the expression of the object, and also strongly contains the artistic conception and interest expressed by the artist himself. For example, the wall chart of animal and plant specimens can be drawn accurately, but no one hangs it up to appreciate it. When we appreciate China's freehand brushwork, we often see the distortion of the scenery in the picture. This is also the usual means of freehand brushwork. Deformation is like literary exaggeration, such as Li Bai's poem "Flying Down Three thousands of feet", or people often say that when you are excited, your heart will "jump out". It is very strong and novel, but it is still natural and reasonable. Composition The composition of freehand brushwork is usually handy, fresh and good. To see whether a painting is good or bad, we should master two aspects: ① Virtual reality: The relationship between virtual reality and real reality can be said to be ubiquitous in Chinese painting, which runs through the whole process of an art. Without virtual reality, the art of dialectical unity will lose its rhythm, change and development. The painting rules such as subject and object, density, weight, size, vertical and horizontal, opening and closing are all based on reality and are composed according to the essentials of reality. Take the virtual with the real, the real with the virtual, the virtual with the real, the real with the virtual, and the combination of the virtual and the real will produce endless changes. There is a scene for reality, and no scene is virtual, which refers to the virtual and real on the screen; Scenery, sentimentality, turning meaning into emptiness and turning emptiness into reality refer to the imagination of the creator and the association of the appreciator. 2 odd: extraordinary composition always comes from the artist's extraordinary ideas. As the first of the twenty-four flowers, plum blossom is blooming in spring, proud of frost and snow, pure and clean, elegant in the shadow and pleasant in fragrance. Try Chen Jianzhai's poem "Mo Mei":' I don't know what I mean, but my predecessors are nine squares tall. This painter is also known. " For example, Li Yu's "What's the use of incense? It was opened last year ",Li Qingzhao's Who knows when the fragrance will blow, Wang Anshi's There are a few plums in the corner, and hanling blooms alone, Lu You's The Bridge outside the post is broken, and no one is alone, and Snow abuses the wind, and integrity is the strongest among flowers, etc. For these reasons, I seem to have a heart of staying at a respectful distance from others, which makes me feel another way about Mei. It can be seen that art is inseparable from whimsy and the unique authenticity of the art world. Pen and ink is the main feature of China's freehand brushwork, which is formed by a set of pen and ink tools of Chinese painting. The pen and ink in the painting are flesh and blood. Appreciating the ink level of a painting depends on whether the ink is flexible or plain. The ink is not dry, wet or black. It's a mess. Gloss is called synthetic ink. On the contrary, it is called living ink. Ink and ink are interlinked, and ink seems to replace all the primary colors in China's paintings. For example, Mei Lan, Zhu Ju and Zhu Ju all draw lines with ink. For example, Zheng Banqiao is good at calligraphy and painting, blending with each other, taking painting as a book and calligraphy as a orchid, and his style is lively and vigorous. A Qing Dynasty Jiang Shiquan commented: "Banqiao writes words like orchids, and the waves are simple and graceful;" Banqiao takes orchids as words, and the beautiful leaves, vegetables and flowers show their postures. "This exquisite ink painting performance is fascinating. Successful freehand brushwork painters use pen and ink, and through casual and meticulous description, let the viewers know that the quality of an ink painting depends not only on the painter's vigorous spirit, but also on his courage and shining soul. Poetry and painting poetry and painting are called sister art. Looking at a picture is like reading a poem. The so-called "painting in poetry, poetry in painting" advocates that poetry and painting should pursue a wonderful artistic conception. A successful work gives people not only scenery, but also affection. This is the so-called natural scenery is a spiritual realm. Freehand brushwork emphasizes the author's personality. Painting is unconventional and scribble at will. Zheng Banqiao's collection of Jin Dongxin bamboo paintings also likes "chaos". He once said, "When Jiao Mo is used, the leaves are chaotic. "Freehand brushwork is mostly used for painting, and the brushwork of freehand brushwork also greatly enriches the form of calligraphy, so freehand brushwork is mostly calligraphy. Use chrysanthemums to write poems, and use chrysanthemums to express character and temperament. During the Wei and Jin Dynasties, Tao Qian entertained himself by "picking chrysanthemums under the hedge and seeing Nanshan leisurely" and retired smartly. Then in the Southern Song Dynasty, Li Qingzhao crooned that "people are thinner than yellow flowers", expressing the sadness of the country's displacement; In the development of Chinese painting, flower-and-bird painting was independent late. Before the Northern and Southern Dynasties, it was always a foil for figures and landscapes, but it became an independent painting in the Northern and Southern Dynasties, and it became mature in the Five Dynasties, and two painting schools, Xu and Huang, appeared. However, these two schools of painting are mainly realistic. It was not until Su Shi put forward that poetry and painting should be unified and flowers and birds should have feelings that the reform of flower-and-bird painting was triggered, and the chrysanthemum in the painting also had human character and emotion. As a blend of emotion and scenery, poetry and painting have the same requirements. " In the distant cold mountain, someone stopped in Bai Yunsheng and sat in the maple forest. The frosty leaves were red in February. "This is a poem, but it reads like a painting. A successful painting can bring the viewer into the realm of poetry, and an excellent China freehand painting, with calligraphy, poetry and seals, can contain profound and broad artistic conception. China's freehand brushwork itself is a comprehensive art infiltrated and supplemented by various artistic accomplishments. Some paintings look plain at first glance, but after reading them several times, you will find that they have rich inner beauty. Therefore, from the perspective of appreciation, only by having the above experience can we truly appreciate art and enjoy it.