Original authors: Zhong Zhang and
What standards are used to measure Chinese painting? Although there are many criteria for criticism, they are always within the two categories of political criteria and artistic criteria. Because the different styles of painting in the past dynasties in history were all transferred with the interests of the ruling class, and the ruling class also had different evaluation changes with the development and transformation of the painting style itself. This is because the royal painters who directly serve the ruling class must, of course, try their best to obey the command of the ruling class and adapt to the interests of the ruling class, otherwise they will not get the position of the painting academy and even be in danger of their lives. In the history of painting, except for the Southern Song Dynasty, there were more painters outside the courtyard than in the courtyard, so if you want to enter the courtyard, you must learn the painting style in the courtyard. However, many painters refused to enter the courtyard, and some painters outside the courtyard changed the painting style in the courtyard with special styles. The painting style of not entering the academy also influenced and changed the painting style of the academy. With the progress of the times, the change of society, the rise and fall of politics, the rise and fall of national conditions, the personal hobbies of the ruling class and the painting style of the painting academy also change the evaluation criteria of the ruling class from time to time. In terms of artistic standards, there are various changes with the times, politics, painting schools, personal likes and dislikes, and different levels of appreciation. Although the changes are different, there are evaluation criteria for the paintings of past dynasties summarized by Sheikh for more than a thousand years. The functions of the' six methods' are: first, for connoisseurs, and second, for painters. When used as a connoisseur, it becomes the standard of painting, and when used as a painter, it becomes the ladder of learning and the standard of art. China's traditional painting has developed to this day, but all those who describe it in words compromise on the' six methods', that is, today's application can also meet the needs of modern scientific dialectical methods, and the management and methods are clear and fresh, which can be used as a standard system scientific evaluation theory. If the' six methods' can be extended to the evaluation criteria of Chinese painting, it is still acceptable today, so it is needless to say that it is unpredictable. Let's look at the' six laws'; 1. Vivid charm, 2. Writing with a bone pen, 3. The reaction of hieroglyphics to objects, 4. Color according to type, 5. Place of business, 6. Transfer and writing, [Nanqi. Sheikh {Record of Ancient Paintings}] The above six methods are the standards of appreciation. From vivid charm to substitute flowers for trees and patterned writing, they are all top-down, arrogant and small, that is, whole and partial. According to the six methods, people see pictures, and the charm is vivid and exciting, or thrilling, or carefree, or carefree, you can know at a glance, so you don't have to ask. Because verve is the spiritual soul of images and scenes in paintings, it can only be vivid if it is shown. Vivid charm will often make viewers shine at the moment and let them appreciate it at the first contact. A painting is not a good work if it doesn't have vivid charm at first sight, so you can give it up without looking. If a painting is displayed and hung, it will be pleasant, quiet or full of vitality, and its painting will become famous because it has received its vivid charm. In-depth observation of painting, we must observe its bone method with a pen, that is, sketch, using the author's brushwork. The good brushwork in bone method is the spiritual perfection of painting. If you can't study its shape in depth, you should be pictographic and compare it with its real object to see if there is any fallacy. If the shape is safe, you can't observe its color, so you can give it color with classes. All the shapes and colors are wonderful, and there is no regret in the drawn form. Let's discuss whether it is appropriate. Left and right arrangement, balance and stability, front and back configuration, uneven size, light and shade contrast are all one. After thorough research, the viewer seems to have no meaning to a painting. I wonder if this painting is created or copied. Is this an original or a fake? Then the last one is transferred and modeled. Appreciators must take these six steps as the standard, so that they can evaluate the paintings step by step and follow the rules, and gain insight into people's hearts. Only in this way can we comfort the author's realm and treat him with courtesy.
The evaluation of Chinese painting in the Tang Dynasty was strange, wonderful and capable, but Zhu added one product, and the so-called one product was particularly unconventional. Zhang Yanyuan and five, he said; Lost in nature and then god, lost in god and then wonderful, lost in wonder and then refined, refined disease into refined. Later, Zhang Yanyuan's five skills of sex, spirit, subtlety and meticulous brushwork were no longer used. He used the three products of god, subtlety and energy, while the {Yizhou Famous Painting Record} with corpus luteum recovery used Yi and Miao, and each box had a definition. His escape definition theory; The most difficult thing in painting is elegance. It is clumsy in the square and meticulous in painting. Originally, this is natural and exemplary. Later, critics praised Yipin, and Yipin became the highest realm of painting.
To sum up, we regard "six methods", the theoretical basis guiding us to learn Chinese painting, as the evaluation criteria for evaluating Chinese painting. Taking the four dimensions of "meaning", "spirit", "wonder" and "ability" as the evaluation level has its historical theoretical system, which also conforms to the consistency of Chinese painting and the inevitability of development and inheritance. This is also in line with the roots of evolution, social development and traditional philosophy.
People with different identities have different interpretations and amendments to the evaluation criteria in different periods. Especially in reality, people's evaluation criteria for Chinese painting are constantly updated according to their different aesthetic needs. Even professional painters are still confused, and Chinese painting follows the realists in the ever-changing evaluation concept. Now people's evaluation of painting is much more complicated, and even leads to and complicates many personal feelings and values. They only know how to criticize the traditional theoretical system, but they don't accept it. Of course, they will lose their minds and apply it mechanically. With the correct evaluation criteria, Chinese painting can be refined and refined by painters, making the past serve the present. A painter will never be negative and pessimistic, desolate and lonely, or narcissistic. This can abandon the artistic conception and world outlook of avoiding the world and fame, and let Chinese painting carry forward!