Discussion And Construct Space Theory On Classical Landscape Painting

The classical landscape painting, with deep cultural tradition, is the uniqueartistic scene based on the Chinese distinctive esthetic consciousness and the wisdomof thought, noted for its manifestation and drawing space awareness. Stemming fromunswerving to the national drawing language "brush and ink" and worship to Westernart theory, the study to drawing space at present not only show the shortness ofvocabulary and colonization of language, but also deficiency of courage andself-confidence to construct national words system. Through current related study,we hope to construct classical landscape painting theory systematically, directed bynational art thought, founded by national visual culture.The study of classical landscape drawing space can be summed up to the threedirections: positivism study, explanation study and the poetic reference study.Referring to the perspective principle which the Western classical realism drawingfollows, and the study to the archaeological discoveries and ancient drawing works,Positivism research insist on that the ways to deal with drawing space are scientific,conforming to the perspective principle. However this kind of study neither have thethorough understanding to the creation mechanism, nor get rid of the viewpoint whichthe perspective relies on.The explanation study thinks that, on the one hand the Chinese traditionalpainting insists on "the scientific nature", following the perspective principle inpicture processing; On the other hand "the scenery" drawn by ancient artists was notreal reflection to the objective natural, but the kind of transformation shape throughpeople's mind activity. Therefore, the way in processing picture space is "dispersesperspective" or "moving point perspective". However these "new perspectives" arethe same as "focus perspective", submitting to the so called "scientific nature"absolutely ,without escaping from the restriction of visual cognition.From the poetics reference angle, Mr Zong baihua starts to study the performance of space in traditional landscape poem and paintings in the 1930's, anddifferent spatial consciousness between China and the West's drawings. He first startsto excavate real meaning of"small by the big view" by Shen kuo, thinking that thetraditional Chinese painting has not utilized the perspective, but avoids it, deletes it,and opposes it. With his own rich knowledge, he had surmounted the simplifiedopposition between subjective and objective, following the artistic own intrinsiclogic of development.The explanation to Shen kuo's theory is a key to classical landscape drawingspace, but there are many mistakes and ambiguities in present studies. Many peoplereplaced simply "view" from "look". Through the analysis to the text, we may beclear about that the intrinsic mechanism of creation is" small by the big view", whichsurmounts natural objects, surpasses real vision, also cancels and evades so called"scientific" perspective.Moreover, through the explanation to Cang yuan rock painting, we mightdiscover the primitive spatial concept and the space manifestation which unfolded inthe primitive art, which revealed that China's drawing has already spread out with theWest in the manifestation and creation idea in the primitive artistic stage. When weconstruct the system of China arts theory, we have to note this kind of differenceestablished on the cultural tradition.Standing highly to examine the philosophy of "view" on the visual culture, anddiscussing and comparing profoundly with "view" in philosophy field between Eastand West in artistic creation., we may build amore solid foundation for the wordssystem of classical landscape drawing space theory. Under the "optical centerprinciple" tradition, the west has formed a kind of visual practice and productionsystem, but the East takes "view" as one kind of synthesis observation, the attentionand mutual relations among things.Directed by visual culture, the explanation to "small viewed by big" has creditedthe supplementary structure with the elaboration in classic painting papers, whichbuild the words system of classical landscape painting spatial structure together. Chinese classical landscape painting spatial theory includes two aspects: One isspatial consciousness, which establishes on the philosophy and cultural plane; theother is the picture space, which can be described "composition". "Manages theposition" in the ancient drawing papers is to say the picture space, which constructsthe Chinese classical landscape painting space theory from the drawing main body.The ancient landscape painters draw the real scenery in unique assurance way—vision experience, but the way of manifestation is level space established on thevision experience.