On The Discipline Norms Of Chinese Painting

Contemporary art in the west imposes a major impact on the formation of painting art when it misplaces the concept of"art, artworks and artists"and at the same times promotes pan-entertainment that takes everyone as an artist, bringing about the warning that lack of norm may cause the death of painting. Chinese painting is also a major branch of the painting. Therefore, we should learn from the former mistakes and arouse our vigilance, review the Chinese painting disciplines norms established in the Chinese painting history, evolution, and their advantages and disadvantages, which is of great significance for us to deal with the impacts that Chinese painting today and beyond will encounter and keep a balance between norms and innovation. This paper will discuss the disciplinary norms of Chinese painting history and reality with the works of ancient Chinese paintings, and the method of practice art history from the following five perspectives.The first chapter defines the concept of"Chinese painting discipline norms". Firstly, starting from"the death of painting"and a series of events of modern ink painting, contemporary art in the later half of the 20th century, we presuppose the norm is the precondition for the discipline. Secondly, from the statement that "painting itself is nothing else" we try to reveal the nature of painting, including Chinese painting. The core of painting norms is to use the pen, knife, ink, paint and other tools for shaping the visual images in the plane. The establishment of this norm, regardless of the provisions of human subjectivity, is determined by the special methods that painting art practically requires. Any art has three functions: understanding, enlightenment, and aesthetic. Different arts, according to their interpretations, may achieve a single or a combination of these three functions. Any subjective requirements are impossible to put the objective existence of subjects aside. As a visual arts of painting, molded in the image plane can't be replaced by other of the paintings as the nature of norms. Sculpture, the visual plastic arts, while it also with the image-building as its core, they shape the image of the means in different ways, so it is different from painting. The understanding function can't be achieved without the image, the enlightenment functions either, but exceptionally the aesthetic function, under certain conditions may be achieved. At this point, ink and colors replaced the core of image of painting, but the image itself can't be abandoned, or it will change from "the blend of humanity and things" into "the evanish of humanity and things" or even or even abstract images. Thus we need to re-define the term "Chinese painting discipline norms" and to shape the visual image of the plane as the core since the image is the unity of the three. With the norms that with the image as the core, Chinese painting as China's "painting" made it clear that it was different from the nature of the calligraphy, music, poetry and other artistic features; to shape the image with pen and ink, we conveyed the mood, standardized the characteristics of Chinese painting as paint of "China", and distinguished it from oil paintings, engravings, and other features. The focus of this specification is "the Law of Art."The second chapter deals with the establishment and improvement of the norms of classical paintings in 3-15th century (Wei and Jin to Song and Yuan Dynasty). With the propriety of the collapsing and human consciousness, Xie He's "Six Methods" firstly established the norms that image is the core, brush-and-ink works for the image, and the mood comes from image. From then on, Chinese painting began to become a subject. From Tang and Song Dynasty, the norm achieved a widespread success from the portrait to landscape painting, flower, in the practice and theory, from the masters to the common painters. In Yuan Dynasty, the statement that "Painting and Calligraphy are homologous" and "painting with calligraphy" achieved a general upgrade in Chinese painting, especially in landscapes, flowers bamboo painting, and consequently subject norms changed from image into ink as the center of painting.The third chapter deals with the norms that the classic painting with the image as the core changed qualitatively into the literati ink painting in which the image works for the ink and the mood coming from the ink in 16-17th century (Ming and Qing dynasties). The establishment of this norm is because the literary artists are not good at shape but calligraphy, poetry and subjective factors, and also the objective reason is that the aesthetic function of this moment might be achieved although it is separated from the image. Even at this moment, the enlightenment function, particularly in painting, based on cognitive function, with its function realization means indispensable to understanding the image of the constraints of nature, still can't be abandoned for the formation of the norms. Literati painting, while breaking the establishment of norms, expanded the Chinese painting as a "painting" of the borders, especially after the subsequent introduction of Western painting. Chinese painting is more credited as the national character of China's "paint", but it has shaken the nature norms of Chinese painting as China's "painting", weakening the subject line of Chinese painting as paint of "China". It has made an outstanding achievement for the literati painters at the same time besides painting, but it also made a large number of followers to be "rigid" or "absurd" (Fu Baoshi).Chapter four mainly discusses the restoration and foreignization of Chinese painting norms in the 20th century. Under the influence of Western painting, a large number of artists made many restoration and improvement measures on Chinese painting norms, but Chinese painting is different from the west, so it can't fundamentally reverse the bad situation of literati painting. Instead, in the second half of the 20th century, due to the impact of Western modern and contemporary art concept, there has been a series of modern ink painting, contemporary art and other activities bound to undermine the disciplines of Chinese painting as a new concept.Chapter five reviews the norms of Chinese painting: the image is the center, the brush-and-ink serves the image, and through the exquisite image of the ink, we convey the mood of elegant classical painting norms. As a routine mobilization of the artist who is committed to the concept "for image, the painting beyond life; for brush-and-ink, painting beneath the life", this "painting is the reason why the painting" nature of norm is the basic prerequisite for innovation in Chinese painting, and it is also a disadvantage for vigor of innovative, "obtaining the shape, without mood; with its color, then missing the strokes. No painting at all!" (Zhang Yanyuan). With the creative energy to break the shackles of norms, "I use my own law" (Shi Tao). With brush-and-ink as the center, the image serves brush-and-ink, the establishment of the artistic conception of literary ink painting norms, urges the mobilization of artists to create the "for nature, then the painting is better than landscape; for brush-and-ink exquisite, then the painting is better than landscape" (Dong Qichang), but lack of norm does not mean breaking the shackles of standard. Once subverting and abandoning the norms, we will "break the regular law", "but not the basic law of painting" (Zhu Jingxuan), "Although it is so wonderful, there are no pen trace of brush (shape the image with brush- and-ink), and we are not doing the painting "(Zhang Yanyuan). The painting would no longer exist, but "death ". Exception does not exit both in Chinese and Western painting. The warning of "the death of painting", has shaken our re-understanding of the norm of Chinese painting disciplines, Chinese painting's sustainable development also needs the norms and a balance between the norm and innovation, and there is a scientific, dialectical understanding of Chinese painting today and in the future: we shall use normal methods to keep the traditional art and apply the traditional art with innovative methods, and only in this way will we keep a balance between the norm and innovation.In short, today's society has entered an era of pluralism, cultural pluralism, diversity of arts and so are the paintings. In a pluralistic context, we have to adhere to the direction of development of advanced culture as the diversification of the major one, adhere to the image-building as the essence of Chinese painting disciplines norms? With the other elements, we can enrich the culture. However, enrichment of the nature of the norms does not mean replacing, subverting, or abandoning the essence of the culture and the nature of norms? Mr. Wen Yiduo once said that "Order is the basic guarantee of human existence, even if the authoritarian order is better than no order." Similarly, the norms, in particular the nature of the norms, are the basic guarantee. Therefore, we need to break the shackles of norms, but by no means shall we abandon the norms.