On The Potential Of Chinese Painting

Chinese painting can be a long history, it is rooted in profound Chinese cultural soil, and after several thousand years of development, forming a unique blend of the entire Chinese nation of the culture, ways of thinking, aesthetic awareness, aesthetic ideas and philosophy the integrity of the art system, so the composition of the screen there is the strong national characteristics. It deeply influenced by Confucianism. Which, although also affected by the digestion of Taoism and Zen, but the overall emphasis on education is still the main, they are often content to belong to the scope of the "intended", "God," "gas", "wind", etc. more emphasis on the form of the scope of the "shape", "potential", "bone" confined to the study before their "intended", "God," "gas"; "wind" of the subordinate status. However,wejust think about the exposition of ancient jamiat ulema-i-have, although in a subordinate position and powerful, but it is the ancient Chinese aesthetic in the way, it has long been seen to be an important aesthetic category. As early as in the "Art of War," a book on the reference to "potential", Cui Yuan's book named the "cursive potential", the Eastern Jin Dynasty artist Gu Kaizhi's Theory--"On Painting" also mentioned the importance of potential, so potentia has its own potential independent spirit.Therefore, potential access paint composition in China is very important, ancient and modern Chinese painting master, all in the "potential" work hard, and powerful piece of work is full of vigor, vitality, gives beauty and fascinating, a paintings from the success of potential play a decisive role. This paper attempts to discuss the question: The relasionships betweenthe power and gas, and implication in the Chinese painting, as well as Chinese painting in the deployment and the potential law. The text is divided into three parts of the text discussed in the first hours of the traditional Chinese paintings on the causes of the potential, through the analysis of the second part of a number of landscape, figure painting, bird, to the power and gas, implication relations, is further evidence of the potential in the importance of Chinese painting, the third part of the painting focuses on the process of taking shape with the laws and methods of potential. Through the three parts of the final conclusion: the ancient Chinese art of "Italy", "God," "gas", "Music" as the highest artistic conception, but "potential" as one of the constituent elements of the screen, it is indispensable of. Potential, in essence, is the screen of the spots and lines to cover the specific form of inter-link between the elements, it is the carrier of emotion is the essence of the screen, the most important factors of the form. In the painting process to take shape with potential use of air power through the screen, in addition to a pen to pay attention to the performance of different momentum, but also pay attention to the potential of the total portfolio. As a painting of the "potential" is from the overall composition and the performance of many local elements combined made just for the sake of the local's "potential", then the loss of the overall situation of "power", only the overall trend, there is nothing exciting on the local . Therefore, the overall potential and local potential are dealing with them well, the screen can be brought on the potential shown in order to impress people.