A Study Of The Concept Of "Brightness And Light" In Traditional Chinese Landscape Paintings

From ancient times, the theory of "Brightness and Darkness" is extremely rich, modern people’s theory of "Brightness and Darkness" is not the same with the ancients. Thus, in this paper, we choose the point of the theory of "Brightness and Darkness" to analyse techniques of predecessors’ exquisite pen and ink, tracing the flow.The theory of "Brightness and Darkness"was put forward by Dong Qichang.As literati,painter, theorist Dong Qichang, its main draw on, inscriptions and other descendants after finishing the integration of the essay of "painting Chanshi," a book. The book in which a Tiba said:".......For the dark do not want to draw that person as flesh out the hook edge angle, it is too dark clouds cross the fog Cypriot who is also,......."In this article inscriptionsthe theory of "Brightness and Darkness" was put forward by Dong Qichang in the proposition, and showed its standpoint. From the point of view of the ink level in terms of style Jinling Zhe extensive crazy strange, fiber-Mei Wu School of followers of the state is gradually revealed, both advocated and Dong Qichang "painted dark desire, do not want that" this a concept is the opposite, Zhe, Wu School and their followers brushwork increasingly reflect the Dong Qichang called "Ming" feature, so Dong Qichang on Zhejiang, Wu proposed two vices faction criticism. Nowadays, the traditional landscape painting in the "shade" of knowledge varies, affecting the traditional overall grasp of Chinese traditional painting. This article on the " shade " concept of Chinese landscape painting is divided into four chapters discuss:In the Qing Dynasty,Wang Hui was known to all, he did not agree with Dong Qichang’s idea, then he proposed a "painted shade, such as birds two wings can be neglected, and the light and shade, air Nobu." Painting theory. His collection of pen and ink techniques in a north-south, that his theory of "Brightness and Darkness".Nowadays, The theory of "Brightness and Darkness"of Chinese traditional painting, affecting the traditional overall grasp of the history of Chinese painting. This article on the The theory of "Brightness and Darkness"of Chinese traditional painting is divided into four chapters for discussing:Firstly, The theory of Chinese traditional painting. From the origin of the "shade" concept to start, focusing on analysis and Wang Hui Dong Qichang’s theory of "Brightness and Darkness", and summarize Darkness". Understand the "light and dark" after the "shade" concept of Chinese traditional painting and the "shade" concept of modern landscape painting to make a detailed comparison.Secondly, from the perspective of ink, their characteristics were analyzed "Brightness" and" Darkness", in the Chinese traditional painting. Painters from different styles and examples start to find out difference characteristics.Thirdly, under the new great fusion of international social background of modern Chinese painting, the theory of "Brightness and Darkness" had changed, people’s ideas with the new knowledge. Comprehensive analysis of the text of "Brightness and Darkness", summarizes the characteristics of the traditional landscape painting, by comparing the traditional landscape of the "brightness" and Modern Painting, trying to understand of "shade". The author try to find the right breakthrough in the future.