From The Point, Line, Surface To See The Basic Structure Of Chinese Landscape Painting

This paper mainly point line Kandinsky based theoretical perspectives, combining modern graphic composition to the point, line, surface elemental basis, combined with its independence and shape combinations to form an independent complex forms the basis for the re-constituted the idea for the organization constitutes a framework to analyze the form of landscape painting, and form the basis of their knowledge of the principles of ordinary aesthetic sense as a starting point the principle of combining artistic development of Chinese landscape painting to break the analysis of their body structure. Scholars now excluded form the point of view on the form of rational analysis of Chinese landscape painting composition, for example,where the opposite interpretation: Some scholars believe that China is drawing attention to the relationship between all things from the south Songliang Kai big argument given freehand portraits start a negative. This paper believes that Chinese people have long attention to the concept of the surface, such as Lao Tzu "Everything negative yin yang " point, plane faces picturesque idea. Combined with blank concepts, as well as Chinese landscape painting in a small way to recognize concept of large, depending on the material ’s surface is different from most modern scholars in the form of a unique perspective on the concept of form. It also constitutes the first plane to the point, line, surface composed of thinking systematically analyze thebasic structure of Chinese landscape painting. Chapter II, Chapter III of the relationship between the basic elements of the basic elements of traditional landscapes and graphic composition, the traditional landscape of the basic shape in the plane constitute the basic shape relations with China’s traditional way of thinking analysis constitutes a unique perspective. The fourth chapter constitute the basic shape of the complex relationship between the plane of a relation combined with the traditional patterns constitute Gua ancient calligraphy and paintings constitute imagery and, Hetu like the way modern painting also has a new inspiration.