Study On Chinese Painting Education "potential" And "quality" With Equal Emphasis

Vigor and character respectively are two important aesthetic categories in Chinese traditional artistic theory, however, the earliest article in which they were mentioned in the same breath in painting theory was Landscape Brief (Shanshui Jieyao), in which there was a sentence "represent the vigor to paint the landscape in the distant, and represent the character in the close shot".The original meaning of this sentence is a kind of creating method that one should choose objects to observe, it bases on the traditional philosophy of "observation in a dynamic way (liu guan)",embodies the activity of "heart", and emphasizes the inseparability of vigor and character. Vigor and character both contain a plenty of connotations, the combination of two plays an important role in creating the artistic conception and flavor of paintings. The theory that vigor and character have equal status not only has certain practical guiding functions for the painting of classical Chinese painting, but also has certain practical significance of the time. This thesis will introduce them into the producting, aesthetic and appreciating fields of Chinese painting of the time to recognize and correct some deficiencies in the above fields. There are two considerable aesthetic tendencies in the field of Chinese painting of the time:one is that stressing the aesthetic of brush and ink ontologism, the other is that stressing the aesthetic of painting vision. The author considers that accurately grasping the connotations of vigor and character as well as their relations redounds to assort with those two aesthetic tendencies and the problems between the nationality and presentness of Chinese painting.This thesis advocates the unification of vigor and character, the sticking point is that stressing the representation of the traditional culture of brush and ink, strengthening the visual tensility of screens as well as the representation of images, and recurring the unique charm of Chinese painting’s images.It has certain experimentation that carry out the theory which vigor and character have equal status in the practice of Chinese painting education. This thesis brings forward several advices about Chinese painting education aiming at the actuality of Chinese painting:in theory, the teaching concept that vigor and character have equal status should be set up, it is unilateral that only pays attention to vigor or character.In practice, the teaching mode that vigor and character have equal status, namely the teaching mechanism that combining individual training with object education mechanism, should be actively researched; the holistic teaching with high starting point should be combined with stage teaching; infiltrate outstanding humanism spirit traditions into Chinese painting teaching; put the mode of creative art education into the practice of Chinese painting teaching. In estimation, the judging principle that vigor and character have equal status should be insisted on, the opinion that constructing critical words which accord with the characteristics of Chinese painting of the time is put forward; in the age of image, the aesthetic estimate that paying equal attention to vision and appreciation should be insisted on; and the concrete skill of aesthetic criticism, namely the methods of reading images, is brought forward; then, the aesthetic culture and popular culture can be distinguished, a kind of advanced aesthetic joviality will be forwardly pursued.