The Relationships Between The Method Of Holding Brush And Traditional Chinese Painting Creation

This paper stands in the Chinese traditional painting perspective to explore the rules of brush-holding, aims to find out the relationship between these two factors. All the time, brush-holding together with calligraphy, the documents tend to display nearly ten to one to study calligraphy pen, why? Although they use same tool and material, talking that in painting is so small. Writing ideas of this paper:Using the previous experience, putting my own mind in, then drawing some conclusions, taking Zhang Daqian as an example, approaching the topic that calligraphy equals to painting pretty much, transiting to painting (in this paper it refers to Chinese painting), discussing the influence of painting and rules for the creation, at last taking a summary. The basic content is the rule, not involving other factors. Writing this article, to use the method of literature research, comparative research, case-study research method and experience method. The innovation of this paper lies in The previous views on calligraphy written in use to the painter-- a case of Dunhuang during the period of Zhang Daqian, through the comparison of the predecessors and Zhang’s before-and-after to explore relationship between the language of painting and the painting style transformation, and then digging out the reason why the painter’s success or not. Its meaning includes theoretical and practical significance, theoretical significance is to make up for the vacancy of method of how to hold brush in painting, obtains the influence between it and creation; practical significance is to study realistic painting to wake painters and on-the-road students to write when they are triggered by consciousness, to think about how to find the most suitable method for their own is significant.