| From the " knotting a rope to remember" to the "Hetu Luo shu","calligraphy" and "painting" then became one family.In the Tang Dynasty,Yanyuan Zhang clearly proposed that "calligraphy and painting in one",and by the time literati painting became prevalent in the Northern Song Dynasty,the combination of "poetry,calligraphy,painting and stamp" gradually became the pursuit of the literati.The "integration of calligraphy into painting" has been manifested differently in each historical stage in the history of Chinese painting and calligraphy,and the exploration of brush and ink by painters in each period is also different.Taking Zizhuang Chen,one of the most noteworthy Chinese painters of the second half of the twentieth century,as the object of study,this paper focuses on the academic basis and form of Zizhuang Chen’s idea of "integration of calligraphy into painting" in his landscape paintings,using his use of brush and ink in various calligraphic styles as an entry point.His brush and ink language and academic connotations are analyzed,and the artistic world of this Shu character is explored in depth.In today’s world of promoting national self-confidence,the deep cultivation of brush and ink is of great relevance,and the teaching of Chinese painting is of paramount importance.Its core is "integration of calligraphy into painting",and its path is "stick to brush and ink".It provides a supportable reference for the development of the teaching of Chinese painting. |
