Walking around the Forbidden City, we told the guide that we would like to get acquainted with Chinese painting. She took us to a pavilion with paintings from the 11th-20th centuries. It was very interesting to see live these canvases, unusual for the European eye. To say that Chinese culture is completely different from European is like saying nothing. European artists created drawings, images using volume and shapes, color and light and shade, and a distinctive feature of Chinese painting is that images are created through linear drawing. Painting and calligraphy are very close. This suggests that the basis of Chinese fine art is the line. Both artists and calligraphers use the same materials and tools: a brush, soft, porous paper made from bamboo or hemp fiber, and ink. Polychrome is used to work with color, Golden Rule, which - mascara should not block the path of color, and color should not block the path of mascara.

Go Xi. "Beginning of spring in the mountains" Scroll. Ink. 11th century


Mu Qi. "Monkey with cubs". Ink. 13th century

Distinctive features:

Multi-point and diffuse perspective, which, unlike the focal one, makes it possible to create an artistic picture of the world without tying itself within the horizon-limited space;

Laconic and clear composition of patches of local color;

Expressive, rhythmic contours;

Flat, linear drawing, without chiaroscuro;

The main ideological principle is the desire to convey in painting the mood of the artist, the spirit of all living things, the essence, and not the external naturalistic similarity.

Instead of a signature, Chinese artists left a mark on the picture with a personal seal.

Lu Zhi. 1496-1576.

I will briefly talk about the genres, although, of course, each of them deserves an entire article.

Landscape "mountains and waters". Nature was seen as a place of salvation from the oppression of society and solitude from the bustle of the world. The artist tried to convey a lyrical mood, called for harmony and unity with it. The diminutiveness of human figures against the backdrop of grandiose landscapes should have evoked thoughts about the greatness of the universe, in which a person is only a grain of sand, a part of it. This, by the way, is another difference between Chinese painting and European painting, where the main attention was paid to a person.

Painting "flowers and birds". Symbols matter a lot here.

Portrait. This genre does not play the most significant role. Two directions can be distinguished here:
1) The Confucian tradition of the social and ethical significance of man. Artists of this trend depicted memorial portraits of historical and statesmen, high dignitaries, members of their families and court beauties. They worked mostly in color, in a detailed, meticulous manner.
2) The second direction was based on the Taoist-Buddhist philosophy of the value of a person's personality, and therefore the artists sought to reveal the unique traits of character. They created images of poets, hermits, saints. Preference was given to ink drawing in a free sketchy manner.

Animalistic genre, in which it is important to understand the meaning of allegory.

Favorite characters:

Trees (willow - a symbol of refined female beauty, pine - restraint and stamina, bamboo - a symbol of human character, high moral qualities)

Flowers (chrysanthemum - a symbol of sublime loneliness, modesty and chastity, many flowers - a symbol of the flourishing of Chinese art, lotus - a symbol of inner purity)

Fish, birds, animals (magpie - a symbol of a clear conscience, a dove - a symbol of peace, two fish, a drake with a duck, two butterflies - a symbol of marital happiness)

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Introduction

Fine art originated in China in the Neolithic era (about 6 thousand years ago). This is evidenced by archaeological excavations near the city of Xi'an, where items depicting humans, animals and plants of that period were found.

The charm of Chinese painting lies in the depth of poetic penetration into the life of nature. This art tells about the change of seasons, gives the viewer the opportunity to look into the world of forest thickets, introduces him to the eternal secrets of the earth.

Relevance of the topic due to the fact that in our time people are awakening an increasing interest in Asian culture. China is no exception. Chinese art differs in great originality and is completely different in material, technique and artistic means from European painting.

An object: Chinese art.

Subject: examples of paintings and description of writing techniques.

The purpose of this work is revealing features of Chinese painting, the interpretation of images and symbols, the study of the style of paintings on the example of the work of Qi Baishi.

The purpose of the work defines the following tasks:

1. On the basis of the studied literature, to identify the peculiarity of Chinese painting;

2. Based on the analysis of literature, consider the concept of image and symbol in Chinese literature;

3. Based on the analysis of literature, highlight the features of Chinese painting and differences from European fine art;

4. Based on the analysis of the work of the artist Qi Baishi, highlight the distinctive properties of Chinese fine art.

The goals and objectives set in the study determined research methods and techniques. AT this study combined several approaches to the phenomenon under study. In the course of writing the first chapter, the method of comparative analysis, descriptive and logical-conceptual methods were used. To write the second chapter, the method of component analysis was used, as well as the techniques of cultural analysis.

Work structure determined by the goals and objectives of the study. The work consists of an introduction, two chapters, a conclusion and a list of references.

base of empirical material served as paintings by the Guohua master painter Qi Baishi.

1. Features and varieties of Chinesepainting

1.1 Maintechniques and distinctive featuresChinese painting

Chinese national painting guohua appeared in ancient times. It is distinguished by its great originality and is completely different in material, technique and artistic means from European painting. Chinese paintings are written with ink, mineral and vegetable paints such as watercolors on silk (sometimes on cotton or hemp fabric) or on special paper made of soft thin fiber and are in the form of scrolls - horizontal for viewing on a table and vertical for decorating walls. Artists use brushes of different sizes, from very thin to very thick (from 5 millimeters to 5 centimeters). A stroke can be as light as a cloud or powerful as a dragon. One of the distinguishing features of Chinese painting is that images in it are created by means of a linear drawing, while in European painting images are expressed using volumes and shapes, color and chiaroscuro 1 .

In China, people have long talked about the closeness of painting and calligraphy. Artists and calligraphers use the same materials and tools (brush, paper and ink) and the same linear way of writing. There are so many similarities between Chinese calligraphy and painting that they are considered sisters. Developing in stylistic unity, they are interconnected and move each other forward. This suggests that the basis of Chinese fine art is the line. With the simplest lines, Chinese painters created works of high artistic perfection.

In painting, a special ink is used, completely different from that used in the West. In China, for writing and drawing, they always use first-class tiles with black lacquer sheen, ink, in the preparation of which the Chinese have reached great perfection. By rubbing the tiles with water to a thick or liquid consistency, ink is obtained, with which artists create a wide variety of tones. Thanks to the washes of diluted ink, painters convey the finest shades from thick black to transparent pale gray. In China, writing implements: brush, ink, paper and ink were considered the “four treasures” [wen fan si bao].

Chinese painting is characterized by a multi-pointed and diffused perspective, a laconic and clear composition of patches of local color with expressive and rhythmic contours, as well as flat painting without chiaroscuro molding. A Chinese artist can reproduce a river on a long and narrow paper or silk scroll, creating a feeling of the infinity of the river space, seen from above or from the side, as well as many landscapes that seem to be hidden from viewers by the horizon line. This cannot be achieved with focal perspective. The multifaceted perspective of Chinese painting allows the artist to give full play to his imagination and create an artistic world without tying himself within the limits of a space limited by the horizon.

The realistic principle of direct observation of reality is combined in Chinese painting with a number of conditional canons. Its majestic simplicity and noble severity do not exclude the subtleties of decorative details.

1.2 Images and genres

The images of Chinese painting often embody deep philosophical ideas. At various periods in the development of painting, Confucianism, Taoism and Buddhism left their imprints on it. The founder of the theory of painting, Se He, in his Notes on the Categories of Ancient Painting (490), formulated six basic principles that should guide artists. And the very first of them consisted in the requirement to convey in painting the “spiritual rhythm of living movement”, which is inherent in everything in nature, to convey its essence, and not an external naturalistic image.

In traditional Chinese painting, certain genres have been established: landscape "mountains and waters", painting "flowers and birds", portrait and animalistic genre.

The images of Chinese painting were given a symbolic meaning associated with the ideas of ancient cosmogony. The structure of the pictorial scroll is determined by the most important beginnings - Heaven and Earth, between which the main actions unfold, which determine the internal dynamics of the picture. Treatises on the art of composition taught the artist: "Before lowering the brush, be sure to determine the place of Heaven and Earth ... Carefully place the landscape between them." The dualistic structure of the world, approved in ancient times, appeared as two opposite principles of the universe visibly embodied in Heaven and Earth: male power - [yang] and female power - [yin]. The interaction of these forces gave rise to five primary elements: water, fire, wood, metal and earth, which formed everything real, everything that exists.

The annual cycle embodied the cycle of birth and death of things. "The Four Seasons" is a favorite motif of Chinese artists. The culmination of this cycle was the day of the winter solstice, when the yang force experienced the greatest tension, when the mystery of the merger of Heaven and Earth took place, when light was born in the depths of darkness. Therefore, a winter, snowy landscape was considered the best form in expressing the essence of being.

In Chinese landscapes, mountains were considered the personification of the male light beginning of yang, and water - the female dark beginning of yin, from the combination of which, according to ancient ideas, the universe arises. Mountains are the bones of the earth, streams of water are veins, blood, pulsating, carrying life and movement. The artist sought to convey the essence, world harmony, rhythm underlying the phenomena of nature. Therefore, he was alien to naturalism, the desire for external similarity.

In Chinese painting, there is an aesthetic cult of wood. Especially often depicted willow, which is a symbol of modest beauty and sophistication. She is a sign of spring in nature, an attribute of the goddess of motherhood Guanyin and therefore a symbol of beauty and kindness. Feminine grace is always compared to the flexibility of willow.
Especially popular in Chinese painting is the pine tree, which embodies both Confucian restraint and stamina, and the Taoist ideal of “the use of the useless,” that is, curved, knotty and unsuitable for crafts, and the ancient idea of ​​​​eternal youth. Trees, like stones, are perceived as living. A special section of the "flowers and birds" genre is the painting of the so-called "four nobles": orchids, wild plum meihua, bamboo and chrysanthemum. Among these plants, meihua carries the cosmogonic idea. The meaning of Confucian ethics and Taoist philosophy lies in the monochrome painting of bamboo. Orchids and chrysanthemums have a more personal, intimate meaning. The orchid embodies simplicity, purity and hidden nobility. Chrysanthemum - beautiful, modest and chaste, the embodiment of the triumph of autumn. This flower is a symbol of sublime loneliness.

One of the most favorite objects of aesthetic embodiment in painting is bamboo. In Chinese paintings, bamboo is not just a plant, but a symbol of human character. Depicting bamboo, the artist sings of a real husband of high moral qualities, sometimes comparing his character with him.

The popularity of bamboo can only be rivaled by the image of a branch with pale pink, white or yellow flowers wild plum meihua. It also symbolizes a proud man of crystal purity, inflexibility and steadfastness, as living juices are preserved in trees and in frosts. The flower means the solar beginning of yang, and the tree itself, the trunk and branches, filled with the juices of the earth, personify its yin power. Meihua symbolism is specific: the flower stalk is the absolute beginning; the cup that supports the flower is drawn with three strokes, as it embodies three forces - Heaven, Earth and Man. The flower itself is the personification of the five primary elements and therefore is depicted with five petals. All parts associated with the tree have an even number of elements, which reflects stability - a property of the Earth 3 .

Image of "three friends cold winter” (meihua, bamboo and pine) together with the orchid, which made up the “four perfect”, symbolized pure noble people whose friendship and mutual support passed all tests. The language of symbols, devoid of objective reality, is close and understandable to a true connoisseur of Chinese art. One who does not understand the meaning of allegories cannot comprehend Chinese painting. Let's name some more popular symbols in the visual arts: the dragon and the phoenix bird are symbols of power, might and strength, and the dragon is also a symbol of the emperor, and now China and the masculine principle; phoenix - empress, feminine; the lion is a symbol of power and nobility; tiger protector from evil spirits; crane, turtle old stones - symbols of longevity; bat, forty-symbols of happy news; a dove, a symbol of peace, appeared recently; a drake with a duck, two fish, two butterflies, two lotus flowers on one stem - symbols of marital happiness; lotus - a symbol of inner purity; peony - symbol human beauty, wealth, abundance, honors and pomp; peach - a symbol of longevity and immortality; carp fish - a symbol of the wish for happiness and success; pomegranate - a symbol of the desire for a large male offspring; many flowers - a symbol of the flourishing of Chinese art.

The portrait and the image of a person in general played a significant role only at an early stage in the formation of the aesthetic phenomenon of Chinese painting. After the Tang period (618-907), portraiture began to play a less important role, until it took the last place. In portrait art, two directions can be distinguished. One proceeded from the Confucian official tradition of the social and ethical significance of a person, the other relied on the Taoist-Buddhist philosophy of the value of the individual and therefore sought to reveal the unique character traits and properties of a given person. Artists of the first direction most often depicted memorial portraits of historical and statesmen, high dignitaries, members of their families and court beauties. Artists belonging to the second direction created images of poets, hermits, fantastic portraits of saints. The former most often worked in color, in a detailed, scrupulous manner. The latter gave preference to ink drawing, sometimes resorting to light highlighting, in a free, sketchy manner.

1.3 Style

In Chinese painting, there are two styles of writing: gongbi - diligent brush and sei - idea painting. The first style is characterized by a subtle and detailed graphic style of writing with a careful overlay of colors. The second - a free sketchy style of writing with a wide brush.

Artists of this style seek to convey not the external similarity of the subject, but its essence, which is the main objective masters. These two styles complement each other. But the basis for the development of this style is the gunbi writing style. This past millennium has developed its own capacious and concise artistic language, with the help of which the artist expresses inner essence object and thus their thoughts and feelings. This is what real art is about.

In Chinese painting, there is a special kind of huafu or huajuan scroll paintings. They are rolled up into a juan cheyuu roll and stored in special elegant cases 4 . This method is convenient for storing and collecting paintings. Ancient paintings - scrolls, thanks to the then high technology of gluing pictures and methods of their storage, retain their original freshness even after a millennium, which allows them to be admired in museums.

Bihua frescoes, paintings on pinghua screens, which appeared before our era, were the source of the paintings - scrolls.

The emergence of this kind of paintings was associated not only with the goal of convenience of storage, but also with the emergence of a direction in wenjunhua painting - the painting of scientists. Wenzhenhua masters abhorred painting palaces and temples along with ordinary painters. Their scroll paintings were hung in offices and were intended for viewing by friends, writers, scientists and the service class.

Wenrenhua combines painting with poetry and calligraphy. The elegance of the hieroglyphs and the poetry of the verse not only complemented and emphasized the main content and idea of ​​the picture, but in combination with each other gave it a special beauty and completeness. This style has become a prominent feature of Chinese painting and is popular in China today.

Another feature of Chinese paintings is that they are marked with the artist's personal seal, which replaces his signature. It is made of metal, stone (jasper, jade), rock crystal, wood, ivory, and now plastic. The seal is most often square in cross section. Hieroglyphs, usually in ancient writing, mottos or well-wishes, are incised or convexly given on its plane. The print is made using a special red mastic (from cinnabar, glue and gruel of wormwood). The production of seals is a special branch of art. The seal can be decorated with carvings and stored in a special case.

At present, the national guohua painting has gone beyond the narrow framework of traditional themes, following the times. Modern paintings, performed in the guohua style, were filled with new content, a lively spirit of the times.

2. Traditional Chinese painting on the example of Qi Baishi

2.1 Tradition and novatorstvo in the works of Qi Baishi

Traditional painting in Ancient China was supposed to include five main elements. The first is an interesting plot or story that will be captured in the picture. The second is the skill of the artist, which is acquired through years of hard work. The third element is a poem or phrase that conveys the deep meaning of the picture that was part of overall composition and written in one of the styles of calligraphy. The fourth is the personal seal of the artist.

And, finally, the painting was rolled up in order to make it convenient to carry and show to the audience. Only if all five components are present, a real work of art is obtained.

Vivid representatives of traditional Chinese painting are the paintings of the great artist Qi Baishi (see Appendix Fig. 1). His works captivate the views of viewers of all generations. Old people and children, men and women - no one will remain indifferent to the paintings of this great master.

What is so fascinating in the work of Qi Baishi and what fundamentally new did he introduce into the usual images of birds and insects, plants and animals, simple tools of peasant labor? What do the events of our time have in common with sheets of paper or long scrolls depicting baleen crabs, nimble tadpoles, flowers, fruits, or village pitchforks?

What is so fascinating in the work of Qi Baishi and what fundamentally new did he introduce into the usual images of birds and insects, plants and animals, simple tools of peasant labor? What do the events of our time have in common with sheets of paper or long scrolls depicting baleen crabs, nimble tadpoles, flowers, fruits, or village pitchforks?

Under the brush of Qi Baishi, works imbued with sympathy for the people were born. The inscription to the picture, which depicts an ordinary pumpkin ripening in the sun, sounds like a concern about the fate of the peasants: “This pumpkin is sweet and fragrant. In a good year, it can serve as a delicacy, and in a hungry year it will replace rice. In the spring, do not forget to plant it, but water it well! (See Appendix fig. 2)

Qi Baishi, like a magician, made silent objects "speak". Mushrooms or cabbages, a bindweed that has turned its bright head to the sun, chickens fighting over a worm, written with amazing skill and knowledge of life, are perceived by part big world nature. Through small details, Qi Baishi talks about the tastes, habits and customs of his people. Wise, sometimes playful, full of anxiety and sadness, caustic and satirical inscriptions accompanying his works complement their figurative meaning. At times, Qi Baishi's verse inscriptions burned with anger, scourging the oppressors of the Chinese people. For example, his paintings are known, depicting bureaucratic officials with the following texts: “There is a white fan in the hands, and the soul is black. Oh, how much self-satisfaction in this nonentity! “Or: “Better to be poor than to be an extortionist!” 5 For his progressive views, the master was repeatedly attacked by the reactionaries of old China.

2.2 Artistic techniques

chinese painting artistic qi baishi

Qi Baishi's artistic techniques are both traditional and new. He, like all the masters of the national painting "guohua", paints pictures with a quickly wet brush on easily wetted paper, while not a single stroke can be erased and corrected. For such work, the accuracy of the eye and hand is needed. The creative manner of the artist is distinguished by impetuosity, temperament, scope and courage. With his fugitive, as if accidentally made sketches, he evokes thoughts and images stored in the memory of every person. Looking at his paintings, where a bright flower opens and reaches for the light, where swamp frogs sing their trills, dragonflies flutter with light wings over lotus leaves, the viewer begins to feel closeness to the natural world and involvement in its secrets. He feels himself not so much an outside observer, but, as it were, a co-author of the works of the great master.

Qi Baishi revealed and made more understandable and accessible to people around the globe many secrets of Chinese art. He managed to reveal the very essence of the life of nature, to convey the hidden meaning of its phenomena. Discarding the secondary, the master sought to reveal the soul of the object. So, painting a pumpkin, he conveys not so much its structure as the feeling of ripeness and juiciness of the fruit, the glossiness of the skin, the velvety roughness of the leaves. Depicting a flower, the artist also shows not so much the structure of the petals as reveals its fragrant freshness and tenderness. Drawing a lake, with a few strokes he transforms a sheet of paper into a water surface and a heavenly expanse. Fiction and reality are intertwined in his work. Therefore, Qi Baishi's landscapes, sketches and sketches have such a meaningful capacity, contain so much poetry and feelings. The artistic decisions of the master seem unusually bold and unexpected, born easily and freely, like improvisation. In fact, behind every stroke, seal, bend of a hieroglyphic inscription, there are years of work and close study of nature.

Qi Baishi maintains a balance between truth and fiction in his paintings very accurately. The visible world of nature, transformed by his imagination, fascinates with understatement. And although sometimes the artistic decisions of the master seem unexpected, they feel a deep life truth and emotional elation. Let us cite as an example an album sheet on which Qi Baishi depicted in black ink a hut on the bank of a pond overgrown with flowering lotus. "Lotus Pond" (see Appendix Fig. 3) evokes a feeling of rural silence, peace and tranquility. It is perceived as a complete landscape, although everything in it is not completed and is hinted at. After all, the viewer sees neither the sky, nor the earth, nor the border of the picture, and the hut itself, depicted in the corner of the composition, is only guessed. We are well aware that black ink smudged on a white sheet of porous, easily absorbent paper is not an accurate depiction of a lotus pond. But these soft, velvety streaks of ink, completed with thin strokes, easily and naturally scattered over a white field, have an independent picturesque charm.

Qi Baishi allows the viewer to feel the distance that separates the world of art from the photographic copy, which does not allow poetic generalizations. The artist skillfully reveals the soul of nature in the landscape. Unlike his predecessors, the masters of old Chinese painting, he depicts the world of nature, which is not separate from man, but close to him, warmed by the charm of the artist's personality.

Qi Baishi's paintings are poems saturated with bright musical images. The great sage and philosopher is honored by the whole world and by everyone who loves nature and art. Under the brush of Qi Baishi, works imbued with sympathy for the people were born. The inscription to the picture, which depicts an ordinary pumpkin ripening in the sun, sounds like a concern about the fate of the peasants: “This pumpkin is sweet and fragrant. In a good year, it can serve as a delicacy, and in a hungry year it will replace rice. In the spring, do not forget to plant it, but water it well! 6

Qi Baishi maintains a balance between truth and fiction in his paintings very accurately. The visible world of nature, transformed by his imagination, fascinates with understatement. And although sometimes the artistic decisions of the master seem unexpected, they feel a deep life truth and emotional elation.

Let us cite as an example an album sheet on which Qi Baishi depicted in black ink a hut on the bank of a pond overgrown with flowering lotus. "Lotus Pond" evokes a feeling of rural silence, peace and tranquility. It is perceived as a complete landscape, although everything in it is not completed and is hinted at. After all, the viewer sees neither the sky, nor the earth, nor the border of the picture, and the hut itself, depicted in the corner of the composition, is only guessed. We are well aware that black ink smudged on a white sheet of porous, easily absorbent paper is not an accurate depiction of a lotus pond. But these soft, velvety streaks of ink, completed with thin strokes, easily and naturally scattered over a white field, have an independent picturesque charm.

Conclusion

In connection with the goal, it was identified characteristics Chinese painting:

1. Pictures are created by means of a linear drawing, while in European painting images are expressed with the help of volumes and shapes, color and chiaroscuro.

2. Chinese fine art has a huge variety of images that embody philosophical ideas and thoughts.

3. There are two styles of writing: gongbi - diligent brush and sei - idea painting. The first style is characterized by a subtle and detailed graphic style of writing with a careful overlay of colors. The second - a free sketchy style of writing with a wide brush.

Chinese classical painting has become a significant contribution to the artistic culture of mankind. Anyone who spares no mental strength to penetrate its meaning will discover a rich and complex world.

Listliterature

1. Gorbachev B.N. Russian-Chinese phrasebook, 1994

2. Zavadskaya E.V. Qi Baishi. M.: Art, 1982

Malyavin.V.V. Chinese civilization. - M.: Astrel, 2000. - 627 p.

3. Samosyuk K.A. Go Xi. - M.: Art, 1978.

4. Encyclopedia for children. T. 7: Art. Part 1. - 2nd ed., Rev. / Ch. ed. M.D. Aksenova. - M.: Avanta +, 1998. - 688 p.

5. http://asiapacific.narod.ru/countries/china/art.htm

6. http://nnm.ru/blogs/natasha571/kartiny_kitayskogo_hudozhnika_ci_bay-shi

7. http://www.tonnel.ru/? l=gzl&uid=831

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MHK lesson development

Topic: Features of traditional Chinese painting (Grade 9)

The purpose of the lesson: to create in students a holistic image traditional Chinese painting.

• - assistance in identifying features (genre, specific and stylistic) of traditional Chinese painting;
• - promoting the development of the emotional sphere of adolescents, aesthetic taste, creativity, artistic flair;
• - assistance in the education of tolerance, the formation of intercultural competence.

Equipment for the lesson: audio recording of morin khur (bowed instrument), PC, screen, projector, presentation "Traditional Chinese painting" (reproductions of works by Chinese artists, necessarily the work of Wang Wei), table blanks on desks, paper, ink, brush.

During the classes

Exposure (3 min.)

The teacher enters the class. He greets students with a smooth nod, performs a lyrical work on the morin khur - a folk instrument of the peoples East Asia(China, Mongolia). On the board is written the poem "A house in a bamboo grove":

In the bamboo grove

I spend my night

And I touch the lute

And I sing a long song.

And people do not know my shelter,

And only the moon

In the bamboo grove

One visits me.

On the screen is a media presentation of reproductions of masterpieces of traditional Chinese painting.

Tie (3 minutes)

• 1. Conversation:
  • - What did you imagine while reading these lines, listening to music? (Night, loneliness, etc.)
  • Was it easy to imagine? (Yes, it’s easy. Because it’s written exactly, the poet seems to be painting a picture.)
  • - What is the impression produced by the paintings, reproductions of which you looked at? (Calmness, peace, contemplation, etc.)
  • - Yes. The feeling of peace, universal harmony and silence is created by these masterpieces of traditional Chinese painting.
  • - What is the secret of the attractiveness of Chinese painting? ( A number of different questions are possible here, depending on the reaction of the children. The main thing is to create a situation of awareness of your ignorance)
• 2. Formulation and recording of the topic of the lesson:
  • - State the purpose of the lesson. (Learn the features of Chinese painting, identify distinctive features, etc.). And the theme (Traditional Chinese painting, silk painting, etc.).
  • - Write down the topic of the lesson ( Choice of students).
  • - So what are the features of traditional Chinese painting? painting chinese artistic aesthetic
• 3. Initial concepts. Lecture (15-18 minutes)

The traditional art of China is an original and holistic historical type that has evolved over the centuries from various ethnic sources. In 4 thousand BC. e. in the river basin The Huang He formed a group of tribes of the Mongoloid race (self-name "Hanzhen"). There are assumptions about the Tibetan origin of the Chinese and about the "Sino-Caucasian" linguistic relationship. In a clash with tribes of southern origin, the kingdom of the Xia dynasty arose, and then the Shang civilization (1765--1122 BC) with its center in the city of Anyang. At the end of 2 thousand BC. e. "shants" were conquered by the Zhou tribes. The unification of the ancient kingdoms took place during the Qin (632-628 BC) and Han (206 BC - 220 AD) dynasties. At the stages of the formation of an ethnic community, the Chinese, thanks to their natural receptivity, easily absorbed the achievements of other cultures - Mesopotamia, Persia of the Sassanid era, Buddhist India, Asian nomadic peoples, Hellenized Middle Eastern tribes. In IV-VI centuries. China was divided into North and South. Ancient authors called the northern tribes the Sems (Greek serikon, Latin Seres - after the name of silk fabrics exported from this country), and the southern tribes - Simns (cf. Lat. Sinae - after the name of the dynasty of Qin rulers). On a world map published at the end of the 16th century. order of the Jesuits to educate the Chinese, their country is placed in the middle (the origin of the Turkic word kytan - "middle" - is explained by the name of the Manchu people K "itan). The mythological geography of China is symbolized by five tigers. The most important is the yellow tiger - the emperor, he located in the middle of the world and governs four tigers.The red tiger rules in the south (which is placed at the top of the map), he controls the summer and the element of fire.The black tiger rules the north, commanding the winter and the element of water.The blue tiger rules the east, rules the spring and the plant world. White - the West, commands the autumn and the elements of metals. The worldview and attitude of the Chinese differ significantly from European ones. In this country, there was no consistent development and change of artistic trends and styles, as in European art. The very concept of history does not have in China signs of "duration", and art - evolution. Artistic trends do not follow one after another, and "styles" and "schools" are not associated with differences in creative methods, but with techniques and materials. In China " we find an unusually stable, thought out to the smallest detail and aesthetically reworked life, an integral and consistent worldview, a complex but strong fusion of artistic styles The stylistic unity of Chinese art is not only the result of the deep penetration of Chinese masters into the nature of things but above all, their sincere and impeccable trust in life in all its diversity "While rationalism was born in the Western European civilization, mysticism was born in the Middle East, a special culture of following the flow of life was formed in Central Asia. In China, the measure of all things was not a person, but nature, which is infinite and therefore unknowable. Art did not reflect life, but continued it in the movements of the brush and strokes of ink. On this peculiar basis, the "self-typing" of Chinese art was carried out, the subject of which was not the image of a human hero and not spiritual ideals, and the life of nature. Hence the special aesthetic taste and artistic tact of the traditional art of China. In the ancient beliefs of the Chinese, any objects of nature were deified: trees, stones, streams, waterfalls. Religion was considered the art of life, and a contemplative attitude required complete and humble merging with nature. Wise men of the East like to repeat that if for an active European for an egg obsessed with the idea of ​​​​conquering nature and demonstrating strength, there is no greater pleasure than climbing to the top high mountain, then for the Chinese the greatest happiness is to contemplate the mountain at its foot. Buddhism, spreading in the countries of Southeast Asia from the 5th century BC. BC e., contributed to the strengthening of the pantheistic worldview in China. Therefore, the central place in Chinese art is occupied by the landscape - a sophisticated technique of drawing mountains, waterfalls, and plants with a brush and ink. The traditional genre of Chinese landscape is called shan shui ("mountains-water"). Mountain (shan) personifies Yang (light, active principle of nature), water (shui) - Yin (feminine, dark and passive). The philosophy of Chinese landscape painting is revealed in the interaction of these two principles, which is conveyed by looking at the landscape from above, from a high point of view, by alternating plans: mountain peaks, fog bands, waterfalls. The aesthetics of the Chinese landscape is described in the treatise of the painter Guo Xi (c. 1020 - to 1100) "On high essence forests and streams". The object of the image in this form of art is not even the landscape itself in the European sense of the word, but the subtly changing state of nature and the experience of this state by a person. Therefore, the person himself, even if he is depicted in a landscape, never occupies the main thing in it places and looks like a small figure, an outside observer.The mood of a poeticized reality is conveyed in two manners: gong-bi ("careful brush"), based on the finest graphic elaboration of details and clarity of lines, and se-i ("expression of thought"), a manner that differs picturesque freedom, ink washes that create a feeling of "scattered perspective", streaks of fog and endless distances. Landscapes of the wen-ren-hua school ("painting of people of written culture") were complemented by exquisite calligraphy - poetic and philosophical inscriptions that do not directly reveal the content, but creating an "expression of thought", as well as tybs - epigrams. They are written by the artist's admirers at different times in freedom areas of the image. The symbolism of Chinese painting also differs from European symbolism, it is revealed in poetic concreteness. For example, a landscape might have an inscription: "In the spring, Lake Xihu is not at all like it is at other times of the year." It is difficult to imagine such a name in European painting.

In China, to perpetuate oneself meant not so much to leave a material monument about oneself as to glorify one's name "written on bamboo and silk." Chinese art has never followed the interests of religion, philosophy or politics. If religion and philosophy are the art of living, then life is an art. In the teachings of the ancient philosophers Lao Tzu (Chinese, "Old Teacher"; 604 BC -?) and Confucius (552--479 BC), it was argued that the nature of art is not determined material conditions of life, but on the contrary, the artistic worldview teaches labor, philosophy, morality and law (there was no separate concept of "artistic" in China, it was dissolved in life). For this reason, the European category of art morphology, the division of art into genera and types, easel and applied, fine and technical, or artistic crafts, is inapplicable to traditional Chinese art. In China, as in the traditional art of Japan, all kinds of art are both easel and applied, fine and decorative. It's completely inappropriate here. latin word"decor" or the name "Chinese decorative arts". For example, in the art of China there is no framed easel painting at all - one of the main achievements of European artists. A Chinese master (painter, graphic artist, calligrapher, poet and philosopher at the same time) paints walls, silk scrolls, paper screens and fans. Chinese tradition does not know the gap between the rational and expressive, sensual beginnings of creativity, "ideological" and "non-ideological" art, realism and formalism - those troubles that the European exaltation of man brings with it. Therefore, in China there were no separate artistic trends - Classicism and Romanticism There is a tradition based on a thoughtful contemplation of nature, and styles of painting differ not in the ambitions of the artists, but in the state of the depicted landscape: "a running stream", "a bamboo leaf in the wind", "heaven cleared after a snowfall". styles of "angular brush" and "mascara spatter".Theoretical treatises speak of eighteen types of contour lines. blue and sixteen types of strokes in the image of mountains. The detachment of the artist's personality determines another important feature of traditional Chinese aesthetics: the master does not reflect on the frailty of his life, but contemplates and aestheticizes the frailty of material things. The unfinished form or patina of time acquires value, in comparison with which the symbolism of the "Eight Immortals" and "Eight Jewels" is comprehended. Any everyday object has a symbolic meaning (such an attitude to things can only be conditionally correlated with the European concept of decorativeness). Therefore, the works of Chinese art are elegant and colorful, but do not seem pretentious. In Chinese literature, the themes of sleep, dreams and miraculous transformations are constant, revealing the highest meaning of simple things. The body is perceived not as a material form, it is a continuation of the conceivable space. Therefore, in particular, in Chinese art, even in erotic pictures, there is no "nudity", an aestheticization of the tactile value of form. The symbolic relationship to form is well revealed in the parable of the Chinese artist who finally reduced the image of the dragon to a single line. The esotericism of aesthetics, philosophy and art of life inevitably led the country to isolation from the outside world. From the 3rd century BC e. China was fenced off from the north by the Great Wall of China, at the same time the name "inner China" appeared. Beijing also has its own "inner" or "Forbidden City". By geographic location China is not a continental, but a coastal country. Having in the XIV-XV centuries. navy, the Chinese gradually abandoned sea travel. They have become redundant. Amazingly, invented by the Chinese in the X century. gunpowder came to nearby Japan only in the 17th century. with the help of Dutch sailors! Such is the fate of many other inventions. China closed in on itself (in 1757 the country was officially closed to foreigners) and from the outside seemed to be in a state of immobility. Therefore, the periodization of Chinese art is also very peculiar - the account goes not by years, but by reigning dynasties, and their change does not mean progressive development. The main advantage in art has always been considered the repetition of the work of old masters, fidelity to tradition. Therefore, it is sometimes quite difficult to determine, say, whether a given porcelain vase was made in the 12th or 17th century. Chinese art is also characterized by a special attitude to the material, to its natural properties, careful processing and clarity, purity of technical technique. These qualities are characteristic of the earliest, archaic ritual bronze vessels of zoomorphic nature of the Shang and Zhou periods (2-1 millennium BC), but most of all - Chinese porcelain. The first samples of the so-called proto-porcelain belong to the era of the Han Dynasty (206 BC - 220 AD). White porcelain of clean and resonant mass was produced during the Tang Dynasty (618--907). The "discovery" of porcelain took place gradually, over the centuries, but it was not by chance that it was made by the Chinese. The technology of its production, in addition to the necessary components, requires perfect purity, patience and careful preparation of materials. Porcelain products of the Song period (960-1279) are distinguished by plasticity of forms, glaze of a white or bluish tint or ivory, sometimes with a crackle pattern or an engraved sgraffimto-type ornament (Fig. 388, 389). During the reign of the Mongolian Yuan Dynasty (1279--1367), the classical style of porcelain painting with cobalt blue was formed, which was most widespread in the Ming era (1368--1644). The porcelain painting technique is based on a centuries-old tradition of sophisticated drawing and calligraphy with brush and ink on paper (also a Chinese invention). special treatment to the material gave rise to the poetic names of glazes: "the color of the moon", "blue fog", "the color of the sky after the rain", "peacock feather", "the color of the skin of a yellow fish", "the color of a newly born mouse". In woodcarving and bronze products, a geometric ornament is common, surprisingly similar to the Greek meander, the swastika motif (a sign of good wishes), a spiral ornament - the so-called Chinese clouds, a wave, a zigzag - lei wen, a sign of lightning, a symbol of blessed rain. The symbol of rain, vital for farmers, was also a dragon. The yellow dragon is the emblem of the emperor (nine dragons with five claws on their paws could only be depicted on the imperial attire). The green and blue dragon was the symbol imperial dynasty Han. The phoenix bird (as the Europeans called the images of the pheasant) is a sign of the wish for strength, beauty and supreme bliss. Each month of the year was associated with a certain flower: chrysanthemum - a symbol of autumn, wild plum - winter, peony - spring, lotus - summer. In the hottest month, "a person of good taste" will enjoy at home the contemplation of "a landscape with shady groves in which it is good to hide from the heat", and images of "withered trees and bamboo among stones" can be kept in a room at any time of the year. The Chinese invented silk fabrics (the earliest finds date back to the end of 3000 BC). Initially, banners and umbrellas were made from silk, their colors served as insignia. Yellow was for the emperor and the empress, purple for the members of the imperial family, blue for the highest military ranks, red for the middle, and black for the lower-ranking officials. Since the Tang era, the production of painted and embroidered silk fabrics has been developed. During the reign of the Manchu Qing Dynasty (1662-1796), a variety of products were created that became classic for the art of China. Porcelain of the period of the reign of Emperor Kangxi (K "ang Hsi, 1662--1722) was especially famous. At that time, pale green celadons, vases with bright red "bull's blood" glaze and sparkling "flambe" were made. Colorful paintings of porcelain products were named by Europeans "green", "pink" and "black family". The exquisite decor of the products of the "pink family" was called the "brocade style". The best jade carvings belong to the Kangxi period. It is interesting that, unlike colored stone, wood and porcelain, glass was practically not used in China. Along with carving on red lacquer, China made furniture, boxes, music stands from "painted lacquer" - a special technique of multi-layer lacquer coating of wooden products with painting and interlayer inlay with foil and mother-of-pearl. This technique was borrowed from the Chinese by Japanese and Korean masters.To this day, the art of openwork silhouettes made of colored paper and foil has been preserved.When studying Chinese art, one gets the feeling that its masters enjoyed gave themselves to work, giving a philosophical meaning to the solution of the most complex technical problems. For example, on the verge of reasonable, from the point of view of a European, is the work on the openwork carving of bone balls rotating one inside the other. For such work, the masters took many years. Rather arbitrary, satisfying the need for analogies with history European art, the Tang era (VII-IX centuries) can be compared with the early European Middle Ages, the Song (X-XIII centuries) can be called the era of classical Chinese art (later the Middle Ages). The Ming era (XIV-XVII centuries), chronologically correlated with the European Renaissance, is more suitable for the definition of mannerism and academicism. Chinese products have always been of interest to Europeans, they attracted with their special aesthetics, the beauty of the material and the thoroughness of its processing. Chinese porcelain and silk were worth their weight in gold in the literal sense of the word.

During the Modern period late XIX- the beginning of the XX century. European symbolist poets drew attention to the art of the Far East. They saw in Chinese painting the ability to "enchant objects" and lead away from reality "to waking dreams." This quality of Chinese art correlates with the European romantic tradition, one of the expressions of which was the flow of symbolism " silver age". After all, the Art Nouveau style began with the passion of French painters for Japanese color woodcuts. And the name of the Chinese landscape "Evening ringing of a distant temple" corresponds to the names of the paintings of the Dresden romantics.

Development (Work in groups)

Group briefing (4 min.)

We will look for answers to this question by groups. Form, please, 4 groups. We work 5 minutes. Each will be given a separate task:

Group 1. Identification of genre features

Look at the reproductions again. Try to identify what genres exist in Chinese painting. Remember what genres you know, compare, try to fill in the table.

Group 2 and 3. Identification of types and styles of painting

Take a look at the reproductions, on what basis, besides the genre, can they be grouped? Try to identify two different signs: the type of painting and style. Then each group gives a description of the identified feature.

Group 4. Revealing the unity of painting, poetry and calligraphy

• - And one more feature is inherent in Chinese painting, in contrast to the pan-European. Try to identify.
• 2. Group work (5 min.)
• 3. Summing up the work in groups (8 min.)
• So, the allotted time is up. So, what are the features of traditional Chinese painting?
• 1 group:

The teacher should help students formulate a conclusion about the genre features of Chinese painting, give specific names for the genres: "Mountains and Water", "Flowers and Birds", "Ceremonial Portrait".

• Group 2: We have identified two main types of Chinese painting: color and black and white.
• - Give the name of the types of painting, using knowledge of English, possibly Latin.

The teacher should lead the students to formulate the terms "polychrome" and "monochrome" painting.

• Group 3: We saw that some works are written neatly, others are careless. That is, there are 2 styles of Chinese painting ( Children by analogy can derive terms, give their names).
• - Quite right. These are the two main styles. One of them is called gong-bi - a diligent brush, and the other - sho-i - painting of an idea. Match the title and the canvases. (Gong-bi are neat, carefully crafted paintings, and sho-i are sweeping, the feeling that they wrote quickly)
• Group 4: We found another feature: in all the paintings, except for the image, there are inscriptions, perhaps these are poems.
• - The unity of painting, poetry and calligraphy is another feature of traditional Chinese painting.

Climax (2 min.)

So what are the features of traditional Chinese painting? ( Students summarize and write down)

denouement

Recognition (3-5 reproductions are offered, the last of which is the work of Wang Wei) (2 min.)

• - Now, knowing the features, will you be able to identify the canvases of Chinese traditional painting? (Yes)
• - Look at the reproductions. Do the works belong to European or Chinese painting? Justify your answer.

The children are doing a learning task. Wang Wei's work is also easily recognized.- Yes. This is the work of the famous Chinese artist, poet and calligrapher Wang Wei. It was about his work that they wrote: "His poetry is full of picturesqueness, and his paintings are full of poetry." Fair? (Yes)

Creative work (15 min.)

And now I invite you to become artists yourself and create your own masterpiece in the traditions of Chinese painting in 10 minutes. Here are the inventions of the Chinese: paper, ink and brush. Try to create an illustration for Wang Wei's lines.

Children draw. The teacher plays the morin-khur. (In our opinion, it is important here to create the intimacy of the creative act, not to interfere in the creative process. If an audio recording is made, then the teacher should also draw.) In conclusion creative work express exhibition of works, contemplation of works. Demonstration of Wang Wei's canvas to the verses written on the blackboard. Final reading of the poem.

Summing up the lesson (3 min.)

• - So, what are the features of traditional Chinese painting?
• Have we reached the goal of the lesson?
• - What image of Chinese painting do you have formed?
• - Homework (Aftereffect) - create your own painting masterpiece in the tradition of Chinese painting.

List of used sites

• 1. Malyavin V. China in the XVI-XVII centuries. Tradition and culture. M.: Art, 1995. S. 5--6.
• 2. Arapova T. Chinese painted enamels. M.: Art, 1988. S. 27.