Chinese and Western artists for natural landscapes oil painting have different perspectives, different from the East and the West view of the world and values. Practices on the performance of the artist painting the outside did not, two different cultural systems of different breeds of modeling tools, space and color patterns.
The main form of Chinese oil painting is a means of “lines.” “Line” in China, described the artist’s highly expressive, and many complicated things, full of vitality only by a few of the “line” on it. Artists through the creation of the accumulation of a variety of different “lines” Expressing his mind, described the hearts of a unique landscape. Chinese landscape painting at home to rely on “line” to shape the characteristics of rocks, forming different patterns, “line” as well as cracked rubbing. “Line” in his works is a very important element, “line” Application of a direct impact on the merits of a work, therefore, China’s pursuit of his life the poor artist full of vitality of the “line”, many outstanding artists…
Northern Painters and Southern Painters .
In his book Famous Paintings Record of Past Dynasties, Zhang Yanyuan wrote, shanshui (Chinese landscape painting) was initiated by Wu Daozi and matured with Li Sixun (651 t0 718 AD) and his son Li Zhaodao (birth and death years unknown). None of Wu’s original paintings have survived, but several major original works of two Lis have endured the history of thousand years and are still available for us to enjoy. Li Sixun’s Sailing Boats and Pavilions (Jiangfan Louge Tu) features tourists strolling by riverside, azure skies, boats on the misty river and exquisite buildings at the foot of hills, scenes that symbolize vastness and tranquility. The tree trunks, twigs and leaf veins are painted by using the “double outline technique.” The rocks are outlined in vigorous strokes using the center portion of brush without obvious radiating faint inks on both sides of strokes. It is a technique of Zhan Ziqian, a Sui Dynasty painter. But the trees and rocks are drawn in great detail as if they were copies of nature. Main colors used are blue and green, but the turning points of ink lines are decorated with shining gold, a sharp contrast to its overall color tone. The painting embodies the lucidity and colorfulness exhibited in Zhan’s Spring Out (You Chun Tu). Li Zhaodao further improved his father’s style and reached a new level of sophistication. His Traveling in the Spring Mountain (Chunshan Xinglv Tu) and Emperor Xuanzong’s Journey to Sichuan (Minghuang Xing Shu Tu) are both painted on vertical silk scrolls with light colors. The paintings feature changing mists, remote valleys, rushing waterfalls, lush forests and leisurely tourists on horsebacks. Despite the small size of the scrolls, the grand composition of magnificent scenes is all vividly depicted.
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