The Influence of Chinese Landscape Spirit on the Creation of Landscape Jade Brand

The jade card bears the picture of landscapes, flowers, birds, figures, and beasts on one side, and engraves poetry, calligraphy, seals and other styles on the other side. It shows the literati, the taste and the artistic conception are the most perfect, and the most influential to the later generations, when pushing China Landscape type jade card. An excellent jade carving artist, while inheriting the excellent traditions of metaphor and auspiciousness, absorbs the concepts of various contemporary contemporary art and the rich nutrition of Chinese traditional art, and finds his own personality, theme, craftsmanship, style and aesthetic personality. Language. In fact, drawing on the elements of classical Chinese landscape painting, composition, perspective, and painting, it is a major breakthrough in the innovation of landscape jade.

Integrating the humanistic value of landscape painting

Chinese traditional landscape paintings often display a variety of natural objects with limited framing, which not only conveys the artistic conception of the integration of form and spirit, the unity of nature and man, but also expresses the natural perception and aesthetic consciousness of the universe. For thousands of years, the literati who are on the edge of politics, "do not talk about politics, only talk about the mountains and rivers" helpless, to the mountain body, if Xiangxiang in the mountains and rivers like the world; to think of water, to cultivate in the realm of landscape imagery. "The environment is not the only thing, the emotions, the joys and sorrows, and the realm of one's heart. So it is possible to write the true scenery, the true feelings." Wang Guowei's "Human Words" explains the ancient people's realm of life and things in the mountains and pines. Two forgotten spiritual pursuits,

A good landscape jade card, compared with the landscape painting art, is different in material and performance basis. Their spirit, thoughts, ideas and emotions are the same. What is important is that its perfect embodiment relies on materials and charm. Fusion. The representative of the Chinese jade brand Lu Zigang and his Zigang brand can retain the annals of history, in fact, it is also the role of the hidden cultural heritage hidden in the landscape image. Zigang Brand was founded in the Ming Dynasty, which is surrounded by literati cultural thoughts. Poetry, books, and paintings are the means by which the scholar-officials are swaying the mountains and rivers. As a literati jade, Lu Zigang has the same spirit, thoughts, ideas, artistic expressions and literati demands. He also expresses emotions in life, nature and environment with poems, books and paintings. The only difference between them and their friends is that they use them. Pen and ink, Lu Zigang just chose the jade card. Legend has it that Lu Zigang and a group of famous painters and painters at that time were good friends. As an artisan, he carefully carved out his own "landscape art". On the one hand, Tang Bohu's paintings, and on the other, Wen Zhengming's calligraphy, which has a literati atmosphere. It is also rich and auspicious, and has a profound influence on the development of the jade card of later generations. It also fulfills the Zigang brand that he deliberately passed down. At the same time, Zigang brand wearers are literati, they can't leave their own sustenance with their play, and it is not surprising that poetry, books and paintings become the permanent subject of Zigang. In fact, the landscape jade brand that we see today, regardless of brand, craft, content and artistic conception, will find the shadow of Chinese landscape painting art to learn from each other and penetrate each other.

The Zigang brand made in the style of “drawing a word” created a new form of jade, which achieved the independent aesthetic and artistic height of the jade carving. In the process of creating the jade card, I realized that it is very important to give the new value of the jade card. The "Bamboo Qixian Brand" is my inspiration from the traditional landscape and humanities theme. It first expresses the spirit of being born to nature, blending with nature, and enlightening nature. Songshi, Cao Ting, Valley, Magi, all the environment is in line with the "non-Tang Wu and thin Zhou Li, the more famous and natural," the famous scholar advocates... The pursuit of the work is to reflect the humanistic value of art, and to inspire the value of thinking about social relations. The classic landscape brand exudes the breeze of the traditional literati. The modern landscape brand appeals to the simple and clear of the contemporary people. This is the match between the modern aesthetic and the traditional aesthetic. Today's jade carving artists are no longer the traditional craftsmen, strong social responsibility and keen observation, bringing them closer to the intellectuals in Chinese history, always paying attention to the changes in life, analyzing the trends calmly and rationally, and applying them. The unique artistic expression to dispatch materials and crafts, create a contemporary landscape of the new landscape, this is its real value.

Drawing on the artistic value of landscape painting

"Stylization" has become the core model of Chinese art. The basic pattern of the pre-painting of Shanshui Yupai has formed its own "program" after hundreds of years of formation, inheritance, development and inspection. It is a collection of paintings. We can also find similar aesthetic changes and aesthetic values ​​in the art of landscape painting. The art of Chinese landscape painting has always sought God's heavy products and sought to reach the world. Through the macroscopic and holistic grasp to organize the structure of objects, the flexible use of highly refined structures to express poetry and create a unique stylized expression. In the spatial processing, the concepts of high, far, far-reaching, and far-reaching are put forward, and they are skillfully combined and applied. In the composition performance, emphasis is placed on the relationship between the specific images and the expression of "opening and closing" in this connection. The change of the rhythm in the middle, the view of the situation, the view of the gas, the rhyme of the rhyme, the rhyme.

In fact, a mature jade designer often needs to have the foundation of Chinese painting and the experience of making jade cards. Landscape painting is more of a reference for him. The understanding of density, distance, size, and contrast; the inspiration of temperament, spirit, and connotation, direct reference and application in composition, perspective, structure, etc. In practice, the plane aesthetic model of landscape painting has an intrinsic connection with the plane aesthetic model of the jade card. For example, the trees and rocks on the plane of the landscape painting require the level in the performance of the jade card, which requires perspective and angle. How to fully express the beauty of jade, jade and jade, it is necessary to use three-dimensional eyes to examine, understand, and even dismantle the panoramic view of landscape painting. You can use the overall composition and local expression method to connect the two sides of the jade card, and use the Chinese art elements of poetry, books, paintings and Indians to recreate the landscape paintings belonging to the jade card, achieving a vertical inch of three inches. The height of the thousand-blade; the cross-knife is a few feet away, and the body is a hundred miles away. Specifically, first of all, on the theme, establish the concept of taking the initiative and approaching the quality, secondly, deepen the spatial vision principle in the design, use the primary and secondary density to layout; then apply the appropriate tools to the peak in the process, Stones, clouds, water, trees, and people are sculpted in layers. The mountains, trees and characters in the foreground are exquisitely portrayed, the lakes and clouds of the medium scene are clearly produced, and the peaks and forests of the distant view are simple. Object contrast, imagery, and orderly, create a realm of clear and beautiful. The jade brand "Xianfeng Daogu", jade material condensed, soft and soft, the shape of the card is regular, full of skill, the picture is vivid, deep and mutual, the font is naive, the knife is strong... showing the unique charm and jade of white jade The charm of the card; deep, medium, shallow, thin relief, yang, intaglio, face, line, point... The rich combination of techniques transmits the sense of layering and space, and the special visual aesthetic expresses the real space of image art, making Appreciators have the dreamy perception of being in the same situation and combining things with each other. This is the artistic appeal and value of the successful landscape jade brand.

The "highest realm" of Shanshui Yupai art lies in the pursuit of "likeness" with the aesthetic standards of "energy, wonderfulness, god, and ease", and the transformation from "real" world to "spiritual" world. Over the past 5,000 years, Chinese jade carving artists have passed on life practice and proved this aesthetic theory.

Using the performance value of landscape painting

Landscape painting creation, the application of tools are brush, ink, paint, rice paper, etc., through the center, side, counter, and other pens, the production of line drawing, heavy color, ink, live ink, rendering and other forms of expression; and landscape jade The tools used for creation, such as shovel, bar, olive head, garnish, etc., have been finished in the form of deep, medium, shallow, thin relief and medium and shallow through-cutting, and have completed the production of blanks, materials, fines, and hands. step. The landscape paintings and the landscapes are each created with their own appeals, uses and art forms, but the intrinsic genes in the interest, spiritual expression, aesthetic standards and mood space are the same. Xiaoxiaoyu brand is extremely tolerant. It is necessary to respect the limitation of jade carving only in subtraction, and to reach the limit of the landscape and the infinite horizon of the world, that is, to solve the problem of injecting ideas, art and aesthetics into the craft.

The scatter perspective of Chinese landscape painting art has formed the panoramic pattern and overlapping rule on the layout. The viewpoint of “the peak of the peak and the bottom of the poor” is based on the main axis, and the main and secondary, scattered, hooked, staggered, far and near, The "Tian, ​​Earth, and China" related deductions of Gao Shi, Xu Shi and Zang Lu express the imaging space that only Chinese culture has. How do the landscape jade cards completed under such artistic consciousness conform to the overlapping symmetry of the spindle symmetry, vertical translation, and gradient depth? It needs to be applied in thought, design, and skill; how does space theory become practical? How does a flat image become a process performance? It is also the ability of the sculptor to appreciate understanding, artistic touch and practical experience. Guo Xi's "Shan Yuan Training" put forward the "three far-talking": "The mountain has three far-reaching, from the bottom of the mountain to the top of the mountain, that is high; from the front of the mountain and after the peek, it is far-reaching; from the mountains and the mountains, Pingyuan." Because Hetian jade is basically white, it is impossible to reproduce the effect of landscape painting, and it is necessary to convert the plane space into overlapping space, and to interpret black and white, sparse and dense, far and near, with the level of the bump. There is a relationship between nothing and possession, hiding and dew, and between rich and weak. Therefore, the sculptor uses the knife as a jade to paint, the high deep and medium relief, the deep bas-relief, and the flat thin relief. This kind of craft application makes the Chinese landscape painting art style, while retaining the plane beauty on the jade card. The hope of the depth of beauty", mastered this point, the creation of Shanshui jade brand can be described as a free and easy to play, but also change from its own.

Solved the layout, only solved the appearance, only the migration problem. In fact, the material, characteristics and attributes of jade carving have their own individual language, the tool's fast mouth, blunt mouth, effect aspect, round face, level of deep concave, shallow convex... all embody the splendid artistic charm. For example, the limitations of jade carving design indicate the particularity of jade. From the appearance of jade, modern jade carvings have made many breakthroughs. In history, there is only a square shape of the Zigang brand. Today, there are various shapes such as a circle, a cone, a stack, a drip, and a broken shape; there are no foreheads, upper and lower foreheads, and no forehead, partial flower arrangement, chain addition, etc. The change is endless; the size is enlarged, reduced, stretched, widened, and thickened. The performance of the cards is more diverse. It is also a tradition and inheritance to borrow Chinese landscape paintings. Another example is the design concept and the “face” of Shanshui jade brand “face-to-face combination” to express structure, texture and space. The “line” represents segmentation, movement and detail. “Face” is applied to the raw material of the natural material, the flatness of the bar tool and the overlapping layer effect, forming a warm, delicate and smooth beauty, revealing the characteristics of jade and the artistic conception of imagination; the “line” uses human beings. The theory of yin and yang, the sharpness of the sharp-mouth tool and the contrast of the length and length show the harmony of openness, density, and reality, reflecting the rhythm of the soft extension of jade. The "face line" has a figurative and freehand brushwork. With a real scene and a taste, it does not pursue 100% realism. It does not require the clarity of the context. When it comes to the combination of realism and freehand, the kind of stay There is no limit to the imagination of the Tibetans. When a perfect jade card with "face and line combination" is presented in front of you, it is like a master painting of traditional Chinese painting. The space of white space and the rendering of ink and wash create a layered sense of nature, change and interest.

The traditional style of the words before the jade card determines the characteristics of poetry, books and paintings. The craftsmanship of the lettering and the artistry of calligraphy writing have fundamental differences due to their respective limitations. White jade and rice paper, abrasives and writing brushes, diamond powder and 砚台墨... For thousands of years, two absolutely different art forms seem to be irrelevant, but they have created their own amazing. For jade cards, the choice of fonts is extremely important. Today's jade carving artists often choose different calligraphy bodies according to different landscapes, and compare the neat landscapes. The backs are often selected from the scriptures; in the lyrical landscape works, the choice of books is more It is suitable; and the landscape of the landscape displayed by Lishu is more delicate, more beautiful, and looks very romantic. The jade brand lettering has a skeleton of calligraphy writing, which is similar to the appearance, starting, transporting, writing, turning, bearing, folding; or rigorous, or chic; still not a dizzy but engraved permanent calligraphy. However, the jade lettering has the power of gold stone, which is totally different, grinding, engraving, placarding, and embossing; carving, ticking, smashing, and engraving; perfect display of the greatness of the tools and the exquisite craftsmanship. In fact, the jade lettering combines the writing of calligraphy and the craftsmanship of the stone. With the non-renewable and incisive lettering of the yang lettering, it creates the unique aesthetic value and collection value of the poems, books and paintings.

Different times, people have different understandings of the world, and the way of artistic expression is certainly different. Today's landscape jade art goes further in inheritance and innovation. In fact, a valuable landscape jade brand must have a good material, delicate, oily, white and clean, not to mention, the most important thing is the need for imaginative subject matter, the aesthetic and precision of the times. It is the sublimation of materials, appeals, themes, forms, crafts and spaces. In the beauty of the United States, it is still innocent, creative, and artistic!

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