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The origin of Chinese art can be traced back to the Neolithic Age dating back to about 6，000 years.This period produced painted pottery.The traditional evolution of pottery craftsmanship evolved from bronzes.Compared with painted pottery，bronzes reflect the development of art in different historical stages.New look.But at that time，arts and crafts，such as bronzes，were only used，not studied，and there was no art theory.
Chinese art theory began to increase from the Spring and Autumn Period，from the Spring and Autumn Period to the Han Dynasty was the first stage.The art at that time was called "the art of the philosophers"，and the philosophers did not intend to be in the art.They often used art as an example to illustrate or pen and their artistic views.In the art creation，the Han Dynasty was influenced by the theory of calligraphy and pursued the shape of the momentum.
Wei and Jin Dynastiesare the second stage of the development of ancient Chinese art theory.China's landscape paintings also rose during this period.Zong Bing and Wang Wei of Liu Song opened up a new field of landscape painting theory that expresses natural beauty.The great development of art theory in this period was based on the prosperity of art creation.The paintings are separated from the simple stage of the ancient times and rise to the stage of subtle depiction.It is a great step in the development of paintings in the Wei，Jin and Southern and Northern Dynasties.Gu Yuzhi of the Eastern Jin Dynasty is an outstanding painter and theorist in ancient China.His painting theory is mainly for figure paintings and portraits.Gu Yuzhi clearly put forward the importance of expressiveness，and used expressiveness as the first criterion for painting.According to the thoughts and emotions that the object is objectively possessed or should have，he can express his true or falseness and pass it on as his "Luo Shenfu".Figure，the characters depicted inside，the belts floating，dynamic and calm，the dynamics of Luo Shen's return，vividly showing reluctance and attachment，the picture creates a strong atmosphere.
The prosperous and powerful social reality of the Tang Dynasty and the relatively open-minded political and cultural policies adopted at that time opened the way for the development of culture and art.In the art creation，the subject matter is broad，the situation and style are diverse，the figure painting turns to depict the secular life，and the image of women has also changed.The muscles are fat and cheeks，and the clothes are dressed in different clothes，with a distinct sense of the times and a healthier aesthetic.In the Tang Dynasty，the criteria for commenting on the pros and cons of paintings were transformed into four abstracts："God，Miao，Energy，and Yi".When Zhang Yanyuan talked about "painting"，he set up the five principles of nature，god，beauty，precision and meticulousness.At the end of the Tang Dynasty and the Five Dynasties，Jing Hao，a landscape painter，proposed "six essentials" and "two diseases." The "six essentials" are obviously the inheritance and development of the "six laws".Jing Hao has chosen the "six laws" and made creative development on the basis of the "six laws." In the Song Dynasty，paintings reflecting social life began to decline，and paintings reflecting natural beauty began to flourish.In the creation of paintings，he must obtain the "temperament" of the object in the present image，integrate the characteristics of the object into his own temperament，and then write down It is your own temperament that flows out.
In the Yuan Dynasty，landscape paintings depicting natural beauty，flower and bird paintings rose.The painters of this period advocated the artistic conception in painting.The change of Yuan painting is the manifestation of the long-term development and change of literati painting.The former belongs to the “Deyun” and the latter belongs to the “Sexual”.The former，the former is an external，realistic landscape，while the latter dilutes the realism，the emphasis is not on the external landscape，but the inner experience，the former focuses on the scene of human activities，while the latter shows an unmanned scene.The personality lies in his use of the side，intention to focus and not pay attention.between.
During the Ming and Qing Dynasties，most of them were dominated by the ancient times，and many painters with strong personal styles were born during the period.The painter Wang Li recognizes that life is the source of art.The depiction of painting is inseparable，but it means to express it through a concrete image.His "Huashan Picture Order" reveals that only the teacher can make an old record.Articles and frames，advocating painting to take "meaning" as the top.Put forward "My teacher's heart，the heart of the teacher，the eye of the teacher Huashan." charming，they were mostly weak and inextricable，reflecting the spiritual state of the Ming Dynasty.
The aesthetic taste of Chinese painting has undergone tremendous changes for thousands of years.From the indifference of the work of the work to the rich painting theory that appears in the competition，from realism to freehand，the painters of each era can criticize the aesthetics of the predecessors.Inheritance can also be innovated.This is because of the interaction between the painter and his cultural environment.The performance of this interaction will have a considerable impact on the transformation of the aesthetics of the painting and its subsequent development.The evolution of the aesthetic taste of Chinese painting reflects the prosperity of Chinese painting history.It is with this evolution that the development of Chinese painting today is flourishing.
作者簡介
武丹丹，女，汉族，籍贯：山东菏泽人，齐鲁工业大学（山东省科学院）艺术学院，16级在读研究生，硕士学位，专业：美术 研究方向：书法
（作者单位：齐鲁工业大学（山东省科学院）艺术学院）
Chinese art theory began to increase from the Spring and Autumn Period，from the Spring and Autumn Period to the Han Dynasty was the first stage.The art at that time was called "the art of the philosophers"，and the philosophers did not intend to be in the art.They often used art as an example to illustrate or pen and their artistic views.In the art creation，the Han Dynasty was influenced by the theory of calligraphy and pursued the shape of the momentum.
Wei and Jin Dynastiesare the second stage of the development of ancient Chinese art theory.China's landscape paintings also rose during this period.Zong Bing and Wang Wei of Liu Song opened up a new field of landscape painting theory that expresses natural beauty.The great development of art theory in this period was based on the prosperity of art creation.The paintings are separated from the simple stage of the ancient times and rise to the stage of subtle depiction.It is a great step in the development of paintings in the Wei，Jin and Southern and Northern Dynasties.Gu Yuzhi of the Eastern Jin Dynasty is an outstanding painter and theorist in ancient China.His painting theory is mainly for figure paintings and portraits.Gu Yuzhi clearly put forward the importance of expressiveness，and used expressiveness as the first criterion for painting.According to the thoughts and emotions that the object is objectively possessed or should have，he can express his true or falseness and pass it on as his "Luo Shenfu".Figure，the characters depicted inside，the belts floating，dynamic and calm，the dynamics of Luo Shen's return，vividly showing reluctance and attachment，the picture creates a strong atmosphere.
The prosperous and powerful social reality of the Tang Dynasty and the relatively open-minded political and cultural policies adopted at that time opened the way for the development of culture and art.In the art creation，the subject matter is broad，the situation and style are diverse，the figure painting turns to depict the secular life，and the image of women has also changed.The muscles are fat and cheeks，and the clothes are dressed in different clothes，with a distinct sense of the times and a healthier aesthetic.In the Tang Dynasty，the criteria for commenting on the pros and cons of paintings were transformed into four abstracts："God，Miao，Energy，and Yi".When Zhang Yanyuan talked about "painting"，he set up the five principles of nature，god，beauty，precision and meticulousness.At the end of the Tang Dynasty and the Five Dynasties，Jing Hao，a landscape painter，proposed "six essentials" and "two diseases." The "six essentials" are obviously the inheritance and development of the "six laws".Jing Hao has chosen the "six laws" and made creative development on the basis of the "six laws." In the Song Dynasty，paintings reflecting social life began to decline，and paintings reflecting natural beauty began to flourish.In the creation of paintings，he must obtain the "temperament" of the object in the present image，integrate the characteristics of the object into his own temperament，and then write down It is your own temperament that flows out.
In the Yuan Dynasty，landscape paintings depicting natural beauty，flower and bird paintings rose.The painters of this period advocated the artistic conception in painting.The change of Yuan painting is the manifestation of the long-term development and change of literati painting.The former belongs to the “Deyun” and the latter belongs to the “Sexual”.The former，the former is an external，realistic landscape，while the latter dilutes the realism，the emphasis is not on the external landscape，but the inner experience，the former focuses on the scene of human activities，while the latter shows an unmanned scene.The personality lies in his use of the side，intention to focus and not pay attention.between.
During the Ming and Qing Dynasties，most of them were dominated by the ancient times，and many painters with strong personal styles were born during the period.The painter Wang Li recognizes that life is the source of art.The depiction of painting is inseparable，but it means to express it through a concrete image.His "Huashan Picture Order" reveals that only the teacher can make an old record.Articles and frames，advocating painting to take "meaning" as the top.Put forward "My teacher's heart，the heart of the teacher，the eye of the teacher Huashan." charming，they were mostly weak and inextricable，reflecting the spiritual state of the Ming Dynasty.
The aesthetic taste of Chinese painting has undergone tremendous changes for thousands of years.From the indifference of the work of the work to the rich painting theory that appears in the competition，from realism to freehand，the painters of each era can criticize the aesthetics of the predecessors.Inheritance can also be innovated.This is because of the interaction between the painter and his cultural environment.The performance of this interaction will have a considerable impact on the transformation of the aesthetics of the painting and its subsequent development.The evolution of the aesthetic taste of Chinese painting reflects the prosperity of Chinese painting history.It is with this evolution that the development of Chinese painting today is flourishing.
作者簡介
武丹丹，女，汉族，籍贯：山东菏泽人，齐鲁工业大学（山东省科学院）艺术学院，16级在读研究生，硕士学位，专业：美术 研究方向：书法
（作者单位：齐鲁工业大学（山东省科学院）艺术学院）