Pen and ink infiltration is the author's understanding of life and feelings, natural scenery is only the author of life reflection and understanding of a carrier, their pen and ink taste is not bound by the outside world. On the King of the Chinese painter also have, but only to collect some material is not creative. In addition, the Chinese painting is a "line". Through the creation of the accumulation of a variety of different "lines", to describe their own mind, to describe the hearts of unique mountains and rivers. "Line" in the Chinese painter's pen has a very profound meaning, often is a lot of complicated things, just through a few vitality of the "line" to express it. In the landscape painting, Chinese landscape painters rely on "line" to shape the characteristics of rocks, so to form a variety of different meaning of the "line", and a variety of Cun rub. Here the "line" in the works is an extremely important element, "line" application of a direct impact on the merits of a work. And Western painters in the description of the things in the eyes, they are as "face" to understand. "Face" for the shape of the shape is better than the "line", "line" performance is more abstract, and "face" seems to be something like, show things easier to understand. Western landscape painter …show more content…
Later, with the development of science and technology, the painter's understanding of light gradually in-depth, and the relationship between light and color is also more profound understanding, so this time the Western landscape painting color expression is more abundant. Through the works of Monet we can see the Western landscape painting on the color performance of the meticulous and beautiful. Art image is to express the communication between the heart and the outside world, "dare to use the stylized, decorative and exaggerated deformation of the way, for the object vivid, for the author to express"; created a unique "white when the black" aesthetic concept, Therefore, the color of Chinese landscape painting is based on ink, supplemented by color, this simplification of the creation method is more in line with the Chinese Confucianism and Taoism pursued by the kind of plain mean, pure heart of the realm. Chinese painting is a multi-ink painting, but it is not aversion and exclusion of color, but rather a pale and heavy color painting. In the relationship between ink and color, one is based on the ink, supplemented by color; the other is the ink does not touch the color, the color does not touch the ink, mutual infringement complement each