Figure: Kermode Spirit Bear by Marion Rose Subject matter/ composition There is increased usage of line and stroke in the Chinese landscape painting to come up with a clear form of a portrait. This makes the particular painting to have a powerful expressive ability. The natural elements are well classified to enhance composition (Friedman, et al., 2012, 137). For instance, a mountain being identified as a host and a hut as the guest. This makes it possible for the artist to design the photograph plan efficiently and through an action line and balancing the other forms.
There is also the usage of symbols to enhance relations and natural scene. The objects are similarly balanced based in the Chinese beliefs. Figure: Chinese dragon painting. The principle of expression in the Western landscape artist is the generation of an accurate scene. This is where the painter demonstrably represents the connections, appearances, and colour towards shadow and light to allow viewers to identify the aspect of being surrounded by the atmosphere and the painter’s generate environment (Sun, Zhang, Ren, Wang, and Jin, 2015, 628).
Nature is majorly used in the composition of an image. This makes the work to have matching horizons, skies, and foregrounds. There is also the recognition of the connection between textures patterns, light, and colour. Thus, there is the application of different sizes and colors to present a landscape. Figure: Walt Curlee, Wildflowers Mountains River western original western landscape oil painting, 1999 Colour In the landscape painting that was conducted by the Chinese artists, the major colour used is white and black.
This involved only demonstrating some obvious overview to the observer using brush and ink (Zhang, 2013, 6). The colours represented tones with the blending of shading using different water levels to enable brush movements. For instance, black can be used to show the mountains and white the water flow in the river. Therefore, it aids in observer’s thinking concerning the art work. Besides, the Chinese painting depends on the power of recommendation to describe rain and night scenes. This is where a rain scene during the daytime is identified similarly with a night.
This is because the painter would just include an umbrella or moon while aiming at distinguishing the particular scenes. The Chinese paintings are characterized with the aspect of leaving many parts that are not painted or just painting them using white colours. Nonetheless, all the parts are equally important (Ma, et al., 2012, 6). This is because there is much value connected to the white spaces, which enable the specific painting to catch some breath and be in a position to allow the observers the application of personal imaginations towards the effort to describe the specific scene.
The Chinese artists focus much on understanding how their paintings manage to leave some space and balance the effects. Figure: Yang Zhi , Horizontal Chinese Landscape Painting of Waterfall Scenery, 1979 The usage of colour in this type of painting is high since painters use different colours as a representation of how things are currently. Colours in the Western paintings are recognized to depict religion and the associated themes, thus making it difficult to express one’s awareness and perception regarding the nature but one begins looking at the natural scenery based on real life.
Painting is a practice of chromatic richness and brilliance. That is why the Western painters select to use bright colours and the ones that are more balanced when painting landscapes (Sun, et al., 2016, 795). The artists are supposed to show a clear understanding of nature and some sense from different types of colours, smell, sound, and light as per the human experience. This means that the minor areas are the natural environment while the major parts are the religious subjects. In the Western paintings, the artists try to apprehend the night scene using some darkness and applying some shiny lights to show night lights, moon, and stars.
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