Space and Time Study of the Chinese Landscape Painting

The uniqueness of space and time of Chinese landscape painting is build up according to the painter's own consciousness, and in accordance with the sense of mind with the nature of universe, is I blend of time space view, but it is also the freedom of the soul. The space of Chinese landscape painting is presented through physical space, position, three far, inner space; time is presented through the movement of the ink and the change of ink rhythm. “Time” and “space” connect with each other. There is neither the space without time, nor the time wihtout the space. By the analysis of the “time” and “space” of the painting, it shows the landscape painting regulation and art value, and improves the level of painting techniques with in-depth understanding. 1.The construction and form of the Chinese landscape painting The composition and form of landscape painting is closely related to the vitality of landscape painting, at the same time is the author’s idea, conception, accomplishment, emotion and etc. in the direct embodiment in the picture. Under the leading of “nature and humanity” ideology, Chinese painters look scenery as “everything is ready for me”. Natural objects in their eyes are full of boundless vitality. It also makes the composition of Chinese traditional landscape painting with romanticism. It broke the limit of space and time. It adopts a kind of “small to the observatory” and “things went on” and “free-way combination” thinking on the composition of a picture. Chinese painters pursue “things and me together” in the creative, and pay attention to the subjective consciousness and the true feelings. This unique form of expression and aesthetic pursuit reflected the typical ethnic style. In traditional Chinese painting, the composition is also referred to as the layout, composition or management position. It is called the “important point in the painting” by the tang dynasty Zhang Yanyuan. Composition of Chinese traditional landscape painting is very exquisite conception of scene, paying attention to the use of opening and closing, both the two sides, the actual condition, and simplified, jagged, such as the law of unity of opposites, in order to achieve “take its mass, nearly far take its potential” artistic effect, and clever images of the blank layout, make the place without drawing into scenic spots. Composition of Chinese traditional landscape painting is not subjected to the constraints of objective image, but it is a kind of convenient configuration and restructuring, is the integration of visual experience, focuses on performance of the essential characteristics of the object, uses the way of thinking as a kind of image. Thus, the composition and the artist's conception are closely related to the natural and built environment, and the built environment is between the conception and composition of a picture, built environment needs subjective art processing not 4th International Education, Economics, Social Science, Arts, Sports and Management Engineering Conference (IEESASM 2016) © 2016. The authors Published by Atlantis Press 671 out of the natural landscape reality and on the basis of the natural. Form aesthetic feeling of Chinese landscape painting represents the artist's aesthetic tendency, contains strong subjective feelings, it is a compound of painter rational thinking and subjective mood. Chinese painters prefer to pursue variety in unity, make pictures and abound change the visual style of harmony. In the landscape painting, the combination and penetration of line constitutes the main factor to express the beauty of images. Landscape painters use the aesthetic consciousness through the build level space in the two-dimensional plane, natural object reintegration into the form of rich rhythm, color and decoration, thus forming the composition of Chinese landscape painting unique style and artistic visual language expression. Ingenious combination should be diverse and not mixed and disorderly, pure and not poor. Whether the combination of single or multiple form, the dotted line on the transverse and longitudinal extension cannot have too much repetition, can appear otherwise flexors, not pure, and modeling concise form and do not let a person feel a single. 2.Space and time of the Chinese landscape painting The objective world is the organic unity of time and space as a whole. Everything is exited in a certain time and space. There is neither the space without time, nor the time wihtout the space. Since ancient times, China emphasizes on “favorable climate, geographical and human conditions”. The Chinese landscape painting pays more attention to the main function of the people, people's subjective initiative. Before painting, the painters need to list the natural landscape in the chest. Do have answers, and can't wait to passionately to painting: painting from a tree, mountain, then fully mobilize and play its aesthetic temperament and interest, bolt. “To paint the landscape through deep inside the heart” shows the painter and the integration of real landscape space and time the heart of the landscape. As it is said in the Shi Tao Painting Ana that mountains and rivers also make for the generation of mountains and rivers. Mountains and rivers are based on your painting, and your painting is also based on mountains and rivers. Searching all the different mountains as a rough draft, then mountains and rivers meet with you to make a god and trace and after all become a great painting.” I pursue the real myself and of heaven. And the nature of the process, is a kind of spiritual realism of the space, rather than the real reappearance of natural space. This is the concept of space-time in Chinese landscape painting thing I blend. In “things and I connected together” concept, things represents the objective law close contact with nature, the i represents subjectivity, spiritual experience, subjective expression. “Things” and “I” are unique to China, cleverly contained in traditional Chinese painting of “space” and