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Why do Chinese paintings love to paint landscapes? In fact, just like Western religious paintings, because of the belief in religion, in Chinese landscape paintings, it is the "Gaoshi" who also have spiritual pursuit and cultivation of themselves. Take a look at the following content, I guess you will be able to understand deeply.
Religious paintings and landscape paintings, both the East and the West have their own obsessions
Landscape painting is due to the love of nature and the influence of Confucian and Taoist philosophy, which is a textbook vocabulary. But why were all the brilliant minds of the dynastic era so keen on this that a painting lasted for more than a thousand years?
"I can understand the love of nature, but I have been so obsessed and unchanged in painting for more than a thousand years. This is difficult to understand. Haven't they thought of using some other art form to express their love of nature? ”
"I know that there have been paintings in Europe that have lasted for more than a thousand years. That's medieval religious painting..."
Raphael's Madonna of the Sistine
Religious painting? I came up with the exquisite works I had seen in the Munich Art Gallery, and I was deeply moved by their breath. Such paintings are used for spiritual cultivation.
Was landscape painting a tool for the ancients to carry out spiritual cultivation?
Just as "religious painting" conveys the understanding and love of "god" and "divinity", does the landscape painting of the Chinese dynastic era also have the meaning of spiritual cultivation? Behind small bridges, waterfalls, rivers, trees, rocks, houses, pedestrians, is there any other secret hidden?
Oh, yes! The mere "love of nature" cannot explain this thousand-year attachment. Moreover, there was no word "philosophy" in the ancient Chinese vocabulary. "It expresses the personal feelings of the painter", so why do all landscape paintings take "Shifu Qi" and "Yipin" as their purpose?
Could it be that modern Chinese art theory deliberately obscures the emphasis behind landscape painting? Why would they do that?
The ancient Chinese were pursuing a new spiritual experience. This experience enables them to transcend through their knowledge of the inner world—beyond the physical world, beyond themselves, and beyond "God."
Its ultimate goal is to make people's spirit no longer attached to "God", no longer attached to theories, ideas, still less attached to emotions, but return to the complacency of life itself.
This "return" also set the standard of "elegance" and "custom" among the ancient scholars, and they gave such "returning" people the name "real person" or "gaoshi".
Why is it necessary to paint landscape paintings for spiritual cultivation?
According to the data: Wang Wei - Xi Zen, Su Shi - Xi Zen, Huang Gongwang - Xiu Dao, Ni Zhan - Xi Zen, Wu Zhen - Xi Zen, Dong Qichang - Xi Zen.
Oh, that's right!
From the late Tang Dynasty to the Song, Yuan, Ming, and Qing dynasties, the "scholars" of the dynastic era, based on their understanding of "mental nature", gave full play to the respective theories of the three schools of Confucianism and Taoism, and invented specific methods of spiritual cultivation. These methods were all "manifestations" of the time and became a "fashion".
Landscape painting is just one branch of the discipline of "mental nature".
The spiritual cultivation method of "mental nature" was called "Tao" at that time, and it guided people to know their own hearts. Landscape painting is regarded as a "painting of the Tao".
The spiritual cultivation of "mental nature" is the reason for the emergence of landscape painting.
It is also the internal driving force for it to grow on this part of China and last for more than 1,300 years. The ancients were not originally painting landscapes seen with the naked eye. They express the cultivation realm in their hearts through the depiction of landscapes and waters.
Then, the standard of this set of spiritual cultivation methods is, of course, also the standard of landscape painting. The pursuit of this set of spiritual cultivation methods is, of course, also the pursuit of landscape painting. The highest realm of this set of spiritual cultivation methods will also be the highest realm of landscape painting.
It is no wonder that in Chinese artworks such as landscape paintings, calligraphy, piano ceremonies, tea ceremonies, and classical poetry, they emphasize the atmosphere of "quiet and distant" so much. These works of art no longer convey a technique, but a level of spiritual cultivation.
I see!
The description of the human spiritual reality is the real reason why the ancients painted landscape paintings
Landscape painting is the carrier of this spiritual world!
In the history of China's spiritual development, not only have there been "religious paintings" like the Dunhuang Grottoes and the Yongle Palace murals, but through the efforts of the "scholars" people, a more direct form has also been developed - using the "artistic conception" of landscape painting to express the reality of the human spirit!
Ancient China did not worship "gods" like European "religions" and exercise the spirit of the West in this way.
Instead, it deduced a set of its own unique spiritual pursuits and specific training methods, which also produced corresponding cultures and arts, and forged a spiritual world different from "God".
Tracing back to the source, I found that what fascinated the scholars and doctors of the dynastic era was not a picture of landscapes and rivers, but the understanding and pursuit of "mentality" outside the painting.
So, are there any other mediums and languages that convey the understanding of the human spirit in the "mental nature" cultivation system?
This is exactly what our time needs to answer.
The "Mystery" of Ancient Landscape Painting
The "artistic conception" of ancient Chinese landscape painting is a representative of the complacency and self-sufficiency of the human spirit. The breath of "chonghe" on the screen is exactly the original breath of the spirit. The flowing pen and ink represent the non-dwelling and life-and-death of "mind".
"Mountain" means the "mind-body" immovable. "Water" means the flow and ups and downs of "thoughts". "Tree" implies the endless relationship between "mountain" and "water". "Man" refers to the monk who seeks the "original face" of the spirit, who realizes the connection between "mind-body-thought-life" in the "mountains", "waters" and "trees". The "cloud" represents the manifestation of this connection in the mind of the seeker, either lightly or implicitly.
The appearance of the "house" indicates the state of the practitioner on the way to the path of seeking the path and the fruit position achieved, as well as the ultimate return to the "home" (heart fast). "The way" is the agreeing homonym of the "way" that is sought. The "waterfall" in the distant mountains summons and marks the "return of knowledge". The meaning of "bridge" is from "this shore" to "the other shore". One meaning of "boat" is "ferry", and the other meaning is "leisure": the practitioner returns to the human world. The "temple" represents the original way of knowing the human spirit.
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