Early morning reading丨 Chinese painting "off the ordinary", in what aspects to make efforts?

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"Customary" and "elegant" are opposed to each other, and are a pair of aesthetic categories in traditional Chinese aesthetics. In the aesthetics of painting, "vulgar" is regarded as a disease. Song Han humble proposed that "only the vulgar disease is the greatest", so "vulgar" was classified as a negative attribute, which has been followed to this day. There are many commentators on the art of painting in past dynasties, and Ming Qin's "Painting Interpretation", Qing Shen Zongqian's "Compilation of Mustard Boat Paintings", Qing Shitao's "Painting Quotations" and so on have special chapters, and the discussion is more systematic. How does the painting stand out? You may wish to work hard from the following four aspects -

01

In terms of learning style, get rid of the customs of mediocrity and craftsmanship

Mediocre, ordinary, not smart also. The word "craftsman" means an axe in a condom. "Craftsmanship" means to follow the trend, only in other people's stereotypes, without their own intentions, can not innovate surprisingly.

Qing Shi Tao Qing Xiang Miscellaneous Album

There are two types of people who are immersed in this custom.

The first category is because the predecessors cannot extricate themselves, the teacher is ancient and the mud is ancient, the ancient is learned and the ancient is fake, and there is no own proposition. The "Four Kings" of the Qing Dynasty, as the mainstream orthodoxy of literati painting at that time, were certainly the leaders of the mainstream of the literati at that time; but the overall painting style was inevitably similar, due to the excessive stylization of the ancients, and the craftsmanship was displayed. The Song and Yuan literati painters are not only different from the painters as a group, but also have unique advantages for each of themselves, which is beyond the reach of the "Four Kings". For example, Mi Fu's "Mi Jia Shan Shui" was deliberately original, and later scholars, Qing Yunge commented: "Get rid of the path, and if you don't dream of it at the time"; Ni Zhan, who pursues innovation and surprise, exerts "lightness" to the extreme and creates a unique personality that is far away from everyone.

Song Mi Fu Yun Shan Cold Forest Map

The second category is to completely fail to learn the laws of the ancients and to completely break away from the shackles of the ancient laws. Shen Zongqian called it "ge custom": "Neither does he like to come to the ancients, nor can he make up his own mind, but he is flat and straight, and it is the same." "To get rid of the customs of craftsmanship, we must first know the "vulgarity". Proceeding from the ancient law, Chin Yan exposes the various drawbacks of the customs:

First, do not learn the ancient, only learn from the customs;

Second, if you learn the ancients only know its form, but do not know its god, you will learn but have no effect;

The third is to learn from the ancient and the mixed, not specialized, not discriminating, can not absorb the strengths of the masses, into miscellaneous;

Fourth, if you study the ancients only for the good of Ah Fengshi, sensationalize the public, do not work hard, and despise the basic skills and techniques, you will always be undesirable and inferior.

Second, there must be a method. Shen Zongqian's unworldly proposition of starting from cultivation is well said: "Those who desire elegance must first calm their competitive and impatient spirit before they usually do, and stop their ingenuity and convenience." To speculate on the ability of the ancients to be idyllic and gentle, to be dashing and fluent, it is really to get rid of all the chaos and rush, to hope for glory and momentum, to abandon the common good of the times, and to be poor and interesting. ”

02

In terms of technique, it is customary to use pen, ink and color

The elegance of pen, ink and color is related to whether Chinese painting can show attractive formal beauty. Huang Binhong summed up the elegant pen and ink forms as heavy, large, tall, thick, solid, deep, run, old, clumsy, clear, beautiful, and male, and the common pen and ink forms are dead, plate, carved, turbid, thin, small, flowing, light, floating, sweet, slippery, floating, soft, and beautiful.

The use of pen, ink and color should pay attention to removing several vulgar states.

Huang Binhong Huangshan Tangkou

One is the custom of not using a pen for calligraphy. Calligraphy and painting use the same method of brush, painting is like writing, with the pen must be flat, retained, round, heavy, such as "cone painting sand", "folding strands" and "house leak marks", such as high mountains falling stones, avoid painting, drawing, wiping, avoid no ups and downs, no twists and turns, avoid no pen in the ink, people are used by the pen.

The second is the custom of not showing pen power. Pen strength is a feature of the beauty of handwriting. "Bone method with the pen", whether it is the center of the flank, whether it is masculine or feminine, the sense of pen strength should be strong, into the wood three points.

The third is the custom of no god. Write freehand with a pen, intended to be the first of the pen, and take the god as the top. Ming Tang Zhiqi said in the "Micro Words of Painting Matters": "It is not necessary to write freehand, and if the pen is written, it is vulgar." Between the pens, if you don't dare to go to Benya, God can't reach the pen. ”

Qing Yun Shou Ping YunLin Gao Zhi

The fourth is the custom of dead ink. Use ink to seek ink rhyme vividly, live without dying, there must be dry and wet, thick and light changes, and there must be pens and ink in ink.

Five is the custom of color- Color "with the color of the class", with color appearance, but not the pursuit of "color-like", but should be both the color of nature, but also the color of the center of gravity. Coloring is not measured by complexity and simplicity, but by vivid rhyme.

Sixth, there is no custom of contrast. The laws of art are often opposites, there is only one factor, and without contrast, it does not constitute beauty. For example, the rigidity of the pen can be soft and skillfully used interchangeably, the ink of "dry cracking autumn wind, moist spring rain", the distinction and indistination of dot dyeing, the lightness and depth of color, the richness and elegance... And so on, the two sides of the contrast live in harmony, and the artistic expression can break through the single, rich and vivid.

Seven is the custom of no inner beauty. Chinese painting emphasizes internal beauty, advocates expressive spirit, opposes formalism, and pen, ink and color should all be under the control of the painter's thoughts and feelings. Inner beauty cannot be an art of elegance.

Qing Hongren Nine Peaks Chart Axis

03

In terms of interest cultivation, the custom of wanting fame and fortune

The desire for fame and fortune has always been denounced by scholars as secular and well-known. The literati despised the painter most for his fame and fortune, and had no independent personality and integrity. For example, Zhao Mengfu lost his temper as a nobleman of the Song Dynasty and lost his temper in the Yuan Dynasty, and was criticized by later generations, believing that he fell into worldly mediocrity for the sake of the benefit of the market. Therefore, the character of his calligraphy and painting is also considered "flattering" and vulgar.

Zhao Mengfu Autumn Suburb Drinking Horse Map

"Desire" is the root of the world. Desire disturbs the mind. Ancient and modern Chinese and foreign aestheticians agree that true artistic beauty should be far away from desire.

Song Yanyanzhi said in the "Court Curse": "Those who desire sex, the annoyance of sex, the steaming of artemisia, so if they do harm, they smoke the mind, consume true feelings, hurt people, and violate nature." ”

Zhuangzi believed that desire made people restless. Especially when desires cannot be satisfied, people's lives are damaged.

Qing Bada Shanren Grape Bird Stone Diagram

The German philosopher Hegel excluded desire from art. He said: "Man's relationship with works of art is not this relationship of desire. It allows the work of art to exist freely and independently as an object, without desire for it, and as an object of spiritual cognition. ”

The French aesthetician Cuschen believes that the emotions and desires of beauty are far from each other, and even mutually exclusive. Beauty is characterized not by stimulating desire or igniting it, but by making it pure and noble. Similarly, true artists are good at plucking the heartstrings of people, rather than flattering the senses.

Zhu Yun Flower and bird diagram

In life, people are prone to worry about the benefits and losses of material aspects, and often be physically and mentally exhausted. If the mind is bound by the world, the painting will be subject to a large degree of limitation, and it is impossible to enter a free and free mental state, so the pen and ink cannot be freely wielded.

Remnants of the skull Landscape Map

04

Painting with the heart, free from the custom of no true emotions

Qing Yun Ge said: "The pen and ink book is ruthless, and the pen and ink carrier must not be ruthless." Painting is in the process of taking pictures, and the painter must not be unsentimental. "Painting is the result of the interaction between the mind and the object. The realm, character, and taste that the creative subject's aesthetic appreciation will lead to differences in conception and realization. Yun Ge uses anthropomorphism to describe the landscape of the four seasons: "Spring mountains are like laughter, summer mountains are like anger, autumn mountains are like makeup, and winter mountains are like sleep." The meaning of the four mountains, the mountains can not be spoken, people can say it. "The various moods of the landscape are a reflection of the painter's emotions.

Remnant Songyan Pavilion Diagram

Zhu Guangliang said in "The Psychology of Literature and Art": "The most infinite and free is like the mind, so the highest beauty is the expression of the mind." Imitating nature must never produce the highest beauty,...... Imagery must be able to convey emotions, which is superior. Imagery can be plagiarized, but emotions cannot be false. The beautiful image produced by the true emotions of the predecessors, after being used by later generations, has become vulgar and superficial, which is the reason why there are intentional images and no emotions. "Chinese painting has always emphasized a "heart" character. The emotional expression from the heart makes any work have an immedeemable originality. It is only a reproduction of the object, which is actually a vulgar pen. Only the creation of true feelings can achieve elegant works.

In the "Biography of mustard garden paintings", it is said: "There is no other way to go to the world, and if you read more books, the qi of the books will rise, and the qi of the world will decline." This phrase speaks to the fundamental Dafa of the unworldly. The "painter" who does not read or write is actually a "craftsman". The key to "entering the elegance" is not the traces copied, but the subjective cultivation and spiritual temperament of the painter himself. The level of intellectual cultivation is always directly proportional to the degree of deviance of the work.

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