Chen Shizeng "Bogu Sanqing Tu" color on paper 40.5×120cm, 1922
What is literati painting? That is to say, the painting has the nature of a literati, contains the interest of a literati, and does not study the artistic work in the painting, and must see the feelings of many literati outside the painting, the so-called literati painting. Or to paint with literati, it will be lacking in artistic skills, and there will be branches outside the section, and things outside the painting will be used to make up for and cover up. As everyone knows, painting is also a spiritual person, a thinker, an activist, a non-instrumental person, and a non-simple person. Otherwise, it is as straight as a camera, the same, and the clouds are cloudy, why is it expensive to be evil? What is the evil of art? The artist is the artist, that is, in the pottery to write the spirit, to express the personality and its feelings. And the literati have a beautiful personality, and they feel the noble; their cultivated character in their daily lives is very much above the mediocre, so they are also in art, and the lyricists they publish can be fascinating, leisurely and faint thoughts, and free from all dusty thoughts. However, those who look at the paintings of the literati, the tastes of the literati, and the senses of the literati, although the concept of art is different in depth and depth, but some of them must contain the thoughts of the literati; otherwise, if they look at the flowers and swallow the dates, they will say that this heart is the same, and this reason is the same.
The so-called literati paintings of the secular world think that the art is not very elaborate, the shape is incorrect, the rules of the painter are lost, the arbitrarily smeared, the ugly is the ability, the absurdity is the beauty, the experts regard it as the wild fox Zen, the custom is not laughing, and the literati painting cannot be seen and appreciated. And those who are stumbling forward and backward, moving rope ink, colorful and beautiful, scratching their heads and making postures, are superior. Although, yangchun white snow, high and widowed, literati painting is not seen to appreciate the customs, just can see the high ear of its style.
Chen Shizeng's "Ju Yang Tiannian Map" is colored on paper 82×41cm
Why do husbands and men paint only ugly and absurd as evil? Looking at the paintings of ancient and modern literati, how rigorous the pattern is, how precise the craftsman is, how cautious the next pen is, how subtle the argument is, how deep and mellow the learning is, how careless and frivolous can the people who are careless and frivolous can look at their shoulders! However, literati painting is the most important spirit, not expensive form, so the form is lacking and the spirit is beautiful, it is still a literati painting. In the literati paintings, there are also ugly and absurd people, the so-called Ning Pu Wuhua, Ning Humble No Coincidence, Ning Ugly Monsters Not Demon Good, Ning Huang Rate without neatness, pure innocence, no false modification, just enough to exert personality, invigorate the spirit of independence, and strive to make a soft and beautiful posture, grease and powder, in order to ensure that its character can be viewed from a distance and cannot be played closely. Therefore, the six laws of Sheikh, the first heavy rhyme, the second bone method with a pen, that is, its opening and clear meaning, set the foundation, and drink for the stick of the door. As for the pictograms of objects, coloring with classes, passing on imitations, etc., but the methods of admission, the convenience of artistic modeling, and the borrowing path of entering the holy transcendence, can not be stuck in this one.
Gai tasted the discussion, Dongpo Shiyun: "On the painting of noble shapes, see neighbors with children." "It's a mysterious talk. If the husband is new to learning, the shape is similar and lofty, and the empty words are up and down, then what is the difference between mountains and rivers, birds and beasts, and grass and trees? Only stick to the form, and outside the form, there is nothing else to be desired, then photography and so on. How can the skills of man be equated with photographic instruments and potions? That is to say, in terms of photography, although it is dedicated to material, and its selection of objects and scenes, it is also intended to be in it, so that it is in line with the ideal and interest of painting. Besides, pure and noble art, and evil in the spirit and feelings of our people?
Chen Shizeng's "Zen Book" is fourteen open and fourteen ink on paper
What's so strange about literati painting? But just use its spirit and feelings. What is the evil of the literati? Nothing more than poetry. The materials endowed with words and poems are nothing but mountains, rivers, plants, animals, insects and fish, and ordinary objects. What he feels is nothing more than human emotion, the changes of the past and the present. I would like to ask whether the material painted by the painter is the same as that of the literati? If it is the same, then the literati use their materials to pin their human accidents and feelings of the past and the present, then the painting can also be called a text, and the painting can also be said; and the mountains, plants, animals, insects and fish, and the things that ordinary eyes come into contact with, come by hand, and the head is the Tao. For example, the ears, nose, tongue, pen and ink are also; the sound and color are smelly, the mountains and rivers, birds, animals, insects, fish, and things that ordinary eyes come into contact with; and those who can hear and hear speech triggers are also the main masters of the human spirit. The literati have this spirit, but if they use the materials of the outside world to use them, they will not be completely subtle, invincible and incorruptible! Although the ears, noses, and tongues are hindered, the audiovisual speech and movement cannot be free, so art cannot be practiced. The feelings and personalities of the literati are different, and the degree of artistic practice is equally different, which is why they are different.
Now there are paintings like this, and those who insist on painting and look at them will see that they have trees, mountains, water, bridges, and houses; in other words, the distance of trees, the ups and downs of mountains and rivers, and the location of bridges and houses seem to have some knowledge; the genre of Ruofu's painting, the pattern of painting, the artistic conception of painting, and the interest of painting are at a loss. Why? With its concept of no painting, the study of no painting, the feeling of no painting. Therefore, the literati do not have to be able to paint, the painters do not have to be able to write, and the literati's paintings make the literati look at it, and there is still some estrangement, let alone the non-literati evil? With the painter's paintings, the painter will have almost nothing to lose, and the difference in the sectarian system may not be able to be satisfied. To make the painter look at it with the paintings of the literati, although it may lead the rope to the roots and discuss it, but its unique features cannot but bow down. If the painter's painting and the literati painting are taken as the painter's painting, the person who insists on painting makes him look at it, or has no choice, or thinks that the literati painting is not as good as the painter's painting. alack! Like neat and evil absurdity, like gorgeous and evil simple, like soft and beautiful and evil skinny, like meticulous and evil simple, like thick and evil elegant, this ordinary people's feelings are also. Isn't the beauty of art determined only by appearance? Ruofu is delicate as a juanxiu, rough as cang, stagnant as thick, shallow as faint, and abound. Those who give up their qi rhyme and bone method and do not want to be heavy on this, cannot cover the ears of the purpose of the text into the painting.
Chen Shizeng's "Wind Forest Xiangquan Map" ink on silk 133×44.5cm
Literati paintings have a long history, and cai yong and Zhang Heng have been known for their paintings since the Han Dynasty. Although I have not seen how his paintings are, they have been recorded in the historical records. The doctrine of the Six Dynasties Zhuang Lao prevailed, and the literati of that time contained super-world ideas, wanting to break free from the shackles of matter and exert their freedom, pinning their hopes on a high and quiet state. For example, Zong Bing, Wang Wei and his people, with landscapes and rivers, indicate their thoughts and personalities, so both families have painting theories. Dongpo has a poem inscribed with Zong Bing's painting, which is enough to see the fit of his literati thought. Wang Xizhi, Wang Xizhi, and The Xianyi Family all have a clear banner and gradually develop. To the Tang Dynasty's Wang Wei, Wang Qia, Wang Zai, and Zheng Qian's generation, it became a generation of winds, and Tang Wang Wei was promoted as the ancestor of Nanzong. At that time, poetry theory was closely related to painting. The flow of wind, through the Song Dynasty, Yuan, Ming and Qing, is endless, and its painstaking loneliness can be imagined.
In the southern and northern Song dynasties, the literary movement was the most prosperous, and the literati, poets, and lyricists were the most civilized, and their ideas were the most developed, so painting also came into being, each extremely capable. Ouyang Yongshu, Mei Shengyu, Su Dongpo, and Huang Gu all have inscriptions for painting and can appreciate them; Sima Junshi, Wang Jiefu, and Zhu Kaoting are all famous in the history of painting: it shows that the literati thought and painting at that time were very compatible. Huaguang monk's ink plum, Wen and Ke mo bamboo, all of which are the same as the time. Plum and bamboo are just one kind of flower, the method of momei has not been heard of since the past, and the ink bamboo is said to have existed in the Tang Dynasty. Zhang Xuan, Zhang Li, and Sun Wei had ink marks; the iron hook lock and the golden wrong knife of the Southern Tang Dynasty Lord had changed from the law; to the Wenhu Prefecture Bamboo Sect, the method of opening the Yuanming, at that time Dongpo knew its wonderful interest. Literati painting is not only shaped in the landscape, but also in the form of the literati' interest.
Yuan Ni Zhan ,Jiangting Mountain Color, 94.7x43.7cm National Palace Museum, Taipei
And the painting method and calligraphy are well thought out, and those who can write can probably paint, so there are many ancient and modern calligraphy and paintings and the elderly, and the brushwork and books in the painting are no different. Song Gongkai on painting clouds: "People say that ink ghosts are drama brushes, which is not the case. This is the grass saint of the scribe, and is there anyone who is not good at the true book and can make grass? "Lu Tanwei created a stroke of a painting because Wang Xianzhi had a book. Zhao Ziang on painting poetry: "Stone is like flying white wood like a basket, and writing bamboo must also be eight methods." If anyone can do this, it should be known that the calligraphy and painting are the same. Zhao Ziang asked Yu Qian Shunju, "What is the name of morale?" Answered: "Affiliation ear." If the history of painting can argue, it can fly without wings; if it does not fall into the evil path, the farther it goes. Ke Jiusi on painting bamboo: "Writing bamboo stems is written using the seal method, branches using cursive calligraphy, writing leaves using the eighth method or using the Lu Gong skimming brush method, and wood and stone using folding strands and house leak marks." "After the Southern Tang Dynasty, the lord painted bamboo with gold wrong calligraphy. It can be seen that literati painting is not only interesting and noble, but also alludes to calligraphy in painting, so that the painting is not simple, not only within the scope of painting can be done, but also need to be studied from other aspects to be excellent. Therefore, the Paintings of the Literati of the Song Dynasty, The Ming Dynasty, and the Qing Dynasty were quite powerful, and they had all kinds of qualities and various learnings. That is, in the distance, Cai Yong, Wang Hui, Xi, and Xian are all calligraphers and painters.
Ni Yunlin said of painting clouds: "The so-called painters of the servants are only sloppy and sloppy, do not seek similarities, and talk about entertaining themselves." On painting bamboo clouds: "Yu paints bamboo, talks about writing in the chest and the ear, and compares it with right and wrong." Wu Zhonggui on painting clouds: "Ink drama works, in addition to the words of Dr. Gaishi, are of interest for a while." From the perspective of being, it is conceivable that the purpose of the literati paintings is in line with the Eastern Slope. The fourth of the Yuan Dynasty, all of whom are noble in character and knowledgeable, so they paint Jing, Guan, Dong, and Ju, and open up the Ming and Qing dynasties. The "Four Kings", Wu, and Yun all come out of the Four Greats, and their paintings are not unsemblished; the Gefa is exquisite, how can it be far-fetched and not thoughtful, not complete? That is, the cloud forest does not seek to resemble the shape, why does its painting tree not resemble a tree, and why does the painting stone not resemble a stone? The so-called person who does not seek form likeness, his spirit does not focus on the shape, such as the hook of the painter, only the form is to seek the ear. When it is used with the pen, there is another meaning, another kind of sustenance, not to carve a boat and ask for a sword, and the natural machine is smooth. And literati painting does not seek to resemble, it is the progress of painting. Why? I take the example of shallow weight: When some people first learn to paint, they want to be similar and cannot, and over time, they gradually resemble it, and over time they become more and more similar, and then they remember the objects they see in their chests, then they paint them arbitrarily, all of them are similar, they do not have to be described everywhere, they can be handy and fit with it. Gai's expression is beyond the object, and its expression is in the object. Without him, he covers his main point. Cu Ding dissolves the cattle, in its Ken Qi, it is solved, and it is similar to the shape, and it is wonderful to be natural. What are its main points? The so-called symbol Symbol is also.
Chen Shizeng's "Okra Diagram" ink on paper 30.7×63 .6cm
According to the history of history, the paintings before the Han Dynasty are very difficult to see, and the patterns and words of the three generations of Bell Ding are not only the symbols of objects and images, but they are similar. Words are like paintings, not paintings. Han's stone paintings are ancient and simple, and they are similar to those of the three generations. Statues of the Six Dynasties, the face of the clothing is like the painter's law, but this is also seen in the stone carvers; if the paper is plain, it must be colorful and beautiful. The Six Dynasties entered the Han and Wei Dynasties, and the Sui and Tang Dynasties entered the Six Dynasties, and the desire for work was also a natural trend. And one of the seekers will have a cursory stroke and a full god. Zong Bing, Lu Tanwei have a stroke, cover this meaning? Song Artificial Li can be described as extremely powerful, such as Huang Xiao, Xu Xi, Teng Changyou, Yi Yuanji, all of whom are experts at sketching; while Dongpo, Wen and Ke are extremely not based on similar arguments. The thoughts of the human heart are all seeking progress, entering the substance without any return, and seeking nothing more than seeking emptiness to reveal the essence. In the case of a painting by one person, through the class of shape, there will be no wrist that does not resemble. It is not similar, forget the hooves, swim in the sky is also said. Western paintings can be described as extremely similar! Since the nineteenth century, the study of light and color in scientific terms, its appearance in the object, the experience of subtlety, and recently the Impressionists have done the opposite, not paying attention to the object, and being subjective. The transformation of the ideas of the Cubist, Futurist and Expressionist performances also shows that the shape is not enough to exhaust the length of art, and it cannot but be sought. Or is it also said that the literati painting is too deep and mysterious, so that the world is not easy to understand, why not be a little humble, in the hope of popularization? This is just as the chinese language is to be changed to the vernacular, and the strong child who can speak learns to cry the baby. In order to popularize literati painting, we must first cultivate their ideological character. The world's concepts are led to high, in order to get close to the interests of the literati, then the paintings of the literati can be understood and enjoyed by themselves. Without seeking its roots and ending it, literati painting will eventually flow to the way of craftsmen, and the characteristics of literati painting will be swept away. If in terms of customary application, there are other paintings of craftsmen, so why should they be degraded by literati?
The elements of literati painting: the first character, the second learning, the third talent, the fourth thought; with these four, it can be perfected. Cover art as a thing, to touch people, to the spirit of the corresponding also. Have this feeling, have this spirit, and then be able to touch people and feel themselves. The so-called emotional transfer, which has been deduced by recent aestheticians, is regarded as an important person, and it is also true to cover this!
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