Text/Feng Haitao Photo/Xiao Daping
When it comes to Chinese painting, most people like to quote scriptures to prove the height of someone's painting, or to confirm their legitimacy. The author is not opposed to quoting scriptures, nor is it the arrogance of Yelang and the denial of the ancients. It is just a feeling that learning and inheritance cannot be left behind, but in the artistic point of view and form of expression of Chinese painting, the era of selflessness is the most important, rather than finding the source of the painting technique of one's own painting, nor is it the continuation of the reproduction of painting methods and forms of expression and viewpoints. Therefore, when you are in the beginning of school, you can "read the scriptures" to study the ancients. But in the creative period, it is not possible to copy the ancients and use the views of the ancients to paint.
Xiao Daping's "Four Screens of Landscape and Water"
Is the academic requirement of quoting scriptures and the teacher-inheritance of style setting really a cultural and artistic need? This question should be the question that the "thinkers" of this era really want to ponder, and it is also a problem that the painters of this era must understand. Because the framework is the biggest shackle that restricts imagination, and it is also the biggest obstacle to the continued development of Chinese painting. It should be known that all the classics are the product of thought, and that thought is not "unified in all things" but belongs to "one point and ten thousand laws". Only by overturning the classics of the past can we establish a more perfect and sound classic, and the establishment of the classics is not established by one person, but by a person drawing on the achievements of the ancients and contemporaries. The same is true of Chinese painting, the emergence of a style and artistic point of view, which is generated by breaking the former style and artistic point of view. Therefore, the description and evaluation of the scriptures and the inheritance and development of the lineage of teachers and teachers affect the process of civilization and social development. The creation of Chinese painting is the same, if you want to promote the continuation and development of Chinese painting, you must go out of your own line in the study of teachers. Instead of adhering to the artistic views and methods and forms of expression of the ancients or teachers.
The rise of Chinese culture and the revival of Chinese painting, the first resistance is the quotation of scriptures in the article and the inheritance of teachers in the evaluation of Chinese painting. Therefore, it is suggested here that the purpose of writing articles is to make more shuda's own views rather than borrowing the words of the ancients to confirm their own cognitive height; painters should also practice their own pen and ink, express their own artistic views, and Shuda's own picture artistic conception, rather than mechanically expressing their own teacher's inheritance.