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Text | Zhu Liangzhi
In the Quotations of Painting, Shi Tao proposed a pair of concepts of "Mengyang" and "Life", which, although inherited from the ancient Chinese language, gave new meanings. Shi Tao's researchers have never doubted the importance of this concept, but there are considerable differences of opinion on the specific interpretation, because this pair of concepts is the same as the concepts of "honor", "capital", "one painting", "impossible" and so on in the "Painting Quotations", the meaning is obscure and complex, and it is a major difficulty in the study of Shi Tao painting.
▲ Shi Tao The creek bank is secluded
one
About Monty Python
Shi Tao's concept of cultivation comes from the Meng gua of the Zhou Yi, which is the name of Meng Gua(mongyi): "Meng Yi Yang Zheng, Sheng Gong Ye." This is the earliest etymology of the word Shi Tao Mengyang. The word Meng Yang disappeared before Qin, and gradually increased in the classics after the Han Dynasty, Wang Bi's "Notes on Zhou Yi": "With Meng Yang Zheng, with Ming Yi to the people." Book 1 of the Book of Tang: "To be righteous in the midst of enlightenment, to see the introduction of Ji." Later generations believe that Meng Yang embodies the fundamental spirit of Zhou Yi, such as Qing Yi Guang Tan on the table Yong Zhengyun: "Please worship the sacred study, Yi Duan Meng Yang, Li Zheng Shi Jiao, Shu Xun Min in the Book, and Praise Ji Xi in the Poem." Here, Meng Yang is the core spirit of "Zhou Yi". The word Mengyang has formed several important meanings in circulation, one is to contain the cultivation of virtue, Book 7 of the Book of Zhou: "Gao Zu was in the industry, did not look at all opportunities, and was far-sighted and far-sighted, in order to cultivate righteousness." Minglai Zhide's Commentary on the I Ching, Volume 2: "He who desires the fruit of the cultivation is only the right one who is nourished." Qu Dajun's Guangdong Xinyu, vol. 11: "Mengyang sprinkled sweeping." "The second is to contain the meaning of educational enlightenment, so this word is often associated with education."
Southern Song Dynasty Zhu Xi's Zhou Yi Benyi, Volume 1: "Whoever asks for me should respond to it according to whether he can do it or not, and he who asks for me should make him lean and buckle it." And the cultivation of the enlightened, and the daily cultivation of the enlightened, are both beneficial to the righteousness. "Because the Zhou Yi Menggua has the meaning of enlightenment education, so during the Qing Kangxi Dynasty, there was a Mengyang Palace, thinking that for the purpose of music education, Fang Bao had compiled music in this palace; there were also Mengyangyuan, which was used as a place of education, such as the local school or the Mengyang School in the Qing Dynasty, Volume 107 of the Qing History Draft: "The Mengyangyuan is intended to combine Mongolian cultivation and tutoring as one." "The three took Mengyang as an official position, and the Northern Wei Dynasty took this as an official name, and the Northern Wei Daowu Emperor Tuoba Jue Tianxing placed four officials in the third year (400 AD), including the position of Mengyang, book of Wei, vol. 113, "Guanshi Zhi": "The Mengyang position is better than Guanglu Doctor, impermanent, and old leisure person." ”
▲Shi tao Xi bridge wild color
The Phrase "Shi Tao Painting Quotations" uses the phrase Meng Yang 13 times, and twice in the inscription and painting, and from the direct source of the theory, the ideas to be expressed by Shi Tao Meng Yang are mainly derived from the Meng Gua of Zhou Yi. Shi Tao's life was influenced by the Zhou Yi, and in the thirty-second year of the Kangxi Dynasty (1693), Shi Tao inscribed a poem on a self-made landscape painting: "A farewell to Jianghuai does not go out of the mountains, and the person who reads "Yi" behind closed doors is a person who reaches the heavens." Kangxi Gengyin (1710), Hu Qi, in the "Preface to Shi Tao's Painting Spectrum", completely interpreted Shi Tao's painting ideas with the ideas of "Zhou Yi". The influence of Zhou Yi can also be seen from the concepts of "Qianxuan Kun zhuan", "honorable acceptance", and "one painting" in the "Quotations of Shi Tao Paintings". From this, this article believes that Meng Yang is a painting concept that Shi Tao directly took from the Zhou Yi and cast under the influence of the two Song Dynasties.
What needs to be pointed out here is that the philosophical basis of Shi Tao's painting thought comes to a certain extent from the Northern Song Dynasty philosopher Zhang Zai, who stated a series of ideas in Zhengmeng's "Quotations on Paintings of Shi Tao". The ideological essence of the concept of "Mengyang" is quite close to the philosophical thought of Zhang Zai's Zhengmeng. Wang Fuzhi's "Notes on Zhengmeng": "Those who are said to be righteously enlightened, cultivate the righteousness of the holy merits." ...... The monk, the beginning of knowledge. "Zhengmeng" is the righteousness of "Zhou Yi", that is, the righteousness of cultivating people's emotions with the gods of heaven and earth and the body of the void. Therefore, this article has such speculation that Shi Tao may have reached the zhou yi philosophy through Zhang Zai's thought, and Shi Tao's doctrines such as Mengyang and Yihua may have arisen under the direct influence of Zhang Zai's theory.
Qing Shi Tao Landscape
The meaning that Shi Tao wants to express in the concept of Mengyang mainly has the following four points:
1. Tianmeng - conform to the way of nature
"Zhou Yi" Meng Gua, the lower kan on the Gong, the kan for the water, the Gan for the mountain, the landscape and the water for this Gua Gua Elephant, so the elephant legend: "There is a spring under the mountain, Meng, the gentleman with fruit to cultivate virtue." "Why did Shi Tao introduce Meng gua?" Perhaps this is the first consideration, because Shi Tao is a landscape painter, and his "Quotations on Painting" is to discuss the creation of landscape painting, so Shi Tao cleverly takes the menggua with the image of landscape and water to deepen his understanding of the spirit of landscape.
This line of thought may be its discovery, but the connection between landscape painting and the gua painting of "Zhou Yi" does not begin with Shi Tao, and the Bagua Zhonggen (Xiangshan), Kan (Xiangshui), and Dui (Xiangze) are all related to landscapes, and the Yuan Dynasty painter Zhu Derun saw this, he said in "Landscape and Water Map": "Therefore, the gentleman cultivates virtue with fruits, and there is a spring under the elephant mountain; there is water on the elephant mountain to return to the body; to punish the desire to be angry, there is a ze under the elephant mountain; to be vain, there is a ze on the elephant mountain." The book is not exhaustive, and it is written with imagery. He also said in the "Map of the Landscape of The Dashan Mountains and Rivers of the King of The Bawang": "Those who have elephants outside the elephants are also humanities; therefore the river pictures are clean and dry, and the kangen is listed and the mountains and rivers are covered." Be righteous, cover the work of holiness. Therefore, the gentleman cultivates virtue with fruit, and the spring comes out from under the mountain. Wang Junda asked to be the elephant of the mountains and rivers... Only the truth is the smallest, but the image is the most important. Here, landscape painting and Menggua are linked, coinciding with Shi Tao.
Qing Shi Tao Landscape
Shi Tao's meaning is not to climb a high relative for the source of landscape painting, but to better express his painting ideas through the easy image of "small name and large class". The Zhou Yi begins with the Qiankun two gua, the dry is the pure yang of the gua, and the kun is the pure yin of the gua; and the TunMeng er gua follows, and the Tun Meng is the opposite, and the meaning is interconnected. There is a sign of "rigidity and softness that begin to intersect and it is difficult to be born", because "things are born and are not understood", which is expressed in the "heavenly creation of grass" mentioned in the Yanchuan. 屯,篆作,說文》:"屯,Difficulty, like the beginning of grass and trees, Tun but difficult. "The buds will be exposed, and there will be an initial image. And meng gua also has the meaning of obscurity and ignorance. Therefore, the "Preface" says: "Things must be born of blindness, so they are blinded, and those who are blinded are also blinded, and the immature of things must not be nurtured." Zhu Xi explained the clouds: "Meng, Obscurity, the beginning of the birth of things, ignorance is not clear." The Heavenly Grass Obscurity and the Obscure Obscurity both express the original state of life, and it is easy to emphasize the origin of life and the beginning of life.
Qing Shi Tao Landscape
This meaning was inherited by Shi Tao, who believes that the creation of landscape painting is not to smear the external appearance of the landscape, but to penetrate the depths of the landscape, pay attention to the factors that the landscape originates from the beginning of the landscape, which is also the "original of the object of the clear object" in the theory of Chinese landscape painting, this theory emphasizes that the creation of landscape painting should be the original, in the beginning, the creation of landscape painting should not lose the "heaven and earth true yuan meteorology", and use the mentality of "swimming with the yuanhua" to create landscape painting. Shi Tao did not want to repeat the customary expression of ancient painting, but used a "Mongolian" character to express his concepts, but in essence, his thinking was consistent with the ancient painting thought of "the origin of the ming object".
It is in this sense that Shi Tao sometimes refers to Meng as "Tianmeng". He said: "When writing and painting, if you have not dropped the pen, first use the gods to meet, and when the pen is dropped, do not be urgent, do not be sluggish, do not sharply cut, do not scatter the gods, do not be too shu, first think of the heavens, the mountains and rivers, the location of the forest, not the place behind the tree, into the forest out of the earth." With my arrogance, not within the mountains and rivers and trees, its spirit is controlled outside the mountains and rivers and forests, and the essay falls, and it is free to be spontaneous, to be self-righteous, to be sympathetic everywhere, to be awake everywhere, to live everywhere, to get rid of the hand of the cage of heaven and earth, and to return to nature. ”
Qing Shi Tao Landscape
In Shi Tao's view, this "Heavenly Mask" is the natural principle of the mountains and rivers. Chinese philosophy believes that everything under the heavens has its own form, but it is unified and has a yuan, and it is based on one principle, as Guo Xiangyun said: "Its form is different, and its shape is the same." "The heavens and the earth are uneven, and the reason is consistent." Shi Tao is deeply rooted in the essence of Chinese philosophy, and his Heavenly Wisdom is the nature of all things in mountains and rivers, or what he calls the principle of mountains and rivers, and his so-called "reason" cannot be expressed in concepts, but the yuanhua spirit of heaven and earth, he said: "Calligraphy and painting are not small paths, and the world is like ears." Out of the pen chaotic open, into the clumsy clever death. The law is endless, and the law is full of reason. The law of reason has not been passed down, and the ancients had no choice. Reason is the way to criticize the unusable concept, and it is a last resort. He sometimes uses "quality" to express this principle. "Painting Quotations : Yamakawa Chapter": "The one who gets the reason of qiankun, the quality of the mountains and rivers; the legislator who gets the pen and ink, the ornament of the mountains and rivers." Knowing its ornaments rather than reason, its reasoning is dangerous; knowing its quality is illegal, and its law is small. Therefore, the ancients knew that they were in a slight danger, and they would be one. If there is no clarity, then all things are obstructed. If nothing is clear, then everything is together. The principle of painting, the method of the pen, but the quality and decoration of heaven and earth. "Mountains and rivers are the unity of "quality" and "ornament", "quality" is the essence and "ornament" is the end, "quality" is the reason, or "heavenly mist". "Quality" is one, "ornament" is ten thousand, "quality" is the essence of all things, "ornament" is the chaotic form of mountains and rivers, all things are in one sense, and one birth is born of all things, so Shi Tao has the theory of "one reason is possessed, and all reason follows".
It is precisely because "Tianmeng" is the origin, origin, reason and quality of mountains and rivers, so Shi Tao believes that it is extremely reasonable for painters to understand mountains and rivers when painting. Shi Tao said: "The painting method is not involved, it is necessary to know the rigidity of the form; the cultivation is uneven, and the mountains and rivers are known in vain." The "Qi" of "Qi" of "Mengyang Qi", such as zhuangzi Qi Of Qi, that is, Qi tong of all things, naturalized And cultivated, straight into the nature of mountains and rivers. If you cannot go deep into The Heavenly Mist, then your mind is only "within the mountains and rivers and forests", and "you know the knots of the trees" and you cannot "control the spirit outside the mountains and forests". So he said: "The natural principle of the hills and valleys, the pen and ink meet the scenery and the source; with the intention of the Tibetan front, the harvest is boundless." ”
Qing Shi Tao Landscape
2. Hongmeng - the relationship between cultivation and a painting
Shi Tao introduced the concept of Mengyang in order to deepen his theory of painting, and his Mengyang is yuanqi from one point of view.
He talked about the problem of mengyang in an inscription, saying: "When writing a painting together, you must know that there is a mengyang. The mongols are unable to do so because of the ancients; the nourishers are too simple to disperse. Those who do not scatter their parents cannot be blinded. He has not been inked, but he has thought about it before he has been enlightened; he has written and reviewed his cultivation. Thinking of its enlightenment and judging its cultivation, it can enlighten itself and the whole ancient, it can change itself and it cannot, and it belongs to the path of cultivation. ”
Qing Shi Tao Landscape
This inscription deepens the content of the first chapter of the Painting Quotations. The opening chapter of the "Painting Quotations" reads: "Too ancient cannot be, too simple is not scattered, too simple is scattered, and the Law is established." Where does the law stand? Stand in one painting. A painter, the foundation of all beings, the root of all things, see for God, Tibet for man. ”
Comparing these two paragraphs, we can see that "too ancient can not be, too simple to scatter" is before a painting. "Too ancient can not, too simple not scattered" is the Tao, is nothing, but it is not absolute emptiness and nothingness, but pregnant with existence, so there is a painting born. The relationship between Taipu Taigu and Yihua is like the difference between "True As Gate" and "Birth and Death Gate" in the Mahayana Theory of Faith, "True As Gate" is the nature of immortality, "Birth and Death Gate" is the change of birth and death, true is the body of one heart, birth and death is the use of one heart, the two are integrated and inseparable. "Taigu can't, too simple is not scattered" is the body, is absolutely treated, beyond time and space, and a painting is used, is out of nothing, Shi Tao likes to use the concept of seeds, if "taikoo can not, too simple is not scattered" is the earth that gives birth to life, then, a painting is the first seed of life that appears in this earth, a painting is his emotional seed, pen and ink seed.
Qing Shi Tao Landscape
Shi Tao said, "The Mongols cannot be separated because they are too ancient; the nourishers are not scattered because they are too simple." It can be seen that mengyang is the Tao, nothingness, is the creative element that breeds seeds, Shi Tao's painting emphasizes one painting, a painting is cultivated by Mengyang, and Mengyang is the origin of its painting and the origin of its image. Here, we notice the three concepts that Shi Tao introduced: Hongmeng, Chaos, and Chaos.
In the inscription, he said: "Through the principle of greatness, it can leave the wonder of hundreds of generations." "Painting Quotations • A Painting Chapter" Yun: "This painting has exhausted the vast expanse, that is, hundreds of millions of pens and inks, and there is no beginning with this and ending here, but the ears of the listeners are taken." ”
Qing Shi Tao Landscape
He also used the phrase 氤氲 many times, and he believed that heaven and earth were a space of wandering and wandering, the so-called "heaven and earth are beautiful and beautiful, and the four hours are hanging in the twilight." In the "Quotations of Paintings", he specially listed the "QiYun Chapter", and his cloud: "Pen and ink will be for the sake of the yin; the yin is not divided, it is for chaos." ...... Painting to people is easy to draw. The meeting of pen and ink, the division of dissolution, the elimination of chaos hands, the transmission of ancient and modern, a family of its own. It is also the wisdom of all. He also said, "From one to ten thousand, from ten thousand to one." The power of the world is complete. ”
Shi Tao used the word chaos many times, and he said in the inscription: "The pen is chaotic, and the clumsy and clever death." In the Quotations of Paintings, he said, "Chaos is not divided, it is for chaos." Who is the one who breaks the chaos, who gives up a painting? "The scale is replaced with hairs, and the chaos emits light." He likens painters to painting as "breaking through the hands of chaos."
Qing Shi Tao Landscape
These three concepts are important concepts in Chinese philosophy, Hongmeng is from "Zhuangzi Zaiyu", which has the words "The cloud will travel eastward, passing through the branches of the swaying and seemingly suitable for Hongmeng", "Huainanzi Qizhenxun": "Lifting the heavens and the earth and entrusting all things, with Hongmeng as the pillar of scenery, and floating without cliffs." "Hongmeng is a description of the original state of chaos in heaven and earth. The word 氤氲 comes from "Zhou Yi", "Zhou Yi Zhi Xia Biography": "Heaven and earth are full of alcohol, and all things are alcohol." Zhang Zai of the Northern Song Dynasty developed it into a philosophical concept, "Zhengmeng Taihe": "The so-called Tao of Taihe, which contains the nature of floating and sinking, rising and falling, and moving and static, is the beginning of the birth of life, swing, victory and defeat, and bending and stretching." Wang Fuzhi explained: "The nature of Taihe and unsaltered. He says in Book 6 of the Outer Biography of Zhou Yi, "Oh! It is a virtue. And the meaning of chaos is similar to that of Hongmeng, such as "Liezi Tianrui": "Chaos is simple." Oniguchi: "Shinto chaos is one." It can be seen from this that although these three concepts are expressed differently, the meanings are very similar, they all express the simple and pure state before the heavens and the earth are divided, chaos, Hongmeng, and Qi are not created, yin and yang are not dispersed, and here is the abyss of the creativity of heaven and earth.
Qing Shi Tao Landscape
In order to blindly pursue innovation and avoid clichés, Shi Tao's "Painting Quotations" rarely talks about qi, but in fact, his arguments are all on the ancient Chinese philosophy of gasification. The concepts of Hongmeng, Chaos, and Chaos that he introduced can all be called the Yuan Qi of Heaven and Earth, the origin of the existence of all things, and the root of the yin and yang qi. In the Chinese Yuanqi philosophy, Yuanqi precedes yin and yang, the so-called "one qi ear through the world", and in Shi Tao's view, Qi, Hongmeng, and Chaos also precede one painting. The painting he spoke of was the beginning of the creation of breaking through the void, chiseling through the hongmeng, and opening up chaos. A painting comes from Hongmeng, and from the Metamorphosis, Hongmeng is revealed through a painting.
Qing Shitao Landscape Color on paper
47.5 x 31.3 cm Collection of the Museum of Fine Arts, Boston
Shi Tao's words are nurtured, not only highlighting the characteristics of his life nature, but also emphasizing the chaotic structural characteristics of his clump. This is a clever internalization of traditional Chinese philosophy. Meng has the meaning of nothingness and ethereal in Chinese, "Chu Ci Huaisha": "Xuanwen is in a secluded place, and Meng is not in order." In ancient Chinese myths and legends, there is a saying that the sun comes out of the Yang Valley, rests in Fusang, and is too blinded to the wilderness, and the Huainanzi Dao Yingxun also has the so-called Menggu Land: "Lu Ao swims in this sea, through the Great Yin, into xuanxuan, as for the Menggu." "Yang Xiong imitated "Zhou Yi" and wrote "Tai Xuan", and Tai Xuan had five virtues: recklessly blind to the underworld, among which there was Meng. "Huainan Zi Spiritual Training": "When there was no heaven and earth in ancient times, only the image was invisible, the invisible, the muscular, the mang, the mo, the cave, the moky, the two kinds of mixed life, through the heavenly camp, Kong Hu did not know its ultimate, and it was known that it stopped, so it was not yin and yang, separated from the eight poles, rigid and soft, and the great things were formed." ”
Shi Tao introduced the concept of Mengyang, from one point of view, that is, to emphasize the return to Tianmeng, back to the trance and the vague State of Hongmeng, so as to take the yuan qi of creation and develop it into the form of yin and yang in painting. His main purpose is to illustrate the truth that pen and ink are taken from heaven and earth.
▲ Shi Tao Nanshan is Shou
Third, Tong Meng - the idea of artistic authenticity
In Chinese, there is the so-called anti-training method, that is, a word can have two opposite meanings, such as falling, which has both the ultimate meaning and the beginning meaning, such as the fall of completion. In the view of "Qian chisel degree", the "easy" of "Zhou Yi" has both the meaning of "change" and the meaning of "not easy". For the phenomenon that opposite meanings are common to the word, Chinese do not feel difficult to understand. Shi Tao was also very familiar with this tao. His "Quotations from Paintings" adopts the method of counter-training in many places.
Shi Tao uses "Meng" in the completely opposite sense. As the heavenly enlightenment, it is the original spirit of heaven and earth, the Hongmeng state of incarnating all things, and it is a natural world that does not mix with the concept and will of man. Shi Tao believes that painting creation must follow this original spirit, the so-called "random hair, self-made Heavenly Mist, everywhere empathetic, everywhere awake", Tianmeng is the quality of all things, is the internal force that controls nature.
▲Shi Tao Songfeng stream water map
The other meaning is ignorance. Blindness is ignorance, a state of contamination, a dark mind, and a sluggishness in writing. "Painting Quotations · The Fa Chapter": "The world knows that there are rules, but does not know the meaning of the husband's rotation." The law of this heaven and earth binds man, and the law of man's service is in Mongolia. The "Meng" of "serving the Law in Mongolia" is a dharma obstacle, and the mind is drowned in heavy shackles and it is difficult to extricate itself. The "Chapter of The Vulgarity" says, "The fool is the same as the common man." Foolishness is wisdom, and vulgarity is clear if it is not splashed. The cause of the world is foolishness, and the cause of foolishness is ignorance. Here, the meaning of ignorance and ignorance is also meaning, not to say that it is ignorant, but to refer to the dust of the soul, which is caused by the world, so it is far away from the dust. In 1667, Shi Tao said in "Mr. Shimen Zhong Yuxing's Poems of Contempt": "The eyebrows must be counted, and the light is shining and cold." Turning over stupidity, grateful to destroy the heart and liver. "Foolishness" here also refers to ignorance.
▲Shi Tao Matsuyama hut
Shi Tao said: "The blind man, because of the ancient times, cannot be blinded, and here it is said that "the law of service is in the mongolian", it is impossible to be enlightened, and there is also a dharma, but this is not the mist, the former is the mist of the original, the latter is the mist of the dust and impurity; the former is naturally revealed because of the blindness, the latter is obscured by the blindness; the former is the true and innocent body, the latter is the false and unreal use; the former is blind and not ignorant, and the latter is stupid because of the blindness. Here, Shi Tao unified the two meanings of The opposite of Mongolia in one word, and skillfully conveyed his own thoughts, that is, to remove the Mongolian with the blind, to be unable to have the law, and to be clever with simplicity.
Shi Tao should return to the Mengyang Dao, and he should "Qi Mengyang", that is, use the path of the original to enlighten the heart of the dust. "Mengyang" is an abbreviation of "Mengyi Yangzheng" in the Zhou Yi, and "Mengyi Yangzheng" can be understood from two opposite aspects: one is to enable the ignorant to be corrected through cultivation (education); the other is to cultivate enlightenment, which is not the object of enlightenment, but is used to enlighten people. The Yi Chuan tends to be the first meaning, so the Preface has the saying "Meng, Zhi Ye". The Biography says, "It is not I who ask for tongmeng, but tongmeng who begs me." Therefore, it has always been explained that this gua pays more attention to the content of its teaching and learning. Cai Qing's "Notes on the I Ching" says: "In the Mongolian bento should be the seeker of enlightenment, and in the ming should be the enlightened." "The Mong here is an object in need of enlightenment.
▲Shitao Songxi Hut
But this gua liu wu yan said: "Tong Meng, Ji." Xiang Yue: "Tong Meng No Ji, Shun Yi Xun Ye." Cheng Yi's "Biography of The Zhou Yi Cheng Clan" Volume 1: "With the pure one undeveloped and its righteousness." Cheng Yi's explanation opened up another important line of thought, that is, to cultivate the heart and to correct oneself, which is no longer an object that needs enlightenment, but a natural avenue of pure harmony. This idea reflects an important element of Confucianism. "The Book of Poetry, Zhou Song, the Destiny of Wei Tian": "The destiny of Wei Tian, Yu Mu is endless. In the inconspicuous, the purity of king Wen's virtue. The virtue of heaven and earth is pure and not miscellaneous, and it is not lacking, so the "Zhongyong" says: "The reason why this heaven is heaven is heaven" is the essence of heaven. Chinese philosophy returns to heaven and expresses a kind of moral pursuit in the world. The idea of returning to Tong Meng that Shi Tao emphasizes here expresses a kind of artistic realism.
▲Shi Tao Songyin read the picture
In Shi Tao's view, Meng in a certain sense is a kind of childhood, that is, the truth, Shi Tao does not think that the painter goes deep into nature, is to enlighten the ignorance of nature, but to enlighten my ignorance with the way of Hongmeng, in his view, the original state of nature is a kind of childhood, just like Lao Tzu said "the heart of the baby", Li Yan said "the original heart of the first thought", it is true and innocent. The painter who is in the world is in obscurity, losing the principle of chastity, and the painter's ordinary mind still needs to be improved, purified and deepened, because impurity is not pure, lack is not prepared, resulting in spiritual ignorance. Shi Tao wants to use the pure and undeveloped Enlightenment to dispel the ignorance that is drowning in the world, so as to help him learn and cultivate his righteousness.
It can be seen from this that what he called "having never been inked, but first receiving his enlightenment, then writing, reviewing his cultivation, thinking about his cultivation and judging his cultivation, being able to enlighten himself and the whole ancient, and being able to transform himself into the Fa." It is the return to the principle of pure oneness, and this is the true meaning of his "cultivation of righteousness"—the obscurity of the spiritual cultivation in the heavens of pure oneness and impurity.
To sum up, Shi Tao's concept of cultivation includes various meanings such as Tianmeng, Hongmeng, and Tongmeng, but the basic meaning is to emphasize the return to the Heavenly Dao, and to maintain the cultivation of disposition with the principle of chastity and unadulterated, so as to achieve a harmonious state.
▲ Shi Tao (paragraph) Song crane hermitage map
two
About life
"Life", as a painting term, is also its originality, although the ancient theory of painting has also been involved in, such as Yun Nantian, who was roughly at the same time as it, said in the "Nantian Painting Trek": "Zijiu looks, lives in scattered places, and its pen intention is inadvertently made up." But Nantian did not regard "life" as an independent pictorial term, and his meaning was not the same as Shi Tao's. Shi Tao deliberately created "life" as an independent pictorial term. The term "life" is a synthetic word that has existed for a long time in ancient Chinese, and Shi Tao has injected rich pictorial connotations into it, making it a concept as opposed to "Mengyang". In the "Quotations of Paintings", Shi Tao raised the question of "exercising the right to cultivate life", believing that to express all things in the mountains and rivers, it is necessary to understand the "big end of life". He said that "Mo Fei is not nourished, and the pen is not a god of life", so in his view, the tracking of "life" has also become a compulsory lesson for a painter. Shi Taoyu "life" to a very high position, he said that he should "establish the spirit in the sea of ink, and decide life under the pen", he said in an inscription: The high state of painting lies in "being empathetic everywhere, being awake everywhere, and living everywhere out of dust". "Life" is the lofty aesthetic ideal of painting, and painting "life" is self-exalted.
Shi Tao's "life" and the meaning of the phrase "life" spoken by today's people are obviously different, and the "life" spoken of by today's people is human activities, people's way of life, etc. The main meaning expressed by Shi Tao's concept of "life" is not here. How to explain "life" as Shi Tao said is a very divergent opinion among researchers today. Huang Lanbo takes "life" as "life experience", and when he explains that "the pen is not life and not god", he said: "It cannot be deified without a rich life experience with the pen". Li Wancai also believes that "life" is a rich life experience. Yu Jianhua believes that "life" is "to experience the meaning of things", and he interprets "the exercise of life" as "having a profound experience of life". Han Linde believes that "life" is "emphasizing the diversity and difference of the forms of movement of the life force of all things in nature". Yang Chengyin said: "Life is the specific aesthetic attribute of nature, mainly the visual external beauty." Wu Guanzhong said: "Life should refer to the complex and diverse forms of Vientiane"
▲ Shi Tao Xiqiao Cangcui Tu, made in 1694
The above research has great inspiration for me, but I think that Shi Tao's "life" does not refer to a rich life experience, although such a conclusion is in line with his idea of "searching through Qifeng to play a draft", but it is inconsistent with the connotation of "life" to express; at the same time, I also believe that "life" is defined as the vivid and lively beauty of the external form, this explanation only says part of the connotation of the word "life", and has not yet touched the core meaning of this concept, because in Shi Tao's view, the word "life" is by no means limited to external sensual beauty. The external sensual beauty is only a kind of appearance, the external "ornament" of things. In order to illustrate my views on this concept, allow me to sort out the rheological situation of the use of this term in ancient China.
In Old Chinese, the word "life" is a familiar word, and it has three main meanings:
First, the same as "birth", that is, settling, surviving, and surviving, in terms of the state of existence of living beings.
For example: "Mencius Dedication": "The people are not water and fire, do not live." Zhao Qi's note: "Water and fire can give birth to people." "Life" here means "to be born," that is, to survive. Book of Han, vol. 25, "Suburban Ancestral Records": "The Ji people, the lord of the hundred valleys, so the Fengzong Temple, the prosperity of the Gongzong, the people so live also." "Man lives for the sake of food", that is, man depends on food for a living. "Romance of the Three Kingdoms, Biography of the Five Sons of Wu Lord": "And bid farewell to Ji Zhang, Zhang Yue: Ji Qiang should follow, and eventually live inappropriately." "Life" means life, to live. Part II of the Taiping Jing: "A small emergency, the one who has hairy feathers and scales lives, but the worms also live." In the Buddhist scriptures, there are many people who take "life" as the meaning of life existence, such as the "Buddha's Sayings of the King Sutra": "All insects contain blood, all contain life, and they should not be killed." Book II of the Ten Dwelling Sutras: "Flying Confucianism and form, one foot and two feet to a hundred thousand feet, all evil depend on the earth and live." ”
▲ Shi Tao Frost Forest Support staff diagram
Second, refers to the vivid and lively rhyme.
Zhu Zi Yu Class, vol. 97: "The heart wants to live, it is the life of life, and it is said to death that living is heavenly reason, death is human desire, and there is no way to go around, and life is like this." Chen Chun's "Beixi Complete Works" volume 17: "In the end, after the end, I saw those who had mountains high but the caves were thin and shallow, and there were those who had very good mountains and poor soil colors in the caves, such as dead and dead, and those who had no intention of living." ”
3. Refers to specific life and activities, which are roughly equivalent to the meaning of life spoken by people today.
For example, in the "World Speaks New Language, Appreciation of Praise Eighth": "When people asked Wang Changshi Jiang's brothers to follow, Wang replied: All the rivers are self-sufficient. "TortoiseMon 'Reward ... One Hundred Rhymes: "If you covet benevolence and righteousness, you will not have time to live." ”
From the above three meanings, the word "life" is related to life, life is the original meaning of life, it refers to the existence, state, characteristics, etc. of life, and the term "life" used by people today is also derived from the meaning of life, which is the unfolding of life activities. All living beings can be called "life." In ancient Chinese, "life" and "life" were used interchangeably, as in volume 32 of the Seven Notes of Yundi: "Therefore, those who move to the dead place are too thick to seek life." This phrase is written in the fiftieth chapter of Lao Tzu: "There are also three places in the life of man, and there are three places where he moves to death. With its raw thickness. ”
Looking at Shi Tao's "life" from the background of ancient Chinese, it can be found that Shi Tao uses the ancient meaning of the word "life", and his "life" means the same as "life", which is what people call "life", and only from the perspective of life experience or from the perspective of the beauty of the external world is not enough to express the exact connotation of Shi Tao's "life".
▲Shi Tao Landscape
In connection with Shi Tao's overall painting theory system, I think that Shi Tao's term "life" mainly contains three important meanings:
One refers to the living state of all things, that is, the lively meaning emphasized by Song Ming Theory.
Shi Tao believes that the art of painting must have a lively rhyme, all rigid, dead, static expression is not similar to this aesthetic ideal, painting should have a lively spirit, let people look at it and move, he said: "The ancients intended, the pen is alive and ink, horizontal and vertical, empty and practical, light and heavy, all out of the middle finger of the wrist, its fingers are in the pine, the pine, the change of the innate nature." Shi Tao used the phrase "raw noodles" to summarize this kind of living incense, and the so-called "raw noodles" is a vivid and lively external rhyme. Chapter IX of the Fa Fa: "The pen is also in the fa, and the face is also open." If the mountain is shaped, its open surface is not at one end. The world knows its wrinkles, but it loses its face. Even if it is a mountain, what is there in the mountains! The so-called "peak also has its shape, is the face of the peak", the face of the mountain, this "face" must be "raw face" - that is, the lively external appearance.
Two fingers of vitality. That is, the "potential" of life and life that is connected to each other and stirs with each other.
Shi Tao was influenced by the Chinese philosophy of gasification, believing that heaven and earth are a space for an air flow, and the qi is divided into yin and yang, and the yin and yang are swaying, which constitutes the internal tension, which is the "potential". Shen Zongqian said in the "Mustard Boat Study Painting Compilation": "Because of the heavens and the earth, once it is opened, it will be completed. "The way of pen and ink is all about the potential, the potential, the back and forth between the opposite, that is, the opening and closing of the meaning." The central meaning of "potential" is "vitality and vitality", and Xiong Shili calls this change of opening and closing "changing into change". What Shi Tao expresses here is the opportunity to open and close, the change of the momentum, and the momentum of the friction. In a specific explanation of "life", he fully expressed this meaning: "The concreteness of all things in mountains and rivers is negative and positive, partial and sideways, gathering and dispersing, near and far, inside and outside, virtual and real, broken and connected, layered and peeling, abundant, ethereal, and the big end of this life. The "big end of life" here is not the specific image of the mountains and rivers, but the "potential" contained in the form of the mountains and rivers, Shi Tao's so-called "there is a reverse and a positive" and so on, which is intended to emphasize that nature is originally an organic life body that oscillates with each other, and the "potential field" formed between the living bodies forms a great life tension, and painting must pursue this tension.
▲Shi Tao Landscape
Shi Tao pointed out that there is a characteristic of "circumference and circulation" between all things in the mountains and rivers, and the eighteenth chapter of the Ziren Chapter: "The appointment of non-mountains is not enough to see the vastness of the world; the appointment of non-water is not enough to see the greatness of the world." The water that is not a mountain is not enough to see the flow of the surroundings; the mountain that is not water is not enough to see the surrounding. If the mountains and rivers are not allowed, there is no reason for the surrounding flow to be embraced; if the surrounding flow is not embraced, there is no way to live in the cultivation. If there is a discipline in the life of the People's Cultivation, then the Zhou Liu ring has a reason; if the Zhou Liu ring has a reason, then the landscape and water are at will. "Mountains nourish water, water nourishes mountains, and mountains and rivers interact with each other, thus showing the trend of circumference, that is, the flow between life, and the other is integrated, so that "the mountains and rivers are at ease" - all life grows in interrelatedness, and strives endlessly. Shi Tao established his "organic painting view" here, he believes that painting is to discover the inner rhythm of the mountains and rivers, this rhythm is the "potential", as he said in the "Haitao Chapter": "If you get it from the sea, lose it to the mountain, get it from the mountain, lose it to the sea, it is a person who suffers in vain." The mountains are also the sea, and the sea is the mountains. "Why did he equate mountains and seas?" The mountains are quiet, but in Shi Tao's view, "the mountains have layers of mountains and mountains, deep cliffs in the valley, abrupt and abrupt, lanqi mist dew, smoke and clouds, like the torrent of the sea, the swallowing of the sea"; the sea is moving, but in Shi Tao's view, "the ocean is the ocean, the sea contains the flood, the sea roars, the mirage of the sea, the whale of the sea leaps and dragons, the tide is like a peak, the tide is like a ridge", although the appearance of the mountains and seas is different, they all have the potential to move internally. While talking about the potential of spatial change, Shi Tao also emphasized that all life unfolds in time, and he proposed in the "Chapter of the Path": "The scenery is not right for the mountain, the ancient appearance of the mountain is like winter, the scenery is like spring, and this is not the right scenery for the mountain." The trees are simple and moving, and the mountains are like spring, which is not the right view for the mountains. "He sees all objects in the flow of time. The power of life enabled him to transcend time and space and pursue the meaning of life that he wanted to express.
▲Shi Tao Landscape
The third is physiology.
This is the deepest part of life, and the vivid and lively form of the outside comes from the omnipresent vitality within the object, that is, the potential, that is, the inner rhythm of nature. Physiology is at the most core level of the object, is the "quality" that controls natural movement, and the business and vitality rhythm belong to the "ornament". The relationship between the "quality" and "ornament" of the mountains and rivers is the relationship between the Tao and the vessel, the "quality" of the mountains and rivers is the body, and the "ornament" of the mountains and rivers is the use.
A distinctive tendency of Shi Tao's art philosophy is to believe that the essence of heaven and earth is "life", omnipresent creativity. Shi Tao once said, "The mountain is nourished with benevolence." This "benevolence" is "birth." The concept of the unity of life and benevolence in Song Ming's theory had an influence on Shi Tao. Cheng Yi said: "The nature of life is benevolence. Zhu Xi said, "Ren is a raw meaning. Ercheng's disciple Shangcai Xie Liangzuo said very graphically, "He Ye, the one with the heart, is only benevolent." What about the benevolent? The living are benevolent, and the dead are unkind. ...... The core of peach apricot can be planted and born, which is called peach kernel almond, which means to live. Dai Zhen said, "Shengsheng, Renye." Song Mingli attributed the "Yuan" in the four virtues of the Qiangua "Yuan Henry Zhen" in "Zhou Yi" to "Sheng" and "Ren", and the unity of "Yuan", "Sheng", and "Ren" is to emphasize that "sheng" is the original power of heaven and earth, which is the highest virtue of heaven and earth, and the spirit of life is the unity of the spirit of heaven and earth and the moral pursuit of the world.
▲Shi Tao Hanquan cloud depth map
Shi Tao's concept of "life" includes these three levels, which is actually the inheritance of the Chinese philosophy of life. In Shi Tao's concept of "life", business, vitality and physiology are integrated, physiology is the foundation, business is external manifestation, and vitality is the intermediary link from the physiological basis to the business. This concept of Shi Tao reflects the consistent thinking of Chinese philosophy of life. Since the Northern Song Dynasty, the idea of carrying forward life has become the mainstream idea of Chinese painting, and the theory of conveying god with form has gone beyond the prescriptiveness of the vivid appearance of early figure paintings, and instead emphasizes the transmission of the cosmic magic contained in the deep layer of the object, and the theory of vivid qi rhyme has also changed from emphasizing external weather and momentum to the expression of cosmic spirit in the Six Dynasties. Here, we can cite a passage from Dong Kui of the Northern Song Dynasty: "The critic of the world knows: It is wonderful to be a businessman, and to be able to do his best without distorting it. Q: How is the business in place? A: It's nature. When it comes to nature, it is said: Those who cannot be different from the truth, they can do it. And look at the creatures of heaven and earth, one breath luck to turn the ear? Its function is wonderful, and it is suitable for things, and it can be achieved in nature. The present painter believes in the mysterious, square and halo cloth color, seeking to compare things with things, similar and effective, □ order to achieve, all people are established first. How can it be in harmony with nature? Xu Xi's flowering is different from changgong, and its saying is that it can be chaotic and true. If the leaves have a back, the flowers have a low, the flowers are out of each other, the hair is afterrun, and the flowers are bright and elegant, and the flowers are burning, so that people can show off with their eyes, so that only if the business can be done. Zhao Chang paints flowers, which is more physiological than Xi. A barrier to the female workers' township. Dong Kui here divides the performance of painting into two levels: "business" and "physiology", "business" is the external manifestation, "physiology" is the inner spirit, and the highest expression of painting should be the unity of "business" and "physiology", that is, the unity of "quality" and "decoration" that Shi Tao said here.
▲Shi Tao Lotus Peak Diagram
The term "life" more epitomizes Shi Tao's painting ideas of attaching importance to life, and it shows Shi Tao's life-centered painting system from one side. The Chinese philosophy of life believes that birth is the nature of heaven and earth, and everything is born, just as Fang Dongmei said, "Born as a yuan body, and transformed into a behavior." Shi Tao believes that painting should be through the principle of Hongmeng, leaving the wonders of hundreds of generations, and what he calls attribution to one painting is also attributed to the nature of Zhenyi, which is the nature, that is, the creative spirit of heaven and earth. His so-called honor is to respect the spirit of "Heavenly Walking, Gentleman's Perseverance in Self-Improvement"; his so-called "seniority" is to take care of the spirit of life, that is, the spirit of life; his so-called inability is to break all shackles and make the spirit of life (creativity) appear without any delay. Shi Tao's life-based spirit not only emphasizes the creativity of taking the heavens and the earth in creation, but also emphasizes that the formal technique (pen and ink) follows the principle of life, and the modeling space of painting should be a living space. Precisely because of his emphasis on the spirit of life, we see his unusual emphasis on the intrinsic connections of the art form. He said that he wanted to return to one painting, from one to ten thousand, and from one thousand to one, not in quantity, but in the rope between all things and all things, which are connected and endless, so there is a trend of unity. The whole momentum of life is caused by the connection between things and things; it is precisely because things are connected, and the connected things are not the arrangement of the same kind, but are different from each other, so there is potential; it is precisely because it has the potential that there will be movements that collide with each other, and thus become the world of life. Therefore, ten thousand strokes stop at one stroke, and one stroke is ten thousand strokes.
▲Shi Tao Hanshan Stone Trail Map
three
About montessori and life
Shi Tao put forward "mengyang" and "life" as a pair of concepts, and the two are both related and different. In the "Quotations of Paintings", the two related chapters are "Pen and Ink", "Lucky Wrist", "氤氲", "皴法", and "ZiRen", of which "Pen and Ink Chapter" and "Zi Ren Zhang" are the most concentrated. In the "Pen and Ink Chapter", Shi Tao starts from the specific technique and talks about the relationship between "cultivation" and "life"; in the "Zi Ren Zhang", Shi Tao talks about the relationship between these two concepts from the perspective of the quality of poor mountains and rivers and the spirit of heaven and earth. The Pen and Ink Chapter focuses on metaphysical techniques, and the Zi Ren Zhang focuses on the metaphysical Tao. In addition, Shi Tao also pointed out that the implementation of "mengyang" and "life" in painting also has different aesthetic characteristics, he said: "The ink is cultivated with the spirit, and the pen lives in the god." Shi Tao pointed out that "mengyang" and "life" are different, but they are intrinsically related, so he analyzed in detail the characteristics of the integration of the two in the "Ziren Zhang".
▲ Shi Tao Look at the truffle dripping body in 1702
1. Pen and ink
"Pen and Ink Chapter" Yun: "Ancient people, there are people with pen and ink, there are also people with pen and ink, there are also ink without author." Non-mountains and rivers are limited to one side, and people's endowments are uneven. The splash pen of ink is also based on spirit, and the ink of the pen is also based on god. Murphy is not nourished, and the pen is not life. The god who can receive the nourishment of the spirit and do not understand the life is also ink and no pen. The spirit that can receive the god of life, and the unchanging and nurturing spirit, is also the one who has no ink. ”
Shi Tao's statement that "there is a pen and ink" is a major public case in the history of Chinese painting. Han Humble's "Complete Collection of Pure Landscapes" Yun: "Landscapes and rivers are made of pen and ink. And Wu Daozi's pen is better than quality, this is to paint the sage also. It is often said that Daozi landscape has a pen but no ink, and Xiang Rong landscape has ink but no pen, which is not all good. Jing Haocai is the head of the two sages. If you think you can, you will be able to do it all. ”
▲Shi Tao Looks at Nanyue on the river
Shi Tao ingeniously links Mengyang, life and pen and ink, and he believes that painting should combine Mengyang and life, and cannot have a mengyang and lack of life, or have a life and lack of mengyang, which is directly related to the use of pen and ink. Shi Tao pointed out that if you pay attention to the cultivation and ignore life, you have ink and no pen; if you pay attention to life and ignore the cultivation, you have a pen and no ink. Why does Shi Tao associate Meng Yang with ink, and associate his pen with life? I think he used the method of physiognomy, that is, the association caused by the intuitive sense of the phase.
As mentioned above, Shi Tao's cultivation has the meaning of the unopened heaven and earth and the initial creation of the yuanhua. This is associated with ink, because the ink rhyme is smooth and flowing, and it is possible to see the "heaven and earth true element meteorology". Since the Tang Dynasty, Chinese painting has noticed the expression of the painter's feelings about the universe through a refreshing brush and ink. For example, Du Fu's "ink is dripping with obstacles" has been generally valued by later generations of painters, because this poem expresses the deep connection between pen and ink and the universe. Wang Wei's "Treatise on Landscape and Water" praised ink painting, saying that it was "the nature of nature and the merit of creation"; the reason why the Northern Song Dynasty's two-meter Yunshan ink play was regarded by posterity as the authentic of Nanzong painting was that he could express a sense of universe in the ethereal smoke and clouds. Huang Gongwang, who is known as the Southern Sect, is also known as "Like a Metamorphosis Weather" because of his bold and majestic pen and ink. Shi Tao associates MengYang with ink, and his painting background is exactly this tradition.
▲Shi Tao Fishing chart vertical axis
In 1698, Shi Tao inscribed a poem on a work of the Bada Shanren: "A thought of ten thousand years of sounding fingers, washing the empty world and listening to thunderbolts." Shi Tao's meaning is to listen to the secrets of the deep universe through the rhythm of the ink rhyme. Later in Shitao, one of the eight monsters of Yangzhou, Li Kun said: "Qingxiang Dadi is the best with ink. Shi Tao's middle and late works will use ink techniques to the extreme, he often describes the ink color world as "ink illusion", he has a poem: "Every time you paint a stone, forget to sit and forget to sleep." Not to mention that zhuo broke the ancient blue sky. Who can go with their sleeves, the ink illusion is really strange. In his opinion, the ink illusion in front of him was a world of abundance, a clumsy chaos, an immortal Hongmeng. Shi Tao is also very good at water use, his vivid pen and ink interest, often related to his good at water use, he talked about this problem in a painting, he said that the key to painting lies in "three wins": "one changes from water, two luck to ink, three to be affected by Mongolia, water does not change and does not wake up, ink does not transport through, awake is not enlightened, awake is not enlightened, this three victories are also." The ink-colored world produced by ink painting is the Tao he wants to express, so he said: "Pen and ink will be for the sake of chaos, and the ink will not be distinguished, it is chaos." ”。
▲Shi Tao Landscape
The emphasis on the use of the pen is also a major feature of Shi Tao's painting. In the history of Chinese painting, when Zhang Yanyuan talked about the "Six Laws" from the Tang Dynasty, he combined the use of pen and qi rhyme, and the use of pen has always been valued by the painting community. Shi Tao made a new impetus to this theory. Shi Tao associates the transport of ink with the Cultivation of Mengyang, and associates the use of pens and life, and the transportation of ink is more focused on the creation of blocks, so it takes the psychedelic image of smoke and clouds to express the image of heaven and earth as the highest pursuit, so there is the definition of Mengyang; the pen is more focused on the creation of the line, through the flexible change of the wrist, and the twists and turns in techniques such as hooking and folding, so as to achieve the purpose of showing the spirit of vitality and vitality of the world. In the chapters of "Lucky Wrist", "Gong fa", and "Mountains and Rivers" in the "Painting Quotations", the author emphasizes the use of the pen as the center to highlight the status of the line. When commenting on Shi Tao's paintings, the modern painter Chen Hengke particularly emphasized his use of brushes: "Qingxiang's pen force returns to Wanniu, and contains beautiful and miscellaneous rigidity and softness. There is not a single stroke of a thousand strokes, and it must be asked for intentionally or unintentionally. ”
▲Shi Tao Landscape
Shi Tao's connection between pen and ink and the word "fetal bone" is worth pondering. "Zi Ren Zhang": "If you look at the mountains and rivers, you will be appointed by the fetal bone." He believes that under "under the pen and ink, there are fetuses and bones." I thought that the fetus refers to ink and belongs to the cultivation; the bone refers to the pen and belongs to life. Shi Tao said that he wanted to "get rid of his husband", he said: "The mountains and rivers are born from Yuye, and the mountains and rivers are born out of the mountains and rivers", the fetus emphasizes the origin of life, and he is born from the mountains, that is, his life comes from heaven and earth, and the mountains and rivers are born from me, which emphasizes that I am destined to become the spokesman of the mountains and rivers, I come from heaven and earth, but I must return to the beginning of life, and I must be responsible for the heavens and the earth, so as to represent the mountains and rivers. In the painting, the "fetus" is shown, that is, the natural metamorphosis is shown. The bone in the painting emphasizes the formal structure, which is the outline of the contour structure of the landscape, which requires cutting and change, and reflects this "bone" feeling in the gentle and changing lines.
▲Shi Tao Landscape
It can be seen that Shi Tao's nurturing life has its own merits, which are reflected in different aspects of pen and ink. In terms of technique, pen and ink are two factors of formal construction, they are both different and inseparable, so the pen and ink will be inevitable; from a symbolic point of view, pen and ink have their own focus of expression, ink is biased to be nurtured, reflecting the image of heaven and earth; and the pen is subject to life, with the wrist of the spirit, the pen of power and change, with a flexible line to break through the void, flowing out of a long period of life.
▲Shi Tao Landscape
2. God and Spirit
Shi Tao said: "Mo Fei is not nourished, and the pen is not a god of life." "Pen and ink are the implementation of the technique of cultivating life, and the gods and spirits are the implementation of the aesthetic realm. Shi Tao distinguishes between God and Spirit, and he wants to express his special thoughts through this distinction. Shi Tao here involves three different kinds of gods, one is the gods of heaven and earth, the second is the gods of man, and the third is the gods embodied in pen and ink. These three gods are connected in one.
Shi Tao said: "Therefore, the spirit of all things in the mountains and rivers is recommended to people, because people exercise this right to cultivate life. Under the pen and ink, there are fetuses and bones, there are openings and closings, there are bodies that are useful, there are shapes and postures, there are arches and stands, there are crouches and jumps, there are lurking, there are rushes, there are sagas, there are majestic, there are sagae, there are sagae, there are strange cliffs, there are dangers, one by one to do their best and enough to be god! ”
▲ Shi Tao Dong Ting Was Released in 1697
There are several logical links here: heaven and earth are the places where gods are conceived, and all mountains and rivers contain inner "gods", that is, spirits. The gods of heaven and earth are embodied in the endless movement of all things in the mountains and rivers, and the state of the mountains and rivers is the manifestation of the gods of heaven and earth. Secondly, the heavens and the earth "recommend the spirit to the people", that is to say, the painter's picture is against the vibrant nature, everywhere shows the vitality of life, and the spirit of the mountains and rivers hits the painter's spiritual house. Therefore, the painter must "be subject to the god of life, the spirit of enlightenment". As long as you go deep into the spiritual house of the mountains and rivers, you can get the blessing of the spirit of the mountains and rivers before you can paint. Third, the painter has to cultivate the spirit of life in the mountains and rivers, and the paintings he paints will "exhaust his spirit one by one and satisfy his gods".
There is also a difference between why Shi Tao returned his cultivation to the spirit and his life to God. Try to say it now.
Shi Tao believes that in the transportation of ink, it is necessary to embody the aura of heaven and earth, which is influenced by traditional painting theory. Song Zhanghuai said in the after-prologue to Han Huan's "Complete Collection of Pure Landscapes": "And man is the most spiritual person of all things, so he is in the painting, and the one who creates reason can do the best of things, and if he is ignorant of reason, he loses the truth of things, what is it?" Cover the chance of nature also. The nature is the body endowed by heaven, and the machine is used by God. One of the machines, all kinds of changes. Only those who paint and create their reasoning, because of the nature of nature, the subtlety of the object, the mind will melt, the tacit understanding will be moving, waving in a millimeter, and manifesting in vientiane, then the shape is turbulent, and the atmosphere is ethereal. "Heaven and earth have aura, and people also have the aura of heaven and earth, which is the embodiment of the philosophical thought of the three talents in painting. Qing Shen Zongqian's "Compilation of Paintings of Mustard Boats": "To paint in heaven and earth with reiki creatures, and in people to paint with reiki, it is infinite in living things, and paintings from people are also endless." But all are out of reiki, so god has its changes. ”
Shi Tao attaches great importance to "reiki", as he said in the inscription of "Ten Thousand Points of Falling Ink": "From the death of the heart and eyes, the fairy is facing the wind, and the skin and bones force the aura." In an inscription imitating Ni Yunlin's painting, he said: "Out of nature, and an ethereal and clear atmosphere, cold and compelling." In another inscription, he said: "Seeing the earth as real as it is, pointing at my pen." ”
Heaven and earth aura gives people, but it does not enable everyone to extract this aura, because the longer people are immersed in the dusty environment, the less aura will remain in their hearts, and only those who are close to the depths of heaven and earth, constantly listen to the voice of heaven and earth, and use their creative spirit to exude their emotions, so that they can maintain the aura in their hearts and the spirit in their hearts. Such a mind is "illusory" to the aura of heaven and earth and its own nature, and it can be said to be a flash of inspiration for creation; for works created with such a mind, it can be said to convey the "spiritual realm" of life.
Reiki marks the origin of heaven and earth, the origin of human nature, and the foundation of creation, so Shi Tao gives it as the original "cultivation" of life.
He attributed his life to God, which also reflects His special intentions. His so-called "god" theory was obviously influenced by the Zhou Yi. "God" means "several" in Zhou Yi. "The Next Biography of the Lineage": "Zi Yue: Those who know a few things are divine." "Yin and yang are endless, endless, immeasurable, that is, God." God means "wonderful." "The Tale of the Lineage": "God is also the one who is wonderful and the speaker of all things." "Therefore, Yi is to measure the gods of heaven and earth through divination. The meanings of God, Several, and Miao all emphasize a change, and change is the essence of yi, which is, in the words of "Yi Chuan", "God and transformation". Looking at Shi Tao's exposition again, we can clearly find that Shi Tao will use God as the highest state of intention. Shi Tao's discussion on the use of the pen is nothing more than emphasizing the mysterious changes, and he wants to inject the great vitality into the end of the pen, so that the pen can be used vertically and horizontally, running freely, and the gods are wonderful, and the poverty is almost meticulous.
Based on this, I have this conjecture that Shi Tao's spirit (cultivation) and God (life) reflect the relationship between scripture and power, constant and change. Shi Tao said: Everything must have the right to have the scriptures, and if there is a law, there must be a transformation, and once you know the scriptures, you will change your rights, and if you know the law, you will contribute to the transformation. A little reiki is the way of eternity and must be received; thousands of strokes are acts of change, which must be transformed; the aura of being nourished, the way of permanence in the heart; the magic of the gods of life, can change the gods, and the pen walks the dragon and snake. Reiki is the body, and the gods become used, as Zhu Zi said: "The god, the use of the spirit is also." ”
3. Yin and Yang
In the "Quotations of Paintings", Shi Tao often combines cultivation and life. In the "Zi Ren Zhang", he said: "If Zhou Liu can't hug it, then there is no way to live a life." If there is a discipline in the life of the monks, then there is a reason for the circulation; "" is based on the ancient and modern chaos, and the pen and ink are always there, because it is just a matter of being in charge. However, this person sincerely understands the principle of life. The reason why Shi Tao combined the two was because he regarded both as the "quality" of heaven and earth, the "truth" of heaven and earth, so he said: "Because of the merit of cultivation, the exercise of life, and the universe, he has received the quality of mountains and rivers." ”
Why Shi Tao distinguished between cultivation and life from the "quality" and "reason" of heaven and earth, in addition to illustrating the relationship between pen and ink, may also be related to his influence on traditional yin and yang philosophy.
The philosophy of vitality centered on gasification is the core of a theory in the "Quotations of Paintings", and the meaning of one yin and one yang is the basic principle of the "Quotations of Paintings". However, Shi Tao rarely talks about yin and yang in the "Painting Quotations", and there is no explicit discussion of yin and yang that nurture and life. But a closer analysis of some of his statements reveals some news.
For example, he said in the "Chapter of Qi": "Pen and ink will be for the sake of the silk; the silk is not divided, it is for the chaos." The Chaos One, who is that? ...... The meeting of pen and ink, the division of the mysteries, the hand of chaos, the ancient and modern, and its own family. It is also the wisdom of all. ...... From one to ten thousand, from ten thousand to one. The world is transformed into a silken fabric, and the power of the world is complete. "One" is the Tao, it is Tai Chi, it is the meeting of cultivation and life, the meeting of pen and ink, according to the vocabulary of traditional Chinese philosophy, "氤氲" is the yin and yang. Obviously, the emergence of the concept of cultivation and life is precisely the need to express the two poles of yin and yang.
However, what is yin and what is yang, it is quite hesitant, from the perspective of the original weather of the universe, mengyang should belong to yang, life should belong to yin; but from the perspective of pen and ink, fetal bone, etc., it is just the opposite, mengyang is ink for fetus, hazy sweat, should be yin; and life is pen for bone, of which is yang. I still don't know how to understand this, but those who hope to see it have to teach it.
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