Text/Feng Haitao Painting/Li Peijin
There is a passage in The Painting Basket by Shigemitsu, "The dry in the smoke is like a shadow, and the branches under the moon are colorless." The rainy night is dark and dripping, and the wind is swaying. The skin of the veneer is like life, and the planting of the root of the pan is solid. Spring strips are beautiful, summer wood is weeping, frost branches and leaves are zero, and cold branches are trivial. The table is straight and repaired, and the shadows are in line with each other. The rock is ancient, old and bizarre; the stone is sparse and innocent. The mountains are large and weak, and the woods are diverse and sparse. The sand meets, borrowing the bushes of trees to think deeply; the thin road runs diagonally through, and the desolate forest is far away. The sand is like drifting, dividing the water and restoring the village momentum; the trees are like a fence, surrounding the foot of the mountain and lining the mountain. The sand edge is swaying, and the stone defense is occasionally borrowed; the peaks are clouded, and the shadows of the trees are still allowed. "The world thinks that this text is the painting method and composition layout of Chinese painting trees or woods. Few have studied where this statement came from. Therefore, it is mostly believed that it is derived from the interpretation of the paintings of the ancients and sages. Therefore, the world copied and copied the interpretation of this text, and used it in their own landscape paintings. In the long run, landscape painters have made landscape paintings "take this as a model, take this as the basis" and thus develop to today we see landscape painting as the same, more and more unproductive.
Li Peijin's works Dream Qingdao
This passage in "Painting Basket" is actually not about the method of painting trees and the method of layout of landscape painting. Rather, the observation and perception of nature is the understanding of everything in nature. It is the literal expression of what He sees and understands in nature. Therefore, this passage is not to teach the world to learn and use, but to teach the world to observe and to capture some laws and common sense in nature. It is necessary to be able to flexibly apply the phenomena found in nature. Many people should say that in "Painting Basket", Shigemitsu has extracted the changes in the human world because of trees or trees in the mountains and rivers to the extreme, and it is impossible to break through. It is also the most perfect way of expression in the creation of landscape painting. The painter who has this idea has no hope of becoming a painter in his lifetime. Only for the painter also!
Li Peijin's works Dream Qingdao
For example, "the stem in the smoke is like a shadow, and the branches under the moon are colorless" in "Painting Basket" must be like this? Isn't there another way of manifesting or cognition? Is it also understandable, or it can be expressed as "the dry haze in the smoke, the glimmer of the branches under the moon" or more understanding. It's just that everyone has become lazy because of the theory in "Painting Basket" and the extremely detailed painting method, and no longer observes, imagines and understands. I don't dare to try new ways of expressing myself.
Li Peijin's works Dream Qingdao
Here it is recommended that painters have more independent thinking of their own, go out more to observe nature, collect nature, and find their own understanding of nature in the style and observation, so as to establish their own artistic views. In this way, you can stand out from the vast army of painting. The remarks in "Painting Basket" should also be carefully read and understood, but not for the purpose of copying and copying, but for the purpose of learning and borrowing.