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Ming Dynasty Shen Zhou Flowers and birds
1. The traditional "freehand" theory
"Freehand" and "big freehand" have a long history as painting methods of Chinese painting. The term "freehand" first appeared in the Warring States Policy Zhao Ce II, "loyalty can be freehand", which was interpreted as "open expression of the heart". It is a creation that transcends time and space, allowing Chinese painting to preserve and continuously strengthen and display its oriental temperament of "beyond the image". From the pre-Qin to Sui and Tang dynasties, from the Sui and Tang dynasties to the Song and Yuan dynasties, from the Song and Yuan dynasties to the Ming and Qing dynasties, the "freehand" has been inherited and constantly surpassed: rock paintings and faience pottery are fresh and authentic; the ancient atmosphere of jade and bronze gods; Gu Kai's flowing and splendid silk paintings; Wang Wei's thesis that "every painting landscape is intended to be the first of the pen"; Bai Juyi's "Painting Bamboo Song" "Does not originate from the roots and is born from the intention"; Zhang Yanyuan discusses Gu Kai's paintings in "Records of Famous Paintings of Past Dynasties" on "The intention is to save the pen first, painting to the fullest"; Ouyang Xiu's "mind is both shaped and forgotten". The poem "Ancient painting does not paint shapes"; Su Dongpo said that Wu Daozi's painting "comes out of the new meaning in the law".
2, freehand is a spirit
Writing "Yi" is not only the form of literati painting, but also the spirit of literati painting, and also the spirit of all plastic arts in China—including Gongbi painting, court painting, folk painting, sculpture, and decorative painting, all of which are based on the expression of "meaning". Between "shape-likeness" and "god-likeness", more emphasis is placed on "god-likeness" and "god-likeness" is the goal, and the so-called "god" is the author's own perception and pours out the author's subjective "intention" component, "not to see but to meet God", and the human intention is in it.
Ming Dong Qichang Lin Quan Gao Zhi tu
The "freehand" proposed by Chinese literature and art in the world is the most thorough contribution of all ancient and modern Chinese and foreign art to reveal the goals of human art, without exception in ancient and modern China and abroad. The same is true of the West from ancient cliff paintings and faience pottery all the way to modern and contemporary art, but it is by no means limited to one kind of painting, one material, one form and one appearance. It is a spirit that rises from technique to the essence of art.
The so-called "intention to write first", before painting, the painter's overall view of the world, that is, his overall aesthetic view, has long been condensed in the chest, is the accumulation of decades of overall cognition of the world. Touching the scenery, Liu Xun of the Southern Dynasty has the words that "mountaineering is full of love for the mountain, and viewing the sea is meant to overflow the sea", in fact, the overall view of the world at any time and anywhere is touched by the outside world and triggers new views, so it is endless. It cannot be limited to a story, plot props, and national costumes, and cannot be dazzled by these appearances. To excavate the deep relationship between man and the nature of heaven and earth, the so-called "heaven and earth have great beauty without words", people and all things are a big "intention" with life and soul communication. Every stroke is vivid and alive. The highest requirement of freehand writing, every stroke and painting is alive, and it is a reincarnation of life. Therefore, the great realm of Chinese plastic arts with the spirit of freehand is to omit details, pay attention to the key points of life, and directly catch up with the Yuan God outside the image.
Ming Chen Chun Flowers and birds
"Big" is a kind of vertical and horizontal observation that contains the social content of heaven and earth, and "big" is not a one-way street, but is juxtaposed with other ways of thinking and other art forms. It is vertical and horizontal, the overall situation is unified, and the heavens and the earth are integrated. "Big freehand" is not the same as "small freehand", "small freehand" is a technique. The sun and the moon pass through the heavens, the rivers and rivers, and the "unity of heaven and earth and man" is a kind of cosmology. "Big picture" is a kind of vertical and horizontal observation, a comprehensive cosmology that integrates ancient and modern times. It is spiritual and necessarily corresponds to matter, but it is not illusory. "Capitalization" is not material, but "a spiritual existence relative to the material world." If we say that "big writing" is a kind of painting, a kind of matter, and a kind of reality, then it becomes a metaphysical painting method, a painting type, material, and method at the level of the instrument.
Ming Chen Chun Flowers and birds
3. Freehand is the soul of Chinese art
Not only plastic arts, but all Chinese art is freehand: music, opera, poetry are nothing less. Certain song cards, word cards, and performance actions all have certain formats, which represent certain forms. For example, the performance of Peking Opera: a whip is thousands of miles, and the two hands are inserted together to mean "closing the door". Chinese summarize certain contents and forms as "programs" and also become "programs", that is, they do not aim to describe specific objects, but use this agreed procedure to write "intentions".
Therefore, it can be said that "freehand" is the tradition of Chinese art, the spirit, core and soul of Chinese art. Confucius already had the saying that "the saints stand in the image with all their will" (Zhou Yi Zhi Shang); "Zhuangzi? The "Outer Objects" also has the saying of "proud and forgetting to speak"; Lady Wei also said in the "Pen Array Map": "The former loses", "the former of the pen is lost", "the former of the pen is victorious"; Wang Xizhi also said: "It is necessary to deepen the meaning of the book, and the dot paintings are all intentional" ("The Book of the Right Army of the King of Jin"). China's concept of art has always been light on "reality" and heavy on "meaning", leaving many incisive phrases such as "artistic conception", "imagery", "attitude", "interest", "intention" and so on. There are also "intention to write first" and "intention to be outside the words", which are all expressions of Chinese the pursuit of "intention" into the crystallization of language and thinking.
Qing Eight Mountain People Flowers and Birds
4. The Chinese nation is a freehand nation
China is a freehand China, and the Chinese nation is a freehand nation. Freehand is the innate instinct of Chinese, and the characteristic of Chinese thinking is the thinking of "intention". It pays attention to the "enlightenment" and "the way of hearing the tao, and dying at night". China is a nation based on sociological experience, without purely scientific concepts, and disdainful of rigorous scientific or logical argumentation in the larger context. The characteristic qualities of this nation through the essence of apparent perspective make it possible to "meet God without looking", and the function of God in the object is superior to that of other nations. Therefore, Chinese draw conclusions through experience or intuition, Westerners may have to go through a long period of reasoning and testing in the laboratory or study to reach, such as Chinese medicine. Chinese think about things "big" and vague, and westerners think about things "fine" and clear. Chinese art is based on sociology, and Western art is based on science. The benefits of fine and fine, the large and the tend to be transformed, chaotic, endless, closer to the essence of art. The West has no concept of "nothingness", still less "no", and all attempts to reach the so-called "science" through argumentation are in fact the most unscientific in nature.
This is very obvious in Chinese culture and philosophy, and it can also be found in Chinese culture and philosophy. The core of Chinese philosophy is "yin and yang", dualistic opposition, the universe, the world, life, all can not be excluded; heaven and earth, the sun and the moon, profit and loss, things and self, life and death, division, enemy and self, men and women, monarchs, fathers and sons, husband and wife, mood, cold and warm, enduring, enduring, eternal. This is Chinese dialectics, contradiction theory, it is not born from logical thought, but from intuition and experience, in the eyes of Chinese, the world is not only material, but also material and spiritual coexistence. Therefore, except for "Wuji", everything is only relative, but only "Wuji" can art be constantly renewed.
Li Kuchan Fishing Eagle Diagram
This is the characteristic of Chinese thinking, and the core of art is expression. The core is still "intention": to make judgments from one's own experience, and to externalize and express one's own intuition, that is, "freehand". Freehand is right, freehand has no limits.
5, capitalization is a concept
Chinese attaches great importance to "intention". "Intention" is a feeling, a meaning, a thought, an idea. The "freehand" in painting is expressed through "elephant". The so-called "standing image with dedication".
"Elephant" is different from the "shape" spoken of by westerners, who speak of "form" and Chinese "elephant", but in China there are "elephants" and "shapes". "Elephant is invisible", "elephant" means "elephant". Elephants are invisible. The "elephant" of the Chinese is beyond the "form" of the Westerners. The "form" is visible, and the "image" is the "shape" that transcends this visible nature and finally creates.
Zhu Qizhan flowers and birds
It is not a natural "shape", not a "shape" seen, but a "shape" formed by feeling and feeling, and externalized into a processed "shape". This "form" has risen to an "elephant", called "elephant invisible". Formlessness is not formlessness, formlessness is not very formable, formless impermanent, formless and unnatural. It is not a natural shape, not a normal shape, not often seen, but it is tangible, and this "shape" is the shape that expresses the "image", which is the artistic modeling concept with Chinese characteristics. "Elephant invisible" is a Chinese characteristic, and concepts are the crystallization of thought, a philosophical level, and a metaphysical view. "Capitalization" is a kind of "concept", which is thought, thought process and precipitation, and has universal significance in the large category of Chinese art. The concept of "image" and "form" are different, it is a kind of expressive objectivity, an object of expression of "intention" and convey of "intention", so the object of this expression of meaning is not the original form, it is a kind of artificially created form, that is, "elephant", which expresses a concept of man through standing image.
6, capitalization is one method
"Capitalization" is also a method. This kind of "capitalization" as a "method" of Chinese painting category can best be used to illustrate that the "capitalization" in the big concept is a concept and spirit. This method is a small method of concrete historical formation, but it is a concrete and typical example. Let's analyze it for the time being by taking the "freehand painting" of Chinese painting as a side and part, so as to facilitate the study of the problem and further involve the universality of all other paintings.
Zhu Qizhan flowers and birds
Chinese painting is first and foremost an observation method, that is, the "Ten Views Method".
1. Look at the big picture and look at the small law. For example, we are now very close to the object of painting, and we can imagine that standing in the air at a high altitude and looking at the original place can have an unobstructed view of the surrounding environment, among which we are.
2. Look at the Big Law with a small view. It is the opposite of looking at the big and the small.
3. Take the method from afar and take the near. See a landscape from a great distance, but draw a certain part of the landscape very clearly. Because this is the main point, after the large layout is fixed, the details are depicted according to the close-up view.
4. Look close and take far. From a close distance, the painting is a large scene from a distance.
5. Look up and look down. For the object to be depicted is not to look in one place, you can look up, you can look down, you can look at the face.
6. From the table and the inside. To observe a thing, one must not look at its appearance, but grasp the psychology, thoughts, character and inner things of man through its appearance.
7. Observe stillness with motion. To depict a thing, the other person is still, to observe around it, to look around.
8. Observe the movement with stillness. Looking at the Yellow River yangtze river, rushing thousands of miles, people sit on the shore, watch its flow rate, flow, see its morning, dusk, the infinite changes in nature.
9. Mindfulness. To draw a person or thing is not to paint a person or object, but to repeatedly observe and remember, without looking at it as if it were in front of you.
10. Animals with love. When observing and depicting a person, it is not only like taking pictures, but there must be a lot of thinking about this person and understanding of this person. The so-called "mountaineering is full of love for the mountain, and viewing the sea is meant to overflow the sea", giving the object a human emotional color.
Fu Baoshi character
Secondly, the method of expression can be divided into five major techniques:
1. Sketching method. The method of using lines and single lines to outline an object, such as white drawing, etc.
2. Hooking method. For example, the landscape painting is hooked on the side, the outline is outlined, and the structure inside is rubbed.
3. Splash ink method. A large stroke of the pen is like splashing ink and water.
4. Ink breaking method. The splashed ink that has been drawn, when it has not dried, continue to add with water substitute ink, and when it is added, it will penetrate, which is called the ink breaking method.
5. Ink accumulation method. After these pictures are completely dried, it is not enough, and then add ink, called the ink accumulation method.
Fu Baoshi character
Third, the modeling method, that is, the four steps of modeling.
Step 1: Be realistic. Sketching entities, drawing people or landscapes as close to the reality of the object as possible.
Step 2: Trade-offs. Natural objects are colorful, but the author highlights the key points and summarizes them as much as possible according to his own understanding, according to his own ideas, and according to his understanding of the theme. For example, a tree has more than a hundred branches, but it may only be painted on the screen with a dozen branches, as long as it is painted with a rich feeling. Remove the background and highlight the tree, through trade-offs.
Step 3: Deformation. The author remembers the mind, and the more sketches, the more he remembers the content he wants to draw. When painting, the painting of objects is not a thing but a feeling of things, which is created by imagination, the concept of painting is the author's understanding of objects, which may be different from the natural structure, and have strong subjectivity and personal characteristics, so it is called deformation.
Step 4: Forget the form. Do not know what nature is like, the author's grasp of the natural image to the extent of pure fire, how to paint how to paint, the author has forgotten what proportion of its original structure, the author will not heal, and the shape is the inevitable result of long-term creation, so it is called forgetting the shape.
Lee Ke Dye characters
Fourth, use the pen method. There are four realms with pen and ink, of which there are four realms with pen:
1. Persistence. For example, people who write began to be unfamiliar with the structure of the word, red, very serious, meticulous, very persistent.
2. Calmly. Every day to draw red, the next time not to write according to the very calm, even memorized, it is more calm, very easy to write down the words, which will take a long time to get used to nature.
3. Indulgence. Reach the full mind of the number, close the eyes as if in front of the eyes, put the pen as under the hand, do as you please, indulge.
4. Unsentimental. I forgot both. After a lifetime of tempering, nature and self become one, and the source of the mind is obtained in the creation of foreign teachers, and the mind and body are consistent, reaching the state of transformation. The works painted are often accidental and unpredictable, beyond the author's imagination, feelings and experiences, and when they are used as paintings, they think and rush, the pen and ink are like gods, they do not know right and wrong, and even they cannot imagine themselves, that is, they are forgetful.
Lee Ke Dye characters
Fifth, the use of ink method, that is, the use of ink four realms:
1. Light ink bright. As bright as the moon, as light as a cicada wing.
2. Medium ink vastness. Such as black is not black, white is not white chaotic state, the sky is vast.
3. Heavy ink thick. Like the backlight of the moonlight shining on the mountain is heavy and thick.
4. Scorched ink sinks. The ink that is the heaviest and separated by a day is heavier than the thick ink, as thick as scorched paint, few people use it, this ink is generally not transparent, it is bound to die black, so it is called scorched ink sinking to the top.
Lee Ke Dye characters
7, capitalization" is a process
"Capitalizing" is a process. Simply put, capitalization is a complete, normal life process, from the occurrence of development to the climax, all the way to the final completion. This is the same process that a person goes from birth to his youth, adulthood, middle age, old age, and then to death. Capitalization is a process, the so-called "foreign teacher creation, the source of the heart, long-term accumulation, accidental acquisition." With the difference of time, place, environment, climate, mood, etc., different rich effects are displayed, and improvisation, contingency, and unpredictability are indispensable characteristics and important features of "capitalization". For this process, many people have not undergone long-term practice, cultivation and research experience, so they do not attach importance to it, do not understand, or even know nothing, which is inevitable.
Lee Ke Dye characters
"Capitalization" is a process, a whole process of life, like burying a seed in the ground. There are many seeds, but they can't sprout, just as not all people can achieve something when they paint. This is life, it has all the ingredients of life, and the process of capitalization, it is condensed in a very short period of time, all the factors of the author, all the cultivation, all the contingencies are in it, it can happen.
Capitalization is a kind of genius. In short, it is the cooperation between man and nature in heaven and earth. In the process of painting, at any time to the heavens and the earth, time, temperature, air pressure, humidity, sound, light, seasons, including wind and rain, all the occasional coincidences that can be felt in the living environment to make full use of, subjectively, actively and passively combine the operable and the unoppavable, suddenly appear the stroke of God, beyond the human ability to grasp the effect, is a genius work.
If there is no magic brush in the painting, it is because there is no coincidence because of these factors. If it is a coincidence, there may be genius works. The combination of national fortunes, times, economy, popularity, the painter's body, knowledge, state, and country, era, and season may be the perfect time for the birth of a genius.
Therefore, "writing" is an important creative process and life process.
Qi Baishi flowers and birds
Chinese painting is "written" and Western painting is "painted". The painting tools of Chinese painting and the daily writing instruments are brushes. The soft tool of the brush brings infinite possibilities to the painting process, and its effect cannot even be fully predicted before the pen is dropped. The performance of pen, ink, and paper is one aspect, and on the other hand, the mental, emotional and physical state when the pen is dropped will cause subtle differences in the picture. Chinese painting is improvisational, and no one can paint two identical paintings: time-shifting, ground-shifting, air-shifting, and the painting will also move. Therefore, Chinese painting pays attention to one-stop and cannot be interrupted. Western paintings can be written on pencil drafts, while Chinese paintings face a blank piece of paper before they are written; Western paintings can be altered, while Chinese paintings have to start over if they fail. Therefore, Chinese painting emphasizes the "process" of "writing". Arriving at the same destination, the process experience of flying and walking is completely different - "writing" is walking and experiencing, with process significance, rhythm, and life, and the writing is the author's instantaneous state at that time, and it is the "intention" at that time.
Freehand includes "realism" and "abstraction". Realism and abstraction are indispensable elements of painting, but like "life" and "grammar" are not art, they are elements rather than art. "Freehand" is derived from the original form of life, taking the abstract "image" containing the grammatical structure as the goal, and directly pursuing the expression of "meaning". "Freehand" is "big" because of moderation, and the West does not have the concept of "freehand", but there is a concept of "abstraction". "Freehand" is a concept above "realism" and "abstraction", which is the "moderation" of realism and abstraction. Because of moderation, not going to extremes, more inclusive, more "big". It is both imagery and not limited to concreteness, and can express "intention" on a larger scale.
Qi Baishi Flowers and birds
8, capitalization is a system
"Capitalization" is from the inability to have the law, from the law to the inability, thus entering a state of freedom. Therefore, from theory to practice, "big writing" is a complete system.
The theory of "big writing" was first scattered in various literary treatises. From ancient times to the present, Chinese has always paid attention to "big writing", and it refers to literature and art in many occasions. "Wenxin Carved Dragon" has "walking above the rivers and seas, under the mind of Wei Que, the meaning of divine thought is also", "thinking for thousands of years, seeing through thousands of miles", stating that artistic thinking is an imagination and connection, summarizing a state of the artist. Wang Wei of the Tang Dynasty was the originator of the "big freehand" painting method, and Su Dongpo's so-called "on painting in the form of similarities, seen in children's neighbors" explained the importance of form and god very thoroughly. In the Yuan and Ming dynasties, the painting method was very complete. Ni Yunlin said: "Yi pen grass does not seek similarity, talk about the escape in the chest." This is the highest state of Chinese painting, that is, the pursuit of "big writing". Wu Changshuo said: "The old man does not draw shapes. Qi Baishi said: "It is too similar to kitsch, not to be deceitful, and it is between similarity and dissimilarity." ”
Qi Baishi Flowers and birds
In practice, "capitalized", our hieroglyphs are the earliest paintings. Later petroglyphs, faience, jade, and bronze were all ancient fine arts, and even entered the plane painting. It can be seen from the excavated tomb murals that in the Wei and Jin dynasties, Chinese pursued "freehand". Gu Kaizhi's "Roselle Futu" volume, people are greater than mountains, water can not be panned, is completely a kind of romanticism. The paintings of the Tang Dynasty, with fat as beauty, are actually written in the meaning of the Tang Dynasty. The painting of the Song and Yuan dynasties is very developed, so it is relatively far from reality, which is more of a freehand. Shi Tao and Bada Shanren of the Qing Dynasty expressed an emotion, and when they reached Qi Baishi and safflower ink leaves, they were all "big strokes".
Therefore, Chinese freehand painting, like Chinese calligraphy, has a complete system from realism to heart-writing. Specific to a painter, he will show a different mental state with the influence of emotions and extramural factors, and even with the change of weather.
This is the "big freehand" in painting, it is the ultimate and peak of world art.
Qi Baishi Flowers and birds
9, capitalization is a kind of kung fu
As the saying goes, "ten minutes on stage, ten years offstage", painting is also like this. "Da Yi Yi" is a kind of kung fu, like all Chinese kung fu, it requires long-term hard work and accumulation, and only by devoting one's life can it be achieved to create a new "program". "Program" requires effort, and each person's "program" is the carrier and information base of his entire life, life. For the author, "capitalization" is to show a profound personality, to summarize a process of their own, this process is a life. In the last moment of performance, there is a sequence, and there is a kind of kung fu accumulated here.
"Program" is like writing calligraphy, forming a "body", the kind of "body" written by Song Huizong very finely, the kind of "body" written by Yan Zhenqing very thickly, each person's "body" is different, and each person's "program" is different. The "program" procedures spoken of by modern people are different, the order is different, and the feelings for others are different, Yan Zhenqing wrote very generously, and Song Huizong wrote very elegantly. The calligraphy itself has "truth, grass, subordination, and seal", which requires kung fu. People who are not deep in kung fu cannot distinguish calligraphy in this way, so capitalization is a kind of kung fu. Not paying attention to kung fu, only paying attention to the general process is not the same. It is a kind of kung fu, the so-called "frozen three feet, not a day's cold".
Qi Baishi Flowers and birds
10, capitalization is a realm
Every successful artist has to express his own realm. If it is only his own realm, a unique style, there is no height, then it is just a style, can not be called the realm, because the realm involves height, but there is a height and no personality, such as practicing the words of the famous master, practicing exactly the same as him, there is no height, no realm, this is just a style, the writing is very similar, there is a level, but there is no personality, it can only be regarded as copying. The so-called "realm" is to form its own things, but the self-formed things are higher than others, which is the realm.
The realm has to go through a process, and at the beginning this realm is realistic and realistic, it is a relatively objective and natural state, and it has not been sublimated. The second step is to write the heart, to express his meaning by writing the heart, why did he choose this scene and not that scene? Because this scene is more reflective of his own state of mind. Through "realism" and "writing the heart", although the author's own meaning is expressed, this can only reach the same level as photography. This person is taking a warm tone, it is his heart, and that person is showing a cold tone, which is also his heart. However, it is not enough to express one's own meaning naturally on the screen, and finally this realm must be elevated, to a certain style of its own, but at the same time it represents a reflection of the "universal meaning", reaching such a level, which is called the realm. This realm in China can reflect the "Tao"—the ordinary truth of the universe.
The capitalization will eventually lead to "form", "God", "Tao", "Teaching", and "Nothingness", that is, from the "form" and "God" of the pole to the "Tao" and "Religion" of infinity, and constantly transcend to the realm of "nothing" to form a new reincarnation.
Qi Baishi Flowers and birds
Chinese painting has five realms: one is the form, the second is the god, the third is the Tao, the fourth is the teaching, and the fifth is nothing.
A shape: shape is the foundation of plastic art, without form as a carrier, plastic art can not be talked about, what kind of shape is to reflect what kind of meaning. Meaning, image, concept, form, concept, method, content, spirit, taste, style, etc., all start from the form, rely on the form, rely on the form, the so-called "writing God in form", "both form and God", and the shape has the shape of nature, the shape of the eye, the shape of the heart, the shape in the painting, the shape outside the picture. The shape outside the painting is an image, the image is greater than the shape, the "elephant is invisible", the shape of the elephant is not formless, but impermanent.
Two Gods: One of the important tasks manifested by God as a form, the so-called form of God. In the past two hundred years and even the present, the Chinese people have used the perspective, anatomy, optical and physical means of Western law to write about God in form, which is quite simple, with basic methods to quickly practice realistic methods within the category of images, and even more using photographic methods, realistic and natural, the real is "both form and God". However, the god of the object embodied in the imitation of the form of nature is a beginner, the eyes and physical sensations are only, and the gods are written in shape, and there is no difference between China and the West. And the Yuan God who is sensitive to the object, the God of Dementors, the God of The Dementor, the God of The Relic, the Fish Forgetfulness, and the God Writing Form, is higher, and it is not generally possible to reach it. But this is only the beginning of continental painting, and there is no realm to talk about--theosophy, pediatrics also.
Wang Yiting Characters
The Tao: The Tao is the source of all things. The way of Chinese painting focuses on giving up its appearance and appearance, and seeking its essence to seek its origin. There is a road in heaven and earth, and there is a way in life. The way of painting has its own laws, and it is painted for it. The Tao is a category, as a noun can be regarded as an essential law, but also as a verb, that is, on the tao, on the way, is the way, is the doorway, the so-called door of all the wonders. Tao, Xuanzhi and Xuan, we need to abandon the appearance of the form and God, to explore in depth, only by abandoning the appearance can it be possible to enter the "door of all the magic", staying in the "shape of the god" of the appearance of the depiction is not enough, beyond the "theory of form" is possible to enter the "door of the mysterious and mysterious", the Tao is the primary watershed of the ultimate goal of Chinese and Western painting.
The Four Teachings: Teaching is a different summary, different sayings, and different doctrines of different experiences of the seeker in the process of exploration. Tao, mysterious and mysterious, can not be said, can not be said, can not be said, is wrong, this is the responsible attitude of philosophy, while the artist is emotional, improvised, at any time to express the different feelings of the subject. The individual's understanding of the different feelings of the Tao, appealing to art, produces different statements; the expression of sincere psychological feelings, that is, produces different doctrines to teach, and exerts them to teach the world, and also teaches it.
Five days of nothingness: there is no end to art, there is no end to the sea of art, the law of inability, the elephant is invisible, there is no life, there is nothing out of nothing... Nothingness is an indispensable phenomenon and link in the process of changing things that occur and develop in life at any time, and only when things continue to enter the realm of nothingness can things be born out of nothing and live endlessly, otherwise they will suffocate and die and cannot circulate. If you can't enter nothing, you can't enter the existence, and with nothing, the development of art can bring forth new ideas, which is China's transformation from impossible to law, from law to the realm of inability. It cannot be a space of breakthrough, freedom, and multiple possibilities of choice.
Wang Yiting Characters
We should transcend the theory of formism, we must have self-confidence, make discoveries, and propagate our own Taoism and religion through our own paintings, which is the evergreen essence of art. At present, Chinese art lacks the consciousness of Taoism and religion, and needs to think deeply and dig deeply. Taoism and religion are transcendent image, super form, super color, super era, super painting species, and super material, and only by realizing this and constantly entering the cultural consciousness of "nothingness" can it be possible to transcend form and god.
The person I pursue is "the shape of stubborn stone, the quality of old jade, the taste of ancient pottery, and the taste of old tea", which is a deep-seated aesthetic pursuit of Chinese and Chinese art entering Taoism and religion through form and god. Therefore, Chinese art is not "form theology", but "shape God Taoist non-existent".
The five realms of "form, god, Taoism, religion, and non-existence" are the inevitable way to enter the Tao, and only by entering the realms of "Taoism", "Teaching" and "Nothingness" can we point to the ultimate realm of Chinese art, "Great Beauty is True".
Zhou Sicong Characters
"Heaven and earth have great beauty without words", allowing heaven and earth to be in my heart, acting in accordance with heaven and earth, the ultimate pursuit of capitalization is nothing more than this. The goal of the Tao includes the "philosophy" of the West, but the "anthropology" of the East is more important than the "anthropology" of the East, and "anthropology" is the pursuit of more important people above "philosophy". Science seeks truth, humanities seek goodness, art seeks beauty, and "Tao" seeks unity of three. The small seeks small beauty, extreme and personal; the big seeks great beauty, and the great beauty is "authentic". Only when heaven and earth are united, and truth, goodness, and beauty are one, can they be restored to the truth for great beauty, and can Chinese art live endlessly.
"Da Yi Yi" is the ultimate goal and ultimate realm of directly "great beauty as true" through the five realms of "form, god, Taoism, religion, and non-existence", and is followed by a cycle of repetition, endless life, generation after generation, and even "wuji".
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