Jianyin examines the restoration of the calligraphy work of the Sui Longzang Temple Stele
Jianyin restored and re-engraved the "Sui Longzang Temple Stele" to reproduce the original appearance of the Kai Emperor
Jianyin re-engraved "Zhending Ten Fang Linji Hui Zhao Xuan Gong Grand Master Dao Xing Inscription"
Jianyin re-engraved Zhao Mengfu Fengfeng's "Linji Authentic Monument"
Inherit the cultural character of the classic script
Seal
Mr. Xu Yu, an advisor to the Chinese Calligraphers Association, wrote in the "Outline of the Present Kai": "The script is the trunk, and the calligraphy and cursive writing are the branches and leaves. Only when the trunk is tall, the branches and leaves can flourish. ...... Therefore, the study and promotion of the development of calligraphy is of great significance not only to the calligraphy itself, but also to the comprehensive development of contemporary calligraphy as a whole."
Chinese calligraphy was born from the text, the text originated from the graphic symbols that is, hieroglyphs, the text and calligraphy have an inseparable relationship since the ancient generation, calligraphy and writing are interdependent and transmutated and developed, is a combination of text and plastic arts. Therefore, the formation and development of Chinese calligraphy art is the result of Chinese civilization that has undergone a long historical period and has been continuously inherited, developed and created by countless calligraphers. The oracle bones and golden scripts unearthed in the Shang Dynasty (about the 14th and 11th centuries BC) are considered by the academic community to be mature, perfect, and unique works of Chinese calligraphy. In this way, the source of Chinese calligraphy art has been bred to produce the brilliant and splendid yangyang grand view of Chinese calligraphy.
First of all, calligraphy is produced from words, is to serve the culture, is to record history, convey the carrier of ideas, oracle bones, bronze inscriptions, stele stone carvings are precious historical materials that record history, carrying important cultural functions, the unique artistic charm of these inscriptions and calligraphy has made these seal books and stele engraved by posterity, spread and enshrined as calligraphy and can be passed down to the world, the artistic achievements of ancient seal books, creating a brilliant future of Chinese calligraphy. The art of writing and calligraphy shines together. Shang Zhou, Qin and Han to Sui and Tang Dynasties, with the development needs of the times and aesthetic tastes gradually produced seals, Li, Wei stele, Sui and Tang Kaishu, most of these are written in the mainstream style of neat and standardized writing style of the official common calligraphy style, that is, the formation of recognized calligraphy, also known as true books, main books.
The writing of Chinese characters has become art because of the richness of its abstract symbol and line structure, which has made the writing of Chinese characters form the three basic characteristics of pen, knot and chapter, laying the aesthetic form of Chinese calligraphy art. From the perspective of Western aesthetic laws, the lines, structures and chapters formed by Chinese character writing have the aesthetic elements of expressive symmetry, balance, density, contrast, change, rhyme, chapter, style, imagery, emotion and other aesthetic elements such as beauty and lyrical imagery, so chinese calligraphy, a unique form of black and white dot and line writing, has laid the foundation for Chinese calligraphy art.
In the long history of Chinese calligraphy, the ancient sages have created a rich variety of calligraphy classics for us, which can be summarized into ancient texts, true books (楷書, 正書), grass, li, seal, and xing. The true, subordinate, and seal all belong to the category of calligraphy. The script has the meaning of model, which evolved from the ancient Lishu. Song Xuanhe (宋宣和書谱): "In the early Han Dynasty, there were kings and subordinates, and they began to write with lishu as letters." After the Eastern Jin Dynasty, the north and south were divided, and calligraphy was also divided into two schools, the northern school of calligraphy, which was called the Weibei calligraphy style with its ancient clumsiness and vigor and fangzheng qirui. Southern calligraphy, longer than the ruler, more round and beautiful, loose and flowing, formed a calligraphy style represented by the "Two Kings", forming the second peak period of Chinese calligraphy.
During the Sui and Tang dynasties, the country was unified, the national strength was strong, and the style of calligraphy gradually became the trend of the integration and unification of the north and the south, and the development of the calligraphy realm of neat and beautiful, solemn and neutral, and the standardization and maturity of the Sui and Tang Dynasties were the peak period of the Sui and Tang Dynasties, and the famous masters emerged, and the "Longzang Temple Stele" of the sui stele became the fusion of the northern and southern calligraphy styles, and the collection of the six dynasties of the penmanship was completed, and the Wei and Jin dynasties were inherited from the Wei and Jin dynasties, and the three Tang Dynasties were lower, and they were known as the "ancestors of the Tang Kai". In the early Tang Dynasty, Yu Shinan, Chu Suiliang, Ouyang Qing, and Yan Zhenqing and Liu Gongquan of the Middle Tang Dynasty were all famous for their calligraphy, and their representative works such as: "Yan LianZhu", "Sacred Order of the Yan Pagoda", "Jiucheng Palace Liquan Ming", "Qinli Monument", "Duo Pagoda", etc. have all reached the pinnacle of perfection, forming the third peak of the Kaishu classic Fa Ti for the past dynasties, influencing Chinese calligraphy and even ideological culture for more than a thousand years.
In ancient times, as the main book body, the calligraphy played an irreplaceable and important role in the political, economic and cultural life of the country, and it is not an exaggeration to say that the script represents the orthodoxy and authenticity of Chinese calligraphy. With its dignified and elegant style, the book has no doubt its respected position in the hearts of the Chinese people and its important position in the history of the development of Chinese calligraphy. Although the cursive calligraphy of the past generations has made extraordinary artistic achievements, it is also enriched and developed on the basis of inheriting and mastering the essence of the calligraphy. Without a solid and comprehensive inheritance of the essence of calligraphy art, there will be no high-grade innovation in calligraphy. However, with the progress of the times and technology, the social practical function of the script has declined and has been criticized by some people.
Qing Kang Youwei gave a high evaluation to the "Sui Longzang Temple Stele" in the "Guangyi Zhou Shuangyi", he wrote: "This monument of the integration of the six dynasties is not the first sui stele alone. Yu, Chu, Xue, and Lu passed on their wills, and the Tang Dynasty only had this ear. After the Middle Tang Dynasty, the Si sect gradually disappeared, and there was no heir in the future generations, and this Yan and Liu ugly winds were defeated! Looking at this monument is really enough to be a changemaker of ancient and modern times. While praising the "Longzang Temple Stele", Kang Youwei bluntly said that the calligraphy after the Middle and Tang Dynasties represented yan and Liu's calligraphy as "ugly" winds. Because of his high prestige in the cultural and calligraphy circles, he influenced the trend of calligraphy, and also due to the decline of the late Qing Dynasty and the fall of the imperial examination, which led to the decline of Tang Kai and the prosperity of Wei Bei. Especially since the 1990s, the popular style of writing with arrogance and carelessness has swept the book world for a while, and has influenced the mainstream status of the book world, and Tang Kai calligraphy has once been ridiculed as a pavilion style or "not art" and despised. Under the guidance of the concept of "play" calligraphy, it can be frequently selected for national exhibitions and awards in just a few years, so that the popular book style is popular for a while, especially becoming a shortcut for young writers to quickly succeed. In contrast, the calligraphy practice of the popular style of calligraphy for more than 20 years, while placing great emphasis on the individuality and attaching importance to the style of form, the timeless cultural connotation, the aroma of the Confucian and elegant scrolls are gradually drifting away, and there are some sloppy and rough calligraphy works that are not formal, scribbled with "clumsy and ugly", and frequently appear in national exhibitions and important media, misleading the aesthetic orientation of calligraphy. It has encouraged the impetuous wind of the book world, with the exhibition as the center, and the calligraphy fever for the purpose of entering the exhibition, so that the "popular book style" is very popular, occupying the main space of the book fair, especially the calligraphy works that pursue personality with "clumsiness" and "arbitrariness", twisting and twisting, messy deformity, this kind of book style that subverts the calligraphy tradition and deviates from aesthetic habits, practice has proved that it is not loved by the broad masses of the people, and is not even appreciated and recognized by most professional calligraphers and scholars, and is often scorned as "ugly book". Works of art that deviate from tradition and are not loved and appreciated by the broad masses of the people are doomed to have long-term vitality and artistic value. General Secretary Xi Jinping's speech at the opening ceremony of the 11th National Congress of the China Federation of Literary and Art Circles and the 10th National Congress of the China Writers Association clearly pointed out: "Advocate the trend of healthy culture and abandon deformed aesthetic tendencies." "If you only want to take shortcuts, seek speed, chase after false fame, fantasize about becoming famous overnight, and get rich overnight, in the end you can only pass the smoke and clouds."
The popular book school so-called: rules and regulations of writing is not art, crooked and twisted writing is the tone of art, that is, the calligraphy is not art, which is a denigration and slander of the art of Chinese calligraphy that has been passed down for thousands of years. Not criticizing it in the long run is bound to come at the cost of losing the cultural character and chia tai atmosphere of Chinese calligraphy! Much like the controversy over Duchamp's inclusion of ceramic urinals as works of art in the early twentieth century, it is a subversion and destruction of traditional aesthetic concepts. History proves that although urinals have handicraft attributes, few people will appreciate and collect urinals as works of art. If artistic innovation deviates from tradition and social aesthetic needs, it is worthless, and it is not as beautiful and practical as urinals.
The beauty and ugliness of art are people's subjective aesthetic feelings caused by objective natural phenomena. There are universally recognized basic laws and principles. Artistic beauty should be a psychological sensation that arouses our senses of pleasure, comfort, uplift, fraternity, strength or warmth, harmony, soothing, tranquility; conversely, dirty, evil, manic, decadent, messy things make us feel ugly. The beauty and ugliness of art works are a comprehensive reflection of the creator's objective aesthetic and subjective aesthetic consciousness, the difference between people's ideological concepts and aesthetic tastes determines the standards and value orientations of the understanding of beauty and ugliness, and the level of the ideological realm determines the level of the art. Any kind of art category will have advantages and disadvantages, and we allow different schools of calligraphy to try and innovate, but we cannot tolerate the arrogance of "ugly books" and manipulate the book world to achieve the purpose of fame and profit.
The popular book style overemphasizes personality and form in art, which is a tendency to deviate from the inversion of the art itself. The so-called personality, the philosophical definition is individuality, individuality, that is, a person's thoughts, personality, qualities, will is different from other people's characteristics, personality is not equal to beauty is not equal to art. Too much emphasis on individuality will cause individuality to deviate from the universal commonality, that is, common social values and aesthetic pursuits. Excessive emphasis on art forms will make art alienated from cultural connotations and appear empty and superficial. Philosophy has always emphasized the perfect unity of individuality and commonality, form and content, as has been the case with all forms of artistic expression.
Chinese classic calligraphy not only has the beauty of form and appearance, but also has the beauty of spiritual connotation, so learning calligraphy cannot simply pursue becoming a calligrapher, but more importantly, it is to learn to inherit the cultural character spirit of the classic works of calligraphy in previous dynasties, such as the solemn mystery of Jin Wen; the xianfeng Dao bone of the Sui Monument, the quiet and deep. Such as the cheerful and healthy, neutral and dangerous of the European body; the ancient and majestic, solemn and strong of the Yan body; the bone strength of the willow body is clear and straight, and the qi is lofty. The calligraphy not only has the beauty of art, but also epitomizes the solemn atmosphere of brightness, dignity and neutrality in the spirit of Chinese national culture. This is very precious, and it is also an aesthetic spiritual wealth that we need to inherit and carry forward.
Studying calligraphy is not only a training that lays the foundation of calligraphy, but also a practice that cultivates the mind. Studying the script can make us calm our minds, temper our will, and cultivate our minds. Not only let us learn the rules of calligraphy, but also let us feel the enjoyment of beauty brought to us by classic calligraphy, to cultivate our humanistic qualities and cultivate our sentiments. Qing Liu Xizai's "Outline of the Art Of Volume V and Outline of The Book" said: "The bookkeeper, such as also, such as his learning, such as his talent, such as his zhi, in short, is just like his person." "Books are like people", that is, the art of calligraphy should express people's learning, talent, and ambition, which is the aesthetic pursuit of calligraphy art by the ancient sages, and it is also the essence of classic calligraphy that has lasted for a long time and has been appreciated and loved by the people of Chinese for thousands of years.
The New Book of Tang states that Ouyang Inquiry "was passed down by the ruler, and people thought that the law was the law, and Goryeo tried to send envoys to seek it", and in the first year of Tang Taizong's zhenguan, he ordered the establishment of the Hongwenguan, and the edict was taught by Ou and Yu, and ordered the Wenwu Jing officials at that time, who had more than five pins and had a certain calligraphy foundation, to go to the Hongwenguan to listen to the calligraphy teachings. It can be seen that the "Ou Yu" script had a great influence at that time and the official orthodox status it had.
Ouyang Qing is definitely not a calligrapher who makes a living by writing, and the "Eight Tips" he put forward in his calligraphy practice contains rich aesthetic ideas and calligraphic pursuits. There are extremely high aesthetic requirements for every stroke, he wrote: "The point, like the falling stone of the peak; the vertical curved hook, like the first moon of the long sky; the horizontal, if the clouds of a thousand miles; the vertical, such as the dead vine of long live; the oblique hook, such as the strong pine inverted; the skimming, like a sword cutting off the horn teeth of the rhinoceros.". He also wrote: "Cheng Shen is quiet, upright, thinking of life with a pen, and Linchi Zhiyi." The false fist is straight and straight, the fingers are in the air, the intention is in front of the pen, and the text is after the thought", indicating the mental state before writing and the expression of ideas in the writing process. He also said, "Do not be wounded by weakness, nor be angry. Stopped on all four sides, with eight sides, short and long fit, thickness and thickness compromise". It can be seen that these theories conform to the modern graphic constituent elements and aesthetic laws and integrate the Confucian idea of advocating harmony, and he also advocates: "The spirit of the bones and bones, depending on its size, cannot be heavy on the head and tail, and there is no left short and right long." Oblique just like people. Downloaded, East and West, Qi Yu Fusion, Spirit Free. "Stroke by stroke of the book are carefully arranged, thousands of hammers, each word can show the different temperament and charm of people, so to say, the artistic achievements of the classic letters are laid on the basis of advanced aesthetic pursuit and character cultivation, by no means a rigid book of the operator, it should be recognized that all kinds of books have their own unique artistic beauty, can not be favored over the other." In particular, the classics created by outstanding calligraphers for future generations are enshrined as the norm. It has also become a model for future generations, because these sages have injected their own inner feelings, ideological realms and aesthetic pursuits into the contemplative ideas of writing, and after thousands of years, we can still feel the solemn beauty, the sublime beauty, the beauty of vigor, and the beauty of culture. Calligraphy has become the national essence of China, recognized by the Chinese people and the world, and has been tested by a long historical time.
The calligraphy is rigorous and dignified, the cursive writing is flowing and flexible, the two kinds of writing are good at their own strengths, regardless of whether they are in detail, to write rigorously and flexibly requires lasting effort and comprehensive cultivation and talent, on the one hand, the kung fu has not arrived, it is indeed easy to write stiff, blunt, no sense of beauty, this is not bad writing, but our writing skills, cultivation is still difficult to reach. We can't retreat from this and feel disgusted, in the face of the traditional calligraphy classics to reach the pinnacle, we need to climb the mountain even more. General Secretary Xi Jinping's speech at the opening ceremony of the China Federation of Literary and Art Circles and the Writers Association clearly demanded: "The vast number of literary and art workers should have a reverence for art and a sincere heart for the profession, and work hard, practice true skills, and seek truth and reputation." "Do a good job of Chinese, write Chinese characters well, study, inherit, and develop well the classics that have been passed down for thousands of years, adhere to and inherit the majestic strength, neutrality and dignity, rigorous law, chia tai weather, graceful and luxurious cultural character of the classics, and innovate today's classics to be worthy of the new era of the great rejuvenation of the Chinese nation!"
Exploring the Hidden Treasures will be known through the past and the present
——Remember the famous scholar and painter Mr. Jian Yin
Text/Iron Farming
Mr. Jian Yin, whose real name is Zhao Zhiqiang, a member of the Zhengding People's Association of Hebei, graduated from the Oil Painting Department of the Central Academy of Fine Arts, and for decades, he has been hiding in the ancient city of Zhengding, willing to keep lonely and persistently studying, and with the spirit of ten years of grinding a sword, he has completed the latest interpretation of the "Quotations of Shi Tao Paintings", which is called the most difficult to read by the academic community. In 2007, the series of papers "Unveiling Shi Tao's "Method of One Painting"" was serialized in China Painting and Calligraphy, which attracted the attention of the art theory community.
Jian Yin published one of a series of papers in China Painting and Calligraphy
In 2009, Tianjin People's Fine Arts Publishing House selected Fine Paintings of Shi Tao and published a research monograph on "Revealing the Quotations of Shi Tao Paintings" with the printing of Jian Printing. Mr. Jian Yin cut into Shi Tao's painting secrets from Zen thought, interpreted and revealed Shi Tao's inner world with painstaking efforts, and combined with modern art theory, Shi Tao, the "father of modern art (Wu Guanzhong)" in the history of Chinese painting, was clearly displayed in front of the world with a new, concrete, vivid image and concise, unique and exquisite art theory system. How can we enter the spiritual world of Shi Tao without the wisdom of Confucianism and Buddhism, and how can we compare the theoretical system of Shi Tao's art to the peak of the world art theory without the philosophical qualities of learning from both China and the West. Mr. Li Weishi, professor, master supervisor and art critic of the Fine Arts Department of Hebei Normal University, commented: "Mr. JianYin's latest interpretation has cracked the mystery of Shi Tao's 'one painting' and the debates and doubts of many academic circles in eighteen chapters word by word, and interpreted the esoteric classical art theory to us in an easy-to-understand manner, which will have a profound impact on carrying forward and inheriting China's excellent traditional culture and building a Chinese art theory system to enlighten Chinese calligraphers and painters to be honest and innovative."
In 2011, Mr. JianYin devoted his attention and energy to the study and arrangement of calligraphy and textualization of the "Ancestor of Tang Kai" "Sui Longzang Temple Stele", which has a historical status in the history of Chinese calligraphy. It is not easy for the "Sui Longzang Temple Stele" to survive the more than 1,400 years of vicissitudes of natural and man-made disasters and wars, but there is no historical record before Ouyang Xiuren Hebei Road Transport envoy discovered the stele. This stele dates from the sixth year of Emperor Wen of Sui (586 AD) to the eighth year of Song Jiayou (1063 AD) when Ouyang Xiu discovered and recorded this stele in the Song Dynasty, which lasted for 478 years, and its stele yang lost more than 40 characters. The interpretation of the inscription can only be derived from Song Tuo. The defection of this inscription with important historical value cannot but be said to be a regret in the history of Chinese calligraphy and even in the history of literature! It was under such a historical and practical background, a sense of mission to consciously shoulder the inheritance of culture, that Mr. Jianyin invested great energy and began his painstaking but far-reaching project of copying, proofreading, supplementing, repairing, and experimenting on the Sui Longzang Temple Stele.
Because he once served as an assistant to the abbot of Linji Temple, and was appointed as the moderator of the Sinology Forum for more than ten years, Mr. Jianyin's Buddhist attainments are quite profound, and he has many incisive and original insights and expositions in the field of Sinology research, which have attracted much attention from the academic community, and the management team of the Sinology Forum commented that he "made important contributions to the development of the Sinology Forum". This is also an academic guarantee that he was able to complete the inscription supplementation project. For example, in the inscription "Only this big city, the ring is practiced", there is an interpretation that records the damaged character as "different", and Mr. JianYin also conducted a meticulous study of the remaining glyphs of the original stele, and checked the Buddhist literature without the word "ring difference", and the meaning is not clear, after carefully investigating the lower part of the "different" part of the Tuoben vaguely appears square like a Japanese character or a foot, the possibility of the word "different" is ruled out. Check all the lower parts of the word "辶", all of which are incompatible with the meaning of the text; and check all the lower parts of the word "day", only the word "wisdom" fits the meaning of the text, that is, "the practice of huanzhi". Wisdom of the wise, Prajnaparamita is the wisdom of the Buddha. "Huainanzi Lizhen" says: "Wise man, the house of the heart." "Practice of the wisdom of the ring" refers to the practice and fulfillment of the wisdom of the Dharma. The difference of just one word shows the rigorous attitude of governance and the disparity in the artistic conception of the inscription.
It is precisely the countless such rigorous and conscientious work that has made the overall research progress of the calligraphy and text of the Sui Longzang Temple Stele fruitful. After several cold and summer retreats, closed doors like Zen monks, and in countless long periods of consulting millions of words of historical materials and Buddhist dictionaries involving Sui tablets, Mr. Jian Yin carefully pondered the calligraphy of the Wei and Jin Southern and Northern Dynasties and gained an understanding of the essence of the calligraphy of the Longzang Temple stele, he finally completed the first time in the history of Chinese calligraphy to decipher and supplement the entire text of the "Sui Longzang Temple Stele" and the experimental restoration of the original stele reproducing its original appearance. In November 2011, his research paper "Examination of the Identification of Damaged and Mutilated Characters in the Stele of Sui Longzang Temple" was published in China Cultural Relics Daily, which attracted the attention of the cultural relics and calligraphy circles. Experts of the State Administration of Cultural Heritage, such as Shan Jixiang, Li Xiaojie, Luo Zhewen, and Xu Yu, shen wansheng, Liu Jinkai, chairman of the Chinese Calligraphers Association, spoke highly of and affirmed the artistic achievements of the "Sui Longzang Temple Stele" in the restoration and re-engraving of the "Sui Longzang Temple Stele" by the State Administration of Cultural Heritage.
In December 2012, Mr. Jian Yin's research monograph "Sui Longzang Temple Stele" was published and distributed by Zhejiang People's Fine Arts Publishing House, and was fortunate to be reviewed and signed twice by Mr. Luo Zhewen, a famous cultural relics expert and honorary president of the China Cultural Relics Society. Mr. Xu Yu, a poet who was then the vice chairman of the Chinese Calligraphers Association, made a preface to the book, in which he wrote: "Mr. Jian Yin, a young scholar and calligrapher in Hebei, conducted in-depth research and serious writing on the text and calligraphy of the "Sui Longzang Temple Stele", and identified and completed the identification and completion of all the missing characters, filling in the gaps and controversies left by this famous stele for hundreds of years, and I think this should also be a remarkable achievement and contribution in the history of calligraphy. I admire the author's rigorous academic spirit and calligraphy skills. This book's in-depth interpretation of the text of this famous stele and the imitation and reproduction of its penmanship and painstaking pursuit of the hand, let us re-read the "Longzang Temple Stele" and have new insights and discoveries. I often wonder if we are in an era of cultural rejuvenation, whether we can inherit the tradition of Calligraphy in the Jin dynasty and Tang Dynasty and create a classic of calligraphy with modern characteristics on this basis is a test of our calligraphy talent and the mission entrusted to us by history. Zhang Gongli created for us the Sui Dynasty Kaifa classics of the Shangcheng Han Wei and the Lower Qi Three Tang Dynasties. To give us an example and enlightenment, on the occasion of the publication of this book, talk about the ordinal words, and encourage our colleagues, let us continue to draw nourishment from tradition, be inclusive, learn from the past and the present, and strive to create a fine work worthy of the times. ”
"Sui Longzang Temple Stele" monograph Jianyin Supplement Que Repair Calligraphy Partial
In 2014, Mr. Jian Yin did not meet the existing achievements, and in 2014, he explored The Soyin from the Ancestral Ancestral Dojo of the Linji Sect in Zhengding, consulted a large number of Buddhist development histories, and reviewed the era when Yi Xuan Zen Master founded Linji Sect and the background of The development of Buddhism in the Tang Dynasty and the development context of Zen Buddhism in the Tang Dynasty with detailed cultural relics and historical materials, and examined and observed the significance of the times when Yi Xuan Zen Master created the Dharma causes and circumstances of the emergence and rise of Linji Sect from an all-round perspective, and conducted in-depth research and discussion on Linji Sect Zen Buddhism thought and doorway facilities, and there was no shortage of insightful and unique insights. Some of his chapters were published in the journals "Chinese Buddhism" and "FaYin", and in 2016, on the occasion of the 1150th anniversary of the death of the Great Grandmaster Zong of Linji Xuangong, the first monograph on the systematic study of linji sect Zen thought and lineage of the Linji sect was published by the Religious Culture Publishing House.
On June 16, 2016, Jianyin was invited by Dai Jianbing, president of Hebei Normal University, to give an academic lecture entitled "Sui Longzang Temple Stele Calligraphy and Text Research" for graduate students in the conference hall of the Normal University Museum. In November of the same year, he was invited to participate in the "Hebei Religion; Past, Present and Future Seminar" sponsored by Hebei Normal University and submitted papers by scholars and experts from all over the country for publication.
In 2019, Mr. JianYin personally supervised the production and completion of the restoration and re-engraving of Zhao Mengfu's "Linji Authentic Monument" and Yan Zhenqing's "True Ding Ten Fang Linji Huizhao Xuangong Grand Master Dao xing inscription", making up for historical regrets. In 2020, the "Hebei Zhengding Chinese Calligraphy Monument Restoration and Re-engraving Rubbing Series" won the "China Mazhen Cup" the 2nd Hebei Provincial Cultural Creation and Tourism Commodity Creative Design Competition Top 10 Works and won the "Best Internet Popularity Award" Top Ten.
Mr. Jianyin has made remarkable achievements in the ancient sermons, but he is humble and self-reliant, adheres to the traditional concept, is indifferent to mingzhi, does not seek fame and fortune, bows to the holy heart, and silently inherits the spirit of the Chinese nation's cultural context and strives for self-improvement.
Iron Farming revised in 2020 (Editor-in-Chief of the journal Contemporary Calligraphy and Painting)
"Revealing the Quotations of Shi Tao Painting" interprets the endless treasures of painting creation
Seal
In the past hundred years, people have studied and admired Shi Tao's paintings and painting theories, although they have different understandings and understandings of Shi Tao's "Painting Quotations", especially for the "Method of One Painting" proposed by Shi Tao, and the wise people have seen wisdom, but we cannot deny the incisive and unique artistic insights and rich art theoretical ideas in Shi Tao's "Painting Quotations". Some scholars say that the Quotations of the Bitter Melon Monk Painting is the most difficult ancient painting theory to read. Indeed, "the book of "Painting Quotations" is determined to be both deep and deep, and the creation of words is a son of its own, and the secret that the painter does not pass on, venting here, the most precious treasure." If you play with its purpose and expand its solution, it is not just a matter of painting things! (Wang Yichen's compilation of "Great Dizi Inscription Painting Poems")
In the eighteen chapters of Shi Tao's "Painting Quotations", the language is refined and mysterious, the Zen secret meaning is mysterious, and the grand purpose is unpredictable, but as long as we master the "water source dragon vein" (Shi Tao language) of traditional culture, we may not be able to communicate with Shi Tao's spiritual world. Below, I would like to express my views on the "method of one painting" proposed by Shi Tao and compare Mr. Wu Guanzhong's understanding of the "method of one painting" in the writing "I Read Shi Tao's Painting Quotations" as an opportunity, in order to look forward to in-depth discussion and analysis. The purpose is to make the painting theory of "Shi Tao Painting Quotations" clearer and more accurate, which we understand and apply today.
Mr. Wu Guanzhong said: "My understanding is that the essence of this 'one painting method' is to say: we must start from our own unique feelings and create a painting method that can express this feeling. "I think Mr. Wu Guanzhong's understanding is basically correct, suitable for the understanding and universal application of the public. However, it is inaccurate to say strictly, and it does not conform to the secret meaning of Shi Tao's Zen machine of "one painting method". Because everyone can paint from their own feelings, everyone's cultivation, experience, and ideological realm are different and natural feelings are different, which must be uneven. Then what kind of unique feeling to paint, what kind of principle to create a suitable painting method, there is no accurate theoretical basis and principle of taking the law. Shi Tao clearly pointed out in the "Quotations of Paintings" that "the people of ancient and modern times to the brightest, through their knowledge, send out what they have taught, know what they have received and develop their knowledge, but the ability of one thing, their small knowledge, failed to recognize the right to paint, and expanded and expanded." This clearly tells people to express their feelings based on knowledge, and to express knowledge with feelings, but it is only the ability of one person and one thing, and it still belongs to the small feelings and small understandings, and it has not yet fully understood the importance of "one painting", and it is widely used to promote and expand! Originating from literary and artistic works with the feeling of life, it is a basic quality possessed by people from ancient to modern times, and it is not invented and pioneered by Shi Tao. So what magic weapon does the "Method of One Painting" contain, which can make Shi Tao "use the magic magic, the law is not prepared" and dare to stand out and set up a family. Does the "method of one painting" have a specific connotation in the end. This is the key to our discussion of the "method of one painting". Therefore, revealing the "method of one painting" proposed by Shi Tao is a breakthrough in the interpretation of Shi Tao's painting art theory, and it is the soul and program for fully understanding and mastering the eighteen chapters of Shi Tao's "Painting Quotations".
Shi Tao is a Qing Dynasty Zen monk painter, known as the Qing Xiang Daoist, also known as the bitter melon monk, also known as the Great Dizi, also known as the Blind Venerable, according to existing historical records, Shi Tao entered the Buddhist Gate at the age of four, he once studied under the Thirty-five Generations of Linji Sect's Descendants of luan this month zen master, Linji sect Yang Qi sect secret castration lineage heir Yulin Tong rust once asked Lu'an this month: no word painted, what is the word? This month's answer: The literary color has been displayed. Rusty jaws. On the first day of this month, I went to the hall of worship, picked up a bamboo basket, and suddenly realized that I was a finger ode. (See the Seven Thirty-Three Biographies of the Five Lamps.) Shi Tao was deeply influenced by Buddhist Zen Buddhism, and it was natural for him to use Buddhism to guide the art of painting, which was also his unique enlightenment and Dharma origin of "riding on empty words" and "extraterrestrial legislation". The "oneness" that the monks talk about must be in line with the Buddhist concepts of "one true Dharma realm", "Buddha-nature is one," and the Taoist concepts of "Dao sheng one" and "holding one and being the world". I realized that "one" was the ontological core of the ancient Chinese philosophical system. Looking at the concept of "one painting" proposed by Shi Tao in the "Quotations of Paintings" and linking its contextual theory of the text and the relationship connotation of the whole article, it is not difficult to find that "one painting" is the most accurate explanation of Zen Buddhism's meaning of "original nature", "one true Dharma realm", and "Buddha-nature is one". Shi Tao wrote in a painting chapter, "A painter, the foundation of all things, the root of all things, seeing for God, Tibet for people, and the world does not know", the same as the Buddha said: All sentient beings have the same wisdom and virtue, but they cannot be realized only because of delusional attachment. Shi Tao said that "Fu Yi painting contains all things in the middle", which is the same as what Liu Zu Huineng said: "The world is empty, can contain all things and images, self-performance contains all laws is great, and all ordinary wisdom is born from self-nature." The Lotus Sutra says: "One law hides ten thousand laws, ten thousand laws are hidden in one law, ten thousand laws are one law, one law is ten thousand laws, and ten thousand laws are in one law." The Six Patriarchs' Tantra Yun: "Ru and others are Buddhas in their own hearts, and they are even more suspicious, and there is nothing outside that can be established, all of which are born of ten thousand kinds of laws in the original mind."
Zen Buddhism advocates pointing directly to the human heart, seeing sex to become a Buddha, the Altar Sutra Cloud: Buddhas do in the middle of sex, do not ask outside the body. Self-nature is sentient beings, and self-consciousness is Buddha. What is "seeing nature", there is a passage in the Tantra that describes: "Wisdom can speak of great enlightenment, and all laws are inseparable from their own nature." Sui Qizu said: 'What is its own nature, what is its own purity, how its own nature, what its original nature, what its own nature, how self-sufficient, how its own nature, what its unshakable nature, how its own nature, can give birth to all laws." The ancestors knew the nature of enlightenment, which is called Wisdom and Energy: "If you do not know the original mind, it is useless to study the Fa, but if you know your own mind and see your own nature, that is, your husband, the celestial teacher, and the Buddha." In layman's terms, having selfish delusions and clinging to troubles is the mind of all sentient beings, and the ordinary mind that keeps a pure and free mind is the Buddha's mind, and only by eliminating delusions and purifying the mind can we gain the true insight of Buddhism. Only in this way can we understand, master, and establish the "method of one painting.". In my opinion, the "method of one painting" proposed by Shi Tao is the method of guiding painting with the enlightened realm of Buddhist insight and Buddhist theory. Looking at the eighteen chapters of Shi Tao's "Painting Quotations", it is to use the "method of one painting" to penetrate his painting theory.
It can be said that Shi Tao was a Zen monk of the Linji Sect in the early Qing Dynasty, who deeply understood the unity of the Ten Thousand Laws, the Buddhist philosophy of the Ten Thousand Laws in his lifetime, and it was a very natural thing to use Buddhist theories to guide the creation of calligraphy and painting art. He regarded the unremitting climb to the peak of painting art as a need for cultivation and livelihood. Shi Tao's proposal of "The Method of One Painting" is based on the experience and practical application of the Dharma fusion painting method, the practice of "carrying the Tao with the Tao" to improve oneself unceasingly, and the literary torch of passing on the future generations.
Shi Tao wrote in the Fa Chapter of the "Painting Quotations": "The ancient people did not fail to take the Fa as well, and they could not be infinite in the world. "It is the 'one painting', not infinite and limited, not the law and the limit, the law is unimpeded, the obstacle cannot be, the law is self-painting, and the obstacle is self-painting." The Dhamma is not involved, but the righteousness of the Qianxuan Kun transformation is complete, and the painting of the Tao is manifest, and the painting is complete." Obviously, only the enlightened mind is not enough, but it is also necessary to understand the fa, that is, to understand the methods and laws of painting, "to cover the inability to have the law, to have the law through the law." Shi Tao applied the Buddhist philosophy of "unable to be the law, the law has no definite law" in the practice of painting, and absorbed the "Zhou Yi" principle of "dry spinning kun turn, all things incarnate". Qiankun is heaven and earth, yin and yang, black and white, and then it is virtual reality, it is thick and light, it is dense, it is opposites and unified coordination and change, if the painter understands the meaning of "dry rotation and kun turning", he will then understand the "law without a fixed law" and "the law of one painting". Shi Tao openly and plainly advocated that "I use my own law", and his law is "the law that no one can, not can't, and the law that can't be done is the ultimate law.".
Applying Buddhism to painting to form a complete theoretical system and artistic purpose is indeed rare in ancient painting theory, so Shi Tao said, "Thinking of the ancients may not say this, it is particularly deep." And it is clearly pointed out that "painting is owned by man, and a painter has never had it," which means that everyone has this basic ability to paint, and that everyone who paints with the mind of an enlightened person may not have it. This shows the particularity of "one painting". "Drawing notation and painting training, chapters and chapters invented; using pen and ink, fine everywhere." Since ancient times, there has never been a situation of mountains and seas, riding on empty words and entrusting them with the same good. Shi Tao disdains to teach painting techniques, but advocates the artistic ideas and purposes of painting, and talks about fundamental Dafa. "Painting is expensive, thinking about it is fast, so the painting is subtle and unpredictable." It is said that painting is expensive and has thoughts, and once the mind enters the spiritual realm of detachment and perfection of wisdom, it is obvious and the mood is happy in the heart, so the painting is subtle and enters the realm of transcendence and enlightenment. At this point, we fully understand the purpose of Shi Tao's "Method of One Painting", which is to create paintings with a Buddhist enlightened mind, noble feelings, and an innovative spirit that does not conform to the law. Not only that, but after receiving the honorific chapter, Shi Tao further demanded that after realizing the true meaning of Buddhism, we must respect and not abandon this feeling, "Husband, the painter will respect and keep it strong and use it, without intervening in the outside and breathing inside." "Yi" said: Tianxingjian, a gentleman who strives for self-improvement. This is why it is respected. This is the special feeling that Shi Tao emphasizes, this feeling is not interrupted with the outside world, and it is endless in the heart, and getting this feeling is like saying in the "I Ching": The heavens follow the heavenly path and run endlessly, and the gentleman should imitate the heavenly path and strive for self-improvement, and this awakened humanistic spirit and the enterprising spirit of self-improvement are the bloodline soul of Chinese culture.
We notice that Shi Tao is both a Zen master who practices the Tao and a benevolent person who is compatible with Confucian and Taoist thoughts, and at the end of a painting chapter, he writes, "The Law of One Painting stands and all things are complete." As I know, "My Way is consistent", which obviously borrows from Confucius's programmatic summary of "My Way is consistent". This shows that Shi Tao is deeply understanding the ideological essentials of Confucius's "one-to-one", and implies that my "one painting" method and Confucius's "reference" have the same magic. It shows that Shi Tao's "method of one painting" is not a simple painting skill, which contains a deeper and richer painting idea, Shi Tao not only advocates the painter to teach the natural form, but also "match the heavens and the earth with virtue" and "pursue the good". This concept is expressed in Zi Renzhang, who observed that the various morphological characteristics of natural mountains and rivers echo the qualities of human benevolence, courtesy, harmony, caution, wisdom, literature, and martial arts. And water can also express the personality virtues of virtue, righteousness, tao, courage, law, inspection, goodness, and ambition. The ancients praised water as "as good as water". Natural things and the spiritual world of human beings are correspondingly harmonious and interconnected, since the ancient people have the ambition of "benevolent Leshan, wise people enjoy water", Buddhism to the world to do the religion, Confucianism to enter the world to practice religion, Taoism to conform to nature, different teachings, compassion is the same, its purpose is to guide people, wisdom in the world, in fact, Mahayana Buddhism is actively advocating the "bodhisattva line" spirit of happiness and dedication, what is "bodhisattva behavior"? The late Buddhist leader of the mainland, Master Zhao Puchu, said, "Anyone who embraces a vast desire to save himself and all sentient beings from suffering, to benefit the masses, and to make the masses enlightened, anyone who has such a desire can be called a 'bodhisattva', and adhering to practice to realize this kind of will is called 'bodhisattva action'." "The ancient people are happy with the pen and ink, the false way is in the mountains and rivers, not to be transformed, to do nothing, to be famous without dazzling, because they have the merit of cultivation, the exercise of life, and the universe, they have been subjected to the quality of mountains and rivers." In the final "Zi Ren Zhang", Shi Tao particularly emphasizes the qualities that calligraphy and painting artists should have in terms of dai shan chuan and the social responsibilities that should be fulfilled by talents. It clearly shows that Shi Tao is compatible with Confucian and Taoist thoughts, enters the world through Zen, and has a positive attitude towards life.
The world is clear and clear, the world is turbid and hidden, the Da is good at the world, the poor are good at their own, and the three religions of Buddhism, Taoism and Confucianism all have similar philosophies of dealing with the world. Shi Tao is a descendant of the Ming Dynasty royal family. Suffering from the destruction of the country and the death of the family, he spent his whole life in the Buddhist Gate, and endured reality in practice. Unremittingly exploring calligraphy and painting, tenaciously entrusted to the Mandate of Heaven, Shi Tao left a large number of calligraphy and painting works for future generations and a lifelong summary of painting theory, "Quotations of The Bitter Melon Monk Painting", which contains the wisdom of Buddhism and shows the chinese nation's uplifting spirit of diligence and innovation. Shi Tao used the "Method of One Painting" to guide painting with Buddhism to construct for us the 18 chapters of the Painting Theory System of Painting Quotations, which is the highest realm and spiritual wealth of painting creation, and is an incomparably brilliant pearl of art theory cultivated in the history of mainland painting. It deserves to be at the pinnacle of world art theory.
Written in September 2007 in Zhengding
Appreciation of a selection of Mr. JianYin's paintings and calligraphy works
Jianyin Oil painting "Young Woman"
JianYin compiled and painted the album of "Zhengding Historical Landmarks"
Illustration of "Zhengding Historical Famous Places" Illustration Zhang Yan, the leader of the Han peasant army uprising
Illustration of "Zhengding Historical Places of Fame" Yuan Dynasty dramatist
JianYin copied the part of the "Line Drawing of the Mural painting of Yongle Palace"
Authentic landscape works
Authentic landscape works
The Book of Seal Fan Zhongyan's "Records of Yueyang Lou"
The six screens of the book "Preface to the Tengwang Pavilion"
The Book of Return
"Tea Zen Yiwei" contains the spirit of the Linji Sect's tea ceremony
Hebei Zhengding literary and creative works - Kong Fuzi old book network official exhibition and sales