Text/Feng Haitao Artwork/Li Peijin
The Word is something that can only be understood, not spoken. Even if there is a written narrative, it is also a small path on the road to find the "way". All walks of life can enter the Path, but no one knows where the end is, because you think that you have reached the end, you have reached the extreme, but in fact, this is just a bottleneck, or just the beginning, because there is no end to the "Tao". Chinese painting is also a path to pursue the "Tao", and it is the closest to the essence of the "Tao". Therefore, the appreciation of Chinese painting is a hundred people and a hundred faces, it can only be understood, it cannot be expressed, that is, it can be expressed in words, that is, it can only be narrated, because no one can represent the cognition and thought of hundreds of millions of people.
Li Peijin's "Dream Qingdao" series of works
Recently, I read an article in which the view is that Chinese painting can only be understood, ineffable, and has no transmission. The article writes that anything that cannot be expressed in words is not understood at all, and anything that cannot be expressed in modern language is not able to be understood with the eyes of modern people. He also cited Chinese paintings, articles, etc. He thought it should have been said plainly in the language of modern people long ago. This is a particularly superficial understanding. Chinese painting, Buddhism or articles convey a kind of concept and truth, and this kind of communication is a guiding macroscopic transmission, which belongs to enlightened thinking and makes it enlightened. Different people can see, learn, and feel different knowledge and truths in it. To know profound wisdom is not to tell you intuitively what to do, because only the knowledge of one's own enlightenment is one's own.
Li Peijin's "Dream Qingdao" series of works
The author of the article "Guan" uses Chinese painting as his case and tells about Chinese painting in the most vernacular language. It is based on Song paintings to make arguments. I wrote a lot of words, found a lot of information, and analyzed a lot of works to argue. But there is a question, mr. Author, is your argument the only one correct? If not the only thing that's right, what's the point you mean by saying it in the vernacular? Or you think you're telling the truth. The classic is that the article concludes with a passage, "I think Chinese painting has great value, has permanent value, but at the same time I feel that it has no future, and it has passed." I use this conclusion of his, to say that the reason for this problem is because of self-righteous people like you, which is caused by "vernacular" Chinese painting or Chinese culture. Because people like you have caused the hollowness and lack of connotation of Chinese painting. There is no problem with Chinese painting itself, the problem is that there are too many people like you.
Li Peijin's "Dream Qingdao" series of works