"Brushwork" is a treatise on landscape painting, also known as "Landscape and Water Brushwork" and "Painting Landscape Record", which is the crystallization of Jing Hao's summary of his lifelong painting experience in his later years.
The "Book of Brushwork" seems to be influenced by the story of Zhang Liang, the Huangshi Gongshu of the "History of the Liuhou Family", and pretends to answer questions with an old man in the Taihang Mountains, expounding the author's painting theory. This book first describes his seclusion in the Taihang Honggu valley, the pine forest of the People's Congress, and writes that "all tens of thousands of books are as true as they are", expounding the idea that taking nature as a teacher is the first stage of painting.
[sic] There is a hong valley in the Taihang Mountains, and there are several acres of land in between, and I often cultivate and eat them. One day, climbing the God's Mountain, looking around at the traces, into the big rock, the moss path dew, the strange stone smoke, rushing into it, all ancient Pine also. The one who is the only one in China, the old man with the scales of the flying scales, the power of the cockroach, wants to attach to the cloud Han. Those who become foresters are refreshed and honored; those who cannot, they are self-deprecating. Or the roots are unearthed, or the great currents are cut off, and the shore is panxi. Cracked stone covered with moss. Surprised, appreciated everywhere. Tomorrow, take the pen and write it again, all trees and books, as true as it is. In the spring of the next year, he came to meet a monk among the stone drum rocks, and because he asked, he answered it because of the reason for his coming.
Secondly, in the form of a counter-answer to the encounter, he comprehensively and profoundly expounded his own views, which constituted the main body of this work:
1. "Painting has six points", namely qi, rhyme, thought, scenery, pen and ink;
[sic] Shu Yue, Zi Zhi Pen Method? Oh, the savage man of the yi shape, isn't it the pen Faye? Do you know, son, of the evil I harbor? Smell and get frightened. As a child, a young man is eager to learn, and he can eventually succeed. Fu painting has six points: one is qi; two is rhyme; three is thought; four is jing; five is pen; and six is ink.
The "Six Essentials" is the theoretical core of the "Notes on Brushwork" and a summary of the experience of landscape painting creation in the Tang Dynasty. There is a clear correspondence with Sheikh's "six methods": for example, the one-day qi and the two-day rhyme come from the "vivid rhyme"; the three-day thinking is close to the "business position" and absorbs Gu Kaizhi's idea of "moving the imagination and thinking"; the four-day scene is roughly equivalent to the "object pictogram"; the five-day pen is derived from the "bone method pen"; although the six-day ink is slightly appropriate for "color with the class", it replaces ink with ink due to the development of ink painting techniques.
2. The distinction between Hua and Shi;
[sic] 曰, painter, Hua Ye, but it seems to be true, it is not a trick. So, otherwise, painter, painter also. Take the object as it is. The brilliance of things, take its brilliance. The truth of things, take the truth, do not cling to the truth. If you don't know the technique, it seems that you can also, and the picture is really out of reach.
(3) The doctrine of plausibility and truth;
[sic] Why is it similar? Why is it true? Sorcerer, the one who is like, the one who has his form and his breath, the true one, the temperament is flourishing. Where the qi is passed on to China, it is left to the elephant, and the elephant dies.
Fourth, to get rid of lust and distraction; in order to attain a high state;
[sic] Xie Yue, so know the calligrapher and painter, the famous sage also learned. Cultivators know that it is not the original, play with the pen to take it, and finally achieve nothing, ashamed to receive benefits, and cannot draw. Sorcerer, the lustful, the thief of life. Famous sages indulge in piano books, and pictures replace miscellaneous desires. The Son is friendly, but he always learns, and does not retreat. The essentials of the picture are to be prepared with the sub; the qi person, the heart is lucky, and the image is not confused; the rhymer, the invisible standing shape, the preparation is not bad; the thinker, the deletion of the big point, the contemplation of the form; the scenery, the system of time and the cause, the search for the mysterious creation of the truth; the author, although according to the law, the luck is changed, the quality is not shaped, such as flying; the ink, the height is faint, the quality is shallow, the literary style is natural, and it seems to be non-because of the pen.
5. After explaining the "six points", the four painting qualities of God, Magic, Strangeness and Ingenuity are thrown out;
[sic] Fu Yue, God, Miao, Strange, Qiao, Divine, Dead and Accomplished, Ren Yun into an Image; Miao, Thinking of Heaven and Earth, All Kinds of Disposition, Literature and Science, Product Logistics Pen; Strange One, Wandering Unpredictable, Contrary to True Scenery or Obedience, Causing Its Reason deviation, Those Who Get This, Are Also Penless; Ingenious, Carving Small Charm, False Harmony of the Great Scriptures, Writing Articles, Increasing Meteorological, This Is Insufficient and More Than Brilliant.
Sixth, with tendons, flesh, bone, and qi release "the pen has four potentials";
[sic] Where the pen has four potentials: tendons, flesh, bone, and qi. The pen is absolute and broken, the undulating is the flesh of the real word, the life and death are just the bones, and the undefeated painting is the qi. Therefore, those who know the quality of ink lose their bodies; those who are weak in color lose their qi, those who have tendons and the dead have no flesh, those who have broken their marks have no tendons; those who are charming have no bones.
Compared with the "Pen Array Diagram" that was rumored to be Lady Wei, Jing Hao weighed both tendons, flesh, and bones, and then benefited from "qi", inheriting the calligraphy theory of the Jin people and developing Sheikh's "bone method with pen", which is more fair. In addition, the interpretation of god, magic, wonder, and coincidence, praise, wonder and debasement, and "odd" as a pen without thought, etc., all have made breakthroughs and developments in the habitual "paintings", which is a richness in the theory of creation.
7. On the invisible and visible diseases, and to follow the trend to say the characteristics of landscapes and pines, to "go to their prosperity, to take their big points" to encourage each other;
[sic] There are two kinds of diseases: one is invisible, and the other is tangible. Visible sick, flowers and trees from time to time, small houses, or trees higher than the mountain, bridges do not land on the shore, can be measured and so on. It is such a disease that it cannot be changed. Invisible diseases, full of charm, all objects and images, pen and ink, similar to dead things, with sigus, can not be deleted.
The son is good at writing about the landscape of the cloud forest, and must know the source of the object. Fumu's birth is to be subject to his nature. Matsu's life is also a vain and not curved encounter, such as dense as a fire, bandit green and green, from the micro straight, cute heart is not low. The momentum is high, the branches are low, the upside down is not falling to the ground, and the layers seem to be stacked in the forest, such as the gentleman's moral wind. There are paintings such as flying dragon cockroaches, wild branches and leaves, and non-pine qi rhymes also. Bai Zhisheng is also, moving and bending, prosperous and not flashy, holding the festival with chapters, the text turns with the day, the leaves are like knots, and the branches are like clothes and linen. It is like a picture of a snake, and the heart is reversed, nor is it. It has catalpa, tong, tsubaki, oak, willow, mulberry, locust, the shape is different, its distant thinking is united, one by one is also clear.
The image of the landscape and the water is full of momentum. Therefore, the peak of the peak, the peak of the flat peak, the round mountain, the connected mountain, the cave is known as the mountain, the cliff is known as the cliff, the cliff is under the cliff, the road leads to the valley in the mountain, the yueyu is not passed, there is a water stream in the yu, the mountain is a water stream, although the upper peaks are different, the lower gangling is connected, covering the forest spring, vaguely near and far. Fu painting landscapes does not have this image and is not also not. There are paintings flowing water, the next pen is crazy, the text is like a broken line, there is no wave of high and low, nor is it also. Fog and mist, light and heavy sometimes, potential or wind, like uncertain. It is necessary to remove its complexity and adopt its grandeur. First you can know the right and wrong, and then you can be influenced by its brushwork.
VIII. Discuss the history of the development of landscape painting, focusing on the pen and ink of famous artists of the Tang Dynasty.
[sic] 曰: Since ancient times, who is prepared? Sorcerer: There are few who get it. Sheikh Pin Lu was victorious, and now it is difficult to meet his relatives; the map left by Zhang Monk is very unreasonable. Fu with the class of color, since ancient times have the ability, such as water halo ink chapter, Xingwu Tang Dynasty. Therefore, Zhang Xuan's staff is outside the tree stone, the atmosphere is full of charm, and the pen and ink are slightly accumulated. True thoughts are outstanding, not expensive and colorful, ancient and modern, and there is no such thing. Koji Ting and Baiyun Master, the weather is exquisite, both have their own yuan, the use of Yi Chang, unfathomable. Wang Youcheng's pen and ink are beautiful, the atmosphere is high-definition, the clever writing is like it, and it also moves the true thoughts. General Lee thought deeply and far-sightedly, and his handwriting was very refined, although it was ingenious and brilliant, it was a great loss of ink. Xiang Rongshan people are stubborn in trees and stones, the edges and corners are not enough to chase, and the ink is unique to win the Xuanmen, and the pen is completely boneless. However, in the relaxed, not distorted yuan weather, yuan da qiao charming. Wu Daozi's pen is better than an elephant, his bones are high, the tree does not speak of the picture, and he hates no ink. Chen Yuanwai and the monk Daofen below, rough ascension to van ge, no strange role, pen and ink travel, very tangible. The path of the present son cannot be prepared.
Finally, in the form of painting and teaching, praise and answer, the idea of "forgetting the pen and ink, but having the real scene" is expressed, which is the sublimation and leap of nature as a teacher.
[sic] Then take the former writer "Isson Diagram" to present it. Sorcerer: The meat pen cannot be used, the muscles and bones do not rotate, and the different pines can be used. I both teach sub-penmanship. It is a prime number of pictures, so that the pair is written. Sorcerer: The hand of Er, my heart. I hear and know his words and deeds, and the Son can speak to me? Xie Yue: It is the knowledge of enlightenment, the office of the sages, Lu and not Lu, and can not go, the traces of good and evil, feel the response. Temptation if this dares not to be disrespectful. In the GuSongzan, it is said:
Not withered, but the pine. The situation is high and dangerous, and it is humble. Leaf leaf green cover, branch plate red dragon. There are vines underneath, and the shadows are cloudy. How to get born, close to the peak of the clouds. Lift it up and lift a thousand weights. In the majestic stream, the green smoke cage. Strange branches hang upside down, wandering and flexible. Under the mortal wood, and different, with noble poetry, the wind of the gentleman. The wind clears and the sound freezes.
Sorcerer's strange long time, that is: atoms are diligent, you can forget the pen and ink, and there is a real scene, where I live, that is, between the stone drum rocks, and the son is the stone drum rocks. A: The original subordinate to the servant. SO: Not necessarily. So he resigned. Don't visit it one day without a trace. After learning his pen skills, he tried to pass it on, and now he practiced it as the track of the picture.
Born in the era when landscape painting was gradually maturing, "Penmanship" summarized the experiences of predecessors and authors, and built a system of landscape painting theory. Song Guoxi's "Lin Quan Gao Zhi" and Han Hun's "Complete Collection of Pure Landscapes" were deeply influenced by it, and this book has a value and role that is difficult to underestimate in the history of Chinese painting and the history of painting.
The accompanying picture in the text is taken from the Qing Dynasty Hongren's "Landscape Book".