Freehand is the highest requirement and ultimate goal of all art.
1. The traditional "freehand" theory
"Freehand" and "freehand" have been used as painting methods of Chinese painting for a long time. The word "freehand" first appeared in "Warring States Policy: Zhao Ce II" "loyalty can be freehand", which is interpreted as "openly expressing one's heart". It is a creation that transcends time and space, so that Chinese painting preserves and constantly strengthens and shows her oriental temperament of "beyond the image". From the pre-Qin to the Sui and Tang dynasties, from the Sui and Tang dynasties to the Song and Yuan dynasties, and from the Song and Yuan dynasties to the Ming and Qing dynasties, the "freehand" has been inherited and constantly surpassed: the fresh and authentic depictions of rock paintings and painted pottery; the wonderful and fierce ancient atmosphere of jade and bronze; Gu Kaizhi's wonderful silk paintings that are as elegant as a god; Wang Wei's argument that "all paintings of landscapes are intended to be the first of the brush"; Bai Juyi's "Painting Bamboo Song" is "not born from the roots, but from the will"; Zhang Yanyuan in "Records of Famous Paintings of the Past Dynasties" on Gu Kai's paintings: "The intention is the pen first, and the painting is all the intention", "although the pen is not thoughtful, the intention is Zhou"; Ouyang Xiu's "mind is forgotten", Su Dongpo commented on Wu Daozi's painting of "new ideas in the law".
2. Freehand is a kind of spirit
Writing "Yi" is not only the form of literati painting, but also the spirit of literati painting, as well as 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 "Yi". Between "likeness" and "godlikeness", both emphasize "godlikeness" more, and take "godlikeness" as the goal, and the so-called "god" is the author's own perception and poured into the author's subjective "meaning" component, "not by the eye but with the god", the human meaning is in it.
The "freehand" proposed by Chinese literature and art in the world is the most thorough contribution of all the arts in ancient and modern China and foreign art to reveal the goal of human art, and there are no exceptions in ancient and modern China and abroad. The same is true of the West from ancient cliff paintings, painted pottery, to modern and contemporary art, but it is by no means limited to one type 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 is the brush first", before painting, the painter's overall view of the world, that is, his overall aesthetic view, has long been condensed in his chest, which is the accumulation of decades of overall cognition of the world. Touching the scenery and giving birth to feelings, Liu Xian's saying that "mountaineering is full of love in the mountains, and watching the sea is overflowing in the sea", in fact, the overall view of the world is touched by the outside world anytime and anywhere, which triggers new views, so it is endless. You can't be limited to a story, plot props, and national costumes, and you can't be dazzled by these appearances. It is necessary to explore the deep relationship between man and the nature of heaven and earth, the so-called "heaven and earth have great beauty without words", and people and everything are a great "meaning" that has life and soul to communicate with one. When it comes down to every stroke, it is vivid and alive. The highest requirement of freehand is that every stroke and painting is alive, and it is a reincarnation of life. Therefore, the great realm of Chinese plastic art with freehand as the spirit is to omit details, pay attention to the key points of life, and catch up with the original spirit beyond the image.
"Big" is a kind of vertical and horizontal observation that includes the content of heaven and earth society, 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, has an overall view of the overall situation, and integrates heaven, earth and society. "Big freehand" is not the same as "small freehand", and "small freehand" is a technique. The sun and the moon pass through the sky, the rivers travel the earth, and "the unity of heaven, earth and man" is a cosmology. "Daxiyi" is a kind of vertical and horizontal view, a comprehensive view of the universe that integrates ancient and modern. It is both spiritual and necessarily corresponds to matter, but it is not ethereal. "Daxiyi" is not material, but "a kind of spiritual existence relative to the material world." If "freehand" is said to be a kind of painting, a substance, and a reality, then it becomes a metaphysical painting method, a kind of painting, a material, and a method at the instrument level.
3. Freehand is the soul of Chinese art
Not only the plastic arts, but all Chinese art is freehand: music, opera, poetry. Certain music cards, word cards, and performance actions all have a certain format, and they all represent a certain form. For example, the performance of Peking Opera: a whip is thousands of miles, and a combination of two hands means "closing the door". The Chinese summarize a certain content and form as a "program", which also becomes a "program", that is, not for the purpose of tracing a specific object, but with the help of this agreed procedure to write "meaning".
Therefore, it can be said that "freehand" is the tradition of Chinese art, and it is the spirit, core and soul of Chinese art. Confucius has long said that "a sage erects an image with all his intentions" ("Zhou Yi Zhi Ci I"); "Zhuangzi: Foreign Objects" also has a saying that "he is proud and forgets to speak"; Mrs. Wei also said in "Pen Array": "The former loses after the intention of the brush" and "the latter wins with the first stroke"; Wang Xizhi also said: "The meaning of the book must be deepened, and the dot painting is intentional" ("The Book of the Right Army of the King of Jin"). China's artistic outlook has always been light on "reality" and "meaning", leaving behind many incisive words such as "artistic conception", "image", "attitude", "interest" and "mood". There are also "intention in the pen first" and "intention outside the words", which are the crystallization of language and thinking to express the Chinese's pursuit of "meaning".
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 thinking characteristic of Chinese is the thinking of "meaning". It pays attention to "enlightenment", "hearing the Tao, and dying at night". China is a nation that proceeds from sociological experience, has no purely scientific concepts, and disdains rigorous scientific or logical argumentation in a larger context. The unique quality of this people through the superficial perspective of the essence makes it possible to "meet the gods not by the eyes", and the function of the gods in the object is superior to that of other peoples. Therefore, the conclusions that Chinese reach through experience or intuition may have to go through lengthy reasoning and testing in the laboratory or study, such as traditional Chinese medicine. What Chinese think is "big" and vague, and Westerners think "thin" and clear. Chinese art is based on sociology, while Western art is based on science. There are advantages of being small, and the largeness tends to be transformed, chaotic, infinite, and closer to the essence of art. The West does not have the concept of "nothing", let alone the understanding of "infinity", and all attempts to reach the so-called "science" through argumentation are in fact the most unscientific in nature.
This is very evident in Chinese culture and philosophy, and can also be found in Chinese culture and philosophy. The core of Chinese philosophy is "yin and yang", the duality of the universe, the world, and life, all of which are inextricably linked, heaven and earth, sun and moon, profit and loss, matter and self, life and death, division and combination, friend and foe, man and woman, monarch and minister, father and son, husband and wife, joy and anger, cold and warm, enduring, and enduring and new. This is the Chinese dialectic, the theory of contradiction, which does not arise from logical thought, but from intuition and experience, in the eyes of the Chinese, the world is not only material, but material and spiritual coexist. Therefore, everything is only relative except for "Wuji", but only "Wuji" can art be constantly renewed.
This is the thinking characteristic of the Chinese, and the core of art is expression and meaning. The core is still "Yi": to draw judgments from one's own experience, and to externalize and express one's own intuition, that is, "freehand". Freehand is not wrong, right, freehand has no limit.
5. Freehand is a concept
Chinese attach great importance to "meaning". "Yi" is a kind of affection, a meaning, a thought, and an idea. In painting, "freehand" is expressed through "image". The so-called "erection of the image with all its intentions".
"Elephant" is different from the "shape" spoken by Westerners, they speak of "shape", and the Chinese speak of "image", but in China there are both "image" and "shape". "Elephant is invisible", and "elephant" means "elephant". Elephants are invisible. The "image" of the Chinese is beyond the "shape" of the Westerners. "Shape" is visible, and "image" is the "shape" that transcends this visible nature and is finally created.
It is not a natural "shape", not a "shape" of seeing, but a "shape" formed by feeling and feeling, and externalized into a processed "shape". This "form" has risen to a kind of "elephant", called "elephant formless". The formless is not formless, the formless is not formless, the formless is impermanent, and the formless has no natural form. It is not a natural shape, not a normal shape, not a common shape, but it is tangible, and this "shape" is the shape that expresses the "image", and it is an artistic modeling concept with Chinese characteristics. "The elephant is invisible" is a Chinese characteristic, and the concept is the crystallization of thought, a philosophical level, and a metaphysical view. "Da Xianyi" is a kind of "concept", which is through thinking, thought process and precipitation, and has universal significance in the general category of Chinese art. The concept of "image" and "shape" is different, it is a kind of expressive objectivity, a kind of objectivity that expresses "meaning" and conveys "meaning", so the object of this expression of meaning is not the original form, but an artificially created form that is "image", and a concept of expressing people through standing images.
6. Freehand is a method
"Capitalization" is also a method. This kind of "freehand" in the category of Chinese painting as a "method" can best be used to illustrate that the "freehand" in the big concept is a concept and spirit. This method is a small method of concrete historical formation, but it is a concrete typical example. For the time being, we will analyze the "freehand painting" of Chinese painting as a side and a part, so as to facilitate the study of the problem and further relate to the universality of all other types of painting.
Chinese painting is first and foremost a method of observation, that is, the "Ten Views Method". 1. Look at the big and the small. For example, if we are very close to the object we are painting, we can imagine standing in the air and looking at the original place, and we can have an unobstructed view of the surrounding environment. 2. Look at the big law from a small perspective. It is the opposite of looking at the big and the small. 3. Distant observation and close approach. Look at a landscape from a long distance, but draw a certain part of the landscape very clearly. Because this is the main point, after the big layout is decided, the details are depicted according to the close-up observation. 4. Take a closer look and take a long distance. When viewed up close, the painting is a large scene from a distance. 5. Look up and down. For the object to be depicted, it is not to look in one place, it can be looked up, it can be looked down, it can be looked at all sides. 6. From the outside to the inside. When observing a thing, we cannot look at its appearance, but we must grasp people's psychology, thoughts, character, and inner things through its appearance. 7. Observe stillness with movement. To depict something, the other person is still, to look around it, to look around. 8. Observe the movement with static. Looking at the Yellow River and the Yangtze River, rushing for thousands of miles, people sit on the bank, watch its flow speed, flow, see its morning, dusk, endless changes in nature. 9. Eyes and minds. When you draw a person or object, you don't draw it in front of it, but you have memorized it after repeated observation, and you don't need to look at it as if you were in front of you. 10. Love animals. When observing and depicting a person, it is necessary not only to take pictures, but to think about and understand the person. The so-called "mountaineering is full of love in the mountains, and watching the sea is overflowing in the sea", giving the object a human emotional color.
Secondly, the expression method can be divided into five major techniques: 1. Outline method. A method of outlining an object with lines or single lines, such as white drawing. 2. Hook method. For example, in a landscape painting, the outline is hooked, and the structure inside is rubbed. 3. Splash ink method. The big brush strokes are like splashing ink and water. 4. Ink breaking method. The splashed ink that has been drawn, when it has not dried, then replace the ink with water and continue to add, when adding, it will seep, which is called the ink breaking method. 5. Ink accumulation method. After these pictures are completely dry, it is not enough, and then add ink, which is called the ink accumulation method.
Third, the modeling method, that is, the four steps of modeling. Step 1: Be realistic. For physical sketching, draw people or landscapes as close to the reality of the object as possible. Step 2: Trade-offs. Natural objects are rich and colorful, but the author highlights the key points and tries to summarize them 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 100 branches, but there may only be a dozen or so branches on the picture, as long as it is painted with a rich feeling. Remove the background, highlight the tree, and do it through trade-offs. Step 3: Transfiguration. The author has a good eye in mind, and when he sketches a lot, he remembers what he wants to draw. In painting, what is painted on the object is not the object but a feeling of the object, which is made by imagination, and the painting is a concept, which is the author's understanding of the object, which may be different from the natural structure and has strong subjectivity and personal characteristics, so it is called deformation. Step 4: Forget the form. I don't know what nature looks like, the author's grasp of the natural image has reached the level of perfection, how to paint how he wants, the author has forgotten what the original structure is in proportion, the author does what he wants, and the shape is the inevitable result of long-term creation, so it is called forgetfulness.
Fourth, use the pen method. There are four realms of pen and ink, of which there are four realms of pen: 1. Persistence. For example, the person who writes begins to be unfamiliar with the structure of the word, and is very serious, meticulous, and persistent. 2. Take it easy. Paint red every day, and then you don't write it calmly, and even memorize it, you will be more calm, and it will be easy to write down the words, which will take a long time to get used to nature. 3. Indulge. Achieve complete knowing, close your eyes as in front of you, put the pen as in your hands, do whatever you want, and indulge in it. 4. Forgetfulness. I forgot about things. After a lifetime of tempering, nature and self are integrated, and the mind and body are consistent in the creation of the outer teacher, and the transformation is achieved. The works are often accidental and unpredictable, exceeding the imagination, feeling and experience of the author, and every time he is used as a painting, his thoughts are rushing, he does not know right and wrong, and he can't even imagine himself, that is, he forgets his feelings.
Fifth, the method of using ink, that is, the four realms of ink: 1. Light ink is bright. As bright as the moon, light as cicada wings. 2. The ink is vast. Such as the chaotic state of black not black, white not white, vast. 3. Heavy ink and thick ink. Like the moonlight shining on the mountain, the backlight is heavy and rich. 4. Scorched ink. The ink that has been studied the heaviest and separated by a day is heavier than the thick ink, as thick as scorched paint, and few people use it.
7. "Freehand" is a process
"Capitalization" is a process. To put it simply, the capitalization is a complete, normal life process, from occurrence and development to climax, all the way to completion. This is the same as the process of a person from birth all the way to his youth, prime of life, middle age, old age, and death. Freehand is a process, the so-called "foreign teacher to create, in the heart of the source, long-term accumulation, accidental get". With the difference of time, place, environment, climate, mood, etc., it shows different rich effects, and improvisation, chance, and unpredictability are the indispensable characteristics and important characteristics of "freehand". It is inevitable that many people do not have long-term practice, cultivation and research experience in this process, so they do not pay attention to it, do not understand it, or even know nothing.
"Da freehand" is a process, the whole process of life, like burying a seed in the ground. A lot of seeds are planted, but they can't sprout, just like not all people can achieve something in painting. This is life, it has all the ingredients of life, and the process of freehand, which is condensed in a short period of time, can happen in a single stroke, and all the author's factors, all cultivation, and all contingencies are in it.
Capitalization is a kind of genius. In short, it is the cooperation between man and nature. In the process of painting, he makes full use of the heaven and earth, time, temperature, air pressure, humidity, sound, light, seasons, including wind and rain, all the accidental coincidences that can be felt in the living environment, and subjectively, actively and passively combines the operable and the inoperable.
If there is no magic brush in the painting, it is because there is no coincidence in these factors. If it is a coincidence, there may be a work of genius. The combination of national fortunes, times, economy, popularity, the painter's body, knowledge, and state with all the factors of the country, the era, and the seasons may be the perfect time for the birth of a genius work.
Therefore, "writing" is an important creative process and life process.
Chinese paintings are "written", and Western paintings are "painted". The painting tools of Chinese painting and the daily writing tools are brushes. The brush is a soft tool that opens up endless possibilities for the painting process, and it is impossible to fully predict the effect until the pen is put down. The performance of pen, ink, and paper is one thing, and on the other hand, the mental, emotional, and physical state of the pen can cause subtle differences in the picture. Chinese painting is improvised, and no one can paint two identical paintings: time, ground, and qi, and the painting will also move. Therefore, Chinese painting pays attention to the importance of being completed in one go and cannot be interrupted. Western paintings can be written on pencil sketches, while Chinese paintings are faced with a blank sheet of paper before they are put down; Western paintings can be altered, but Chinese paintings have to start all over again if they fail. Therefore, Chinese painting emphasizes more on the "process" of "writing". Arriving at the same destination, the experience of taking a plane and walking is completely different—"writing" is walking and experiencing, with process meaning, rhythm, and life, and what is written is the author's instantaneous state at that time, and it is the "meaning" at that time.
Freehand includes both "realism" and "abstraction". Realism and abstraction are indispensable elements of painting, but just as "life" and "grammar" are not art, they are elements rather than art. "Freehand" originates from the original form of life, and takes the abstract "image" with grammatical structure as the goal, and directly pursues the expression of "meaning". "Freehand" is "big" because of the mean, and the West does not have the concept of "freehand", but there is an "abstract" concept. "Freehand" is a concept above "realism" and "abstraction", and it is the "mean" between realism and abstraction. Because of moderation, not going to extremes, more inclusive, and more "big". It is not limited to figurative images, and can express "meaning" in a wider range.
8. Freehand is a system
"Da freehand" is to move from lawlessness to lawlessness, from lawfulness to lawlessness, thus entering a state of freedom. Therefore, from theory to practice, "freehand" is a complete system.
The theory of "freehand" was first scattered in various literary theories. From ancient times to the present, the Chinese have always paid attention to "capitalization", which on many occasions refers to literature and art. "Wenxin Carving Dragon" has "walking on the river and sea, keeping the heart under Wei Que, and the meaning of divine thought", "thinking for thousands of years, seeing thousands of miles", which shows that artistic thinking is a kind of imagination and connection, and summarizes a state of the artist. Wang Wei of the Tang Dynasty was the originator of the "freehand" painting method, and Su Dongpo's so-called "On painting is similar to form, seen in children's neighborhood" explained the importance of form and spirit very thoroughly. In the Yuan and Ming dynasties, the painting method was very complete. Ni Yunlin said: "Yibi is not sloppy and does not seek to resemble the shape, but talks about the ease in the chest." This is the highest level of Chinese painting, that is, the pursuit of "capitalization". Wu Changshuo said: "Lao Jiao's painting is not shaped. Qi Baishi said: "It is too similar to kitsch, not like to deceive the world, and it is expensive between the similar and the unlike." ”
In practice, "Da Freehand", our hieroglyphs, is the earliest painting. It developed into later rock paintings, painted pottery, jade, and bronze ware, all of which were ancient fine arts, and even entered into plane painting. It can be seen from the excavated tomb murals that in the Wei and Jin dynasties, the Chinese pursued "capitalization". Gu Kaizhi's "Luo Shen Futu" volume, people are larger than mountains, and water is not allowed to be widespread, which is completely a kind of romanticism. The paintings of the Tang Dynasty, with fat as beauty, are actually the meaning of writing the Tang Dynasty. The painting techniques of the Song and Yuan dynasties are very developed, so they are relatively far away from reality, and they are more of a freehand. Shi Tao and Bada Shanren in the Qing Dynasty expressed a kind of emotion, and when they arrived at Qi Baishi, safflower and ink leaves, they were all "freehand".
Therefore, Chinese freehand painting, like Chinese calligraphy, has a complete system from realism to heart. When it comes to a specific painter, they will show a different mental state due to the influence of emotions and extra-painting factors, and even with the change of weather.
This is the "freehand" in painting, which is the ultimate and pinnacle of world art.
9. Freehand is a kind of kung fu
As the saying goes, "ten minutes on stage, ten years off stage", and the same is true of painting. "Da Xianyi" is a kind of kung fu, like all Chinese kung fu, which requires long-term hard practice and accumulation, and only by devoting one's life to creating a new "program". "Program" requires effort, and each person's "program" is all his life, the carrier of life and the information base. For the author, "freehand" is to express a profound personality and summarize a process of his own, which is a life. At the last moment of performance, there must be an order, and there is a kind of kung fu accumulated here. The "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. Modern people talk about different "program" procedures, different sequences, and different feelings about others, Yan Zhenqing writes very generously, and Song Huizong writes very beautifully. Calligraphy itself has "true, grass, subordinate, seal", which should pay attention to kung fu. This is the reason why people who are not deep in kung fu can't distinguish calligraphy, so capitalization is a kind of kung fu. It is not the same to not pay attention to kung fu and only pay attention to the general process. It is a kind of kung fu, the so-called "freezing three feet, not a day's cold".
10. Freehand is a kind of realm
Every successful artist has to express his own realm. If it's just your own realm, a unique style, no height, then it's just a style, can't be called the realm, because the realm involves the height, but there is a height and no personality is not good, such as practicing the words of a 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" means that you have to form your own things, but the things you form are higher than others, and this is the realm. The realm has to go through a process, and at the beginning this realm is realistic and realistic, which is a relatively objective and natural state, and it has not been sublimated. The second step is to write about his heart, through which he expresses his meaning, why he chooses this scene and not that scene, because this scene can better reflect his own state of mind. Through "realism" and "heart", although the author's own meaning is expressed, it can only reach the same level as photography. This person is shining a warm tone, which is his heart, and that person's performance of cold tone is also his heart. However, it is not enough to express one's own meaning naturally on the picture, and finally this realm must be elevated, elevated to a kind of individual style of oneself, but at the same time it represents a reflection of "universal meaning", reaching such a level, which is called the realm. This realm in China can reflect the Tao – the common truth of the universe.
In the end, the freehand will lead to "form", "god", "dao", "teaching" and "nothing", that is, from the extreme "form" and "god" to the infinite "Tao" and "teaching", and constantly transcend to the realm of "nothing", forming a new reincarnation.
There are five realms of Chinese painting: one is form, the second is God, the third is Tao, the fourth is teaching, and the fifth is nothing.
1. Shape: Shape is the foundation of plastic arts, without form as a carrier, everything in plastic arts is impossible to talk about, what kind of shape is what kind of meaning. Imagery, image, concept, form, concept, method, content, spirit, taste, style, etc., all start from the form, embody by the form, and depend on the form. The shape outside the painting is the image, the image is greater than the form, "the elephant is invisible", the shape of the elephant is not formless, but impermanent.
The second is God: God is one of the important tasks manifested by the form, and the so-called form is born of God. Over the past 200 years and even now, the Chinese people have used the perspective, anatomy, optics, and physical means of Western law to depict gods in a very simple way, and have the basic methods to quickly practice realistic methods in the field of images, and even more use photographic methods to depict reality and nature, which is truly "both form and spirit". However, the god of the object embodied in the copy of the shape of nature is a beginner, and the physical feeling of the eyes is only, and the god is written in the form of the god, which is no different between China and the West. And with the primordial god who is sensitive to the object, the god who chases the soul, the appearance of the god, the fish forgets, and the form is written by the god, it is a higher level, and it is not ordinary to be able to do it. However, this is only the preliminary stage of mainland painting, and there is no realm to talk about—metatheists, pediatrics, too.
The Tao is the origin of all things. The way of Chinese painting is to abandon its likeness, give up its appearance, and seek its essence and its origin. There is a way in heaven and earth, and there is also a way in life. The way of painting has its own rules, and the way of painting is for it. Tao is a category, as a noun can be regarded as an essential law, or as a verb, that is, on the way, on the way, is the way, is the way, the so-called door of all wonders. Only by abandoning the appearance can it be possible to enter the "door of all wonders", and it is not enough to stay in the depiction of the appearance of "form and god", and it is possible to enter the "door of all wonders" beyond the "form and godism", and the Tao is the primary watershed of the ultimate goal of Chinese and Western painting.
Fourth, teaching: Teaching is the different summaries of different experiences, different sayings, and different doctrines of the seeker in the process of exploration. It is the responsible attitude of philosophy, while the artist is perceptual and improvised, and he has to express the different feelings of the subject at any time. The individual's understanding of different feelings about the Tao is to resort to art, that is, to produce different statements, and the expression of sincere psychological feelings, that is, to produce different theories to teach, and to express them to teach the world and teach them.
Five said nothing: nothing is the art is endless, the sea of art is endless, the law of lawlessness, the elephant is invisible, there is no symbiosis, there is nothing out of nothing...... Nothing is an indispensable phenomenon and link in the process of change of living things that occur at any time, and things can only be born out of nothing and endlessly when things continue to enter the realm of nothing, otherwise they will suffocate and die and cannot be cycled. If you can't enter nothing, you can't enter existence, and with nothing, the development of art can bring forth the new, which is China's transition from lawlessness to lawlessness, and from lawlessness to lawlessness. It is not a breakthrough at the same time, but also a space zone with multiple possibilities for choice.
We should go beyond metatheism, we must have self-confidence, make discoveries, and promote 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 the most, and needs to think deeply and dig deeply. Taoism and religion are super-image, super-form, super-color, super-era, super-painting, and super-material, and only by recognizing this and constantly entering the cultural consciousness of "nothing" can it be possible to transcend the form and spirit.
What I pursue is "the shape of a stubborn stone, the quality of old jade, the quality of ancient pottery, and the taste of aged tea", which is a deep-seated aesthetic pursuit of Chinese and Chinese art through form and god, entering Taoism and religion. Therefore, Chinese art is not a "metatheism", but a theory of "meta-theology".
The five realms of "form, spirit, Tao, religion and nothingness" are the inevitable way to enter the Tao, and only by entering the realm of "Tao", "teaching" and "nothing" can we point to the ultimate realm of Chinese art, "great beauty is true".
"Heaven and earth have great beauty without words", let heaven and earth in my heart, follow the heaven and earth, and act according to heaven and earth, the ultimate pursuit of freehand is nothing more than this. The goal of the Tao includes the "philosophy" of the West, but it attaches more importance to the "study of people" in the East, and "the study of people" is the pursuit of more important people above the "philosophy". Science seeks truth, humanities seek goodness, art seeks beauty, and "Tao" seeks three in one. The small ones seek small beauty, extreme and individual, and the big ones seek great beauty, and the big ones seek great beauty, and the big beauty is "true". Only when heaven, earth and man are united, truth, goodness and beauty are united, and it is for the great beauty that can the truth be returned and Chinese art can be endless.
"Daxiyi" is the ultimate goal and ultimate realm of "great beauty is true" through the five realms of "form, god, Tao, religion, and nothingness", and then it is passed on from generation to generation, and even "Wuji".