First, the beauty of Chinese painting is rooted in Chinese culture
Naturalness, shen yun and simplicity are the source of Chinese culture. This source, this artistic realization, comes from the kingdom of seven thousand years ago. Seven thousand years may be just a moment for the universe, and today it seems very far away, but that feeling should be the same as the natural sound, charm, and simplicity pursued by today's true artists.
Chinese painting is produced in Chinese culture, whether it is a painter or a painter, there is a certain understanding of Chinese culture. Chinese culture is a very complex concept that many people study. Some people directly proceed from some common phenomena in society and study the historical changes of these phenomena to draw conclusions. What is the core connotation of Chinese culture? Some people study China's "filial piety", some people study wine culture, and some people study tea culture, the content of the research is various, and the perspectives of researchers are different. Of course, talking about Chinese culture can also be compared with Western culture, and the characteristics of Chinese culture can be explored from the differences between the two, and I am inclined to the latter.
The development of Chinese and Western cultures can be traced back to the era of cultural axis. During this period, the cultures of ancient Greece, ancient India, and ancient China flourished, and many great thinkers emerged. Socrates, Plato, and Aristotle in ancient Greece opened up the Western cultural tradition; Shakyamuni in ancient India, Laozi, Confucius and other "hundred sons and hundreds of families" in ancient China, their ideas are different, but they are generally homogeneous, forming a brilliant oriental cultural tradition. After two or three thousand years of development, these cultural traditions have become the main spiritual wealth of human culture.
The Western culture originating from ancient Greece and the Oriental culture originating from ancient India and ancient China have shown different styles from the beginning. Westerners emphasize logic, deduction, and heaven and man. The ancient Greek philosophers set their sights on nature from the very beginning, and they studied the origin of the universe, that is, what was the most primitive nature. Some people think it is gas, some people think it is fire, some people think it is atoms (perhaps, the natural science theory of atoms is inspired by this view)... Their ideas are the germ of the rational Way of Thinking in the West. After three generations of teachers and students from Socrates, Plato, and Aristotle, the tradition of Western rationalism was formed. By Aristotle there was already a more systematic classification of disciplines, and he had studied astronomy, physics and other disciplines, such as his "geocentric theory" was not questioned by Nikolai-Copernicus's "heliocentric theory" until the sixteenth century. More importantly, he created a formal logical system and proposed the famous "syllogism" logical reasoning method from large premises to small premises to conclusions. There is a very famous example, the big premise is that people will die; the small premise: Socrates is a man; the conclusion: therefore, Socrates will die. This seems simple, but it was the fourth century BC at that time, and the role of this logical reasoning method in the development of Western culture cannot be underestimated, and the rapid development of mathematics and science has a lot to do with it. Westerners attach great importance to "division", and they divide the subject of research from the object of study. Man is man, thing is thing, and heaven and man are divided. They put the subject in a position to be judged, carefully studied and deliberated, and moved forward step by step, deducing conclusions about special circumstances from general principles. It is precisely this power of reason, logic and analysis that has enabled the West to have a very systematic and developed science.
Eastern culture, whether Indian or Chinese, is very different from Western culture. Orientals pay attention to experience, perception and induction, and finally reach the realm of the unity of heaven and man. Taking China as an example, a large number of sages and celebrities who appeared during the pre-Qin hundred schools of thought, without exception, focused their attention on life, society, and politics, and in the words of Mr. Yang Zhenning, "The ancient Chinese philosophers wanted to solve all the problems in the world at once... They first want to solve humanistic problems, and second, they want to solve humanistic problems in general. Therefore, they are reluctant to do concrete things, to come up with a theory on a specific problem, especially about nature. Ancient China had advanced skills, there were many genius inventions, the four major inventions needless to say, on the architecture alone, there are many outstanding creations. In the "Afang Palace Endowment" created by the famous poet Du Mu of the Tang Dynasty, it is recorded that the huge and complex building of the Afang Palace is useless, and it is all built by hooks and diagons. In addition, there are many great buildings, such as the Great Wall, the Echo Wall of the Temple of Heaven, and so on. However, in the end, the relevant skills were gradually lost because the theory was not formed.
Chinese culture attaches great importance to the unity of nature and man. This kind of thinking sprouted in the pre-Qin Dynasty. In the Han Dynasty, Dong Zhongshu's "Spring and Autumn Dew" has a clear interpretation. Later, after development, to the Song Dynasty Ercheng (Cheng Hao, Cheng Yi) further advanced, "heaven and man are not two, why should they say the same", tianren is simply the same thing, with "unity" but to pull away the relationship between the two. These qualities have contributed to the openness, inclusiveness and enlightenment of Chinese culture. For Chinese painting, the enlightenment of Chinese culture is very important. Chinese painting does not require the same rigorous logical analysis as Western culture, but needs a sense of perception. On the one hand, we must follow the way of nature and experience the beauty of heaven and earth. "Zhuangzi" provides us with a lot of understanding of this.
For example, in "Journey to the North of Knowledge", it is said that "the heavens and the earth have great beauty without words, the four hours have a clear law without discussion, and all things have a reason without saying ...", the great beauty of heaven and earth, the sequence of the four seasons, and the withering glory of all things have their own natural truths, and this harmony of this kind of elimination and endless life is where the great beauty of heaven and earth lies. Heaven and earth, mountains, trees, insects and fish all have their own beauty and have their own purpose, and Kant calls it "purposefulness". Chinese painting is to let you experience this beauty, this inner purpose, and then apply it to pen and ink and express it, without asking "Is this tree growing here right?" and "How is this rat bigger than a pumpkin"?
On the other hand, the great beauty of heaven and earth can only be transformed into human beauty through perception. Wang Yangming, an important representative of the "Heart Study" school in the Ming Dynasty, wrote in the "Records of Transmission": "When you did not see this flower, this flower and Ru Xin ended up in silence. When you look at this flower, the color of this flower is understood for a while. "That is to say, a flower blooms in the deep mountains, you don't know it exists, but when you see this flower, the color and form of this flower gradually appear, and it is indeed a beautiful existence." Western phenomenology solves such a problem—the intervention of subjectivity into objectivity. Natural objects (e.g., small flowers blooming alone in the mountains, schools of fish frolicking in the depths of the ocean) are not beautiful or not beautiful to you, because their existence has no meaning to you, and their beauty can only be presented to you through perception, through your intervention in them.
The Chinese literati say "qi rhyme vividly", of which "rhyme" is this meaning. This rhyme is not simply the rhyme of poetry, you see English poetry, Italian poetry also has rhymes, for example, the famous sonnets pay great attention to rhyme. This "rhyme" in China is more abundant and full, focusing on a poetic judgment of the universe habitually by the creative subject (whether it is an artist or a poet). The great beauty of heaven and earth is born naturally, but it also requires the painter to have a poetic judgment and perception of it to be meaningful to people.
Therefore, when the philosophical embodiment of Chinese wisdom and perception is used in painting, painting benefits endlessly. Lao Tzu's philosophy has "knowing its whiteness, keeping its black", which means that it is deeply aware of the white nature, but it keeps the chaotic and dark posture, which is the thinking of Chinese, and it is also the beauty of Chinese painting. Pen and ink plus rice paper are black and white, and only by maintaining the balance and harmony of the proportions between black and white can we maintain the beauty of Chinese painting. Chinese Zen Buddhism says, "The enlightened one does not say much." The person who has really attained "enlightenment" is not very verbose, does not speak too much, and his language must be very concise, and even thinks that language is unnecessary. Wang Wei regards this as a requirement for landscape painting in "Tips on Landscape and Water", but in fact, this is a requirement for the whole of Chinese painting- to win a little over a lot, and to express the richest content in the most concise language.
For example, my paintings leave a lot of blank space because I know that white and black are equally important. Chinese painting is the image embodiment of the way of "having or not living together", and the "being" of pen and ink and the "nothingness" of the blank picture reflect each other to create the beauty of Chinese painting. It's like a great architect, is he just designing a building? Of course not, he was shaping the days after the building. The greatness of the architect is not only that the buildings he designs are beautiful, but also the sky behind the buildings. Chinese painters should always remember this and not forget the white paper when using ink. A master of Chinese painting, he knows that at the moment when he writes, he should not only pay attention to the space between pen and ink, but more importantly, the shaping of the space behind the pen and ink.
The paintings of the Yuan Dynasty landscape painter Ni Zhan paid great attention to the proportion between black and white, such as his "Rong Knee Zhai Tu", a few small trees, a thatched pavilion, a hazy distant mountain, no figures, no dynamics. However, as soon as you look at it, you can feel a faint sadness, a kind of old-fashioned silence and loneliness.
The birds painted by the Bada Shanren curled up and made a few strokes, expressing the whole inner life of the birds to the fullest. I said in an article on the Bada Shanren that "the paintings of the Bada Shanren are gradually approaching the essence of his linguistic symbols, or in other words, his paintings are a language of unprecedented greatness of symbolism", and his paintings have left aside all red tape, all mannerisms, and all kitsch, and all that remains is the symbol of "morale", simple and pure, subtle and vast, clever and moderate.
This simplicity and richness of Chinese painting has a long history, and it has been reflected in the paintings on ceramics in ancient times. The pig-patterned pottery bowl belongs to the Hemudu cultural period, which is 7,000 years old, but the pigs carved on the clay pots are very charming. You see it: the mouth is arched forward, the front leg is still lifting forward, the back leg is ready to stretch forward, and the body is creatively patterned. A large number of blank spaces, quite simple thin strips, but the pig's look, dynamic portrayal of life, can trigger your endless associations.
The faience pottery vase belongs to the Yangshao culture period 5,000 years ago. This work reflects a state of thinking of the ancient ancestors, you can see that he is thinking, you can see that there is doubt in his eyes, but this doubt is chaotic, making people feel that there is no answer and some confusion. This dazedness reflects a childish innocence, a man who is by no means cunning. Also, the dimple on the side of the mouth was there, like a very thick person, chaotic, dazed, innocent, thick, simple. From this simple work, we see natural sound, charm, simplicity. This is the source of our culture, this sense of art, the pursuit of "small words and great righteousness" has been passed down for thousands of years, deeply rooted in Chinese national painting.
The reason why Chinese painting maintains its eternal charm is because it embodies the soul of China, which is nurtured and nourished by thousands of years of Chinese philosophy, thought, culture and history. Therefore, for the perception of Chinese painting, the grasp of "knowing white and keeping black" must be based on Chinese culture. Things without tradition and foundations have no vitality. Without the fertile soil of Chinese philosophy, the forest of Chinese painting cannot flourish and be lush. Why can't foreigners paint Chinese painting well? It is because their understanding of Chinese culture is limited, always separated by one layer. Before the Meiji Restoration, Japan studied China in an all-round way, and they were quite envious and admiring of Chinese culture at that time, and sent many Sui envoys and Tang envoys to China to study. During the Ming Dynasty, the Japanese snow boat (also known as the snow boat and other Yang) came to China to study, learned the paintings of the Southern Song Dynasty, learned Ma Yuan and Xia Gui, and became a Japanese painting saint after returning. However, when I visited Japan, I always felt that I was separated by a layer when I was faced with paintings of the saints, which was not the same as the paintings of Chinese. Westerners began to learn from Japanese painting, such as Monet, he is a very great painter, he painted "Water Lilies" I admire, but he is surprised by the beauty created by pen and ink, to learn Japanese painting, is a big problem.
We Chinese appreciate the beauty of China because we have the DNA gene of this culture in our blood, so it is easier to accept. However, relying on this alone is not enough. To appreciate Chinese painting or paint Chinese painting well, we must understand the relationship between man and nature, personally feel the endless power of nature, and understand Chinese culture.
Now some painters, especially some young painters, say that Chinese painting should be innovative and in line with the West. Which track is it on? Received from Western European classical art? It was an oil painting. On the track of modernism? That's hell. Chinese painting master Fu Baoshi once said: "There are also the commentators who advocate the marriage of Chinese and Western paintings, it is really a joke, marriage is not married, now there is no way to determine, as for the engagement, I am afraid that after three hundred years, we may as well say closer." "It's a literal one. We want to modernize, but that doesn't mean we're going to lose tradition. Now some painters, with long hair, teeth that don't brush for three months, a big patch on their pants, get together all day long and sit all day long, talking about it, this is called innovation? Innovation is a process, not something that can be done overnight, today's new to tomorrow becomes old, and today's old may be new yesterday, and the new and the old are in the eternal alternation. Chen Lusheng said in the "Jiangsu Pictorial": "As for the form of art, it is like circulating blood, although there is regeneration, but the old has not yet died, after the cycle of repetition, although the old is still new, so the form is still not new and old." "Since the twentieth century, artistic schools have sprung up one after another, and various doctrines have emerged in an endless stream, such as Fauvism, Cubism, Expressionism, Hyperrealism, Abstract Expressionism... Their standards are new. However, the old and the new should not be the only, or even the most important, criterion for art. The real standard of art is – good. Why are the works of Mozart, Brahms and Bach still regarded as classics? Because they're superb. Why is Ah Bing's "Two Springs Reflecting the Moon" still not diminished in charm? It is also because it is good, you will be overwhelmed by it as soon as you hear it, and you can feel the endless telling of the author. If the work you create is really good, in line with the aesthetic taste of this nation, in line with the fundamental laws of nature, then it can always maintain youth, and the "new" is in it. The paintings of the Bada Shanren, even after decades or hundreds of years, they are still full of new ideas.
In short, the beauty of Chinese painting is a simple and rich beauty, a perfect expression of the Chinese soul. If you want to paint well or understand Chinese painting, you must have a good understanding of Chinese culture and philosophy.
Second, the bamboo in the painting is not the bamboo in the heart
The beauty of Chinese painting cares about and the rational wandering "non-guan" and "rejection" are different, "non-guan" means a kind of dissociation, and this wandering from "reason" is very important to Chinese painters. Paintings that can arouse people's spiritual feelings are meaningful. Chinese painting is poetic, that is to say, Chinese painting has a poetic meaning.
The Southern Song Dynasty poet Yan Yu said in "Canglang Poetry": "Poetry is different, not about reason. Poetry has its own unique interest, and it is different from the "reason" of logical thinking, which is not related to reason, or the beauty of poetry has little to do with reason. Of course, "non-off" and "reject" are different, and "non-off" means a kind of wandering. This wandering with "reason" is very important to Chinese painters.
What is "wandering"? With one example, the reader will understand. During the Qianlong period of the Qing Dynasty, a painter of the Yangzhou School of painting called Zheng Banqiao, who was good at painting bamboo, once described painting bamboo, "Jiangguan Qingqiu, morning to see bamboo, smoke, sun shadow, dew, all floating between the sparse branches and dense leaves." The chest is full of emotion, so there is a sense of painting. In fact, the bamboo in the chest is not the bamboo in the eye, so the ink is spread, the pen is disguised, the bamboo in the hand, and it is not the bamboo in the chest", which is to say that when he gets up in the morning to see the bamboo, the hazy fog and the misty light float between the dense or sparse bamboo leaves, so that he suddenly has the idea of painting bamboo. But this bamboo in the heart is not the bamboo seen in the eyes, and when the ink is polished, the paper and pencil are prepared, and the bamboo under the pen is not the bamboo in the heart. Zheng Banqiao's painting of bamboo has gone through three stages of understanding and embodiment: looking at bamboo, experiencing bamboo, and writing bamboo.
Liu Xun has a very comprehensive interpretation of the connotation of "wandering" in "Wenxin Carved Dragon", he said that "thinking is wonderful, God and material travel", the fusion of me and things is far beyond the reluctant pinching, and this object fit can only be described by "swimming". The "tour" in space is the so-called "eight poles of refinement, wandering in the ten thousand", galloping freely between heaven and earth, not limited by space; the "tour" in time is the so-called "silent contemplation, thinking for a thousand years", and thousands of years of life are all in the mind. He also said, "The movement of seeking color also shakes the heart", and "shaking" means the touching of the mind of the subject of creation, and this moving is combined with the rapid changes of nature (that is, the "movement of finding"). He further said, "The eye is still in the past, and the mind is also tuna", and the creative activity is the result of the mind's tuna, a mental activity with a very obvious subjectivity, but it still cannot be separated from the sight, and the place where the eye returns is the starting point of our spiritual development.
First of all, "wandering" means "leaving", the bamboo in the heart is not the bamboo in front of the eyes, and the bamboo in the pen is not the bamboo in the heart. In the Tang Dynasty, there was a senior monk named Master Huineng, who was the ancestor of Zen Buddhism. Once, when he was lecturing at a temple, there happened to be a flag (flag) that was blown by the wind, and two monks debated the wind flag, one saying that the wind was moving, the other saying that the flag was moving, and arguing endlessly. Hui Neng then pointed out, "It's not the wind that moves, it's not the wavering, the benevolent one's heart is moved." This means that it is not the wind that is moving, nor the flag that is moving, but the two people who see the wind blowing, and the heart is moving. This is a very interesting example of "away". Using the current knowledge of physics to explain, Huineng's view is idealistic and unscientific, but this is a natural fit with "the movement of the search, the heart is also shaking", and it is similar to the aforementioned Wang Yangming's "silence with the flower". Chinese painting is often the same way, it is far from "reason".
Is this the case in the West? No. Sculpture is a typical art form in the West. Corresponding to Western culture, early Western sculpture showed a realistic style. The Minoan pottery sculpture "The Goddess of the Serpent" is said to be a symbol of a priestess or goddess, but the makers tried their best to portray it according to the worldly appearance, whether it was posture or clothing. Ancient Greece was the flourishing period of sculpture art, and there were many beautiful sculptures. Engels said in the Dialectics of Nature that the carvings of ancient Greece and the violin playing of Paganini were incomparable and perfect. In addition to the sculptures of the human body that celebrate the robust body, there are also many half-human, half-beast images that express the worship of gods, but the overall style is still realistic. It is not so much that God obtained his incarnation by relying on the image of man, but rather that God is the embodiment of man. Realism sets the tone of Western art and forms an extremely important part of Western art. Western classical painting also followed this style, emphasizing the imitation of reality. For example, if you draw a watermelon, the watermelon in your eyes is exactly the same as the watermelon in your heart, and the watermelon you draw is exactly the same as the real watermelon, and there is no difference in light. The melon in his eyes is the melon in his heart, that is, the melon in his pen, and even from the same angle, the watermelon drawn by different people is the same. On this point, the Qing Dynasty painter Zou Yigui has an incisive exposition in the "Small Mountain Painting Notation": "Westerners are good at the Pythagorean method, so their paintings are far and near in yin and yang, not bad, and the figures and house trees painted have sun shadows." "Watermelons in Western paintings are appetizing, especially for thirsty people. In the nineteenth century, in order to achieve more accurate realistic effects, Western painters began to use an auxiliary painting tool called "light and shadow picture box", which is the prototype of the camera. Of course, there have been great changes in later Western painting, and I think one of the important reasons is that the simple "image" may be replaced by the art of photography.
Both Chinese sculpture and Chinese painting show different qualities from the West. About Chinese sculpture has already been mentioned in the first lecture, and there is not much to say here. Chinese painting is a typical heavy "god-like", such as Xu Wei's painting of grapes, do you have an appetite? No. He painted a few leaves, dashing ups and downs, and then drew a few circles to tell you it was a grape. When you look at it, it's really like a grape, and the painting is wonderful. However, you have no appetite, it causes you to feel and imagine beauty. Chinese painting pursues the artistic conception, Mr. Li Keyan once had a rather detailed explanation of the "artistic conception": "The artistic conception is the soul of art, the concentration of the essence of objective things, coupled with the pottery of people's thoughts and feelings, after a high degree of artistic processing, to achieve the fusion of scenes, through the lyricism of the scenery, so as to express the realm of art." "Chinese painting extracts the essence of objective things, not their shape. Of course, it is also imitation, an imitation of the spiritual realm, an imitation of the spiritual realm, and this imitation of the mind and the spiritual intellect can transcend some objective and truthful models. Therefore, it seems to me that paintings that can only arouse people's appetite may not be too good paintings; paintings that can arouse people's hearts are meaningful.
This is the first meaning of "wandering", Chinese painting is not a direct imitation and copy of life, but a processing of life after thousands of hammers, an imitation and embodiment of emotions and minds. Just like Zheng Banqiao's bamboo, "one branch and one leaf is always concerned", the wind of Xiao Xiao that swings with the bamboo leaves, "suspected to be the voice of folk suffering", his benevolent heart of the people jumps on the paper through a few bamboo leaves, how can you say that this bamboo is just the bamboo under the fog and light? Chinese painters were not enslaved by objects, and they advocated a moderate distance from objects.
The second level of "wandering" means that Chinese painting is not completely detached from reason, but always has to have a certain relationship with reason, and needs to be under a high degree of rational constraint. The so-called "high degree of rationality" does not mean that the judgment of things cannot be poetic, but that this judgment must contain historical, social, humanistic, and ethical factors, which are necessary for great art.
The "Map of the Upper River of the Qingming Dynasty" is a typical example of this combination. It is also a typical representative of realistic painting, which is the portrayal of realistic scenes. More than a thousand people, dozens of livestock, and countless wooden boats, carts, palanquins, and many houses and pavilions were painted. The amazing thing is that everyone has their own identity, each has their own demeanor, each has its own plot; the structure of buildings such as houses and bridges is rigorous and depicted without scruples; cars, horses, and boats are all-encompassing, small but not losing the whole picture, not losing their momentum. However, it is different from western realistic painting, but a high degree of condensation of reality, and the structure of the whole picture is full of poetic and picturesque, which makes people tired of looking at it, often looking at it often new, and the aftertaste is endless. Moreover, this is not just a simple work of art, let's think about it, if you change to the war-torn Five Dynasties and Ten Kingdoms period, can you paint such a vivid and prosperous landscape? If you change to the prosperous Roman Empire, can you draw such a rich poetry of infinite meaning? If you change the pen of an isolated painter, can you paint such a vibrant and infinite breath of life? Of course, this is not possible. Only at that time, in that place, and in that environment can we create works of art that have been passed down through the ages in that particular history, and these historical, social, humanistic, and ethical factors are "reasons" that cannot be separated from the wandering.
Chinese has always attached importance to the combination of reason and reason, and stressed the balance of reason and temperance. This spirit was quite complete in the pre-Qin dynasty, and Confucius was a typical representative. Li Zehou said in "The Course of Beauty", "Confucius did not lead human emotions, concepts, and rituals (the three elements of religion) to the external object of worship or mysterious realm, on the contrary, he guided and dissolved these three into the worldly relationship and real life based on parent-child blood, so that emotions did not lead to alienated theological edifices and idol symbols, but expressed and satisfied them in daily psychological and ethical social life." This is also an important feature of Chinese art and aesthetics. "Chinese aesthetics do not emphasize rational cognitive pleasure, nor ascetic functional repression, nor mysterious emotional obsession or spiritual purification, but social and ethical psychological satisfaction.
This kind of social and ethical psychological satisfaction not only constitutes the basic element of Chinese painting, but it is often the source of inspiration for some works of art. In the first lecture, I mentioned that the filial piety culture is the Chinese Chen Shaomei's "Abandoning Officials and Searching for Mothers" Song Shenzong, Zhu Shouchang resolutely gave up being an official in order to find his mother who had been lost for fifty years, and finally found her in Shaanzhou. The picture shows Zhu Shouchang kneeling to worship his mother, and his mother smiling and smiling. A very important part of the culture, Guo Jujing of the Yuan Dynasty recorded the stories of the twenty-four filial pieties in ancient times and compiled them into the "Twenty-Four Filial Pieties", which was used to train children and become popular books for publicizing filial piety. Among them, there are people like "abandoning officials to find their mothers" and "selling themselves to bury their ancestors, and the People of Datian (now part of Fujian) in the Yuan Dynasty. Sex to filial piety, parents and fathers" and so on are all familiar stories, touching and educating generations after the death, in order to promote filial piety, "selling oneself to bury the father" in contemporary times has even become the Tao in many film works, compiling the book "Twenty-Four Filial Pieties". Lines. The famous "Twenty-Four Filial Pieties" is a work rooted in this social filial tradition and ethics, which is both an illustrated explanation of the book "Twenty-Four Filial Pieties" and a self-contained artistic creation.
This "reason" in Chinese society is also manifested as "etiquette." The Book of Rites - Zhongni Yanju says, "Li Ye, Li Ye." "Etiquette justice" cloud: "Reason, reason." He who speaks politely makes all things reasonable. When we say "ceremony" today, we generally have these meanings, the first is to show respect through words or deeds or attitudes, like "salute"; the second is to express some 19 – rituals, like "wedding"; the third is to express a gift of celebration, thanks or respect, like "gift". In fact, in ancient times, "etiquette" had a richer connotation, and there was also the meaning of emphasizing social norms and moral norms, including filial piety, kindness, courtesy, obedience, respect, harmony, benevolence, righteousness, and so on. "Etiquette" is the norm of Chinese doing things and behaving as a person, and it follows the principles of heaven and imitates heaven and earth.
Chinese painting is also the externalization of this kind of "etiquette", "sending out emotions and stopping at etiquette", literati painting is an extremely clear example, it is a typical embodiment of the thought of scholars. Chen Hengke, a famous painter in modern times, said that when looking at literati paintings, it is necessary to "not study the art in the paintings, but to see the feelings of many literati outside the paintings." Chinese painting is detached from the truth, and it is this wandering that creates its poetic beauty.