Original title: Heart Essay Luck Taking Images Is Not Confused
Green landscape map Partial (Chinese painting) Shen Zhou
The Wei and Jin dynasties not only formed a peak of creation in the history of art, but also occupied the commanding heights of theory. At this time, the concept of "qi rhyme" turned out to be a new world of art appreciation. Once the vitality, affection, interest, style and quality of the artwork are crowned with "qi rhyme", the creative pursuit, aesthetic perception and even the theoretical discourse system will immediately flourish and lively. Nanqi Sheikh's "Paintings" put forward the term "qi rhyme", that is, art should abide by the six laws of vivid qi rhyme, bone method with pen, object pictogram, color with class, business position, and transmission of mold writing, this theory is closely related to the lifeblood of art, outlined and led, accurately and profoundly summarized the principles and purposes that art must abide by, and as soon as it was born, it immediately became the standard of traditional art, and its authority and leadership continued until more than 400 years later, before it was broken through by Jing Hao's "PenManship".
Jing Hao, an outstanding landscape painter of Liang five generations later, Bo Tong Jingshi, is good at articles, and his "PenManship Record" pretends to meet Lao Weng, and puts forward the "six essentials" of artistic creation in the mutual question and answer with Lao Weng. As a generation of art giants, Jing Hao respects tradition on the one hand, continues the string song of the predecessors to never quit the civilization, on the other hand, opens the mountains and forests, does not pick up the teeth and wisdom of the predecessors and avoids the footsteps of the sages, and opens the barrier step by step into the newer, deeper and more secluded art hall.
The full text of the Penmanship Is less than 2,000 words, and there are 18 references to "qi". For the interpretation of "qi" and "qi rhyme", Jing Hao is not satisfied with the generalization of the perception style of his predecessors, such as Mrs. Jin Wei's "Pen Array" and Tang Zhu Jingxuan's "Famous Paintings of the Tang Dynasty" proposing that art is a living form; not satisfied with the extension of the category of relational forms, such as Tang Li Shimin's "Finger Intention" and Xu Hao's "On the Book" proposing the connection between artistic qi, bone, flesh, and blood; not satisfied with the retrospective yuan qi origin search, such as Jin Wang Xi's "Book Theory" and Yu Shoulder Wu's "Book" proposing "heart in harmony with qi" Must Chong and Zhongzheng, and "qi rhyme" The main body is to strip away the cocoon and analyze it in a different way, distinguishing between the atmosphere of the creator, the atmosphere of the pen and the atmosphere of the work. This classification of different levels makes the artistic aesthetic space suddenly become open, dark and bright, and the style is new, because in the essential sense, the "qi" contained in the three as the subject level is different and clear.
The "Penmanship" proposes that the creator should have "true qi". Only "the true one, the temperament is prosperous", and there is "true qi" in order to "write the heart and write luck, take the image without confusion" and "hide the shape, and prepare the instrument well". The meaning of this sentence is that the creator relies on "true qi" to skillfully combine the objective reality and the subjective feelings, is not constrained by the reality and is at ease, not only grasps the main characteristics of the reality, but also conceals his subjective intentions, both in the chest of the law, and there is no trace of deliberate imitation and pretentiousness, so that the art can be elegant and vulgar, and the aftertaste is endless. So, how can creators have "true qi"? The "Book of Brushwork" points out two points: First, it is necessary to be knowledgeable, "So those who know calligraphy and painting, the famous sages also learn." Cultivators know that it is not the original, play with the pen to take and, and finally achieve nothing. Shame on you, but you can't draw. "Second, abstain from lust," and so on, the lustful thief. Famous sages indulge in pictures of piano books and remove miscellaneous desires. The Son is kind, but he has always learned, and he should not retreat. It can be seen that the "true qi" that Jing Hao discusses, in addition to the artist's physical qi and blood, refers more to the artist's psychological spiritual talent. After all, the "true qi" of the artist is the key to the success of the creation, and the artistic style is determined by the personality traits of the creator.
The pen should be "alive". The "Book of Brushwork" proposes that the pen pays attention to "tendons, flesh, bones, and qi", "the pen is absolute and broken, the undulating becomes the flesh of the real, the life and death are just the bones, and the undefeated painting is the qi." In this regard, QingBu Yantu has a detailed interpretation in the "Questions and Answers on the Method of Painting And Learning": "Those who have tendons, bones, skin, and flesh are also said to be qi." Things are dead or alive, and pens are dead or alive. Things with qi are called living things, and qi without qi is called dead things. The pen has the breath to say the living pen, and the breathless means the dead pen. "The pen and ink phase is the surface, the pen is the ink meridian, the ink is the weft of the pen, and the longitude and latitude are connected, then the degree of dry flesh is warm, the muscles and bones are strong, and the four potentials of the pen are prepared." "When writing, you must have the intention of rebuking the eight poles and the nine thunderbolts, focusing on the end, and once you go straight down, it becomes four times irretrievable." In one stroke, the first is moist, and gradually dried up. Moisturizer skin and flesh also, dry tendons and bones also. There are four of these four, which is called qi, qi, and when the pen is drawn, it also becomes a living painting. To put it simply, Jing Hao believes that the pen has "vitality", that is, it should not be broken, it should be continuous, it should not be withered, it should be withered and not abundant, it should be straight and not curved, and it should not be straight. Only with "vitality" can the pen be "transported into an image, all kinds of temperaments".
The work cannot have "craftsmanship". The theoretical system of strokes, compositions, chapters, and artistic conceptions is born of virtual reality, counting white and black, and by the Tang Dynasty, the theoretical system was quite complete, and Sun Guoting's "Book Genealogy" and Zhang Huaijuan's "Book Break" were fully discussed, such as the "Book Genealogy", which said: "The one who observes it is still refined, and the one who imitates it is similar." "Emphasize that art focuses on the god-like rather than the similar. The "Book of Brushwork" proposes that there are two patients in works of art: "One is invisible, and the other is tangible." The "invisible disease" is "full of charm, all things are obedient, although the pen and ink are good, they are similar to dead things, and they cannot be deleted." "There are paintings like flying dragons, wild branches and leaves, and non-pine qi rhymes." From the opposite and dialectical point of "like and unlike, like and not like", the traditional artistic aesthetic standards of combing and clarifying, pointing out that works of art can not be unrealistic, stuck to the external contours of objects, but should grasp the inherent inner nature of objects, give play to artistic imagination, use imagination, exaggeration, comparison, virtual and other techniques, into the creator's interest, not only retain the characteristics of objects, but also maintain a distance from the appreciator, to give the appreciator a broad space for thinking and reminiscence. Using the simplest brush and ink to express the richest hills in the heart, can not cater to the tastes of the layman and be too "tangible", nor can it be irresponsibly graffiti and too "invisible", this is art.
Jing Hao's "Qi Yun" artistic proposition is a brilliant flower in the field of art, a dazzling star of the art starry sky, and has an important and far-reaching impact on the theory and practice of art in later generations. In the Song and Ming dynasties, after receiving a positive response from artists, Ming Yun told the "Yujiu Mountain House Extra-Painting Record": "I don't know the rhyme, that is, the pen is not in the ink. Oh, it's hard to say! Qing Zhang Geng's "Pushan On Painting": "Qi rhyme has originated in ink, some from the author, some from the intention, and some from the unintentional." Originated from the unintentional, sent by the intention is secondary, sent by the author and second, sent by the ink! "It can be said that jing hao's views are remnants and endless echoes. (Ji Shaoyu)