Lin Xiu's Painting Notes "Virtual Reality"

When giving a lecture at China National Academy of Painting, a student asked, "Is it necessary for calligraphers to learn to draw?" The answer is: "Learning or not learning is voluntary; However, it is best to know some basic painting principles, at least you should learn to paint. " Those who taste it, observe its fine taste, and then evaluate its advantages and disadvantages, so it can also be called algae, food, food, food and so on. Different levels of tasters have different tasting realms. The ancients emphasized the requirements of "talent, learning, method and understanding" in painting, which is actually very suitable for tasters. Tasting is not only meaningful to researchers, but also very important to painters and painters who are engaged in creation. It is often said in the circle that "the eye is superior but the eye is inferior", that is, "tasting is the first step for students to get started". As far as calligraphy is concerned, Zhu in the Song Dynasty said in the preface to the continuation of books that "all ancient and modern book theories are compiled". Those who are good at algae have three opinions, such as Yu Jianwu, Li Sizhen, and those who are pregnant are prepared (comprehensive). Those who are good at algae are Yu, Li and Zhang, which are the discerning eyes of calligraphy connoisseurs.

Painting, also known as knowing painting, knowing painting and knowing painting. Calligraphers don't have to learn to draw by hand. If you study painting to attract attention, it is undoubtedly a pleasant thing, which can not only activate creative thinking, but also delight your body and mind. Appreciating the scenery can make people smart and comfortable; Painting will gain more interest than enjoying the scenery.

For ancient calligraphers, being good at reading pictures and paintings should be a unique skill besides calligraphy creation. Looking at the ink lines left by some calligraphers and painters' calligraphy works and paintings, we will obviously feel the difference between brushwork and ink interest, just like the singer's recitation and slow singing in pavilions in "An Empty City Plan", so we have different experiences in reflection and creation. If we can pay a little attention to the painstaking efforts of classic works before painting, and even understand the "mystery" in them, it is better to know why it is.

Let's start with "reality". China's theory of truth and falsehood in traditional art aesthetics is multiple falsehoods. The painter's "Ten Paintings and Nine Covers", the calligrapher's "Counting White as Black" and "Beauty of Full White", the gardener's "All Good Things are Empty", and the poet's "Empty Poetry" and "Empty Poetry" all emphasize the theory of emptiness. He Jiang's Essays on Learning Painting in Qing Dynasty clearly stated that "the essence of reality is born in the air, so three points are in the right place of heaven and earth, and seven points are locked in clouds". Jiang compared the spatial management of virtual reality with 73 to see whether it is scientific, regardless of whether it is scientific or not, but the viewpoint of emphasizing virtual image is clear-cut, that is, the beauty of reality often depends on virtual image. It is not enough for most contemporary calligraphers to emphasize reality rather than emptiness, and to write with pen and ink. They are easy to seal, and if they are slightly transparent, they will win multi-tones. The book world occasionally makes some bold explorers in the management of reality and reality, which is denounced as unconventional and makes the explorers timid and at a loss.

Looking at a painting, we only know its landscape, every grass and tree, but we don't know that the boat with a touch of smoke and leaves is the beauty of truth and reality. I saw colorful colors. I don't understand that "when five colors are used together, there must be a main color, one color is the main color, and the other color is attached to it" (see Shan Jutu). This is the wonder of the harmony of five colors and the proper subject and object. Can't even call it painting.

It is no accident that poetry, calligraphy and painting furniture is heavy and empty. Virtual writing is not empty, which can convey the god of real writing, that is, what painting theorists call "imitating the god outside the image" and "getting the god from the image". It is not easy to draw a cricket fight, so it is difficult to draw a cricket fight (reality and reality coexist). Atrix's interest can be seen from the expression of fighting crickets, just like Bai Juyi's "Song of Eternal Sorrow" about Yang Guifei's "and the tears floating down her sad white face". It is difficult to write a state of sadness and tears, but it is written in the name of "Spring Rain on Pear Flowers". Smart, good, and a master.

Secondly, each work needs specific analysis. For example, paintings with poems on the screen must be watched and interpreted. You can't understand painting if you just look at it blindly and don't understand the poems above deeply. For example, poems on paintings are closely related to painting, such as avoiding reality and attacking emptiness, writing in emptiness, writing in emptiness, and accompanying emptiness with truth. Reading out the profound meaning of the poem is bound to be of great benefit to the interpretation of the painting. Read Dai (180 1- 1860)' s Painting Dead Trees at Snow Window. The first two sentences are "sitting in the snow window and drinking at the moon", but the painter told himself the real situation before painting, which seems to be beyond words. In the second half of the song, he turned sharply and said, "Suddenly I saw the shadows of dead trees all over the steps, and suddenly they blew on me." This is a "virtual writing problem", which is quite simple. Obviously, the painter wrote dead trees (objects, passive bodies), but he blew the shadow of dead trees all over the stage on his hair, drew them out of thin air on the paper, and wrote imaginatively with the method of counterfactual, which not only successfully wrote the aesthetic illusion, but also vividly portrayed the confusing scene of dead trees in the snow window and awakened the picture.

If this poem is still a painting of scenery seen by outsiders (painters), Dai's Painting Landscape is a witness to the painter's design on behalf of the painter. It is also out of thin air, but it is another means of virtual reality. In the first half of the poem, there are two or three songs along the road, and there are millions of heavy smoke on the side. The scenes in the painting are written in opposition, and the figure painting uses the management method of line (two or three songs along Xixi Road) and surface (ten million heavy smoke), which is the same as the Tang poem "The desert (surface) is lonely and the smoke (line) is straight", and the two sentences define the painting space. In the second half of the painting, the painter naturally walked into the painting, and the characters in the painting said that "the negative hand occasionally builds a bridge and the cloud shakes around the chest", which is true and sincere, so it is more touching.

If you are interested, you can also find the title of "Canoe View Waterfall Map" by Yuanji (word Shi Tao,no. Bitter Melon Monk), "Autumn water meets the sky for 30,000 hectares, and the mountains and trees weigh thousands. Tell him to cross the lake by boat and lie down to see the peak of the setting sun, and appreciate the active participation of poets who want him to cross the lake and lie down to see the setting sun. "It is obviously not enough to just watch all the pictures and appreciate them in general; With the help of the imaginative writing of poems with paintings and the imagination of readers, we can further understand the thoughts and ideas of nothingness in paintings. " Just because we haven't reached that depth, if we reach that depth, natural Buddhism will open "(Zhu Xiyu), which is no longer a general appreciation activity.

Reading poems on paintings gives us a more literary perspective, reads the theory of painting and understands a more literary pleasure. There is no calligraphy and painting, vocal poetry and calligraphy, and the expression is reproduced with points and areas, which is called "Three Immortals of China Art" by Mr. Huang.

If this view of truth and falsehood is fruitful and eye-opening, it will also gain a small secret key to the strange realm of art. If the combination of painting works is spread out from the practice of poetry, it will be beneficial to activate the creative thinking activities of painters and painters. Vision can be connected with heart, and exposition is also the achievement of calligraphers. Moreover, Chinese painting relies more on calligraphy, so that painters can see the meaning of painting. Calligraphers can read the meaning of painting and directly take its essence to make up for its shortcomings. It is not unusual to have the meaning of Tathagata. Ancient and modern calligraphers and painters, without exception, historical evidence is a mirror, so why bother to reinvent the wheel.

Painting is an artistic process of the mind. With extraordinary efforts, there will be extraordinary creative gains and joy. The farther you go, the wider you know, and the fun is only known to those who know. Calligraphers can expect more unexpected gains by reading some painting classics besides the calligraphy classics of the former sages.

"The shade does not reduce the road, but adds four or five orioles." Why not?

Integrity and collection

Courtiers of past dynasties, who bowed down to the court, called themselves officials. In addition, at that time, there were thousands of officials, large and small, but there were still a few who were really called good officials and honest officials in history. The common people say that "those who don't kill or fight indiscriminately are good officials who collect small money and small things", and the standard is really not high.

Calligraphers in the Ming Dynasty, except Hai Rui, are all upright, honest and outstanding, and their moral character and the meaning of their names are the same.

Guan Lian (the year of birth and death is unknown, from Taizong to Xiaozong in the Ming Dynasty) Wei Xuanru was a young man, later known as Le Jushi, and was born in Pingdu, Donglai (now Pingdu, Shandong). Deng Tianshun Shen Jia (1664) is a scholar. He teaches in the engineering department and works as a doctor in the last family. Good at books, but diligent, Sheng's "Wen Xi" said, "Guan Cheng had better be left by the Jin people, although his illness is still near." It is also very clear that Liu Yi's Historical Records said: "If you understand regular script, running script and cursive script, you will get the method of two kings."

Guan Lian's character is only practical, and he has a good reputation for being honest and straightforward with his brother Guan Xian. Lian Xian's two brothers lived up to their reputation and were well received by the people. Guan Lian, in particular, dared to speak frankly to the relatives of the emperor who bullied others. At that time, he was really called "audacity". For example, Jingzhou (now Jingxian County, Hebei Province) and other places have fertile land for the people. "The boundary is connected with Donggong Zhuangtian, which is occupied by domestic servants, but it is not expensive to stay and survey." (Because the boundary is connected with Taizi Zhuangtian in the East Palace and illegally occupied by domestic servants, the government has no choice but to send officials to make a false investigation. Before leaving, the palace attendants promised the official Lian: "If the land belongs to me, please ask the official to take it (if the fertile land belongs to me, you can dispose of it)." Guan Lian said seriously: "10,000 lives are for an official, and so is my husband." Then go directly to the site to measure the occupied land, and all of them will be affected.

After the official was honest, he became a layman and claimed to be self-disciplined. Being in the officialdom, he didn't dare to buy the accounts of his relatives, and he was not afraid that other officials would take the opportunity to give him "little shoes" and crowd out the blow. For Harry, known as the "iron pen", this is very refreshing. Therefore, the official can only be a doctor, but it is not easy for people to know his first name and surname.

During the Yongzheng period of the Qing Dynasty, Zhang (1672- 1755, word, Kangxi Jinshi, Shi Wenhe) was a great scholar and a good official. Although Zhang loves his eldest son (171-1746), he is very strict with him. One day, Zhang Gong went to his house and saw a landscape painting of a famous figure. When he got home, he was surprised at Ruo Ai. A day later, this painting was hung on the wall of Zhangfuzhai. After looking at it, Zhang Gong confirmed that he had enjoyed the painting a few days ago and severely reprimanded Ruo Ai. If I knock on my knees for a long time, I dare not open my eyes again and immediately return it to the original owner.

Zhang Ruoai was a scholar in the 11th year of Yongzheng (1733). He is both an official and a courtesy, making good use of regular script, learning from Zhao of Europe and Bangladesh, learning Dong Qichang landscape painting, and being good at painting and calligraphy.

Honesty is the basic requirement for politicians. Compared with Yan Song's father and son's collection of calligraphy and painting, and even all kinds of racketeering misdeeds, Zhang (Jia Taibao), a military affairs minister, likes calligraphy and painting, so that one or two famous people's landscapes can be hung on the wall to avoid being denounced as corrupt officials. However, he is strict with his godson and is still valuable in the officialdom of feudal society.

Having said that, I remembered the story of rejecting farmer Baoyu in Lv's Spring and Autumn Annals and Different Treasures. At that time, farmers in the Song Dynasty dug up a piece of Baoyu and sincerely hoped that "Guo Xiang would give it and accept it (Guo Xiang would accept it)". Zi Han replied: "I thought it was a treasure, but I thought it wasn't (you thought Baoyu was valuable, but I thought it wasn't)." Later, the venerable elders in the Song Dynasty commented on this matter and said: "Zi Han is not without treasures, and the treasures are different (Zi Han is not priceless, but what he treasures is different)."

The dialogue is simple, but it shocks the world.

Zi Han's "don't accept treasure" is to cherish feathers and be honest. He thinks that what is more valuable than Baoyu is moral integrity. There are elegance and vulgarity in loving calligraphy and painting, but relying on power to win love and ask for bribes, or hobbies, is purely an excuse for doing evil. Is there any reason why painters or painting lovers don't like painting and calligraphy? However, it is also a basic virtue to maintain a strict distinction between public and private. Non-officials can't like painting and calligraphy, and they can't learn about painting and calligraphy collections from friends. The crux of the problem lies in whether public and private can face the conscience of heaven and earth. This has nothing to do with ethics, unity and the size of official positions.

It is God's will, but it is people's heart.

From "Mount Tai" to Yan Zhenqing

Most idioms have their historical origins. For example, "Mount Tai" is called Dongyue, the first of the five mountains; A person with great responsibility and considerable strength is generally called a backer. "On the Bow in the Book of Rites" records that "Confucius fleas (early with) made it, dragged the staff with their hands, and left the door, singing' Is Mount Tai decadent? Is Liang a bad person? Philosophers have faded. "Later generations use" the beam of Mount Tai "as a metaphor for those who look up.

Comparing Mount Tai to my father-in-law, we should start with a corruption scandal exposed in Youyang Miscellanies in the Tang Dynasty. First of all, Zhang said that Ode to the Zen altar was written to commemorate Ji Shengde, so when he came to Mount Tai to hold a Zen ceremony, "Zhang said that he was a Zen envoy. (Zhang) Son-in-law Zheng Yi said that he was a nine-product officer. According to the old practice, after meditation, everyone moved from level 3 to the next level, but Zheng Yiyin (Zhang) said that he suddenly moved to level 5 and gave him clothes. " Later, at a royal banquet, Emperor Xuanzong of the Tang Dynasty "saw (Zheng) Iraq's official position leap and asked him strangely, but Iraq was speechless." Huang Zanchu, a court artist, replied: "This is the power of Mount Tai!"

A joke, though bizarre and ironic, can't cure the chronic disease of officialdom. The emperor turned a blind eye when he was happy, which fooled him. Since then, satire has gradually faded, and "Taishan" has become a good name for "father-in-law".

According to "Biography of Zhang Shuo in Old Tang Dynasty", Zhang Shuo said: "The officials and principals who are personally photographed are promoted to the fifth grade, and the rest are not allowed to be promoted." He is also a soldier, but he has honor and can't give anything, so he is disgusted both inside and outside. "It seems that son-in-law Zheng Yi is not the only one who has been promoted to the top. No matter what level of laws and regulations, ancient and modern, Chinese and foreign, as long as they can be publicly displayed, most of them are grand and fair. However, when it is implemented, there are many people who run amok, corruption is not difficult to find, and there are people behind the rules and regulations. Zhang said that at that time, he worshipped Prime Minister Zuo Shangshu and a bachelor of Jixian Academy. Zhang Jun, the eldest son, is a calligrapher, and Zhang Yi, the second son, is a princess, worshiping Ma Xu, a surname. His brother Wang Qing Fu Guang is a doctor in Guanglu, Yin Qing. He and his family are very honored. Under the purple wall of Rowen, he dared to disobey the rules and promoted the goodwill scandal through the closure of Zen Buddhism. The emperor didn't ask for guilt, even if he acquiesced. I didn't expect this story to spread for a long time through the mouth of court artists and the name of "Mount Tai". Lucky or unlucky?

Twenty-five years after Zhang's death, that is, in the 14th year of Tianbao (755), An Lushan rebelled. In June of the following year, Tongguan fell and Ge was ambushed and captured. The country was in a critical situation, and Xuanzong and Yang Guozong, imperial concubine and sister, prince and grandson rushed to Shu. When Yu Jia came to Xianyang, Xuanzong asked Gao Lishi, "He left Beijing in a hurry yesterday, and the court officials were at a loss. Who will come today (who will chase the escort today)? " Gao Lishi believes that "(Zhang's son)' s brother owes the country, and even their relatives (Xu's royal relatives) will be the first to arrive. Fang Yi, known as the Prime Minister, was deeply impressed by Lushan Mountain. He won't come here. " As a result, the assistant minister of the Ministry of Constitution, who was not favored by the emperor, hurried to escort on the same day, while the Zhang brothers, who were particularly blessed, took refuge in An Lushan. Zhang Ai pretended to be the prime minister and finally died in the thief army. Zhang Jun was executed for his crime, saved from death by Fang Fang and others, and lived in Hepu County for a long time.

Compared with his father Zhang Yang, Zhang Yang's brothers are good at poetry and prose, but their talents are far inferior. Zhang Jijun recorded in the Book of the New Tang Dynasty has 20 volumes, which have been lost. Du Fu has a poem "To Zhang Si Hanlin Bachelor" and a poem "To Zhang Ge"; Judging from the poem "Zigu is still full of flowers and jute is like six classics", Du Fu appreciates Zhang Yang's style of writing. Fathers Wei Xuanhe and Yin Zitengda, if they only rely on powerful nepotism, plus the ability to write poems and articles, times have changed and it is difficult to last long. What's more, troubled times are equal to self-destruction, so their ending should not be accidental.

Yan Zhenqing (709-785), a great calligrapher, lived in troubled times, and he was very different from Zhang's second son in moral concepts.

At the beginning of the Anshi Rebellion in the 14th year of Tianbao, Yan Zhenqing, the magistrate of Pingyuan (now the northern Shandong Plain), and Yan Gaoqing, the magistrate of Changshan (now Zhengding, Hebei Province) advocated the Anshi Rebellion and raised the banner of righteousness. Seventeen states encouraged them to rally 200,000 people against the rebels. In March of the following year, he sent his troops to recover Wei County. Later, due to the fall of counties in Hebei, Yan Gongnan left; In the second year of Yongtai (766), Yuan Zai, the prime minister, was in charge and was demoted to Zhou Xia for libel. Before it arrived, I changed to Jizhou. Seventeen years of wind and rain, I went back and forth between the ruling and opposition parties, bumping up and down. In the fourth year of Jianzhong (783), when he advised Li Xilie to comfort Huaining, who had rebelled, his advice was invalid. Instead, he was imprisoned and did not yield under repeated threats from Li Xilie. He was finally killed at the age of 76. Zhao recommended Stuart, known as Wenzhong in history.

At the same time, Gong Yanshu's ink is a masterpiece in the history of Guangbingshu. In the first year of Gan Yuan (758), Gong Yan mourned his nephew Ji Ming, leaving a "thousand-mile vertical pen; As a masterpiece of running script, The Draft for Sacrifice to My Nephew was buried with his head still there and his body no longer there, leaving the awe-inspiring righteousness of "cold forever". Yan Zhenqing was angry with his deeds and legacy, so he was angry with generate and wrote this article. Six years later, in the second year of Guangde (764), the book "Xi Draft" criticized Guo Yingai's behavior, which was full of loyalty and was rated as "the first in Yanshu" by Mi Fei. Words are linked, flying strange, unexpected ",and the valley is praised as" Wei Qi Xiuba, selected from the romantic life of Wei, Jin, Sui and Tang Dynasties ". Others, such as "Ode to the Great Tang Dynasty" (77 1, 62 years old), sending Liu Taichong to Syria (772, 63 years old) and Song Jingbei (778, 69 years old), are all treasures of China's calligraphy. Later generations respected Gong Yan, admired his noble morality and admired his art. The emblem of Loyalty Hall (Wenzhou) carved with Gong Yan's ink in the Southern Song Dynasty and Gong Rongxu's loyalty hall are both marked with the words "Loyalty Hall", which is enough to stop people.

If it weren't for troubled times, Gong Yan wouldn't be possible; Without honesty, it is impossible to achieve Gong Yan. Without Gong Yan, it is impossible to have the brilliance of the peak of calligraphy art in the Tang Dynasty. Perhaps it is the hard training in the military career and the sleepless work in state affairs that makes Gong Yan's calligraphy art unique. People who are good at cultivating noble spirit are not difficult to achieve great things; If it coincides with the times, it is "the sky will fall to a higher position and people will become adults."

It seems to be the common fault of the monarch that loyalty and treachery do not distinguish. The Book of the Old Tang Dynasty commented that "it is easy to see a good minister in times of crisis, but it is difficult to show a good face in times of peace", but it set a grand step for the monarch to go astray. Even if Yan Zhenqing is a good minister who has seen the world, so what? Throughout history, the success of Ming Jun in establishing a dynasty was largely due to the fact that people with discerning eyes first knew the truth of treachery of loyal subjects, and then they chose the right people and made wise and timely policies. People with lofty ideals in ancient and modern times may not always complain about the "clouds (villains)" when they sigh that "clouds can cover the sun".