Shi Tao's quotations

Shi Tao's quotation:

[Original] Taikoo can not, too simple and not scattered, too simple and scattered, and the law is Li, the law is in He Li, standing in a painting. One painting, the root of all, the root of Vientiane; seeing for God, hiding for people, and the world does not know, so the method of painting is self-standing. Those who set up a painting method are not able to have a law, and they have a common law. The painter, from the heart. The appearance of the mountains and rivers, the nature of the birds and beasts, the moment of the pool and the towers, failed to go deep into the rationale, and made the best of it. Going far and ascending, learn the skin. This painting has been collected from the outside of Hongmeng, that is, hundreds of millions of inks, and it has not started without this, but it is the ear of the people. A person can draw a specific and microscopic, clear-cut pen, and the wrist is not empty, but the painting is not the same. Move to spin, run to turn, and live in it. Out of the way, like a cut. It can be round and can be straight and can be used. The right and left are uniform, convex and concave, and cross-cutting, such as the depth of the water, such as the fire of fire, naturally not to be strong. There is no way to use the law without any disappointment, and there is no end to it. With a wave of hands, mountains, rivers, people, birds and beasts, grass, pools, and towers, the shape and use of the situation, sketching, and the scenery, revealing the implied, people do not see the success of their paintings, painting is not against their own use. Since the Tai Pu San and the painting of the law. The law of one painting stands for all things. My old saying: My way is consistent.

[translation] Taikoo can not, too simple and not scattered, too simple and scattered and law. There were no rules and regulations in ancient times, because people were chaotic and obscured at the time, and the state of chaos was dissipated, and various laws and regulations began to be established. How is the law established in a painting? How is the law and regulation established? It is based on the "one painting", that is, the nature of the heart, the one who paints, the root of all, the root of Vientiane: the heart Sex, the nature of all beings, is the source of objective foreign objects. See for God, hiding for people, and the world does not know. Our insights are based on its mysterious instigation, deep in the social activities of the mind acting on people. The average person cannot understand and recognize this. The method of painting is self-reliance. Therefore, "the method of painting is to build from ourselves." The person who establishes a painting is not able to have a law, but also has a method of law. The establishment of "a method of painting is to build from ourselves." The person who establishes a painting is not able to have a law, but also has a method of law. The establishment of "one painting as a method is to derive the law from the subject of the heart without a law, and the law formed by this method is integrated into the public law." The painter, from the heart. Painting is an artistic expression revealed from the heart. The appearance of the mountains and rivers, the nature of the birds and beasts, the moment of the pool and the towers, failed to go deep into the rationale, and made the best of it. The mountains and rivers are full of intricate characters. Birds and animals have their own temperament, and the pools and towers have strict rules. For these natural life phenomena, we can't understand the essence of the truth, and arbitrarily discerning the social situation. After all, we have not obtained the large scale and scope of the flood required by a painting. Going far and ascending, knowing the skin size, the journey is far higher and climbs higher, all starting from the heart of the square. This painting is not only the hundreds of thousands of pens and inks, but it is not the beginning. He wrote hundreds of millions of inks, and did not begin in this heart without starting from this heart. Just let us control our own choices. People can be concrete and microscopic, and they are clear and penetrating. If a person can grasp the "one painting" in a specific way and understand the subtlety, then the intention is clear and the pen and ink are clear. If the wrist is not empty, then the painting is not, and if the painting is not, the wrist is not working. If the wrist is not imaginary, then the painting does not follow the mind. The painting does not express its own intentions because the wrist is not flexible. Move to spin, run to turn, live in the hustle and bustle, come out like a cut, into the like, can be round and powerful, can straighten the music, can go up and down, right and left are uniform, convex and concave abrupt, cross-cut, If the water is under, like the fire of fire, nature is not allowed to be strong, but there is no way to use it without any disappointment: there is no way to go, but the state is indispensable. The pen must have a maneuver, and the moisturizing place should be turned around, and the pen should be placed at the pen, and the pen should be decisive. The pen is definitely clear and clear. As for the ability to be able to round, it can be straight, can be up and down, right and left, uniform, convex and concave, and cross-cutting, such as water flowing deep, the flames are as strong as the pen. There is a slight fortune. It is not unreasonable and coherent to use the pen, and there is no unreasonable and coherent brushwork, and it is not appropriate to write a sentiment. With a wave of hands, mountains, rivers, figures, birds and beasts, grasses, and pools, the use of the potential, sketching, and ecstasy, revealing implied, people do not see the success of their paintings, painting is not against their own use. In a state where the pen and ink are handy, I waved my hand, depicting mountains, rivers, people, birds, beasts, grasses, and pools. Or take its image with its posture. Write it vividly, its meaning, and convey my emotions to describe its shadows, or reveal or imply, people do not see the mystery of painting, painting does not violate the author's intentions. Covered by the simplicity of the painting and the law of a painting. The law of one painting stands for all things. The paintings of the people are scattered and a painting method can be established. The law of one painting is established and everything is obvious. My old saying: My way is consistent. I said: My painting is based on a center.

[Comment]: The "one painting" proposed by Shi Tao, stealing the "Buddha is one", "the law of the second", "a true law circle", and "the Buddha nature" from the Buddhism "," a painting" is its invisible, and knowing from the heart is self-consciousness, enlightenment, that is, the root of the consciousness of the hole. "The law of one painting" is the method of painting art in the heart. Shi Tao is a sorghum in the Qing Dynasty. According to the existing historical data, he studied under the sacred sacred sacred sacred priests of this month. He once asked this month: "What is the word without painting?" : "Wen Cai has been outstanding." Shi Tao is deeply immersed in Buddhism. It is a natural thing to guide the art of painting with Dharma. From the quotations of the paintings, a lot of Buddhist terms and chanting verses are used. It is not difficult to see the great Mahayana spirit of Shi Tao's active accession to the world. He regards the self-sufficiency as the starting point of life and art. The proposal of Shi Tao's "one painting method" is based on the concrete application of the Buddhist method of painting, and is a summary of the practice and theory of the text. "There are not many quotations in Shi Tao's paintings, but it is a genuine national treasure. In the long history of history, it has become a crown jewel in the history of world art development."

The second chapter

[Original] rules, the extremes of the square are also; the heaven and earth, the rules of the operation also. The world knows that there are rules and does not know the righteousness of the cadre and the reincarnation. The bounds of the heavens and the earth are in the law, and the law of the people is in the monastic, although the law of the congenital heavens is finally unreasonable. Therefore, there are those who can't do the law, and those who are legally obstructed. The ancient and modern laws cannot be barred, and the reason for a painting is unknown. As soon as you draw a picture, you can't draw your eyes on it. Painting from the heart and obstructing. The painter, the world of heaven and earth, too. What is the shape of the ink? The ink is in the sky, the thick and dry is followed; the pen is in the person, and the hooking is followed. The ancient people did not taste the law. Can't be infinite in the world. It is a painter. It is not unlimited and limited. It is also lawless and limited. The law is self-painting, and the obstacles are self-drawn. The law barrier does not participate. However, the meaning of Gan Xuankun’s turn was ambiguous, and the painting was chanting and painting.

[translation] rules, the extremes of the square. Gauge and moment are the laws and regulations for measuring round and square. Heaven and Earth, the rules of operation, heaven and earth, run with a certain natural law. The world knows that there are rules, and I don’t know what it means to turn around. The world only knows that there are rules and regulations, and does not know the rotation of the universe, the conversion of yin and yang, and the principle of unity of opposites. The bounds of this heaven and earth are in the law, and the law of man's service is in Mongolia. The law between the heavens and the earth constrains people's thoughts, and people are detained by the laws and regulations of the law; even though the law of the heavens is innate, it is beyond the scope. Although I have mastered some rules of procedure, I can't get the truth of these rules. Therefore, there are those who can't do the law, and those who are legally obstructed. When these rules are not clearly understood, they become obstacles to getting the right approach or establishing new rules. The ancient and modern laws cannot be barred, and the reason for a painting is unknown. You don't understand the relationship between the rules and regulations of the ancient and modern times and the obstacles to the development of painting. Then the truth of a painting will not be understood. When one draws, the obstacle is not in sight, and the painting can be drawn from the heart, and from the heart, and the obstacle is far away. If you understand the "one painting", then all obstacles are not in sight. Therefore, the painting can conform to the ideal of the wish, and the painting can express its own wish. The obstacles to painting naturally leave you. The painter, the world of heaven and earth, too. What is the shape of the pen and ink? Painting is the art that expresses the image of all things in the heavens and the earth. How can the pen and ink behave in a natural way? The ink is in the sky, the thick and the dry is followed: the ink is a natural product, which can be randomly rendered and changed. Thick and dry, different ink effects. The ancient people have not tasted the law, and they cannot be infinite in the world. The ancients did not try to create art with certain rules. Because there is no certain law, the art of painting loses the scope of the standards and regulations that people watch. It is a painter, and I have proposed "one painting." Non-infinite and limited, also non-legal and limited: it is not a rule of no-regulation, nor is it limited by certain methods. The law is free from obstacles and obstacles: the method of painting is based on your ability to use the flexibility to control the use of this. There are obstacles that you cannot take the method. The law self-painting students, the obstacles self-painting retreat: the technique of painting is naturally produced in the practice of painting, and the obstacles that limit your artistic expression will naturally fade away in the practice of painting. The legal obstacles are not involved, and the meaning of the dry rotation is changed, the paintings are shown, and the paintings are painted. The relationship between techniques and obstacles is no longer involved, but the meaning of the rotation of the spin-kun, that is, the law of the continuous development and change of the yin and yang transformation in the natural world is derived from the heart. The truth and law of painting are very obvious. The creation of "one painting" You only fully understand your thoughts.

[Comment]: In the "Second Law Chapter II", Shi Tao mainly expounded the understanding and application of all the rules, that is, there must be a law to be followed, and not limited to the law, pointing out the law and reform, inheritance and The dialectical relationship of innovation.

Change chapter third

[Original] The ancients know the same. The savvy person knows what he is. With ancientization, I have not seen my wife. It is still regrettable that the mud is not changed. The knowledge is not as wide as it is, so the gentleman only borrowed the ancients to open the present. He also said: "If you can't do it, you can't do it, you can't do it, you can't do it, it's the law. Everything has the right to have a right, and there must be a law. Once you know the Bible, you will change its power; The paintings of the husband, the Dafa of the world, the elite of the mountains and rivers, the edification of ancient and modern creations, the popularity of yin and yang, and the use of pen and ink to write everything in heaven and earth. Today's people don't know this, but they move: a certain point, you can stand on your feet, not like a landscape, you can't pass it for a long time. A certain family is light and can be established. Not like a certain skill, only enough to entertain people. It’s me for a certain service, not for a certain family. Forcing a certain family, but also eating a wreckage. I have nothing to say! Or there is a saying: "A certain family, I also, a certain family, I am also. What is my gateway? What class? How is it compared? What is the test? Where is it dyed? What is the situation? Can you make me ancient and ancient?" If you know that there is an ancient one, you don't know who else. I am for me, I am here. The ancient eyebrows can't be born in my face; the ancient lungs can't fit into my belly. I spontaneously licked my lungs and uncovered my eyebrows. Sometimes I touch a certain family, it is a certain family, and I am not a family. Naturally granted. I haven't changed it in ancient times?

[Translation] The ancients, the knowledge of the tool, the creator, the genius of the genius. The ancient rules of knowledge are detailed and specific, and those who are good at change and innovation recognize the limitations of predecessors' laws and regulations and follow their own constraints. With ancientization, there is no such thing as a husband, but it is regrettable that it is not a person. I have never seen such a person in the past, and I often regret that those who have never been immortalized are bound by the law. The knowledge is not wide-ranging, so the gentleman only borrows the ancients to open the present: the understanding stays in the imitation of the law, it will not innovate, as for the vast majority, so the people of insight are to create an excellent thing by mirroring the ancient things. The new law. He also said: "If you can't do it, you can't do it, you can't do it, you can't do it, but it's the law. You can also say: "There are no certain laws for the people of Gaoming." It is not impossible. It is the law without law. in principle. Everything has the right to have a right, and there must be a law. If you know the Scriptures, you will change your power. If you know the law, you will be able to make a difference: if you have regular routines, you will have the right to change and have a certain law. There must be changes in the regulations. Once we know that there is a routine, we will change our minds and change our routines. The paintings of the husband, the Dafa of the world, also the paintings, is the profound art of the world. The elite of the mountains and rivers, the scent of ancient and modern creations, and the popularity of yin and yang, also use the pen and ink to write everything in heaven and earth. The spirit and spirit of the mountains and rivers, the cultivation and cultivation of the creator of the past and the scent of the yin and yang climate, and the use of pen and ink to depict everything in the world, let me swim in the art world. Today's people don't know what to do with this: a certain point, you can stand on your feet. It’s not like a landscape, it can’t be passed for a long time. A certain family is light, can be a product, not like a certain skill, only enough to entertain people: today people do not understand this truth, can not move to say: a family's defects can be used as a basis. It is not similar to the landscape of a certain family and cannot be passed down for a long time. A light style can improve the taste, can not reach the neatness of a certain family, can only meet entertainment. I am working for a certain family, not for a certain family, but also for a certain family, but also for eating a wreckage ear, when I am: I am a slave to a certain family, not a certain one for me. Use, even if it resembles a certain family, it is just to eat the leftovers of others. What do I have? Or what is the embers, a certain blog, I also, a certain family, or me: Someone said to me: A family can make me big A family can make me simple. What is the reason for my class? What is the class? How is it compared? How to test it? Where is it dyed? In He Lewei? What kind of situation? Can I be ancient and ancient? Then, I will rely on who is under the door , at which level, compared with which, where to verify, how to dye, how to sketch, how to structure the rules? Can make me and the ancients exactly the same. If the person knows that there is an ancient one without knowing me, this kind of person only knows that there is an ancient person and does not know that I exist. I am my own, I am in my own, the ancient eyebrows, can not be born in my face; the ancient lungs, can not be into my belly. The reason why I am for myself, my own unique existence, the eyebrows of the ancients, can not grow to my face, the ancients' lungs can not fit into my intestines. I spontaneously licked my lungs and uncovered my eyebrows. Sometimes I touched a certain family. It was a certain family. I am also a certain family. I naturally teach it. I have not changed it in ancient times. Since I have sent my sorrows and sorrows, I have shown my unique eyebrows. Even if I sometimes resemble a certain family, I am only close to me. I have deliberately imitated a certain family. Because the natural grant is the same, it is not the result of my teacher's inconsistency.

[Comment]: Shi Tao raised the art of painting to the position of changing the universe and the magical powers of all things, focusing on the input of individual emotions. Opposing the plagiarism of the form of painting and appreciating, it criticized the prevailing ancient style and the portal. Advocate reform and innovation. The expression of individuality is still of great significance to our artistic creation today.

Respect for the fourth chapter

[Original] Received and recognized, first received and then recognized. Know and then accept, not accept. The ancient and modern to the Ming dynasty, based on their knowledge and sent their own, knowing their acceptance and knowing what they are. However, the ability to do things is small. I didn't know the right to draw a picture, but I also expanded it. A painting contains everything in the middle. The painting is subject to ink, the ink is subject to the pen, the pen is subject to the wrist, and the wrist is subject to the heart. If the creation of the heavens, the cause of the earth, this is what it is. However, people can respect their own, not respect, and give up on themselves; they can't draw their paintings, they are also self-restraint. The husband accepts: the painter respects and keeps the person, and uses it strongly, with nowhere else, no interest. "Easy" said: "Tian Xingjian, gentleman to self-improvement." This is why it is respected.

[translation] subject to knowledge, first accept and then recognize; knowledge and then accept, not accept. Human feelings and understandings are first felt and then formed. Feeling through rational understanding, it is not the feeling of the past. From ancient to modern times, the people of the Ming and the Ming dynasty used their knowledge to express their feelings, and they knew what they were receiving, but they were able to know what they were doing, but they were small and ignorant, and they could not recognize the right of painting. Throughout the ages, clever people have learned and expressed knowledge and opinions by knowing their feelings, but they are only feeling and understanding of a certain aspect of things. This is also a small feeling of small understanding, and has not yet been able to recognize the "one painting". It is important to promote and expand its application. A painting, containing everything in the middle: a painting with its wisdom and wisdom, including everything in the middle. The painting is subject to ink, the ink is subject to the pen, the pen is subject to the wrist, and the wrist is subject to the heart, such as the creation of the heavens, the cause of the earth, and the reason for this. The painting is subject to the color of the ink, the ink accepts the finger of the pen, the pen accepts the movement of the wrist, and the wrist accepts the drive of the heart. If it is naturally created, this is the feeling of "one painting"! It is worthy, not respect, and self-abandonment: However, it is valuable that people can respect this feeling, but not respect, it is self-abandonment. It’s self-restraint: if you get this kind of painting method and don’t change it, it’s self-restraint. The husband receives the painting, and the painter respects it and uses it. There is no interest in the outside world: this kind of feeling, the person who paints must respect and stick to it, and strengthen it and use it. This feeling is not interrupted by the outside world, and it is endless. "Easy" 曰: Tian Xingjian, gentleman to self-improvement, this is why it is respected: "Book of Changes" said: Heaven follows the heavens and the road is running, the gentleman should follow the example of heaven and self-improvement, because of this, we must respect and stick to us. Feeling.

Pen ink chapter fifth

[Original] The ancients had pens and inks, and there were also those who had no pens and inks. There were also those who had no inks. The non-mountain was limited to one, and the human beings were misunderstood. The ink splashing pen also uses the spirit, the ink of the pen is also the god, the ink is not the monk, the pen is not the life, the god can not be solved by the spirit of the monk, and there is no ink. The spirit that can be influenced by the god of life without being envied is a pen without ink. The specifics of all things in the mountains and rivers are anti-positive, positive and partial, with scattered and scattered, near and far, and inside and outside, there are imaginary and real, broken and connected, layered, peeling, and rich. There is ethereal, the big end of this life too. Therefore, the recommendation of all things in the mountains and rivers is in the people, because people exercise this right to support the life, it is not true, you can make the pen and ink, there are bones and bones, there are open and close, useful, tangible and powerful, there are There are arches, jumps, lurking, rushing, collapsing, sturdy, sturdy, sturdy, steep, and one-of-a-kind.

[Translated] The ancients had pens and inks, and there were also those who had no pens and inks. There were also those who had no inks; the non-mountain was limited to one, and the human beings were misunderstood. Looking at the paintings of the ancients, there are very good pens and inks, and those who use pens and inks are not good, and those who have good inks and pens are not enough. This is not limited to depicting different mountains and rivers, but people's feelings are different! The ink splashing pen is also in the spirit, the ink in the pen is also in the gods, the ink is not in the innocence, and the pen is not life. Although the ink is light and the pen shows aglow, the pen works on paper and the ink is attached to the spirit. The ink is not able to achieve the agility through long-term training, and the pen does not have rich life accumulation and experience. The god who can be protected by the spirit of being indifferent is the one who has the ink and the pen, and can receive the spirit of life without changing the spirit of the monk. Can accept the mastery of the knowledge of pen and ink skills, but do not understand the intrinsic and spiritual life, is the inkless, can feel the spirit of life, without changing the original pen and ink techniques, there is no ink. The specifics of all things in the mountains and rivers are anti-positive, positive and partial, with scattered and scattered, far and near, internal and external, virtual and real, broken and connected, leveled, spalled, and rich. There is ethereal, the big end of this life too. Everything in the mountains and rivers is very specific in its rich changes. On the contrary, there are positive ones. There are sideways, there are side and dense, there are also dense and scattered, there are far and near, there must be outside, there is nothing to be true, there are also broken and there are Even, there are layers, there are patches, there is a side of the rich and colorful, and there is also an empty side. The above is just the general image of life. Therefore, the recommendation of all things in the mountains and rivers is in the people, because people exercise this right to support their lives. Therefore, all things in the mountains and rivers unreservedly show their own heaven and earth in front of human beings, because human beings have the creative ability to understand nature and naturally transform nature. Abnormally, you can make a pen and ink, there are bones and bones, there are open and close, there is body and useful, tangible and powerful, there are arches and standings, there are jumps, there are lurking, there are rushing, there are pounds, There are flaws, strange peaks, and steepness. If you don’t, how can you make the pen and ink, there is blood and flesh, there is openness and harmony, it is useful, it is tangible and powerful, and there are arches and standings. There are jumps, lurking, rushing, sturdy, sturdy, steep cliffs, steep, one by one to draw their vivid spirituality and fully reflect their charm?

The sixth chapter of the game

[Original] or 曰: painting and painting, chapters and inventions, using ink with pens, fine everywhere. Since ancient times, there has never been a situation of mountains and seas, and it has been driven by empty words. I want to be too high in the quality of the polyester, the extraterritorial legislation, disdain to start from the shallow side of the yeah? The same is true! Thanks to the far, the most recent; the knowledge is near, the service is far. One painter, the shallow hand of the calligraphy and painting is also close to the Kung Fu; the changer, using the pen to use the shallowness of the ink is also the same; the mountains and seas, a hill and a shallow shallow Zhang Ben also; the situation, the shallow and near program. If the gangster knows the ambiguity of the sect, there is a copy of Fang Biao. For example, there are mountains in the square, peaks and peaks, and the people of the people also have a mountain, always figured out, one peak, always unchanged. It’s a mountain, it’s a peak, and it’s okay to turn the shackles into the hands of the sages. It’s also unstoppable, and the situation is the same, knowing the fur of the scorpion; the painting is the same, the discretion of the situation is known; Misunderstanding, knowing the mountains and rivers; the forest is not prepared, knowing the emptiness of Zhang Ben. In order to turn these four, you must start with the wrist. If the wrist is imaginary, the painting can be changed, and the pen is not obsessed. The wrist is actually calm and clear, the wrist is swayed by the imaginary, the wrist is subjected to the straightness in the regular, the wrist is subjected to the slanting of the wrist, the wrist is affected by the disease, and the wrist is affected by the lateness, and the wrist is affected by the wrist. In nature, when the wrist is changed, the wrist is awkward, and the wrist is amazed by the ghost. The wrist is recommended by the god Chuan Yue.

[translation] or 曰: painting and painting training, chapters and chapters, using ink with pens, fine everywhere: or: "painting and painting, a class of books, chapters are publishing their own insights, using pens with ink The techniques are very fine." Since ancient times, there has never been a situation of mountains and seas, and it has been used in empty talks. It has always been the same: since ancient times, there has never been a styling technique for painting mountains and seas, driving Buddhist speeches, and promoting the common lovers. I think that the big sex is too high, the extraterritorial legislation, disdain to start from the shallow side, and the different words! I think that my big taste is too high, from the world's legislation, I don't bother to learn from a shallow place. Different from the previous generation of painting theory, it is far from the future, and it is the most recent; the knowledge is near, the service is far away: accepting high-level insights, you may get shortcuts, and you will be superficial and will be forced to be far away. A painter, the shallow hand of the calligraphy and painting, the change of the artist, the use of the pen with the ink of the near-law, the mountains and seas, a hill and a shallow Zhang Ben also; the situation, the shallow and near program. The method of a painter thinks that it is a simple effort to draw from painting and painting. Mastering the change of painting is just a way to use the pen to use ink and light, and the mountains and seas are a sample of Linyi’s learning. The outline of the structure is only used. Different methods of defamation. If a gangster knows that there is a mate, then there is a copy of Fang Yi: If you only know a little local knowledge, there will be corresponding learning methods and models. For example, there are mountains in the square, there are peaks, and the people are also one mountain. It is always a picture. It is known that the peak is always the same. It is the mountain, the peak, and the dislocation. It’s unbelievable. For example, if there is a mountain in a certain place, there is a mountain, there is such a person, you can see this mountain, and you can always draw it down. You can see this peak and always trace it without change. It is this mountain, it is this peak. If this person has the means to turn the mountain into a mold. Is it still unacceptable? And the situation is the same, and the skin is not known. The painting method is the same, only the situation is limited, the Mongolian is not well-known, the mountains and forests are not prepared, and the emptiness of Zhang Ben is known. In order to turn these four, you must start with the wrist. Moreover, there is no change in the shape of the mountain. Only know a little bit of fur knowledge, the technique of painting is unchanged, only the structural style is rigid and rigid, the theoretical study is not comprehensive, only the layout of mountains and rivers is listed, and the composition of mountains and forests is incomplete. I only know that there is a lack of emptiness in the model. In order to resolve the above four deficiencies, we must start with the wrist. If the wrist is imaginary, the painting can be changed. If the pen is cut, the shape is not obsessed. The wrist is actually calm and clear. The wrist is swayed and melodious. The wrist is caught in the regular and the wrist is slanted. If you are affected by the disease, you will be able to control the situation. If you are late, you will be tempted by your wrists. If you change your wrist, you will be stunned. If you are a wrist, you will be amazed. If you use the pen to be imaginary, the brush will be easy to change. If you use the pen as a cut-off, you will definitely be sure. The image will not be demented. The wrist is actually calm and clear, the wrist is empty and the ball is flying. The wrist is straight and the center is the pen. The wrist side is tilted and slanted, and the wrist is galloped to manipulate the momentum. When the wrist is slow, the arch is sentimental, and the wrist is supernatural. The wrist is unpredictable and the singer is strange. The axe, the magic of the wrist, the mountain is aura.

[Comment]: In this chapter, Shi Tao mainly talks about the experience of the wrist and the important position in the painting technique. Shi Tao concentrates on solving the problem of painting and writing skills and performance ability, and solves it from the wrist. The opinion is that because the wrist is a relay station that connects the heart and the pen through the arm force, the mind wants to reach the wrist through the elbow, and the wrist is used to control the pen. The pen and ink are the implementers of the mind, the pen's swaying, the virtual spirit, the fine and extensive It is all about the regulation of the wrist, and practicing the wrist is to practice the ability to control the pen and shape.

The seventh chapter

[Original] The pen and the ink will be for the sake of ambiguity, for the sake of chaos, for the chaos, for the painting, and for the yeah? The painting is in the mountains, the painting is in the water, and the painting is in the forest, Painting on people is easy. I got the ink and ink meeting, the solution to the problem, the confession, the ancient and modern, and the self-contained family. Can not be carved, can not be rotted, can not be muddy, can not be implicated, can not be disconnected, can not be unreasonable. In the mind of the ink in the sea, the life of the pen is determined, the hair is replaced by the hair, and the light is released in the chaos. Even if the pen does not pen, the ink does not ink, the painting does not draw, I have it. Covered by Yunfu ink, non-ink transport also; fucking pen, non-writing exercises; off-female, non-tire off. Since one is divided into thousands, it is ruled by one. When you become a singer, you can do things in the world.

[Translation] Pen and ink will be for the sake of ambiguity, for the sake of chaos, to create chaos, to draw a picture and who yeah? Pen and ink merge, harmonious, and complement each other is for you. No pen can not show the ink image, no ink does not see the pen meaning, the pen is the main body, is the bone, can express the heart, the ink is the body, the flesh is the shape, the two are the two is one, the inseparable, the pen and Ink matches each other on the screen, embraces, entangles and collaborates, and integrates seamlessly, showing the smoothness of the brush and the vivid effect of the charm. It doesn't matter, it's for chaos. The relationship between pen and ink does not understand that it is not well handled, that is, it is a chaos. Solve the chaotic state of pen and ink. What do you rely on to abandon "one painting"? Painting in the mountains is the spirit, painting in the water is moving, painting in the forest is the birth, painting in the people is the Yi. Painting in the mountains is magnificent and graceful, painting in the water is leaping and flowing, painting in the forest is full of vitality, painting in the people is the gods and colors. I got the ink and ink meeting, the solution to the problem, the confession, the ancient and modern, and the self-contained family. The tacit understanding of the brush and ink, the coordination and cooperation of the solution, to solve the problem of opening up the relationship between the pen and ink, so that the works are passed down to ancient and modern, self-contained, which is achieved by wisdom.

[Comment]: Shi Tao explained the Dafa and artistic thoughts of painting. He did not talk about specific techniques. He emphasized the understanding and precise grasp of pen and ink. It has an inseparable relationship with the spiritual realm of thought. Next he continued to discuss the main spirit - the realm of the mind, the role in painting.

Can not be carved, can not be rotted, can not be muddy, can not be implicated, can not be disjointed, can not be unreasonable, lies in the spirit of the ink in the sea, the life of the pen, the change of the hair on the scale, the light in the chaos. When painting, you can't sculpt and pretend, don't stay sturdy, don't drag the water, don't be forced to do it, don't break away from the relationship, don't be arbitrarily unreasonable, and lie in the spirit of the main body of the ink, and rush out of the life of the pen, and reinvent the picture. Let the light shine in the imagery. Even if the pen does not write, the ink does not ink, the painting does not draw, I have it: even if the pen and ink style does not conform to the traditional norms, but my own spiritual style is independent. Covered by Yunfu ink, non-ink transport also; fucking pen, non-writing exercises, off-female, non-tire off, also for cents, from the rule of one. When you become a singer, you can do things in the world. This is because I am transporting ink, not ink is transporting me. I master the pen is not a pen exercise, I am born out of the bones, not the object of self-born, this is the differentiation and expression from the main body of the mind. The Wanfa Confluence is taken in one heart, and the changes and sublimation of the spiritual realm become the result of the picture, and the operation of the "one painting" spirit can be done completely.

[Comment]: Shi Tao's paintings are always not centrifugal, because the law comes from the source of the heart, and the mind is born. Because the heart is the source of the aggregate of all things, and the starting point of the derivative of the law, it can be seen that the decisive role and influence of a person's spiritual realm on artistic creation is crucial.

Yamakawa Chapter Eight

[Original] The quality of the mountains and rivers is also the quality of the mountains and rivers. The method of the ink and brush is also the decoration of the mountains and rivers. Knowing its decoration is not a matter of reason, it is dangerous. Knowing its quality and being illegal, its law is slight. Therefore, the ancients knew that their trivialities would be obtained in one. If there is an unclear, then everything will be obstacles. The theory of painting, the method of the pen, but the quality and decoration of the heavens and the earth. Mountains and rivers, the situation of heaven and earth is also. The weather is bright and windy, and the weather of mountains and rivers is also. It is far-reaching, and the path of the mountains and rivers is also. The vertical and horizontal throughput, the rhythm of the mountains and rivers. The yin and yang are dark, and the mountains and rivers are also condensed. The water clouds are scattered, and the mountains and rivers are also sparse. Jumping to the back, the mountains and rivers are also hidden. Gao Ming, the right to heaven. Bo thick, the balance of the land also. The wind and the clouds, the sky is bound to the mountains and rivers. Water stone people, the land is also exciting mountains and rivers. The balance between non-world and earth cannot change the unpredictableness of mountains and rivers; although the constraints of the wind and clouds, we cannot wait for the mountains and rivers of the nine districts to be in the same model; although the water and stone are leaping, the situation of mountains and rivers cannot be different from the pen. And the mountains and rivers are large, the vast land is thousands of miles, the clouds are thousands of miles, and Luo Feng is listed as a glimpse of it. With a picture, you can participate in the cultivation of the world. Measuring the situation of mountains and rivers, the land is wide and wide, the peaks of the peaks are examined, and the smog of the clouds is known. It is a thousand miles away, and it is a sinister evil. It is attributed to the right of heaven and the balance of the earth. Heaven has the right to change the spirit of the mountains and rivers; the earth has the style of Hengyun Yunshan; I have a painting, the god of the mountains and rivers. This fifty years ago, it was not born out of mountains and rivers; it was not to ruin its mountains and rivers, so that the mountains and rivers were selfish. In the mountains and rivers, it is also born in the mountains and rivers. Search for the peaks and drafts. The mountains and rivers and the gods met and traced, so they ended up in Dadi.

[Translation] The quality of the mountains and rivers that have been the best of the world is also the decoration of the mountains and rivers. Those who get the natural law between heaven and earth, that is, the truth, get the inner essence of the mountains and rivers, and those who get the ink and brush techniques get the skills and forms of expressing mountains and rivers. Knowing its decoration is not a matter of reason, it is dangerous, it is illegal and its law is slight. Knowing the formal skills of painting and ignoring the theory of demolition theory, its ideological connotation is shallow. Knowing its essence and ignoring pen and ink skills, the skill rules will be weak and lacking in expressiveness. Therefore, when the ancients knew that they were in danger, they would be one in one. If there is an unclear, then everything will be obstacles. If there is nothing, then everything will be in harmony. Therefore, the ancients know that these two aspects are very important. They must seek to be unified. On the one hand, they do not understand. There will be obstacles in the understanding of everything, and if everything is fully understood, then the understanding of all things will be comprehensive. The theory of painting, the method of the pen, but the quality and decoration of the heavens and the earth. The ideological theory of painting, the technical form of brush and ink. However, it is used to express the nature and form of mountains and rivers. The situation of mountains and rivers and the heavens and the earth is also the wind and rain, the weather of mountains and rivers is also deep and dense, the diameters of mountains and rivers are also the same, the vertical and horizontal throughput, the rhythm of mountains and rivers, the yin and yang, the mountains and rivers are also condensed, the waters are scattered, and the mountains and rivers are also scattered. , hopping to the back, the mountains and rivers are also hidden. Mountains and rivers, showing the charm and dynamics of the heavens and the earth, the wind and rain are bright and clear, and the mountains and rivers are full of meteorology, and are dense and far-reaching. They are the agreed paths of mountains and rivers, and they are the rhythm of the sounds of mountains and rivers. The yin and yang are dark and the mountains and rivers are eye-catching, the waters are scattered, and the mountains and rivers are mountains and rivers. The collection of evacuations. Jumping to the back is the action and hiding of the mountains and rivers.

[Comment]: The shape and characteristics of mountains and rivers are very similar to the world of human emotions. If you don't understand the world of people's feelings, how can you associate the image and characteristics of mountains and rivers? We portray mountains and rivers just to express ourselves - human emotions. It is the mountain that gives human emotions, or the human emotions endows mountains and rivers. The connection between nature and people requires us to experience ourselves.

The people of Gaoming, the right of the heavens, the thicker, the balance of the earth, the winds, the bounds of the mountains and rivers, the water stone, the mountains and the mountains, the tall and bright days to grasp, the thick and heavy to measure. The wind and the clouds are lingering, and the management of the sky is bound to the mountains and rivers. The water and stone strikes are excited to be active in the mountains and rivers. The balance between non-world and earth cannot change the unpredictability of mountains and rivers. Although the constraints of the wind and the clouds can not wait for the mountains and rivers of the nine districts to be in the same model, although the water and stone are leaping, it is impossible to distinguish the situation of mountains and rivers from the pen. If it is not the authority of nature in heaven and earth, nothing can make the mountains and rivers change beyond the circumstances; although sometimes it seems that the clouds have bound the mountains and rivers. But it can't use the same model to bind the mountains and rivers of Kyushu. Although the water stone is stimulating, they cannot recognize the mountain and the situation. And the mountains and rivers are large, the vast land is thousands of miles, the clouds are thousands of miles, and Luo Feng is listed as a glimpse of it. With a picture, you can participate in the cultivation of the world. Moreover, the mountains and rivers are large, and the vast land is scattered thousands of miles. The white clouds formed are piled up, and the peaks arranged by the peaks are arranged in a small tube hole. I am afraid that even Fei Pei can't be in the process. And observe by one painting. You can understand the changes and births of the world. Measuring the situation of mountains and rivers, the vastness of the land and the vastness of the land, the peaks of the peaks, the ignorance of the clouds, the thousands of miles, the evils, the totality of the heavens, the balance of the earth. Observing the situation of mountains and rivers, measuring the breadth of the land, examining the density of the peaks and peaks, recognizing the smog of the clouds, the frontal squatting and watching for thousands of miles, the sideways slanting to see the weights, all the balances and changes of the heavens and the earth. Heaven has the right, can change the spirit of mountains and rivers, the earth has a balance, can transport the mountains and rivers, I have a painting, can be the shape of the mountains and rivers. Heaven has such a god authority, can change the elves of mountains and rivers, the earth has such a balance of energy, can run the veins of mountains and rivers, I have this painting method, can penetrate the shape of the mountains and rivers. This fifty years ago, it was not born out of mountains and rivers, nor was it ruined by its mountains and rivers. This was fifty years ago, that is, I did not get rid of the shape of the mountains and rivers, nor did I ruin the mountains and rivers, but made the mountains and rivers selfish. In the case of the mountains and rivers, the mountains and rivers are also born in the mountains, and they are born out of the mountains and rivers. Today, Shanchuan asked me to speak on their behalf. The change of mountains and rivers has created me, and I have changed to become a mountain. Search for the peaks and make drafts. The mountains and rivers and the gods met and traced, so they ended up in Dadi. Shanchuan and my god-shaped encounters communicate emotionally, and I use my pen to ink. Therefore, the mountains and rivers are all owned by the big polyester!

[Original] The pen is also in the 皴, also open the noodles. The mountain is shaped like a shape, and its opening is not one end. The world knows what it is, and it loses its face. Even if you have a blasphemy in the mountains, or stone or soil, you can write about its stone and earth. The ambiguity of this square is also the same as that of the mountains and rivers. For example, if there are mountains and rivers, there are different peak names, and the body is strange and raw, and there are different shapes. There are also clouds, 劈, 劈, 皴, 解, 鬼, 骷髅皴, 皴 皴, sesame, 皴, 玉, 玉, 弹, 弹, 矾, 皴, 皴They are all 皴 also. It must be due to the difference of the peaks, the surface of the peaks, the peaks and the peaks, and the peaks. The peak can't be used as a body, but it can be used as a peak. It is not allowed to change its peaks, and no one should be present. The change and constant of the peaks lie in the present and the present. There is a name, and the peak is also shaped. Such as Tianzhu Peak, Star Peak, Lotus Peak, Peifeng Peak, Wu Laofeng, Qixian Peak, Yuntai Peak, Tianma Peak, Lion Peak, Emei Peak, Qifeng, Jinfengfeng, Xianglu Peak, Xiaohua Peak, and Lianfeng, Huiyanfeng. The peak is also in its shape, and it is also open. However, when I was in the process of transporting ink, what should I do if I had a peak, and when I painted a piece of paper, the paintings followed, and the rationale was taken. Review the paintings and come to the scope of the public. The situation of mountains and rivers is fixed, and the ancient and modern methods are not different. The situation of mountains and rivers is in painting, the paintings are in the ink, the life of ink is in the exercise, and the role of the exercise is in the hold. Good and transporters, Xianshi and outer space, because of the principle of a painting, should be all-in-one, so there is no flaw. There are also those who are inside and outside, because of the legalization, without thinking, the shape has been carried out and not within. It is the ancient man, the real and the virtual, the internal and external exercises, the paintings are prepared, and there is no disease. The spirit of the monarch, the god of use. The regularity is positive, the 仄 is 仄, and the bias is partial. If Rufu’s wall is covered with dust and obstacles, is it not sinister?

[Translation] The pen is also in the 皴, the opening of the face is also the shape of the mountain, the opening is not one end, the pen acts on the scorpion, is to show the vivid and decent relationship and texture effect of the mountain, the shape of the mountain Thousands. The performance of its natural and vivid state is not solved by one or two methods. The world knows what it is, but it loses its face, even if it is also in the mountains, or stone or earth, it is written by its stone and earth, and the ambiguity of this side is also the same as that of the mountains and rivers. The secular people only know how to use several fixed dragonflies, but they have lost the vivid appearance of the mountains. What is the relationship between this and the mountain? For example, the method of stone or earth, only knows how to write paintings. This is a partial and Shaanxi method, not the same as the mountains and rivers. cracked. For example, if there are mountains and rivers, there are different peak names, and the body is strange and raw, and there are different shapes. For example, mountains and rivers have different types of peaks, and they have different types of peak names. They are strange in body shape, vivid in shape, each has its own characteristics, and there is no similarity. Therefore, the methods have their own names. There are cirrus clouds, 劈 axe 披, 麻麻皴, 解解, ghost face 骷髅皴, 骷髅皴, 乱柴皴, sesame 皴, 金碧皴, 玉屑皴, 弹窝皴, 矾头皴, no bones, It’s all too. It must be born from the peak of the peak of the peak, the peak and the 皴, and the 皴 from the peak. These shackles cited by Shi Tao are the expressive shackles created by the predecessors according to their natural forms. The creation of the ancients must be based on the characteristics of the mountains and the mountains, and the image of the mountains and the scorpion is vivid. Very consistent, it seems to be born from the mountain. The peak can't be changed to the body, but it can be the peak of the situation. It can't change its peak. It can't be changed. The change and the constant of the peak are the present and the present. The mountain peak can not be used as a raft, but it can reproduce the shape structure of the mountain, and does not get the corresponding change of the mountain shape. How to express its peaks without getting the corresponding method. The characteristics of the mountain peak change and remain unchanged, because the effect of the dragonfly can still be expressed. There is a name, and the peak is also shaped, such as Tianzhu Peak, Star Peak, Lotus Peak, Xianren Feng, Wu Laofeng, Qixian Peak, Yuntai Peak, Tianma Peak, Lion Peak, Moth Peak, Fengfeng, Jinlun Peak, Xiaohua Peak, Piling Peak, is also the peak of its shape, it is also open to the face. There is a vivid name, and the mountain has a similar feature to it. For example, the names of the many peaks listed by Shi Tao, the name and the shape of the mountain are basically the same. It is this mountain that must have this image. It is this kind of defamation that can express its decent features. However, when I was in the process of transporting ink, I felt that there was a peak and a glimpse of the paper, and a piece of paper was taken, and the paintings followed, and the rationale was attached. However, when we transport ink and pen, how can we have a clear foresight of the peaks, one painting falls on the paper, the pen and the hair are born, the smear is dyed with the feeling, and a relationship is established, and all the laws are attached at any time.

[Comment]: The predecessors created a lot of tricks and techniques for us. That is the corresponding method they created according to the specific characteristics of the mountain. However, when we face the ever-changing nature painting, how can we wait for us to move in various ways? Compared with the natural mountain peaks, the insights are written. Experienced people are often a piece of paper, sketching and dyeing, and rubbing with their own feelings about nature. Where do you have time to think about it and design it?

Review the paintings and come to the scope of the public. Examining the coming and going of a painting can indeed reach the scope of all theoretical techniques. The situation of mountains and rivers is fixed, the ancient and modern methods are not different, the situation of mountains and rivers is in painting, the paintings are raised in ink, the life of ink is in practice, and the role of exercise is in hold. The situational characteristics of mountains and rivers have certain rules. There is nothing special about all the tricks of ancient and modern. The situation of mountains and rivers lies in your own observation and painting, while the cultivation of paintings is on the pen and ink, and the liveliness of the pen and ink is practiced in practice. The mastery of this practice is to insist on long-term hard work training. The good and the good, the inner and outer space, because of the law of a painting should be all-round, so there is no flaw. Those who are good at driving pen and ink skills are full of inner and outer space. This is because they accept the theory of "one painting" and calmly adapt to all painting methods, so the painting is naturally without any violation and fallacy. There are also those who are inside and outside, because of the legalization, without thinking, the shape has been carried out and not within. There are also paintings with no content and intrinsic meaning, and the concrete reality of appearance painting is that the changes in the formal law do not have to be considered, and the appearance has been expressed in concrete detail and beauty, without taking advantage of the ideological connotation. It is the ancient man, the real and the virtual, the internal and external exercises, the paintings are prepared, and there is no disease. The spirit of the monarch, the god of use. Regularity is positive, 仄 is 仄, and the side is flanked. Therefore, the ancient people, the mastery of the virtual and the real are unified in the content and form of the mind, and the various types of paintings are mastered. No defects or ills. They are well educated and inspirational, and they are mysterious to use. The positive one is positive, the inclined one shows its inclination, and the skewed one shows its skew. If Ruofu’s wall is covered with dust and obstacles, is it not born to the creator? If those who are short-sighted and lack of artistic accomplishment, do they have a dislike of natural creation?

Chapter 10

[Original] divided into three sections of the Yangtze River, it seems that the loss of mountains and rivers, but there are those who do not lose, such as the natural division of the country, to the Jiang Wu land, the cross-country over the mountain is also. Every time you write mountains and rivers, if you break through, you will have no life, you will know. Three-layered people: a layer of mountains, two layers of trees, three layers of mountains, what is the distance? How to write this three-layered seal? Two paragraphs: the scenery is down, the mountains are on, the common is in the clouds, the separation is clear Do two paragraphs. For this reason, we must first pass through one temper, and we must not stick to it. In the three folds of the three divisions, it is necessary to play with empty hands, and then see the pen power, that is, into the thousand peaks and thousands of miles, there is no trace. For this reason, if the three are immersed in the gods, they will be lost or not.

[translation] divided into three sections of the Xinjiang, it seems that the loss of mountains and rivers, but there are no losers, such as the natural branch of the country, to the Jiang Wu land, the cross-country over the mountain is also. In the composition of landscape paintings, the most common is the "three stacks" and two-stage technique. The use of these old-fashioned programs seems to lose nature and new ideas. However, there are also good expressions, such as: "To Jiang Wudi These two poems are verses of Zen and painting. Wu Yue and the two places are separated by the Qiantang River. We are on the other side of the bank. Instead, we can't see the beauty of the cross-straits. We only see the mountains on the shore of Wu'an. It is a thousand miles. When we start from the other side, Ascending to Wu’s shore, the other side of the bank was ups and downs, but it felt a lot more than the shore of Wu’an. It was a lot more magical. This requires inspiring us to constantly change our thinking and perspective, and using counter-thinking to change routines may yield unexpected gains. Every time you write mountains and rivers, if you break through, you will have no life, you will know. Every time you paint landscapes, you always open up the rules of the rules, and you will know the old one at first sight. Three-layered people; one layer of land, two layers of trees, three layers of mountains, what is the distance? Looking at the three stacks of seals? Two paragraphs: the scenery is down, the mountains are on, the vulgar is in the middle, clearly separated Two paragraphs. What is the three-folder of the division? One layer of land, two layers of trees, three layers of mountains, how to distinguish the far and near relationship, so painting is tantamount to rigid engraving. The two paragraphs, the scenery is down, the mountain is on the top, the popular way to draw the cloud in the middle, clearly divided into two sections. For this reason, we must first pass through one qi, not to be discouraged, and divide the three-segment and two-segment in Xinjiang, and we must have a hand-to-hand function, and then we can see the penpower, that is, into the thousand peaks and peaks, and there is no trace. For this reason, if the three are immersed in the gods, they will be lost or not. In the painting, we must deal with the relationship between the land, the tree, and the mountain. First of all, we must integrate the three gods' shapes and paintings into one, and we must not be rigid and rigid. It is necessary to play a breakthrough in the sense of innovation and role, only to see the penpower is kung fu. That is to draw a thousand peaks. There is no trace of ruins. The gods of the earth, the tree, and the mountain are all connected. There are mistakes or deficiencies in the local details, and it does not hinder the elegance and overall charm.

[Comment]: The rules and rules are limited. Under the enlightenment of nature, people's thinking and innovation are infinite. Program and composition are means and forms. It shows that our ideological realm is our purpose, landscape painting, land and trees. Landscapes are always the main body of performance. The authors describe that they are to express the author's ideological spirit and rhyme, so the three of them are not separate objects of nature. They are organic as a whole. They must make the three together, and God can agree to express the author's artistic conception.

The eleventh chapter

[Original] There are six ways to write a picture: the view is not right on the mountain, the view on the mountain is not right, the scene is reflected, the scene is borrowed, and the truncation is steep. These six are subject to discernment. For the scenery is not right, the mountain is like the winter, the scenery is like the spring, this is not the right side of the mountain. The trees are as simple as winter, and their mountains are like spring. If the trees are right, the rocks are down; the rocks are falling, the trees are falling, and the scenery is also down. Such as empty mountains and meditation, no matter the ecology, by means of thin willow bamboo, bridge grass pavilion, this borrowed scene also. Truncated, no dusty environment, landscape water, cut ends, pens and pens everywhere, are cut off, and the method of truncation, not to loose the pen can not enter. The steep people can't get there, there is no way to enter, such as the island, the sea, the Penglai square pot, the non-immortal people are not measurable by the world, the steepness of this mountain and sea, if the painting is dangerous, only the steep cliffs are straight and rugged. Risky. It is wonderful to see the pen.

[Translation] There are six ways to write a picture: the scenery is not right, the mountains are not right, the scenery is down, the scenery is borrowed, the truncation is dangerous, and the six are to be discerned. There are six shortcuts for painting: one is not right for the mountain; the other is not for the mountain; the third is for the scene; the fourth is for the scenery; the fifth is for the truncation; These six artistic techniques must be clearly understood. For the scenery is not right, the mountain is like the winter, the scenery is like the spring, this is not the right side of the mountain. : What is the mountain against the mountains, such as the mountains we describe, such as winter, but in the winter scenery of the ancient appearance, there is vitality and spring, focusing on the performance of the scene and not on the external appearance. The trees are as simple as winter, and their mountains are like spring. The trees in the painting are as simple as winter, while the mountains are full of spring. This is the main body of the performance "mountain", the rest of the scenery is to highlight the main body. This is taken in the same picture, the contrast and contrast between the main body and the contrast, the contrast between the cold and the warmth of the color. Its purpose is to express the mountains and highlight the mountains. All forms of manipulation are to serve the main body for prominent themes. This is the way the mountain is not right. If the trees are right, the rocks are down, the rocks are right, the trees are falling, and the scenery is also down. For example, in the composition of the painting, the trees are designed to stand upright, and the mountains and stones are slanted, the mountains and the stone are standing upright, and the trees are slanting. All are downside. Such as empty mountains and meditation, no matter the ecology, by means of thin willow bamboo, bridge grass pavilion, this borrowed scene also. : If the performance is empty and the mountains are quiet, no one is quiet, so borrowed the willows and bamboos, and the bridges and grasses to express the empty mood. It is meant to show empty, and the movement is to express silence. The abstract concept of conception of emptiness, silence, and movement is difficult to express without the aid of specific objects. Borrowing, the ingenuity that must be borrowed, the nature borrowed from it, and the association of the human beings, guides the viewer to the realm created by painting. The so-called, touch the scene. Truncated, no dusty environment, landscape trees cut to the end, pens and pens everywhere, are cut off, and the method of truncation, not to loose the pen can not enter. : truncation, truncated composition, truncating the tail and tail of the mountain water, different from the conventional landscape composition method, that is, intercepting the object image, that is, a part of the composition method used to highlight or create novelty, using pens everywhere, all with truncated strokes If the pen breaks the mind, etc., and the composition of the way to coordinate, and the interception and the like non-connected pen, non-loose motivational pen, can not achieve this effect. It is steep, people can't reach, there is no way to enter, such as the island, the sea, the Penglai, the square pot, the non-immortal Moju, the non-world can be measured, the steepness of this mountain and sea, if the painting is steep, only on the peak of the cliff It’s a good thing to see the pen and the danger. : Precipitous, people can not reach, or can not climb, no way to walk in, such as the island, the sea, Penglai, square pot, unless the immortals can not live, not the secular people can measure. This is the precipitous reason of the mountains and seas. If the paintings express this steep landscape, it is only to depict the towering peaks, the steep cliffs, and the steepness of the road. It is necessary to have in-depth portrayal of penpower to enter the wonderland.

[Comment]: The 蹊 章 chapter is a few artistic expressions and means that Shi Tao summed up in the practice of painting!

The 12th chapter of Lin Muzhang

[Original] The ancients wrote trees, or three, five, nine, ten, so that they are yin and yang anyway, their faces, high and high, vivid and beautiful. I wrote the method of the ancient cypress of the cypress, such as three or five, which is like a hero dancing, leaning against the squatting, squatting. Or hard or soft, and the majority of the pens are written by the method of writing stones. Four fingers, five fingers, three fingers, all with their wrists, and the elbows stretched out and joined together, and their strength is extremely heavy, but they must fly on the paper to eliminate the anger. So either thick or light, imaginary, empty and wonderful. Dashan is also like this, and the rest is not enough. In the spicy, seeking the broken phase, this does not say that.

[translation] The ancients wrote trees, or three, five, nine, ten, so that they are yin and yang anyway, their faces, high, vivid and vivid. The ancients wrote trees, or three plants, five plants, nine plants, and ten plants, which made them yin and yang anyway, and their faces were mixed and vivid. The ancients wrote a variety of trees, or three, five, nine, and ten plants, which would make the trees they wrote yin and yang anyway. Each plant had the growth and unique features of each plant, which was highly varied and vivid. I wrote the method of the ancient cypress of the cypress, such as three or five, which is like a hero dancing, leaning against the squatting, squatting. And I wrote the ancient method of pine cypress, such as the combination of three or five pine trees, like a hero dancing, or pitching or standing, squatting, that is, Shi Tao not only pays attention to depicting the morphological characteristics of each tree, but also pays more attention to Give the things and character that are portrayed, and borrow things to reach the human condition. The works are inspired by profound thoughts. Or hard or soft, and the majority of the pens are written by the method of writing stones. Four fingers, five fingers, three fingers, all with their wrists, with the elbows stretched out, together and force, then Shi Tao talked with a pen; or hard or soft, transporting the wrist, mostly written by stone It. This method of writing stone probably refers to: five fingers, four fingers, three fingers, all with their wrists, with the elbows stretched out, and together. The pen is extremely heavy, but it has to fly on the paper to eliminate the violent, so it is thick or light, empty and cloud, empty and wonderful, the mountain is also the same, the rest is not enough, the raw phase is broken, this is not Say it. That is to say, the pen is extremely heavy, but it has to fly on the paper to eliminate the violent, so it is thick or talk, imaginary and empty, empty and wonderful, which refers to the special effect of flying white and the rough and broken phase, this technique is not It is easy to understand.

[Comment]: Shi Tao not only wants to draw on the ancients to write trees by writing the ancient cypresses of the ancient cypresses, "to make them yin and yang anyway, their faces, staggered, vivid and meaningful." More should write: "It is like a hero dancing, leaning against the erection, squatting the rock." That is to say, from the purely sketching and sublimation to the figurative expression of injecting the author's emotional thoughts, to achieve the purpose of empathy and painting, and to use the object of lyricism, the artist's pen and grass are no longer objective and vivid, vividly written and reproduced. It is rather a sustenance, incorporating the author's rich ideas, sentiments, and special symbols of philosophy.

Haitao Chapter 13

[Original] The sea has a torrent, and the mountains have lurking. The sea has a throughput and the mountains have arches. Haineng recommends the cloud, and the mountain can carry it. There are layers of mountains and ridges, deep valleys of the valleys, praises and sudden scorpions, smog and mist, and the clouds of smoke are like the torrent of the sea, the sea is swallowing, this is not the recommended spirit of the sea, and the mountain is also living in the sea. The sea can also live in the mountains. The sea of ​​the sea, the sea is full of sorrows, the sea is ridiculous, the sea is smashing, the sea whale leaping dragon; the sea tide is like a peak, the sea is like a ridge. This sea is self-owned in the mountains, and the non-mountain is self-occupied in the sea. If the mountains and seas are self-resident, and people also have visuals, such as Pazhou, Yuyuan, Wet Water, Penglai, Yuanxiao, Fanghu, even if the chess stars, It can also be known from the water source dragon pulse. If you get it from the sea, you lose it to the mountains; if you get it from the mountains, you lose it to the sea. I am also affected by it, the mountain is the sea, and the sea is the mountain. I know that I am also affected by the mountains and the sea. All of them are in the air.

[Translation] The sea has a torrent, the mountains are lurking, the sea has a throughput, and the mountains have arches. The sea can swallow the clouds, the mountains can be transported, the sea has a torrent, and the mountains are also lurking. The sea has a state of vomiting, and the mountains are arched and polite. The sea can recommend life to spirituality, and the mountain can transport the world to help the growth of nature. There are layers of mountains and ridges, deep valleys of the valleys, praises and sudden squats, smog and mist, and smoke and clouds. It is like the torrent of the sea, the sea is swallowing, this is not the recommended spirit of the sea, and the mountain is also living in the sea. There are layers of mountains and rivers, deep cliffs in the valley, sharp mountains and peaks, smog and fog, and smoke clouds gather, floating between the mountains and rivers, like the waves of the ocean, the waves of the sea. However, this is not the mountain accepted by the sea. It is also that the mountain has the characteristics and essence of the sea. The sea can also live in the mountains, the sea of ​​the sea, the sea, the sea, the sea, the sea, the sea, the sea, the sea, the whale, the dragon, the sea, the peak, the sea, the sea. This sea is self-owned in the mountains, and the non-mountain is living in the sea. Similarly, the sea can have the essence and characteristics of mountains. As the sea is undulating, the sea is full of sorrows, and the sea is like a mountain wind and the sea is suffocating. The whale of the sea jumps into the dragon, the sea tide is like a mountain peak, and the sea is like a mountain. This sea itself is characterized by the nature of its own mountains. It is not that the mountains live in the sea, the mountains and the seas are self-sufficient, and people also have visuals. The characteristics of the mountains and the sea are different and have the same. And people also have a certain ability to observe. Such as the Asian, Yiyuan, weak water, Penglai, Yuan Zhen, Fang pot and other people imagine the mythical situation. Even if the chess is a star. It is also true that the illusion can also be based on the real world of this water source dragon pulse, which is known. This is just like the mythical situation in the imagination of people in Pazhou, Yiyuan, Wet Water, Penglai, Yuanxiao and Fanghu. Even if the chess is a star, it is also true and illusory. It is also possible to infer the source and basis of this fairyland based on the real world water source. If you get it from the sea, you lose it to the mountains, you get it from the mountains, and you lose it to the sea. If you get the sea, don't understand the characteristics of the sea with mountains, or just know the mountains and lose the characteristics of the sea. This is because people's knowledge is limited to one and they do not get the right feeling. I am also affected by the mountains, the sea, the sea, the mountains, the mountains and the sea, and I know that I am also in the air. My feeling is that there is a sea in the mountains, there are mountains in the sea, mountains and seas communicate with me and know my feelings. They all express themselves in a slap in the air.

[Comment] I think Shi Tao vividly described the personality and commonality of mountains and seas in Haitao chapter. Explain that there are mountains in the sea, and there are characteristics of the sea in the mountains. Whether metaphorically embodies the relationship between the objective world and the works of art, the spiritual works of the works and the spiritual feelings of the people, that is, mutual dependence, mutual reflection, and mutual independence. You have me, I have your relationship, and the mountains and the sea are associated with Haitao. The connection between our works and the objective world is our ideology and feelings. Real life gives birth to our works of art, and our works reflect real life. They have an inseparable connection.

Fourteenth chapter fourteenth

[Original] Where the four scenes are written, the flavors are different, the shades are different, and the trial time is the same. The ancients sent a picture to the poem, and its spring 曰; each with the sand and hair, the long total water cloud. Its summer 曰: the shade under the tree, the wind is the coldest. Its autumn 曰: The cold city is a slap in the face, Pingchu is in vain. Its winter 曰: the road roller first arrived, the pool cold ink is more round. There are also winter injustices, and their poems: Snowy days are not cold, and the years are growing. Although the value of winter seems to have no chill, there are also poems: the year of the disabled is easy to see, the snow is rainy and sunny. With two poems, it is not cold, Tim, Yi Xiao, Xue Xue, and Qi Zhi are not alone in the winter, pushed at three o'clock, each with his orders. There are also half-eyes and half-yin, such as the dark clouds of the clouds, the rainy eyes. There are also those who seem to be sinister, and there is no need to linger on the sun. The sky is light and cloudy. The poetry is intended to be a book, and there is no such thing as a time. Full of clouds and mountains, change at any time. With this in mind, you can know that the book is poetry, and poetry is not in the book?

[Comment] This chapter has not been translated yet.

Far Dust Chapter 15

[Original] Human beings are covered with dust. Man-made things, then the heart is affected, and the self-destruction of the book is self-destructive, and it is self-defeating. But the loss is not good, and the end is not fast. I am obscured by things, dust and dust, but my heart is not working, but my heart is not working. Painting is the possession of man, a book is not available. The husband draws a lot of thoughts, and thinks that one of his heart is good and fast, so the painting is subtle and unpredictable. I don’t think the ancients can say this. Especially deep.

[Translated] Human beings are covered with dust. Man-made things, then the heart is affected. Man is tempted by worldly fame and fortune, and will rush to meet the worldly communication. If the human beings are responsible for the material interests, then the mind will be strained, and the self-destruction will be self-destructive and self-defeating. This bureau also swears, but the loss is not good, and the heart is not happy at all. The painstakingly tempering of self-destruction is self-destructive in the improvement of art, staining the old pen and ink programs, and self-constraining the development of artistic personality. This belongs to people who know the limitations of Shaanxi. It is harmless to yourself but not beneficial. After all, I will not be happy with my own mind. I am obedient with things, dust and dust, but my heart is not working, but my heart is not working. I am living with the singularity, regardless of personal gains and losses, along with nature, so that the mind is not tired, and the heart is determined. There is inspiration to enter the best of painting. Painting is the possession of man, and a painting is unprecedented. The general drawing ability is everyone, "one painting" everyone may not have, the husband painting is expensive, thinking one is better and faster, so the painting is subtle and unpredictable. The most valuable thing about painting is to have thoughts. The thoughts are focused on one heart, clearly distinct and happy, so the painting is subtle and subtle, and it is in an unpredictable environment. I don’t think the ancients can say this. I don’t think the ancients can say this, so I explored this artistic idea in particular.

[Comment]: After the "fourth chapter fourteenth" participation in Zen savvy, followed by "far dust", "extraordinary" two sections continue. It is very clear that Shi Tao requires people to take the "deep dust" and "refine" actions as the requirements and conditions for the preservation of Buddha's nature. It is to advocate people to carry out artistic creation with high social responsibility and extraordinary feelings, to abandon material temptation and fame, and to maintain the purity of art. This is the valuable part of Shi Tao's painting theory.

The sixteenth chapter

[Original] Fools and vulgars. If you are foolish, you will be wise, and if you don’t splash, you will be clear. Vulgar because of stupidity, stupidity is obscured. Therefore, it is impossible to be unclear. When it is up, it will change. The victim is invisible, and the shape is not traced. If you use ink as your own, you can do nothing. The ruler is the world of mountains and rivers, but the heart is weak, and the ignorance of the wisdom is born.

[Translated] Fools and vulgars, ignorance is not wisdom, and vulgarity is not clear. Vulgar because of stupidity, stupidity is obscured. Stupidity and vulgarity are also ridiculed. Being blinded by ignorance is wisdom and wisdom. If it is not contaminated with vulgarity, it is noble and elegant. Vulgarity is because of accepting ignorance and stupidity because of ignorance. Therefore, it is impossible to reach people, not to be unclear, to change, to become clear. Therefore, outstanding people cannot be denied access, and they cannot understand. Mastery knows the change, and Mingwu becomes the deification. The victim is invisible, and the shape is not traced. Our heart feels that we don't see its shadow. Create an external form without revealing its traces. If the ink is already in progress, the pen is inaction. It seems that the ink has been naturally formed, and it is unintentional to do nothing. The size of the tube and the heavens and the earth are all things, and if the heart is weak, it is foolish to go to the wisdom, and the customs are clear. The size of the heavens and the earth is all over the world, and the mood is bleak if nothing is used. This is because ignorance removes wisdom and arises, and vulgarity removes elegance.

The seventeenth chapter

[Original] Ink can cultivate the shape of mountains and rivers, and the pen can reinvent the trend of mountains and rivers. All the ancient and modern characters will be careful, and they will make the ambition of the ink sea, drive the pen mountain, and then use it widely. Therefore, the table of the eight poles, the change of the nine soils, the respect of the five mountains, the breadth of the four seas, nothing, nothing. The world does not enforce the law, and the day is not enforceable, not only is it obvious but also obvious. The word and the artist have both ends and their functions. The first word of a painting book is also the root of the book. Those who know the power and forget the painting are the sons and grandsons who lost their sects. They can know that the ancient and the modern are not scornful and forget their merits, and they are also lost by the hundred things. Heaven can teach people to use the law, and can not give people the merits; Tian can teach people to draw, can not give people to change. People may abandon the law to cut the merits, and people may change from painting to change. It’s not the people who are in the sky, not the words and paintings. The award of the heavens is also taught by the people who can be taught, and there are also great knowledge and generosity. Therefore, ancient and modern calligraphy and painting, the people of this day and all. Since the days have been taught and the people know the little knowers, there is no way to preserve the calligraphy and paintings, but also those who are too broad. I am also a word of the word.

[Translation] Ink can cultivate the shape of mountains and rivers, and the pen can reinvent the trend of mountains and rivers. Ink can express the true image of mountains and rivers, and the pen can express the vivid momentum of mountains and rivers. The performance of pen and ink can't be limited and it is limited. All the ancient and modern characters will be careful, and will make the ink and sea ambition, driving in the pen mountain. Then use it widely. All the outstanding figures of ancient and modern times have a detailed understanding of this truth. They must have the ambition of driving the sea as the ink pool and the ability to drive a giant pen, and then they can widely exert the expressive power and social function of the pen and ink art. Therefore, the table of the eight poles, the change of the nine soils, the reverence of the Five Sacred Mountains, and the wideness of the four seas, are nothing to be said. Therefore, the table of the eight poles, the change of the nine soils, the respect of the five mountains, the wide range of the four seas, can be expressed infinitely, converge in the heart and not in the inside. The world does not enforce the law, and the day is not enforceable. Not only is it obvious in painting but also in words, words and paintings. The world does not stubbornly enforce the rules of law, naturally it does not stubborn its ability, not only to reveal it to the painting but also to the calligraphy. Words and paintings are two functions of ink and brush. Its effect is the same. The paintings of the first and the first are also the roots of the paintings. The characters and the paintings of the paintings are also the right to the right. If you know the right to forget the painting, you will lose the branch. The feeling of heart is the nature and foundation that precedes painting and calligraphy. Calligraphy and painting are the creative activities of people after they have psychological consciousness. They can know the concept of creation and forget the psychological feelings. It is like having children and forgetting their ancestors. Those who know that the past and the present are not ignorant and who have forgotten their merits are also lost from the heavens. I can know that the ancient and modern art is immortal, and forgetting its merits is not in human creation. It is as if everything has lost its natural nourishment. Heaven can teach people to use the law, can not give people to work, heaven can teach people books. Can not give people innovative changes. People or abandoning the law to cut the merits, people or paintings to change, is not the people in the sky, although there are calligraphy and painting, it is not rumored. People or abandon the correct method of painting blindly pursuing functions, people or leaving the standard of painting to pursue change. It is the spirituality of natural talent that is not in this kind of person. Although there are works of calligraphy and painting, it will not be loved and passed on. The award of the heavens is also taught by the people who can be taught, and there are also great knowledge and generosity. Natural talents are taught to people because they have the qualities they can teach. They also have good knowledge of IQ and good knowledge. They have small IQ and accept small knowledge. Therefore, ancient and modern calligraphy and painting, the people of this day and all. Therefore, the achievements of ancient and modern calligraphy and painting are based on the individual talents, and the success lies in the efforts of the people. Since the days have been taught, and the people who know the little knowers, there is no such thing as the method of calligraphy and painting, but also the people who are too broad, so I have the theory of the word. Since nature has a gift to people, and people have big knowledge and small knowledge, there are different art theories and techniques such as painting and calligraphy, which will be passed down to the world, and thus will have different doctrines of partiality and broadness. I therefore have a discussion about calligraphy.

Capital Chapter 18

[Original] The ancient people sent their enthusiasm to the pen and ink, and the false roads in the mountains and rivers were not changed, but they were inaction and did nothing. They were not as dazzling and famous, because they had the power of cultivation, the exercise of life, and the universe. Has been affected by the quality of mountains and rivers. In the case of ink transport, it is subject to the maintenance of the monarch; if it is viewed by the pen, it will be subject to life; if it is viewed by the mountains and rivers, it will be the responsibility of the fetal bones; If you look at the sea, you will be subject to the heavens and the earth; if you look at it, you will be subject to the responsibility; if you don’t take it, you will be responsible for it; if you look at it, you will be the master of the painting; If you look at it, you will be taken care of by Ying. If you are a contingent, you must first take responsibility for it; then you can apply it to the pen. If it is not funded, then the bureau is too shallow, and there is no responsibility for it. And the day is in the mountains. The decent body of the mountain is also in place, the mountain is also recommended by the gods, the change of the mountains is also changed, the mountains are also raised by the benevolence, the mountains are also moving, the mountains are lurking and quiet, and the mountains are also arched. The mountains are also Xu and Yi, the mountain ring is also gathered with the Jin, the mountain's virtual spirit is also wisdom, the mountain's pure show is also the text, the mountain is also jumping with the military, the mountain's history is also dangerous, the mountain The force of the Han is also high, the thickness of the mountain is also thick, and the shallowness of the mountain is also small. This mountain is also subject to the responsibility of the heavens. The non-mountain is appointed by Ren Tian, ​​and the person can be appointed by the day of the heavens, and the person who is not the mountain is appointed as the person. The mountain is also appointed. It is because the benevolent people do not move to Ren and Leshan. There is no responsibility for the mountains, and there is no water in the water. Fu Shui: Wang Yang Guangze is also a virtue, and he is also humbled by the rituals. The tides are also inconsistent with the road, and the enthusiasm is also eager to take advantage of the enthusiasm. The squad is also in the law, and the Yingyuan tongda is also inspected. Good, folding the east is also aspiration. The water sees it between the tidal tides. If it is not the case, then how can it be the mountains and rivers of the world, the blood of the sky? The people who are in the mountains are not allowed to drink water, they are still sinking in the Bohai Sea. I don't know the shore. I don’t know if there is a sea in the sea. It is a known person who knows that his shore has died in Chuan, and he listened to the source and the music. The non-mountain responsibility is not enough to see the vastness of the world, and the non-water responsibility is not enough to see the world. The non-mountain water is not enough to see the flow; the non-water mountain is not enough to see the embrace. If you can't do anything in the mountains and rivers, you can't help yourself. If you can't hold your surroundings, you can't live without it. If you have a life in your parents, you will have a cycle around you. If you have a cycle around you, then you can take care of your mountains and rivers. If you are not in a wide area, you can make it available; if you are not in a lot, you can do it. It is not easy to be more than a lot of people. If you are not in the pen, you can pass it on; if you are not in the ink, you can accept it; if you are not in the mountains, you can let it be quiet; if you are not in the water, you can move it; if you are not in the past, you will be left without it; If you are not here, then let it be free of obstacles. It is because the ancient and the modern are not chaotic, the pen and ink are always there, because they are arrogant and arrogant, but this person, the honesty of the rule of life, to rule the 10,000, to rule one, not to the mountain, not to the water, Not in the pen and ink, not in the past and present, not in the saints, is also in the office, there is actually. All in all, one painting is also, the Promise is also the same, the way of heaven and earth.

Song Wang Sun Zhao Yizhai, whose quality is unprecedented, its paintings are wonderful. The product is not heavy in drawing, but the painting is beneficial to the product. Song died, retired in Guangchen Town, outside the mountains and rivers, there is no interest, no poetry, no sustenance, Tian Hao wild, no ignorance. Lonely and clean, like the dragon in the clouds, the crane in the clouds, can not be close to others. It’s the day’s big cleansing, it’s not the same as the past, and its people are the same, its behavior is the same, and its performance is no different. After the cover of the village, after the resumption of a fast. Under hundreds of years, you can sing the emblem, you can and secluded. The hidden virtues of the two gentlemen, I know that the hungry husband of Xishan is a good ear. And its vast glory, all in the pen and ink, the so-called high, the rhyme wins. I look at the paintings of Dabuzi, hook Xuanzang, and stand alone. The text is simple and ancient, and it is a clue. Straight is a child, there is no shortage of people in the sea, when not to use the words for the river Han.

Yongzheng six-year Wushen, autumn July, Qiu Shengsheng Zhang Wei on the river

[Appendix A] "bitter monk <painting Quotations>" Notes Author: Zhou Xishan

Yuan Ji's "Drawing Quotations"1 is an extremely important work in the history of Chinese painting theory and a gem of Chinese aesthetics. It clarifies the nature, purpose, method, and the relationship between natural beauty and artistic beauty of landscape painting art. The system is complete and incisive. This article tries to analyze the deeper chapters in the book, explores some of the author's views, and talks about personal experiences.

"One painting"

Shi Tao believes that landscape painting is an art that expresses the inner world by means of natural image. It is obviously for people, not nature, to express people's "self", not to copy nature. Although the book says, "The painter, the world of heaven and earth is also," 2 but more emphasis on "the painter, from the heart." 3 highlights the artist's own initiative in this art. Today, we often say that landscape painters make artistic reflections through their own experience of nature. This also means "painting from the heart", but our heart and Shi Tao's heart reflect different times and have different class contents. In Shi Tao’s view, the process of creating landscape painting began with my connection with the object, and after the object was discovered by me, I finally realized it for me.

1 Years of revision, named "Pictures", more abridged.

2 The second chapter of the Law.

3 "One Painting" first.

In the fundamental thing - the power of the artist's subjective dynamics, that is, the creative imagination that is said today as a creative power. He regards this power and its application as the central issue of painting. "One painting first" is the question of discussion. 1

Shi Tao is based on Confucianism, "Wo Dao is consistent" 2, and Taoist "Daoshengyi, Yisheng2, Ershengsan, Sanshengwuwu" "everything has a life," 3 thinks of natural phenomena and artistic creation, natural beauty and art Beauty is both "everything", and their laws are necessarily derived from "one" and "one". Therefore, he said that the law of natural phenomena is based on "one painting", and the law of landscape painting is based on "the law of one painting"; the latter is sometimes referred to as "one painting". The artist's subjective motivation or creative power is manifested in his ability to grasp this "one painting", always guided by "one painting method", and express his own chest and aesthetic ideal through the reflection of natural beauty. From the perspective of initiative, the artist has established this "one painting method" and uses this method more flexibly, including "the law", "usage" and "chemical method". This is what we mean today. The artist has grasped the objective and objective laws, and the inevitability to enter freedom. In Shi Tao's view, "law" and "chemicalization" are opposite and opposite, that is, dialectical unity. Therefore, this chapter has such several important words: "The law is based on He Li, standing in a painting. One painting, the root of all, the root of Vientiane, see for God, and for people." "The law of painting, It is self-standing. If you establish a law of painting, you can't have a law, and you can have a law."

In this way, "one painting" and "one painting method" are used to summarize the paintings in the landscape paintings, and the whole process of creating one, forgetting and creating one, and vividly depicting the landscape in the process. The artist has a high degree of artistic ability to indulge in Vientiane, to create a model, and to entrust himself.

When the painter masters this fundamentality, he can use the "Hong dynasty of one painting" to depict things in the works, "to deepen his rationale, to make his best," and then to write things by heart, so I have

1 The following citations, both "painting quotations" and "paintings." For the "one painting" theory, see the book "On the lines of Chinese painting, "one stroke", "one painting".

2 Use the last sentence of the first chapter of "Drawing Quotations" and "Pictures": "Confucius said: "My path is consistent with the "small language".

3 Laozi's forty-two chapters and thirty-nine chapters

It is a painting that can form the shape of the mountains and rivers. "1", "Cheng" is very important, requiring landscape painters to sublimate the beauty of nature into artistic beauty, and to express his own feelings. The artistic conception, the "God" in the "form", that is, the heart of my heart As far as natural scenery or image is concerned, "one painting" is related to its structure and its laws, laws, and even the rationale. The numerous inks and paintings in landscape painting, especially the law and its application, are subject to this law or To be reasonable, so I said: "One theory is unique, and the public is attached to it." 2; "A painting is falling on paper, and the paintings are followed by "3 here," "one painting" refers to the law and the law, and "the painting" refers to the concrete The landscape painter is able to grasp the laws and rules of nature through the chaos of nature through mastering the "Hong dynasty of one painting". Therefore, he said: "Pictures of chaos, one painting and who yeah?" There is another sentence, which makes this theory more and more clear: "This painting has not only begun to endorse Hongmeng, that is, hundreds of millions of inks, but it does not start here, but finally, but listen to the ears of the people. "

The chapter concludes that if a landscape painter can grasp and use the "one painting" principle, he will feel that the object is for me and the law is for me. On this kind of realm, Shi Tao has a more description: "When you wave, mountains, rivers, figures, birds and beasts, grass, pools, and towers, take shape, use sketches, express your feelings, reveal your seclusion, people are not seen." The quality of his paintings is not inconsistent with his heart. "That is, painting is all from the heart." Therefore, the essence of landscape painting is reflected, and the purpose of landscape painting has also been achieved.

In today's words, the landscape painter not only has to make the concept of "one painting" and "one painting method" in the depths of his thoughts, so that he can guarantee the creation of the art of landscape painting on the one hand. In addition, through the observation, analysis and transformation of natural image, as well as a series of artistic practices of typical generalization and sympathy, it not only adheres to the "Hong dynasty" of "one painting", but also plays the role of "one painting". It took a lot of space to clarify the latter aspect, which is intended to avoid the "one painting" from nature, reality, and extravagance, so that the theory loses its material foundation and falls into the pit of idealism. Shi Tao’s "one painting" theory overcomes this one-sidedness and is indeed commendable.

1 "Mountain Chapter" eighth

2 "National Law" ninth

34 "The Charter" seventh

"The law", "change"

Shi Tao believes that grasping the "one painting method" is not without difficulties and without contradictions. Contradiction exists between natural phenomena and the artist's subjectivity, and between tradition and innovation; "The Second Chapter of the Law" and "The Third Chapter of Change" are to solve this contradiction, so that the use of a painting is guaranteed to ensure the landscape painter Vivid in front of nature, to enter the free kingdom of landscape painting art.

First talk about the "law chapter." The so-called "law" is to recognize and master the laws and rules, and to be flexible, not to be a legal obstacle. Based on his long-term creative experience, Shi Tao deeply understands that it is not the painter who masters the law, but the law that binds the painter, so he said: 'So there is a law that can't be done, but it is also a legal obstacle. "You must go to this legal obstacle before you can resolve the contradiction and make the law work for me." "The ancient and modern laws cannot be used," and it is "the reason for a painting is unknown." When one draws, the obstacle is not in sight, and the painting can be taken from the heart, and the painting is from the heart and the obstacle is far away. "Specifically, "the law" refers to the "difference to the law", eliminating the gaps between the use of ink and ink and the use of things. These gaps are all failed "public law", to "one painting." The law "or" has the law, it is an obstacle. Therefore, the root of the obstacle is not in the law itself, but in the painter failed to draw a picture in the public law, so Shi Tao said: "The law is not obstacle, the obstacle can not, the law Self-painting students, the obstacles are self-drawn, the legal obstacles are not involved, ... painting the road, and painting a picture. "The law can be used later, and the usage can be ruined. Especially the "law self-painting students, the obstacles are self-drawn", the key lies in the "law": the two "painting" words summarize the whole process of landscape painting creation. Explain that "Fa" is by no means a painter with a one-sided subjective ability. "After" must be through the study of nature, the creation of God, and the intention of repeated practice of the pen, then the day of "the law has a common law" is " The law is self-painting, and the obstacles are self-drawn. The success of the numerous pens and inks of the law is not because of the "one-painting method" as a guide, so as to firmly grasp the principle of sentiment in the scene. The result is that there is no deviance from the essence, purpose, and method of landscape painting art. Then, what other legal obstacles will there be? It can be said that "the obstacles are self-drawn" must be based on the premise of "self-painting students". The concept of "one painting" always leads. That is: in the "heart" of "painting from the heart", there must be this "one painting"!

Shi Tao talked about how to inherit the tradition and overcome the problem of the ancients' legal obstacles. He felt that the painters in his past had studied the laws of natural phenomena, set up the public law, and reflected the public law with their exquisite brushwork, so "the ancient people did not try to use the law as well", but if If you follow the ancient law and follow suit, you will also have a legal obstacle. The Third Chapter of Change is the requirement to remove the legal barriers brought about by the legacy.

Shi Tao resolutely opposes the ancientization of the mud, advocates "I am not in the ancients, but does not change", especially "to borrow the ancients to open the present", and strive to express the "I" in the art of change and innovation is itself, and Not ancient people, but also famous people today. He said: "I am for me, I am own." Most of the articles about Shi Tao's paintings have been concentrated on this argument in recent years. I won't say much here, but I think about Shi Tao's so-called paintings, "I am in my own" and "Drawing from the heart". "I" or "heart" refers to the artist's ideological context, that is, Zhang Yanyuan's "history of the famous paintings" is the so-called "meaning" in the first place. There is no idealism or subjectivism. For each painter, this "I" and "Heart" have unique expressions in each of their works. Just as every art is typical, it is the only one that is not identical. If you study ancient masters, you will only learn that he will use his "heart" and write "I". Therefore, Shi Tao once wrote in a very sensation to Mr. Bo Chang’s painting, "The trace of the ancients, not the heart of the ancients, should not be able to come out." 1 This inscription can be made The "Changes" is a supplement, and the so-called "heart" here is the thought of "one painting" in the hearts of the ancients.

There are a few important words in this chapter: "If you can't, you can't, you can't do it, you can't do it, you can't do it." "There is a law that must be made." "The Dafa of the world is also changed." He went on to say that there are paintings, laws, obstacles, obstacles, and obstacles.

1 "Dabuzi painting poems" volume one "art series".

The law is like a law, but it cannot be the law. Shi Tao is not afraid to repeat these meanings, but to clarify the dialectical relationship between law and law, law and self-transportation, and inevitability and freedom. Therefore, it can also be said that "the flood of one painting" focuses on the "law" as the driving force of creation, while the "modification of the Dafa" focuses on the "chemicalization" of creative practice, which are not mutually exclusive, but the premise of the law. The next step is to unify to promote creation. Because it is true that the painter who imitates the creation of the real creation is inconsequential;

"Respect" and "Watch"

The first three chapters of "Drawing Quotations" mainly clarify the leading role of "one painting" and the creative principle of "painting from the heart". "Respecting the Fourth Chapter" argues that in order to draw from the heart, the painter must first accept the heart and respect it. The use of all links in the creative process is driven by layers of power, and these forces are all traced back to the origin of the creation - "the law of one painting", thereby jointly achieving the purpose of "from the heart". "A painting contains everything in the middle, painting is inked, ink is accepted by the pen, the pen is subject to the wrist, and the wrist is subjected to the heart. If the heaven is made, the earth is caused, and this is what it receives." Because "one painting" is the most reasonable If Dafa can be hidden in the heart, it will be used for pen and ink through the wrist. The two parts of the wrist and the ink are also obeyed, so all the images on the paper should be "one painting". Then I should understand the relationship between Shi Tai and "Knowledge": "Accepting and understanding, first accepting and then knowing. Understanding and then accepting, not accepting." Accepted, refers to the "one with the law of objective things" "Drawing", some feelings of understanding, refers to the deep understanding and understanding of this law; first subject to post-recognition, it is emphasized that must first pick up the object and then know things, which is enough to show that Shi Tao is adhering to the epistemology of materialism. Therefore, from the opposite side, "get it, don't respect it, and give up." In today's words, disrespect for objective and objective feelings is tantamount to automatically abandoning the responsibility of art to understand the world. From the front, "it must be respected and guarded, used strong, nowhere else, no interest in the inside." If the landscape painter's rationale for "one painting" is both defensive and usable, it will help to borrow things and make them happy, and integrate themselves with the inside and outside. "Nothing is outside" means maintaining the connection with reality. "No interest in the inside" means that the establishment of the artistic conception is always forgotten. Therefore, respecting is the one who respects me in the "law of one painting" and then turns it into a law, and thinks that it is used by me. The "change of the chapter" is called "the law must be made", which is the ultimate goal of honor. In this way, respect must respect me, respect must respect my heart, respect my heart, "one painting".

After the heart was subjected to "one painting", it directly played a role in the wrist. Therefore, Shi Tao deliberately wrote "The Sixth Law of the Far Arms," ​​which mainly clarified that "the wrist is the heart" is the first link to implement the "one painting method". . However, he first said from the opposite side: "The situation is the same, and the skin of the singer is unknown. The painting method is unchanged, and the situation is not limited. The monk is not well-known, and the mountains and rivers are not known. The mountains are not prepared, and the emptiness of Zhang Ben is known. "Then go back to the front:" If you want to turn these four, you must start with the wrist. "If the wrist is affected by the wrist and the wrist is running, it is not the "one painting" that exists in the heart, but only some predecessors. The program, 窠臼, then it is impossible to follow the "one painting" of the things, the scene of my or the scene, the blending of love, to delve into and even transform the magnificent nature, and has been used. As for the "wrestling" approach, he proposed "virtual", "positive", "仄", "disorder", "late", "chemical", "change", "odd", etc. , painting from the heart, the various forms presented by the heart of the wrist. However, Shi Tao did not erase the effect of the object on the heart, but still emphasized the study of nature. On this point, "Shanchuan Chapter 8" made it clearer: "Mountains were born out of Yuya, and they were born out of mountains and rivers, and they searched for the peaks and drafts." The landscape painter Gui Neng set up the "one painting method" to It is an unshakable principle to describe the mountains and rivers. Therefore, "Mountains are born out of the predecessor"; writing self on this premise, after all, must pass the shape of mountains and rivers, so it is said: "Be born out of "Shan" is also faintly visible in the "draft". It is not just a copy of nature. In recent years, "searching for the peaks and drafting drafts" is the most quoted sentence in "Drawing Quotations", which has become Shitao's famous sayings. However, if I open the object, I will understand it by combining the premise of writing and writing. It is easy to be confined to the "singular peaks" of the objective world. I only see the beauty of nature, but I don't know the beauty of art.

We went down again and went to the "Fiftyth Chapter of the Far Dust Chapter" and the "Sixteenth Chapter of the Disappearance Chapter". We also met the problem of striving for initiative and not for the object. We did not deny the feeling of the heart to the objective things, but also The same place clearly understands the "one painting method" that must be grasped subjectively. He said: "If people are obscured, they will be in contact with the dust, and if they are made by human beings, then they will suffer from the heart." It means seeing things and not seeing me. Even if you paint, it is just "work hard to sculpt to self-destruct, to cover the dust." "Self-restricted", one-sided pursuit of the shape and technique, and "the end is not fast." Shi Tao pointed out that "work" and "fast heart" are very different: the former is for me; the latter is for me, That is to say, "painting from the heart". He further emphasized that for the painter, "from the heart" and "fast heart" are not intuitive, and must be rationally recognized. "Women's paintings are more expensive, thinking about one, then the heart is better and faster"; "If the heart is not working, there is a painting." If the painter can seriously think about and understand the common roots of the public and the Vientiane--"one", "one painting", and the "one painting method" in the art processing, then his paintings will enter the heart and the world. The realm of integration is quick and self-sufficient: "There is nothing invisible, the shape is invisible, the ink is as good as it is, and the pen is inaction." These words are not metaphysical, but describe the artist's mastery and freedom. The realm of creation can be realized in the practice of creation. The result is that although the picture is only "small", it can "manage the world of mountains and rivers", and when it is written, it seems that it is not very careless. In connection with the above, anyone who can't pick up objects, reason, law, legislation, usage, obstacles, and law, finally thinks that the painter I used is not far from the dust, not good. It can be seen that Shi Tao’s "dust" and "custom" are synonymous with "legal obstacles". The so-called "far dust" and "extraordinary" should not be confused with the concealment of the feudal scholars. Therefore, it is not difficult to see that Shi Tao’s relationship with landscape painters and nature is: under the guidance of "one painting", strive to take the initiative in the process of receiving and materializing, and make things use for me, thus expressing their own artistic conception and aesthetics. View. On the other hand, we cannot ignore that Shi Tao’s so-called "I" or "my heart" has a certain class content in a certain historical period.

The final "18th chapter of the capital of the book" is mainly about re-discussing the relationship between landscape painters and nature, and puts forward the important argument of "taking their own responsibility". The author speaks "ren" in a lot of space, and only uses two sentences to talk about "capital", so it is worthwhile to talk about "ren".

We will first use the vocabulary of Shi Tao to make some explanations. Because of the "days" or nature's endowment, the mountains and the waters have their own influences; and because of this talent, the painter reflects the shackles and effects of mountains and water in his works. All the heavens are to the mountains, the waters, the painters, the objects and the human beings, the relationship between "to" and "acceptance", the "prejudice" and the "acceptance" - all of this, Shi Tao is collectively referred to as "Ren". The various regulations on the structure and shape of mountains and waters are called "the mountains of the heavens", "the waters of the heavens", or the "places of the mountains" and "the waters". The reflection of the landscape painter is called "the landscape of my people", or "the mountain of the people", "the water of the people". In addition, due to their talents, mountains and water are also involved in their use of sputum receptors, so there is also "the mountain of water", "water is the mountain", and the painter’s reflection on this relationship is expressed as "The landscape of my people." Therefore, the same word is "Ren", but it touches on several aspects: the natural image and its laws; the interaction between the image of mountains and water and its laws; the nature presented in the works of art, that is, the transformed nature. Image and its laws. It is actually included, so it can be attributed to two aspects: reality, natural or natural beauty; art or artistic beauty.

The "Tian" regulations on the mountains are ever-changing. Therefore, "There is no end to the mountain," but it can be exemplified by "decent", "recommended spirit", "illusionary change", "enrichment", "contrast", "Hidden", "arch", "纡徐", "circle", "virtual spirit", "pure show", "bounce", "severe", "forced", "thick", "shallow" "When we have sixteen examples, we can see the position, shape, depth, situation, and posture and spirit of the mountain. Their existence depends on objectiveness and nature, and the mountain itself is passive. Therefore, it is said: "This mountain is occupied by the responsibility of the heavens, and the non-mountain is appointed to the office." Then, Shi Tao quoted "The Analects of Confucius. : "The benevolent Leshan, ... the benevolent, the benevolent", and Zhu Xi's commentary 1, although there are many places in the mountain, but they have the common point of "thickness and no migration". Therefore, the person who is in the mountains is "static", and "static" forms the main feature of the objective world.

Regarding the "Tian" regulations on water, Shi Tao also cited eight examples, from "Wang Yang Guangze" to "Folding the East", and thought that "if this is not the case, then how can it be the mountains and rivers of Zhoutian? The blood of the world is "?" He also according to "The Analects of Confucius, 雍 》": "Knowing the music, knowing the movement, ... knowing the music" and Zhu Zhu 2, although there are many things in the water, there are common points -- "Circumference" has no lag. Therefore, the person who is in the water is mainly "moving", and "moving" is the main feature of water in the objective world.

As for the "days" to make the regulations between the mountains and the waters, it is "the water that is not the mountain, not enough to see the flow, the mountains that are not water, not enough to see the embrace." This interdependent" The cycle of "and" embraces, moves and quiets, forming an objective feature of mountains and water.

In Shi Tao's view, the mountains and the water can be expressed as a specific face of change, and the landscape painters come to the "quietness" of the mountains and the "movement" of the water, as well as the image characteristics of the mountains and waters. It is obviously far-fetched. However, it is necessary to emphasize that the landscape painter must have a complete and essential understanding when facing a certain natural scenery. This is necessary because it is a start, and it is not typical for the generalization of landscape painting art. Lack of.

Shi Tao changed from the law of natural image to the law of art reflecting natural image, trying to clarify why the artist would be allowed to work in the landscape? How to determine or give the image of the landscape in the painting? This chapter begins with the phrase "I am the landscape of the people" Discuss this issue. In order to grasp and express the richness of nature, the artist can adopt the combination of "easy" and "system". "It's not easy to be more than a lot, non-system can't be wide." "Easy" is simplified, so that it is not afraid of how diverse the object, "system" is tailoring, so that it is not afraid of how extensive the object: in short, it is a natural image Choosing, organizing, refining, transforming and sublimating, thus creating a typical image of landscape painting art.

1 Zhu Xi Note: "The benevolent is in the righteousness, but the heavy and unmoving, there is like a mountain, so Leshan."

2 Zhu Xi Note: "The knower is safe in the matter, but there is no stagnation in the flow, it seems to be in the water, so the music."

Right here, the author's next remark, "Rather, this person, honestly and honestly raises the principle of life, to rule one million, to rule one; not to be in the mountains, not to be in the water, not to be pen and ink, not to be allowed In ancient and modern times, I am not allowed to be a saint. It is also a person who has the capital. "This is the name of the chapter in this chapter." "Capital" means the meaning of capital or assistance. "Ren" refers to the unique function of "one painting", which is the unique function of Dafa. It stipulates the relationship between nature and art, things and me, scenery and love in landscape painting. "Capital" means that the landscape painter relies on this function to create, break through the limitations of objective mountains and rivers, get rid of the embarrassment of ancient and modern masters, and have his own spiritual outlook. Moreover, the "one painting" and the "one painting method" must be established by me, and no master of art can do it for the sake of the work, so "not to be a saint." The last sentence of this chapter of Shi Tao’s work is not "it is also a job, it is also a funded person", but "it is also a job, it is also true. In short, a painting is also, the Promise is also, the world Dao. "At that end, "capital" means that the use of "one painting" in landscape painting is becoming more and more clear.

The "Capital of Expedition" will still be classified as "one painting" and "one painting method" in the book of Quotations. It is believed that the author emphasizes and insists on the initiative of landscape painting, insisting that landscape painting is for writing self and not for copying. natural. Finally, it may be worthwhile to quote Shi Tao's two paintings to supplement the "one rule of the painting" and the law of one painting.

The heavens and the earth are beautiful, and they hang down at four o'clock;

Through the management of Hong, it is worth the EMI.

Second:

"I asked the two north and south: I am Zongya? I am yeah? I am holding a belly: "I use my own law."

1 "Da Dizi's painting poems" volume one, "Art Series".

[Appendix 2] On the Aesthetic Thought of Shi Tao's Painting Theory

Shi Tao's paintings are mainly influenced by the 18th chapter of the essays of the great aesthetics, "The Quotations of Paintings" and the other version of "Shi Tao's Paintings", 1 and the other four volumes of the Dijiazi Paintings and Poems. The aesthetic thoughts contained in it have been interpreted and elucidated in many contemporary and contemporary times. On the basis of comprehensive inheritance of traditional culture, Shi Tao insists on the exploration of the relationship between originality, artist and the landscape of the universe, and the comprehensive achievements of Shi Tao's painting theory from the perspective of comparative culture and comparative aesthetics. .

First, adhere to the original creation on the basis of comprehensive inheritance of traditional culture.

After the development of Chinese traditional culture to the Tang and Song Dynasties, the pattern of Confucianism, Taoism, and Buddhism has formed. The reason why Shi Tao can achieve great achievements in his creation and theory is, first and foremost, because he can inherit Chinese traditional culture in a comprehensive and in-depth manner, and insist on originality on this basis.

The first chapter of Shi Tao's "Drawing Quotations" is about "one painting", and it begins with one painting and ends with one painting. One painting theory is the central topic of "Drawing Quotations". The "one" of "one painting" is the most basic symbol from the "Book of Changes" - Yangshuo -. Yangshuo - and another basic symbolic haze developed by it, represent the fundamentals of the universe and its changes. The Book of Changes is a classic that is consistently respected by Confucianism and Taoism and many Chinese researchers in Buddhism. The philosophical background of a painting can be traced back to Taoist founder Laozi:

"The things of the world are born, there are no ones. One is born, one is two, two is three, three are all things."

The phrase "Laozi" not only expresses the general law of the formation of the universe, but also roughly depicts the process of the creation of all things on earth. 3 Chinese paintings show that the laws of all things in the world have both the philosophical background of Taoism and the laws governing the growth of all things in the world. Shi Tao's "Quotations of Painting" explores the relationship between artists and the landscape of the universe. They all use the philosophy of Confucianism, Taoism and Buddhism as the background. The instinct is quite large, so this article is devoted to the next section.

"The quotation of the quotation of the syllabary of the syllabary" is said: "The mountain is also the body, the position is the same; the mountain is recommended by the spirit, the god; the mountain is also changed, the mountain; the mountain is also raised, the ren; the mountain The vertical and horizontal are also moving; the mountain is also lurking, to the silence; the arch of the mountain is also the ritual; the mountain is also Xu, the peace; the mountain ring is also gathered, to the glory; the mountain spirit is also, wisdom; The mountains are sharp and the dangers are also dangerous; the mountains are forced to Han, and the mountains are thick, and the mountains are thick, and the mountains are shallow, and the mountains are shallow, and the mountains are appointed by the heavens. Yu Ren and Leshan also." Also said: "There is a mountain, the water is not arrogant? Water is not inaction and no responsibility. Fushui: Wang Yang Guangze also, with virtue; humble under the ceremony, with meaning; If you don’t care, you will be convinced, and you will be brave; you will be brave; you will do it in one way, you will be in the same way; you will also be inspected by Yingyuan, and you will also be good at it, and you will be good at it. ...... is the knower, knowing the shore, dying on the river, listening to the source and the music." According to Confucius's "The Analects of Confucius", "the benevolent Leshan, the wise man is happy", it will be the morality of the landscape and people's righteousness and morality. The character of Wenwu Zhiyong is compared and related, including Confucianism Aesthetics Bede says, to be said, there are paintings and paper products consistent with the character point of view, closely linked to the fundamental concept of the Confucian emphasis on character. The first sentence of this chapter: "The ancient people are happy with the pen and ink, and the false roads are in the mountains and rivers. If they don't change, they should be inaction. If they don't do anything, they will be famous." "The Sixteenth Chapter of the Disguise" says that "the pen is inaction" is obviously inherited from the famous viewpoints such as "Laozi", "everything will be self-contained", "doing nothing for nothing", and "the way to retreat from the sky" relationship. "Drawing Quotations · Change Chapter III": "And you can't be human." It's not impossible, it can't be the law, it's the law." The first chapter says "I can't have a law" and "The 16th chapter" "It is invisible to accept things, and there is no trace in the shape of the rule." "The scales are in the mountains and rivers, everything is in the heart, and the heart is weak, and the ignorance of the wisdom is born, and the customs are removed from the Qing Dynasty." The famous principle and the law of "nothing is born" are born. Shi Tao's "Drawing Ancient Trees and Cold Ponds" is a question: "The clouds are high, and the dead woods are the hearts of the people." He also revealed his Taoist thought of admiring the independence and retreat.

Shi Tao’s emphasis on the cultivation of the Confucianism and Taoism is worthy of our attention. He said in the title: "The enthusiasm of the spleen is the qi of the life of the Han Mo family, and it is the rise of the singularity of the singer." This is the inheritance of "Meng Zi", "My goodness, good spirits". He also believes that "the heavens and the earth are due to the show", "the heavens and the earth are mellow, and the wind and rain are divided into four seasons." 5 This is all from the "Zhuangzi • Zhibei Tour": "The sky is full of ears, the saint is so expensive." He therefore believes that painting must be "turned into a cause, the world can do things" 6 . This is also the painting "first must be through one breath, not stick to the mud" 7 . "Being a book for painting, no matter how old the teacher learns, first win with qi, and those who get it are brilliant" 8 . These views are not only related to the theory of literary theory since Cao Yu, but also related to the qi theory of Chinese philosophy from Zhouyi to Lao, Zhuang, Kong, Meng, and the end of the Ming Dynasty. It is related to the personal experience of the philosophers, writers, and artists. Shi Tao himself also has this practice of cultivation. He has repeatedly said in the poems of the paintings. Such as "the enthusiasm of the ancient heart, the stone into the crisis. Qingtian one month, who can sing and sing" 9 .

The second sentence is about the place where you sit and practice. Another example: "Don't take time to wear the sun, like a spring like a water scorpion. There is a sound through the Yue Department, there is no difference between the mountains. The old note is a dragon, and the tribute to the crane." 10

The first sentence is to say that sitting and practicing is a matter of interest, and the length of time for practicing. Therefore, his understanding of the universe - "the heavens and the earth are mellow", in addition to reading the Taoist classics, is also the experience after practicing. In connection with this, his relationship with art and the times is also recognized from the perspective of literary theory: "When ink and ink are used for generations, the style of the poetry of the verse is turned, the traces of the ancient times are simple and mean, such as the sentence of the Han and Wei dynasties. However, the paintings of the Middle Ages, such as the Tang and Tang Dynasties in the early Tang Dynasty, are magnificent and magnificent, and the paintings of the ancient times, such as the sentence of the late Tang Dynasty, are clear and gradually thin."11 and then think that the paintings after the Yuan "nothing good." The times are related to the atmosphere, and related to air transportation. Shi Tao understands the differences in the history of painting and takes on the responsibility of opening up new ideas.

Because Shi Tao believes that the creation of calligraphy and painting is primarily "qisheng", he quoted "Easy" in "The Respect for the Fourth Chapter": "Tian Xingjian, the gentleman is self-improving." This is why he respects it." Throughout his artistic career, he has always adhered to a positive and aggressive attitude; in his creation, he has always insisted on "the spirit of the establishment of the ink in the sea, the life of the pen, the change of the hair on the scale, the light in the chaos. Even if the pen is not written I don't ink, I don't paint, I have it myself." Combining the enterprising spirit of Confucianism with the free and ethereal, unconstrained creative attitude and the spirit of exploration advocated by Taoism, it is used in the creation and theoretical fields of painting.

Contemporary scholars believe that "Drawing Quotations" attaches importance to the absorption of the "Book of Changes" philosophy, and its important concept "Mongoly" is especially related to "Book of Changes", especially in the Ming Dynasty to Zhide, "Easy of the Book of Changes", Volume II, "Mongolian" Elucidation is more conducive to our understanding of the "Quotations of Painting". 13

The concepts of "to people" and "chaos" are out of "Zhuangzi"; Shi Tao's view of mountains and rivers comes from the Taoist theory of cosmology, which hides the path of life in the rivers and lakes, and follows the Taoist life path.

Huang Binhong believes: "The Taiji map is the secret of calligraphy and painting." 14

According to this, contemporary scholars believe that the aesthetics of Shi Tao's paintings are related to the "Taiji aesthetics" developed by "Zhou Yi" and "Laozi". 15

Although Shi Tao was forced into the empty door because of political pressure, he specially went to the Gaozhou Brigade of the Songzhou Kunshan in the early years of Emperor Kangxi as a teacher. His "parallel parallel" poems were seriously traced to the "three wars". In the Fa-Fang, the process of enlightenment and enlightenment was repeated. Therefore, the commentator generally thinks that he is deeply influenced by Buddhism. However, some commentators also believe that "Shi Tao's painting aesthetics has nothing to do with idealistic Zen," and "has nothing to do with Buddhist idealism." In fact, "The Quotations of Paintings and the Fourteenth Chapter of the Four Chapters" clearly stated: "There is a cloud of mountains and changes at any time. With this in mind, can you know that painting is the meaning of poetry, and poetry is not in painting?" Shi Tao is also in many paintings. The emphasis is: "The law has no phase, and the spirit is a chapter." "Shi Zunyun: 'I said the law yesterday, I can't say the law today. 'I use this to understand the law." "The ancients established a law, not an empty commentary.拈 虚 虚 虚 虚 虚 虚 虚 虚 虚 虚 虚 虚 虚 虚 虚 虚 虚 虚 虚 虚 虚 虚 虚 虚 虚 虚 虚 虚 虚 虚 虚 虚 虚 虚 虚 虚 虚 虚 虚 虚 虚 虚 虚 虚 虚 虚 如 如 如 如 如 如 如 如 如 如Yes, this is true everyone, this is true everyone." "Qiu Yu natural reason, pen and ink meet the scenery." "After enlightenment, the draft of the gods, hooks and shackles are in the same shape. One generation of one husband is in charge, the antelope is hanging on the corner." "The true touch is like a mirror." 17

These are the theories and concepts that directly apply to Buddhism, and they are used properly, and they are used to embody the principles of Buddhism. Another example is the painting: "The tall man's chest should be the same as the bitter melon." 18 "one nostril" looks like a common spoken language, which is a common syntax similar to the famous sayings in the Zen public case. As far as the mountains and rivers are concerned, there are benevolence and morality, Wenwu Zhiyong and "One Painting First": "The painter, from the heart. The mountains and rivers show the wrong, the nature of the birds and beasts, the moment of the pool I have not been able to go deep into the rationale, and I have done my best, and I have not got a picture of the flood rules." It is also said that all things in the mountains and rivers, birds and animals are spiritual. This is based on the view of life that Buddha believes that everything in the mountains and rivers, birds and beasts, and even the pools and pavilions, and everyday appliances have life and soul.

In addition, contemporary theorists have pointed out that Shi Tao's theory of painting is influenced by his Buddhist master, "The Good Fruits, this month's Zen Master. Yulin Tongxiu once asked this month: 'What is the word without painting?' Answer: 'The literary talent has been shown.'19 This is a Zen machine, meaning that there is a word, it has been from nothing, starting with the word 'one', it will produce more words. 'One' Although the word is not drawn, the font is already prepared, and the text has already begun, so 'the literary color has been revealed.' The same first line appeared, then the plastic art began." 20 thinks that its concept of "acceptance" comes from Buddhist scriptures, "Guangwu Yun Theory" cloud: "Accept, the precept of knowledge." Knowledge is an alias of the heart. Buddhism ontology is one of the philosophical foundations of its painting aesthetic system. 21 and so on, and more about the relationship between Shi Tao and Buddhism philosophy and cosmology, all of which are well-founded and justified.

In summary, Shi Tao's painting theory has fully inherited the Chinese traditional culture and made a concrete and incisive play. The comprehensiveness of its inheritance is reflected in the correct inheritance of the Confucianism, Taoism and Buddhism. Its in-depthness is embodied in the original point of the Confucianism, Taoism and Buddhism as its own starting point, and skillfully applied on the basis of correct understanding.

Shi Tao was able to establish his own aesthetic system of painting because he could persist in his original creation on the basis of comprehensive and in-depth inheritance. There are clouds in his paintings: "There are paintings of the Southern and Northern Dynasties. There are two kings in the book. Zhang Rong has a saying: 'Do not hate the king without the king's law, hate the two kings without the court." Today asked the Southern and Northern Dzong: My Zongya? Zong I I will hold my belly for a while: I use my own law." "The ancients did not know the law before, and they did not know the ancient law. After the ancients had legislated, they would not let the ancients out of the ancient law. For thousands of years, the people can’t be in the first place. "冤哉!" 22 also said that he made a painting "I spontaneously my lungs, revealing my eyebrows. Sometimes I touch a certain family, it is a certain family, I am not a family, but also a natural one. I haven’t changed it in ancient times?”23

There are many such remarks. It emphasizes original theory and practice and has great merits. But there are also two points worthy of attention. First, he has repeatedly emphasized that his original painting achievements come from observing the landscape, deep into everything, and not making it out of thin air. Second, the above is mostly the language of youthfulness. In the field of painting, there is excessive contempt for the ancient method and the emphasis on originality is biased. In his later years, his attitude tends to be mild and his views are dialectical.

As one of the greatest painters in the history of Chinese painting, Shi Tao's great achievements of his originality are in the annals of history. Although there is no doubt about it, some contemporary scholars have dedicated themselves to Shi Tao and completely negated the Qing Dynasty IV, which inherited the predecessors. Wang, 25 is not desirable. I believe that the history of art and the state of contemporary art prove that everyone who has inherited the predecessors to create outstanding works and everyone who breaks through the predecessors' innovative style have their indelible contributions and important historical status. The root of prosperity.

Second, the exploration of the relationship between artists and the universe

As a creation of landscape paintings and everyone in theory, Shi Tao made a multi-angle discussion on the relationship between artists and the landscape.

First of all, Shi Tao made his own interpretation in terms of cosmogenesis, and on the basis of inheriting Taoism, combined with painting. Laozi's Taoist theory and its "one of the past, the heavens are clear, the earth is one, the gods are one, the gods are one, the valleys are one, the ones are the ones." Tao laid the theoretical foundation for the emergence of a painting theory that expresses all things in the mountains and rivers. The artist's perception of cosmic generation plays a decisive role in the artist's understanding of his relationship with the universe.

Second, Shi Tao made a theoretical summary of the relationship between painting and the landscape of the universe. He pointed out in "The Quotations of the Paintings and the Second Chapter of the Law": "The painter, the world of the heavens and the earth." "The third chapter of the change" further pointed out: "The paintings of the world: the Dafa of the world, the elite of the mountains and rivers The scent of ancient and modern creations, the temperament of yin and yang temperament, also borrowed ink to write everything in the heavens and the earth and Tao Yong was also me." In addition, "The fourth chapter of the Respecting Chapter" added: "The husband has a painting, including everything in the middle. Ink, ink is subject to the pen, the pen is subject to the wrist, and the wrist is subject to the heart. As the creation of the heavens, the creation of the earth, this is what it is." The relationship between painting and the landscape of the universe and all things is expressed clearly, especially painting. Such as the creation of the heavens, the creation of the earth, and the "seventh chapter of the sacred chapter": "Pen and ink will be the cause of blasphemy. Because of the inconsistency, it is for chaos, the chaos, the one painting Who is it?” All of them will create art on the landscape of the universe, which is more insightful than the creation of the natural world of the universe. In connection with this, Shi Tao believes that the first relationship between the artist and the landscape is the spokesperson's relationship. "Drawing Quotations • Shanchuan Chapter 8" means: "And the landscape is big, the land is thousands of miles away, the clouds are thousands of miles, and the Luofeng column is smashed", "With a picture, you can participate in the cultivation of the heavens and the earth." "Ten is the right, can change the spirit of mountains and rivers; the earth has a balance, can transport the mountains and rivers; I have a painting, can be the shape of the mountains and rivers." "Shanchuan makes it to the mountains and rivers. I also gave birth to the mountains and rivers. I also searched for the peaks and drafted the drafts. The mountains and the gods met with the gods and traced them, so they ended up in the big polyester." In "The Seventh Chapter of Shu Yin", the painter used a painting. The law "painted in the mountains and the spirits, painting in the water, moving, painting in the forest is the birth, painting in the people is the right. The pen and ink meeting, the solution to the cause, the confession, the ancient and modern, self-contained, It’s all right.” This theory specifically elaborates the creative task of the painter in the context of "the generation of mountains and rivers", and puts forward the goals and ways of "passing on ancient and modern, self-contained".

It is the unity of heaven and man that is closely related to the artist's endorsement of Shanchuan. Therefore, the second relationship between the artist and the universe is the relationship between man and nature.

The Confucianism, Taoism and Buddhism of Chinese traditional culture all hold the view that man and nature are united. Heaven and man are united, according to its complicated and profound theory, including the theory and practice of gasology, I think it can be roughly attributed to three points: 1. The universe, landscapes, and people and everything, are composed of yin and yang, and according to the yin and yang The laws of movement change, develop and die. 2. Man is the product of the universe and returns to the universe after death. 3. The five internal organs of human beings have a corresponding relationship with the universe, so human beings are small universes corresponding to the great universe.

Shi Tao, who is well-educated, understands the relationship between artists and the landscape of the universe with the theory of harmony between man and nature as outlined above, and elucidates the theory of painting. According to the "Shanchuan Chapter 8" mentioned earlier, "Mountains are born out of the pre-existence, and they are born out of mountains and rivers". "Shanshan and the gods meet and trace, so they are ultimately returned to Dadi," The philosophical understanding of the unity of man and nature is the basis of his argument. The whole theory of painting, as Mr. Yu Jianhua pointed out: "Since the method of painting is established, the law of the public cannot be born without it. Since there is a law, there can be no rules without rules. The rules are not only for all paintings. The standard is also in line with the principle of natural operation of the heavens and the earth."27, that is, the theory of the whole painting is also the product of the unity of nature and man. It uses the theory of harmony between man and nature, and like many other principles and theories of traditional culture, it can often be as salty and water-free when it comes to elaboration. For example, the title "耄耋图"曰: "Cats grow out of the country, not from China. The eyes are full of circles, the vertical line, a black circle, a Mongolian." 28 means that the cat is a Persian species. Growing up in the Persian world, the gas is different from China. Qi, this refers to the influence of the special geographical and environmental characteristics of the natural landscape of the Persian cat's birthplace. It is based on the traditional Chinese theory of harmony between man and nature and its philosophical background. Na's geographical environment influences the theory of literature and art.

The third relationship between the artist and the landscape of the universe reflected in Shi Tao's painting theory is the help of Jiangshan. Although “Jiangshan Zhizhu” was first proposed by Liu Wei, he wrote in the article “Wen Xin Diao Long • Looking for Objects”: “Why can Qu Ping be able to understand the feelings of the wind and the help of Jiang Shan?” A well-known theory in literary theory, the actual theory is also a derivative of the theory of harmony between man and nature, and the origin is very early. Shi Tao's "Drawing Quotations and Respecting the Fourth Chapter" thinks that "a painting is a painting, containing everything in the middle". "If the heavens are made, the earth is caused, this is why it is also accepted." Emphasize that "acceptance and understanding, first accept and then recognize." Han Linde believes that the main purpose of this chapter is: "Require the painter to deepen the direct feeling of the natural beauty of mountains and rivers in his life, and improve the harmonious relationship between the heart and the hand, the hand and the ink in the creation." 29 "Yin Renzhang": "Yin There is a meritorious service, "has been affected by the quality of mountains and rivers." The painter "takes the view of the mountains and rivers, and is the recipient of the fetal bones." Han Linde explained that: because the painter has insight into the secrets of the creation of the heavens and the earth, he grasps the inner essence of the mountains and rivers. In the creation of landscape paintings, he accepts the creation of the creation of the universe and the creation of the universe, and he writes the landscape to see the endowment of nature. 30 This has been the subject of Shi Tao's discussion of the painter's help from the universe and the mountains.

Shi Tao’s paintings and poems often have such remarks. For example, the first two sentences of "Huangshan Picture Poem" are the cloud: "Huangshan is my teacher, I am Huangshanyou." 31 "The painting landscape" has a cloud: "The landscape has a clear voice, and the winner is the heart." "Snow in the snow" Liu Yun: "Wanli Hongtao washes his chest, the sky is full of ice and snow." 33 all have the meaning of Jiangshan. Another example is "The title of Chunjiang map": "When I wrote this paper, my heart entered the spring river. Jianghua followed me, and the river started with me. I looked at the river building and shouted the beautiful. I laughed at the low clouds and opened the picture. God's marrow." 34 is also Jiangshui as his teacher, which is Jiang Huayou. Another example is "Bingyinqiuqiu Tianlong Ancient Court is doing this forever": "There are many scattered and scattered, and today is quiet and infinite. I have seen it before, can be late to work. Shantao turns over the stone, loose in the clouds. Spontaneously deep, cold and hurricane hurricane." "Ishiguro from the air, Ling Xu wants the wind. In the Qiuyu, what is the risk? In the middle. Haiqing 霄 back, the mountain peak Danxiong. Here is not exhausted, frost The leaves are more red." Before the 35th poems, they meditation and practiced the help of Jiangshan. After the poetry, the theme of painting was supported by Jiangshan, and there was often a "feeling of the inside". 36 Because Shi Tao is a landscape painter, his experience of Jiangshan's help is mostly explained from the perspective of landscape painting.

Combining the above understanding with the practice of meditation, Shi Tao has a heart for the universe, and his poems are: "The ancient wood is green, the water is faint, and the person knows, non-ink is not magic." At four o'clock, the dynasty hangs down. Through the glory of the ruling, it can be cherished for EMI." 37 The crystallization of his heart is crystallography and painting, but as its title says: "Lin Biao wants to float spring, Yan Guangdong You should know the net business people, forgetting the words and smiling. The pen and ink are the things of temperament, in the vaguely like, there are those who can not pass the ink." 38 readers must also use empathy to comprehend.

3. The great achievements of Shi Tao's painting theory from the perspective of comparative culture and comparative aesthetics

Due to the limitations of the times, Shi Tao failed to absorb and refer to the results of Western culture and aesthetics in his artistic creation and theoretical achievements. However, his outstanding achievements in theoretical creation are quite compatible with Western learning.

"Drawing Quotations • The Second Chapter of the Law": "It is a painter, not unlimited, but also limited, but not limited by law." Put forward the concept of "infinite". Wu Guanzhong interprets this phrase as "he advocates the idea of ​​painting, that is, there must be a certain limit in infinity, but not limited to the existing law", and grasps the gist of this statement. It is very important for Shi Tao to put forward the concept of "infinity" in this statement. "One painting" is infinite, and when painting a painting, it must be "infinite and limited" when using a painting. There must be a certain limit in infinity. This is the same as the straight line concept of the ancient Greek Eumemide plane geometry. Euclidean believes that the two ends of the line are originally infinite, and in the application of geometry, it must be assumed that the two points of AB are their limited starting, and then they can be mapped and operated. The method of Shi Tao's painting of the art and the straight line of the Euclidean science map found the same principle. "Drawing Quotations" This chapter is called "False painter, who is the world of heaven and earth, and what is the shape of the pen and ink?...The ancient people have not tried to use the law as well, but they cannot be infinite in the world. It is a painter. Non-infinite and limited, also not limited to the law. Law, no obstacles; obstacles, can not. The law self-painting students, the obstacles are self-drawn. The legal obstacles are not involved, the dry rotation is the righteousness, the painting Zhang Yan, a painting of 矣". This principle is fully applicable to the scientific drawing of the "world and earth" from the development of the Euclidean plane geometry in the West. The basic principle of the focus of the western painting based on the natural science method and the method of creating the near and far proportions are the same.

"Drawing Quotations · Change Chapter III" Cloud: "The elite of the mountains and rivers, the scent of ancient and modern creations, the popularity of yin and yang, too: by pen and ink to write all things in the world, and to swim in me." Give Liu Stone "Cloud: "Wanli Hongtao washes his chest, and the sky is full of ice and snow." In the "Painting Water" title painting poem: "The Yellow River falls away from the river, and the miles fall into the chest." 39 This Tao Yong is "I", "washing the chest" and "swallowing into the chest", all of which are connected with Aristotle's principles of cultivation and purification. Aristotle believes that literary and artistic works, especially tragedies, have a meditation and purification effect on people's psychology and character. Shi Tao believes that landscape painting has a pottery effect on people. The types of works they face are different, and the artistic principles they conclude are the same.

Shi Tao was in the 37th year of Emperor Kangxi's reign of March 18th. Wen Yun: On the second day of the March of the Spring of Wuxu, the son of Bai Tian was given a gift of poetry, and he also had several paintings. . In the midst of the exhibition, the heart is refreshing! The ancients said: "Poetry and painting, get the extreme, but it is enough to delay the disease, and relieve the sorrow." The more the day, the "Taoyuan map" and a few words, to Bo smile, not dare to report Qiong also. 40

Shi Tao believes that the appreciation of excellent works of art can make people "due to prolong the years and relieve their sorrows and dissatisfaction". This view is in line with the principle of cultivation and purification in Aristotle's "Poetics" mentioned above. And the literary and artistic works "Relief and Speaking" that Wang Guowei introduced and developed by Schopenhauer were born with each other. Wang Guowei pointed out: "The task of art is to describe the pain of life and the way of its liberation, and to make the people of Wu Sheng, in this world of sorrow, fight away from the desire of life, and to have its temporary peace, all this art The purpose is also." 41 Shi Tao agrees that the ancients can "suppress and suffocate" about art works, that is, related to liberation. Modern Italian aesthetician Jasmo Leopardi said: "The works of genius always serve as a consolation." 42 also for this purpose. There are quite a few similar theories of modern American aestheticians in this respect, which are the development of Aristotle's theory.

Shi Tao, "The Quotations of Paintings, and the Second Chapter of the Law": "The ruler, the pole of the circle is also the same; the heaven and earth, the rules are also running. The world knows the rules, but does not know the righteousness of the cadence, the bond of heaven and earth. In the law, the law of the people is in the Mongolian law, although the law of the congenital heavens is finally left unreasonable." Shi Tao said in the "Xi Zizhang XVII": "Tian can teach people to law, can not be taught People can give power to painting; they can not be influenced by people. People can abandon the law to cut the merits, and people can change from painting to change. It is not the people, although there are calligraphy and painting, it is not passed on. The granting of the person is also granted because of his ability to teach, but also to know and to teach, and to know and to teach. Therefore, ancient and modern calligraphy and painting, the people of this day and the whole are also. If you know the little knowers, you don’t have the method of calligraphy and painting, but you have to be partial. "This can give people the rule, but it does not guarantee success. The law of choosing people and granting the law is only high. People can fully accept the enlightenment of the heavens, that is, "the only talents who can understand the rules."

Kant pointed out in his discussion of genius:

Genius is a talented talent. It does not provide any specific regulations for what it produces. It is not a talent that can learn according to any law; thus originality must be its first characteristic; ... the works of genius must At the same time it is a model, which means that it must be an example. It is not produced by imitation itself. It must be the yardstick for judgment or law for others; how it creates its works, but it cannot describe itself or scientifically explain it, but it is a natural gift. It is regulated by law; nature sets the rules for science through genius for art, and only within the scope of art should be beautiful. 44

This is the famous assertion that Kant’s genius says about the relationship between genius and law. The introduction of words and related arguments on Shi Tao's "Quotations of Paintings" also clearly and completely expresses the theoretical revelation made by Kant. "Tian can teach people to use the law", "Tian can teach people to draw", "The sky is not in people, although there are calligraphy and painting, and it is not passed on", "Tianzhi is also taught, because it can be taught, "There is also a great knowledge and a big grant", that is, it has expressed Kant’s view that "genius is a talented talent"; combined with the theory of "unable to the law", it also expresses that "no specific regulations are provided, it is not a way to follow Any statute to learn the talents of the point of view. Shi Tao’s arguments also include Kant’s view that it is a natural law for it. And "unable to be human" and "unable to the law" have transcended Kant's insights and truly entered the realm of freedom of artistic creation; this is also the philosophical background and superb thinking mode in which Taoism is born in no, the Buddhist language is broken. Use in painting theory.

There are many places in Shi Tao's arguments that can be related to each other or from Western estheticians. In addition to the author's above-mentioned briefings, Mr. Wu Guanzhong's "I read Shi Tao's quotations" is commenting on "Drawing Quotations · Lin Muzhang Tenth "I" wrote the method of Songbai ancient 槐 古 古 , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , In the works of Shi Tao, especially in the trees, Shi Tao not only pays attention to the personality characteristics of each tree body, but also pays attention to the human relationship between the trees." "Eight" pointed out that Shi Tao "the ancient people sent their hearts to the pen and ink, false roads in the mountains and rivers", in discussing the experience of the painting mountain, "using the various features and characteristics of the mountain, Shi Tao talks about all personality: benevolence, courtesy ,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,, Artistic conception and humanity, for the 19th century German aesthetician Lipu Sri Lanka’s 'Emotional Move' statement provides an example.” 45

Wu Guanzhong, a famous contemporary painter and theorist, has a deep understanding of this. He also believes that some of Shi Tao's theories are the same as the French Baudelaire's discovery of "there are poems in the paintings" and the "intuition theory" of the Italian Croce, so some commentators think that Wu Guanzhong's "I read Shi Tao's quotations" The book "stands on the coordinate system of the Chinese, Western, and ancient times, and gives Shi Tao the highest evaluation ever." 46

In the preface of this book, Wu Guanzhong said: "Shi Tao and Van Gogh, their quotations or letters are the practical experience of outstanding authors, not dogmatic theory, the mother of theory." "No matter how strong, he proposed the 20th century Western performance Declaration of the doctrine. I respect Shi Tao as the father of modern Chinese art. His artistic creation is two centuries earlier than Cézanne.” The master of painting, Balsti, also has a similar point. He said: The great paintings of the West are exactly the kind. Paintings that have not been cut off with the oriental paintings... In short, they should not be imitated. How can imitation become an art? What's more, there are so many good things in China! How good is the written quotes of Douji's "Bitter Melon Monk Paintings"! In our West, there are very few such good things, now Western art. Theory, where there is something so thorough. The West has fallen. Why do you have to go to Western art to find a way? 47

The leading position and far-reaching significance of Shi Tao's "painting quotations" and his painting aesthetics in the history of world aesthetics can be seen here.

Personal profile:

Shi Tao, the native of Guilin, Guangxi, the state of Quanzhou, the common name of Zhu, the name is Ruji, the monk is the monk, the French name is the original. His number is not much, there are bitter melon monks, monks, Jishan, Qingxiang old people, Qingxiang Chen people, Dajiazi and so on.

Shi Tao is a genius in Chinese painting and the founder of the Chinese painting "Huangshan School." Because he was a monk from childhood, he has a deep research on Buddhism and Zen, and he also has high attainments in literature and poetry.

Under the influence of Zen thoughts, his style of painting is unique, his brushwork is ambiguous, extraordinary and refined, and his style is unconventional. His artistic conception is novel and novel. He has created a new conception for the development of Chinese painting. He proposed that "the ink and the ink be used at any time" and "I The insights of self-use of my law are extremely rich in Zen thoughts, and they are used to denounce those mediocrity who are behind closed doors, antiques, and opportunistic. His artistic achievements in painting have had a profound influence on the development of Chinese painting and have been praised today.

Because Shi Tao is proficient in Chinese traditional culture and has a very high understanding of Zen, he was able to use his Zen thoughts to write an epoch-making painting theory, "The Quotations of the Bitter Melon Monk". This is Shi Tao's superb knowledge, the lifelong exploration for the redevelopment of Chinese painting, and the most incisive and instructive artistic insights.

Shi Tao’s artistic achievements are unprecedented. However, because Shi Tao's "Quotess of the Bitter Melon" is dominated by Zen thoughts, and throughout his book's understanding and comprehension of Zen, he is full of Zen's connotation and mystery in his essay. Because people don't know much about Zen, the mystery of it has been rarely understood for many years. If people have a certain understanding of Zen, and then read this article, you will feel that the beauty of the text is really rare, and it is called the singer of the ages.