永利集团248cc登录 艺术家演讲 缘道构景,画不生慧

缘道构景,画不生慧

  1
我的画,立名墨道山水。道者,乾坤大道精神也。天地人化一、道物我通悟,是我的追求。

26
把真实的客体转向主体,从视觉真实转向心灵的真实,从客观世界走向主观世界,用一种超越的主观精神支配物质现实,这是由写实具象转型为抽象的关键,是金钥匙,也即物随心转。虽然现实世界是艺术的基础,但是具有艺术价值的作品却不是心随物转而得。

  2
画家的悟禅与悟道决不是宗教徒式的迷狂,而是偏重选择那些与艺术相契合及具有启迪性的文化因素,融汇现代审美观,创造出新的艺术表现境界。

27
物象变形虽然丧失了客体的意义,但却是艺术家表现内心神秘的符号。狂放虽然导致了夸张,怪僻产生了畸形,这都是艺术家心性的不同表现。物象的特征已不存在,色彩也失去纯物质效果,出现了观念上的变化。观者感觉到的是艺术家完全在表现自己的内心。这是西方现代派艺术家的基本共同之处,正在于是用一种特殊的绘画语言表达心灵的表现性艺术。

  3
籍教悟宗,深信含生,不为客生所复,必舍妄归真。归真者,生真心。真心乃大真,大真生真画。真画乃神画,神画才有神境。

28 画者,言也。自画出自心,自心成佛。

  4 禅家修禅讲外观内照,于画道也如是。

29
心源者,艺源也。能得心者,才能得心物。心物者,艺物也。艺物者,自然造化也。造化者,化造也,对古不化、对物不化、对景不化、对外艺不化,何谈造。

  5
以心照物,物乃化。以目观物物不真。不真之物非造化,造化之物乃心物。心物者,乃艺物。古人张璪云:外师造化,中得心源者也。只师不化,目障心障也。目障,心不明。心不明,眼不亮,慧不生。画不生慧,难得精矣。

30
缘道立象,象自立。缘道求法,法自生。缘道构景,景自构。缘道化境,境自存。

  6 象以尽意,得意而忘象。忘象者,真象出。真象乃艺象,非器象所可拟。

画山水,有景无境,入俗眼。

  7
一个当代的中国画家,他的画既要有悲壮慷慨、激扬蹈历的阳刚气概,又要有玄远,放任,旷达和超脱的意蕴。

有景有境,方为高手。无景有境乃巨手也。

  8
意象,在我的山水中,是指意象意识,也就是道意识,宇宙意识之意。它统御着写意之意。写意之意是对微观的形象而言;意象之意,具有宏观的立象意义,并非常规所说的写意的简笔而言。前者乃道,后者乃器。

31 景是器,境是道。

  9
画中之黑,有实黑与虚黑之分。实黑乃一片纯黑涂之;虚黑乃黑中稳约见物,有一定的透明度。传统类型的画中,最忌实黑,谓之死墨,但我大胆启用死墨,在作品的整体上,它有一定的作用。如果孤立地把它拿下来,是什么意义也没有了,死墨一块。

所谓景,即非景;非景非非景,是为景。

  10
道通过技为表现手段,技本身即蕴含着道的精神,因为以大笔无痕之笔,抒写大象无形、大美无颜、大音希声之境,展现天地人化一,道物我通悟之境象精神,把宇宙大道精神迹化于观者面前。不仅继承传统的澄怀味象、澄怀观道的心理体悟与解衣盘礴的创作状态,更在于理性的超越:大道境界的可视展观。

所谓境,即非境;非境非非境,是为境。

  11
在创作墨道山水画时,要宏观上把握涵取总体精神。微观上表现物的气质。宏观探道、微观探真相吻合。道是指宇宙的永恒不变的运行自然精神;真是指物象气质的真,并非自然原貌呈现于眼前的真。要汲取大自然的总体精神(宇宙精神),首先必须有那种整体知觉,这种整体的知觉,即是作品直观表现出的精神境界。境界是有景象构成,景象由景物构成,景物即是最基本的感觉元素。整体知觉是由若干感觉元素构成。在创作时,必须从整体知觉方面去把握,否则,如果一味拘泥于感觉元素,不免流于匠气。微观,要达到原创的真。

所谓法,即非法;非法非非法,是为法。

  12
画虽小,但境界却要宽要深,要做到于一毫端见十方刹,坐微尘里转大法轮。

32 从宏观角度讲,艺术的最高境界是文化表现艺术。

  13
画要出大境界,表现那种宏浩雄阔的阳刚之美,画家应参透穷理彻源,识心达本,湛然常寂,随感而通。

从某种狭义上讲,艺术表现文化。

  14 终不敢打破经验的思维定势,那么终久也创造不出惊人伟大的作品。

33
大音希声。大象无形。大美无颜。并非无声、无形、无颜。而是无声非无声、无形非无形、无颜非无颜,是为声、是为形、是为颜。此声、形、颜者,乃为真的真、形、颜也。画者,不悟通此理,乃俗手俗画矣!

  15
经验的传统的高墙固垒,束缚了画家的创造力,画家要找到难能可贵的突破口。当你找到了突破口,会惊讶的发现,你的潜能无限。

34
大笔无痕,非无痕。非痕非非痕,此乃为造化之痕,本真之痕,原态之痕,是为痕。痕者,迹也。迹者,心迹道迹神迹。

  16 论画以省悟,行笔当归无。

35
从古至今,都是持以形写神之观点。我反其道而行之,以神写形是也。以形写神是再现,以神写形是表现。前者重客观;后者重主观。老子曰:反者道之动。

  17
得之乎内,守之者外,用之者神,忘之者器。晋人抱朴子把它作为思道之要言。要创造出出神入化的作品,此乃珍诀。

36
把自然物化,即物以心迁、地随心变、貌随心变、物以心转的过程,也是因心再造的过程。至境随心造、心随道造,再到缘道立象、象随心转、景象构景、景归境象、境象归景全过程。

  出神入化的作品,必然是初视莫测,久视弥珍。

37 山水画品位,层面境界的渐进图式:

  18
大景大幅画,自有大趣。小景小幅画,亦应有大趣。趣者,境也。崑阆之形,可围于方寸之内。竖划三寸,当千仞之高;横墨数尺,体百里之迴(宗炳)。咫尺之图,写百千里之景。东西南北,宛尔目前(王维)。

物化心化道化

  19
要站在宇宙的大境界,多时空,进行俯瞰,那将是观其大略,但绝非简单可以比拟。这是艺术的概括,也是哲学的概括、科学的概括。在用绘画语言表现时,要做到务于精纯,但绝非是繁文缛节,琐碎表浅。大虽简,但简而微妙。

眼中物心中物道中物

  20
大象无形,大美无颜,大音希声。要表现大的境界,是大的时空,大的真谛,大道之理,大宇的精神。那么,就要求对应的大手笔、大笔墨、大胸襟、大气概、大修养、大德士。非此,莫可大任。诌诌切切,小境小趣;大景小趣,狭隘短浅可比拟。

物的迹化心的迹化道的迹化

  21
墨道山水是建立在大宇宙意识下的新的山水画形态。它从始至终贯穿着一个大,大文化背景、大中国画、大笔墨、大道精神、大气浩然、大山大水、大起大落、大慈大悲、大真大善大美、大仁大义、大气凛然、大胸襟、大笔无痕、大雅若俗。

38
画家想知道自己是哪一手?对照自己,一看便知。要想成为巨手,必从俗手始,经数十年,努力修炼,才能达到。

缘道构景,画不生慧。  因为是全方位、多角度,全新的山水画探索,对它实现的要求是:以新的造山工程为前提,进行独特创造:新的审美境界、新的语言语境、新的图式结构、新的立意、新的形象、新的笔墨方式、新的视觉效应以及新的审美取向等等。树立新的时空观、宇宙观、审美观,加强画面的张力,加强对于心灵的震撼力;要耐得住近看远观,耐得观者寻觅思考;要达到主体精神与本体精神的高度和谐统一。内蕴要充实不空泛,既要有笔,也要有墨韵。

墨道山水创作几个基本过程:第一步进行宏观的道境构思。第二步根据道境的需要,进行宏观的整体画面构成。第三步按构成需要进行立象,所谓缘道立象。在立象方面动用多维立象思维方式,集具象、抽象、心象、意象等。第四步进行绘制。在绘制中,以理性为主导,但也有非理性因素存在;有必然的偶然,也有偶然的必然,汇艺术历程所有学养而为之。这种为之是无意识的,但也是有意识的,无为无不为。中国大道精神及民族特色,自然涵蕴其中,加之个性化的笔墨关系、虚实关系、繁简关系、黑白关系等等的运用,那么具体的艺术语言便顺道而生,缘道而立。其中有理性的精心创制,也有非理性的随意;有理性超越的概括,也有传统的天人合一,物我两忘的创制心境,正是天地人化一,道物我通悟的超越理性状态。第五步是最后的整体收拾。由此,墨道山水已不是传统文人的诗画,却有天地的诗心,而且是哲人的诗心。作品浩然磅礴,震人心弦,是主体与本体的高度和谐统一,也是主客观的同化畅神,给人以见仁见智的启迪,又是大道精神的直观显现,实现了中国绘画对于最高灵境的追求,不仅是创作心态,重要的是画面直观境界。

  22 墨道山水是内化与外迹。内化的是宇宙万物,外迹的是内化的精神。

39
中国画是中国文化的形态之一,不管过去,现在还是将来,都是在继承延续、拓展创造地发展着具有民族文化精神的艺术形态,这种形态图式随着历史的发展而具有每个历史阶段的时代性。这种时代性多表现在图式表象,即表现形式。但是,要特别强调的是,不管哪个历史时期的时代性作品,都应贯穿着一条主线,这条主线即是在作品表现背后的民族文化精神内涵。这正是民族艺术的根本灵魂,强壮的脊梁。

  23
画山水要刻意探求生命的精神,精神的真实性。宁求宏,不寻微的刻凿。宁豪率,不求繁琐的罗列。切忌无灵魂的真实,无精神的生命。

一个民族经历了几千年、近万年的历史发展,它的民族文化精神已形成了一座根深蒂固的丰碑,这座丰碑随着历史的进展,兼收并蓄,融合了各个历史阶段的人类先进文本,强化丰富着这座丰碑。同时本民族的文化精神,也被人类其它民族所吸收,更加固了人类文化精神的共同追求。如果一味地异想天开,用一种乌托邦式的教化、思想、行为甚而强制性地去改变它的话,即便花大力气用几十年的功夫,最终还是宣告失败,成为历史发展的罪人。

  24
画要有巧,但不能一味地巧,这叫甜巧,不可取。要巧中有拙,拙中有巧。要大巧大拙,大巧若拙,大拙若巧。

作为民族文化精神体现之一的中国画,在20世纪界末、21世纪初交汇之际,有人提出中国画笔墨等于零,又有人提出要守住中国画笔墨底线,引发了交锋争辩。其实质都不过是表现形式的表象而已。我认为最本质最重要的问题是要守住本民族的民族文化精神,健全、丰富民族的脊梁,才是根本。至于等于零也好,守住底线也好,都是为民族文化精神服务的。

  25
画境要有动有静,动中有静,静中有动。大动、大静、大动若静,大静若动。

40
艺术不是哲学,但是艺术可以回答哲学思考的一些问题。这种回答不是图解,也不是某种哲学符号,而是一种哲学精神的内涵。

Jizis Reflections on Art(one)

画家,也应是一位思想深刻的哲人。哲学家靠文字语言去阐释自己的哲学思想;艺术家靠自己独特的艺术图式语汇去迹化自己的哲思,也即作品的深层内涵。

Jizi

Jizis Reflections on Art

  1. I have named my paintings the Tao of Ink Landscapes. The Tao is
the spirit of the great universe. What I seek as an artist is the
unification of Heaven and Earth and Man, insight into the Tao, the
material universe, and myself.

  1. 永利集团248cc登录 ,Change the real object into the subject, and turn the visual sense
    of reality into reality as seen by the soul. Go from the objective world
    to the subjective world by utilizing a type of transcendental subjective
    spirit to dominate physical reality. This is the key to transforming
    concrete reality into the abstract, it is the golden key as the material
    world is changed by mind.Although the real world (that is life) is the
    foundation of art, nonetheless, all artwork that has artistic value is
    definitely not obtained by a mind changed by the material world.

  Tao, also Romanized as Dao, literally means a road, a path, a way
and is the metaphysical principle of Chinas Taoist philosophy. Universe
here is given as qian and kun, both of which are the names of the two
lines, qian solid kun broken, used to form trigrams and hexagrams in
Chinas ancient Book of Changes (circa third millennium BCE.). Qian and
kun are also the names of the two trigrams that represent Heaven and
Earth respectively in the Book of Changes; as such, qian and kun
represent the universe.

While the quote itself (Chinese: wu sui xin zhuan) is attributed to the
Buddha in The Lankavatara Sutra (compiled in the fourth century CE), the
philosophic idealism expressed in this quote is also a principle of the
Consciousness-only School (weishi lun) that flourished in the Tang
Dynasty.

  2. The artists awakening through meditation and intuiting the Tao
are not the ecstasy of religious believers, but rather an emphasis on
choosing those cultural factors that accord with art and that inspire
the artist to blend them with modern aesthetic concepts in order to
create a new realm of artistic expression.

This quote, in Chinese xin sui wu zhuan, is the authors play on the
words of the above quote: wu sui xin zhuan (the material world is
changed by mind).

   Awakening through meditation is wu chan. The Chinese terms wu and
chan are more generally known in the West by their Japanese
pronunciations sartori and zen respectively.

  1. When the form of a physical image is changed, although it forfeits
    its significance as an object, nonetheless, it symbolizes the artists
    expression of an inner mystery. Although unrestraint leads to
    exaggeration, and eccentricity produces abnormal forms, these are all
    different expressions of the artists mind. When the special features of
    the physical image no longer exist, and colors also lose the effect of
    pure substance, then what emerges is a transformation in concepts. What
    the viewer feels is that the artist has completely exposed his inner
    mind. This is something about which the School of Modern Artists in the
    West has reached a fundamental consensus and, this being so, they use a
    special kind of painting language to convey the souls artistic
    expressions.

  2. A painting is speech. If the painting reveals ones mind, then that
    mind is enlightened.

  3. Attaining enlightenment by means of the sutras, and profoundly
believing that all sentient beings have the Buddha nature, one does not
return to the delusions of a material world, but rather casts away
delusions and returns to truth. One who returns to truth manifests an
authentic mind. An authentic mind gives rise to great truth, and great
truth gives rise to authentic paintings. Authentic paintings are
spiritual paintings, and spiritual paintings attain the realm of the
spirit.

The Chinese word translated as enlightened is fo which literally means
the Buddha; the original meaning of the word Buddha, and its original
Chinese transliteration fotu, however, was the enlightened one.

   The quoted remarks are attributed to Bodhidharma, the Indian
Buddhist who lived circa the 6th century CE, and reputedly introduced
the Chan (Japanese: Zen) or sudden enlightenment School of Buddhism to
China.

  1. The source of the mind is the source of art. One who gets his mind
    is then capable of getting the objects in his mind. The objects in ones
    mind are the objects of art. Art objects are natures creative
    transformations. Nature transforms creatively.Transforming creatively,
    however, does not mean transforming the ancient, objects, scenes, or art
    from outside (that is art from abroad), so how about creating?

  The word xin, which literally means heart, is translated throughout
as mind because, in the Chinese philosophical tradition, the heart,
regarded as the seat of consciousness, is the mind.

Nature transforms creatively is the authors play on the Chinese term:
zaohua, which, as a noun, can mean Nature and, as a verb, to create or
to nurture.

  The Chinese word zhen (真) can mean both true and authentic.

  1. If you follow the Tao to establish the image, then the image
    establishes itself. If you follow the Tao to seek an artistic method,
    then an artistic method arises by itself. If you follow the Tao to
    structure a scene, then the scene structures itself. If you follow the
    Tao to transform an artistic realm, then the realm itself comes into
    existence.

  4. Practitioners of Chan Buddhism say about meditation that things
viewed in the external illuminate the internal. This is also true of
painting the Tao.

Painting landscapes, the vulgar eye sees scenes but not realms.

  The term, waiguan neizhao, is a Buddhist expression used to explain
how the Buddha, by inwardly reflecting on the external human condition,
discovered the Four Noble Truths.

If there are both scenes and realms, the painter is competent.

  5. If we use the mind to illuminate things, then things are
transformed. If we just use our eyes to view things, then the things we
see are not authentic. Things that are not authentic cannot be created
because creations are things in ones mind. These things in ones mind are
artworks. The Tang painter Zhang Zao said: Learn about painting from
natures creations, but find the source for paintings in your mind. If we
only learn about painting but do not study natures creations, then we
impede both our eyes and our minds. If our eyes are impeded then our
minds lack clarity. If our minds lack clarity, then our eyes will not be
bright, and wisdom will not arise. A painting with no wisdom rarely
captures the essence of its subject.

If there are no scenes but there are realms,

   The Tang Dynasty artist and scholar Zhang Zao lived in the seventh
century.

Then the painter is a Master.

  6. Once the image is finished, the meaning appears; grasp the
meaning and forget the image. Once we forget the image, the authentic
image appears. The authentic image is the artistic image, something that
an image that is a mere instrument can never imitate.

The Chinese for follow the Tao is yuan dao, a term that also has the
sense of going along with the Tao, being on the edge of the Tao, and
because of the Tao.

   A quote attributed to the philosopher Wang Bi (226-249) in his
commentary on Chinas Book of Changes. The second half of the quote can
also be found in the What Comes from Without (wai wu) Chapter of The
Book of Zhuang Zi. Chinese scholars generally understand the quote to
mean that the image is an instrument that allows us to grasp meaning,
and that meaning is the goal for an artist creating an image.

  1. The scene is an instrument, the artistic realm is the Tao.

   The word translated as instrument is qi, a word that means
instrument, device, or tool and is used in The Book of Changes in sharp
contradistinction to dao (i.e. the Tao).

What is called the scene is not the scene;

  7. The paintings of a modern Chinese artist should have a
forcefulness that is both daring and dynamic, and also have
transcendental connotations that are unfathomable, unrestrained, and
undogmatic.

The non-scene is not the non-scene; it is the scene.

  8. In my landscape paintings, the image means an awareness of the
image, which is also an awareness of the Tao, an awareness of the
universe. The image governs the impression in impressionistic artwork.
The meaning of impression in impressionistic is the microscopic. While
the meaning of image connotes the creation of a macroscopic image, this
image is not what is conventionally called impressionistic sketches. The
former is the Tao; the latter, but an instrument.

What is called the realm is not the realm;

   As noted above, this philosophic contradistinction between the Tao
(dao) and an instrument (qi) is from The Book of Changes.

The non-realm is not the non-realm; it is the realm.

  9. There is a distinction in the black used in paintings between
real black and false black. Real black is the application of pure black.
In false black, however, one can regularly see objects as false black
has a certain transparency. When painting in the traditional categories,
artists mostly avoided real black calling it dead black, but I boldly
enable dead black, because it has certain functions in an artwork as a
whole. If, however, we simply paint black in isolation, it has
absolutely no meaning, and is simply a dash of dead ink.

What is called the method is not the method;

  10. The Tao uses technique as a means of expression, and technique
itself connotes the spirit of the Tao. Because an artist uses the great
brush that leaves no traces, he composes a realm in which a great image
has no form, great beauty has no adornment, and great music uses sound
sparingly. This demonstrates the spirit of a realm of images where
Heaven, earth, and man are one, and there is insight into the Tao,
objects, and one s self, a realm where the artist puts in front of the
viewer indications of the Taos universal spirit. Such an artist is not
only the inheritor of that psychological understanding where a pure mind
gets a sense of the image and glimpses the Tao and the creative state
where the artist loosens his clothing and rolls up his sleeves, but also
such an artist transcends rationalism so that the artist can develop the
realm of the great Tao as a visual concept.

The non-method is not the non-method; it is the method.

   The quote on beauty can be found in the last of the Outer Chapters,
titled Knowledge Rambling in the North, in the Book of Zhuang Zi. The
two quotes Great images have no forms, great music uses sound sparingly
are from Chapter 41 of Lao Zis Daode Jing.

As noted above, the word translated as instrument is qi, a word that
means instrument, device, or tool. Qi is used in The Book of Changes in
sharp contradistinction to dao (i.e. the Tao). Cf. Confucius remark in
the Second Chapter of the Analects of Confucius that the princely man
(i.e. the Confucian humanist ideal) is not a mere instrument (qi).

  The ideas expressed in this quote can be found in all three of
Chinas indigenous philosophies: Confucianism, Taoism, and those Schools
of Buddhism that are indigenous to China.

  1. Speaking from a macroscopic perspective (the universe reflects
    consciousness), the highest artistic realm is where culture expresses
    art.

  The quote of a pure mind getting a sense of the image is from the
artist Zong Bing (375-443), while a pure mind glimpsing the Tao is a
Chan Buddhist statement that has been historically regarded as a
statement of an aesthetic principle. Cf., Zong Baihua, Meixue Sanbu (An
Aesthetic Stroll). Shanghai Peoples Publishing Company, 1981.

Speaking in a certain narrow sense (where art itself reflects
consciousness), then art expresses culture.

   This quote is from the Tianzi Fang Chapter of the Book of Zhuang
Zi.

  1. Great music uses sound sparingly. Great images have no form. Great
    beauty has no adornment. But it is not that there is absolutely no
    sound, no form, no adornment. Rather, silence is not without sound; the
    formless is not without form; the unadorned is not without adornment;
    and this is the meaning of sound, form, and adornment. This kind of
    sound, form, and adornment are authentic truth, form, and adornment. If
    a painter does not thoroughly comprehend this principle, then that
    painter is a conventional artist painting conventional pictures.

  2. A great brush leave no traces. No traces are not non-traces. There
    are the traces of creativity, of the real, of the original state; these
    are all traces. Traces are signs; signs that include: signs of the mind,
    the Tao, and the spirit.

  11. When I was creating the Tao of Ink Landscapes, I wanted to grasp
and embody the spirit of the whole from a macroscopic level. On a
microscopic level, I wanted to show the qualities of objects. In other
words, I was seeking mutual agreement between a macroscopic exploration
of the Tao, and a microscopic exploration of the real. The Tao indicates
the universes eternally unchanging natural spirit in operation. Real
indicates the authentic qualities of physical images, and not the
reality of the natural shapes that appear before ones eyes. If we want
to assimilate the overall spirit of nature (the spirit of the universe),
we must first have an overall awareness, and this kind of overall
awareness is just the spiritual realm that the artwork demonstrates when
directly perceived through the visual sense. The picture constitutes the
artistic realm, and scenes constitute the picture, so that scenes then
are the most fundamental sensual elements. Several sensual elements
compose the overall awareness. When an artist is creating, he must fully
comprehend his artwork from this aspect of overall awareness; otherwise,
if the artist is constrained by a single sensual element, then he
remains an artisan, not an artist. As to the microscopic, the artist
wants to achieve the authenticity of the original object.

Life — the artist — artworks (the eye)

  12. Although a painting is small, nevertheless, the artistic realm
should be broad and deep, and painted in such a way that one sees the
universe on the tip of a hair, and can turn the great dharma wheel while
occupying a molecule.

The artist — the cultivation of life — artworks (the mind)

   The quotation is from the Chan Buddhist work Record of Pointing at
the Moon (zhiyue lun), compiled in 1602. Universe here is shifang sha,
literally places in all directions, while turning the dharma wheel
(zhuan falun) literally means enabling the truth of Buddhism. The dharma
wheel, or the Wheel of the Law (Chinese: falun; Sanskrit:
dharma-chakra), is an ancient Buddhist symbol and concept.

The universe — mans life — art (the Tao)

  13. If an artist wants to turn out artwork that attains a high
artistic realm, and expresses a type of grand, broad, virile beauty,
then that artist must seek the source of truth, must reflect and know
oneself, must experience the stillness and the silence, and gain insight
via random feelings.

  1. From ancient times until the present, artists have persisted in the
    concept of using forms to paint mysteries. I do just the opposite and
    use mysteries to paint forms. Using forms to paint mysteries is
    reproducing the subject of the painting while using mysteries to paint
    forms is an artistic expression. The former repeats the object; the
    latter, the subject. Lao Zi said:

   The first two quotations, attributed to Shen Hui (670-762), a
famous student of the Sixth Chan Patriarch Hui Neng (638-713), can be
found in Shen Huis Xian Zong Ji written in 733. The last two quotations
are from the Later Han Dynasty work, The Sutra of 42 Sections,
traditionally attributed to two monks from what is now Central Asia,
Kasyapa Matanga and Dharmaratna, who translated the work into Chinese in
circa the first century.

Reversal is the movement of the Tao.

  14. If in the end an artist does not dare to break down the mindset
of experience, then ultimately the artist will never create a great
artwork that astonishes people.

Cf. Chapter 40 of Lao Zis Daode Jing.

  15. The traditional high walls and fixed barriers of experience
restrain an artists creative power. An artist must find that difficult
and rare breach in these walls and barriers of experience. When the
artist has found such a breach, he will be startled to discover that his
potential is unlimited.

  1. Painting natural objects is a process of objects move with the
    mind,the earth transforms following mind, appearances transform
    following mind, and the material word is changed by mind. Painting
    natural objects is also a process of re-creating according to mind.It is
    a process of going from the realm is created according to mind, and mind
    is created in accord with the Tao, to follow the Tao to establish the
    image, the image is changed by mind, the images of the scene constitute
    the scene, the scene returns to the realm of images, and the realm of
    images returns to the scene.

  16. In discussing art, an artist should be introspective and
enlightened; in wielding the brush, an artist must return to the
original state of non-being.

This quote is from the Shishi Tongjian, a work compiled by the Korean
Monk known as Caoyi Chanshi (the Grass Cape Chan Monk), (1786-1866).

   That is, wu, the Taoist concept of non-being.

These several quotes about how mind effects changes and transformations
are typical of the philosophical idealism of such Buddhist schools of
thought as Chan, consciousness-only,etc.

  17. (One who obtains the mysterious Tao) obtains it from within; he
guards it against the external, and uses it to understand the spiritual;
he remains oblivious to instruments. These words essentially describe
how the Jin Dynasty Taoist Baopu Zi thought about the Tao. If an artist
wants to create a superb artwork, this is the best formula.

  1. A landscape paintings qualities and the levels of its artistic realm
    are displayed in the following schematic:

  Superb artworks inevitably at first appear unfathomable, but over
time become precious.

Materialized — mindized– Taoized

  The quote is from the Jin Dynasty (265-420) Taoist work Baopu Zi
(literally The Master who Embraces Simplicity) authored by the scholar
Ge Hong (283-343). Again we see the philosophical contrast between the
Tao (dao) and an instrument (qi).

Eye objects — mind objects — Tao objects

   The Baopu Zi is generally considered a Taoist work although it also
contains elements of Confucianism and Legalism.

Indicates the material word — indicates mind — indicates the Tao

  The quote is from the Tang Dynasty calligrapher Zhang Huainao (no
dates).

Literally mindized (xinhua).

  18. Large scenes substantially painted evoke great interest, but
small scenes in small paintings should also evoke great interest. What
is of interest is the artistic realm. The shape of the Lang Garden atop
the Kun Lun Mountains can be enclosed in a painting of an inch, while a
three inch vertical stroke can represent thousands of feet in height;
and a few horizontal measures of ink can embody a trail of a hundred
miles. (Zong Bing) And: A very small diagram can contain a scene of a
thousand miles meandering before ones eyes in all directions. (Wang Wei)

Literally Taozied (daohua).

  Zong Bing (375-443), a painter and calligrapher of the Northern and
Southern Dynasties, authored A Preface to Landscape Painting, from which
the quote derives. The Lang Garden was reputed to be the abode of
immortals.

  1. Does a painter want to know how good he is? Let him compare himself
    to others, and he will know at first glance. Is the painter thinking of
    becoming a Master? Then he must start as a conventional painter, spend
    several decades striving to cultivate himself and practicing his art,
    and only then will he achieve it.

  Wang Wei (701-761), the Tang Dynasty scholar and poet, authored The
Secrets of Painting, from which this quote is taken.

Several basic processes produced the Tao of Ink Landscapes. The first
step was to proceed to the macroscopic conception of the realm of the
Tao. The second step was to proceed to the overall paintings macroscopic
composition based on the requirements of the realm of the Tao. The third
step was to create the image based on the needs of that composition, the
so called laying hold of the Tao to create the image. As to the aspect
of creating the image, I utilized a mode of thinking that allows for the
creation of multidimensional images, sets of concrete images, abstract
images, mental images, and so on. The fourth step was to paint a draft.
In the draft, the painting should be guided by rationality but there
should also be some irrational elements. There should be inevitable
accidents, and accidental inevitabilities brought about by the learning
and cultivating that is a convergence of artistic processes. This type
of bringing about is unconscious, but there are also conscious elements
so that by doing nothing, nothing is not done.Chinas spirit of the great
Tao and the characteristics of Chinas nationalities are naturally
embodied in this, and when we add individualized applications such as
the relationships between brush and ink, false and real, complex and
simple, black and white, and other such applications, then the the
concrete artistic language avails itself of the Tao to come into being,
and lays hold of the Tao to establish itself. In this there is a
rational, meticulous creativity, and also some irrational randomness.
There is a rationally transcendent epitome, but also the traditional
unity of Heaven and man, a creative mood in which both the ego and
objects are forgotten, and a state that transcends rationality in which
Heaven, man, and earth are one and the Tao, objects, and the ego are
fully comprehended. The fifth step was the last overall putting of
things in order. From here, the Tao of Ink Landscapes are not just the
traditional literatis poetic paintings,but the poetic mind of Heaven and
earth and also of the philosopher. The artworks are awe inspiring and
majestic and touch peoples heartstrings. They are a harmonious unity of
the subjective and the ontological as well as the smooth assimilation of
subject and object. They provide each individual with a different
inspiration, and they are also the visual appearances of the spirit of
the great Tao. They demonstrate that Chinese paintings striving for the
highest spiritual realm are not only a creative state of mind but also,
and more importantly, paintings of a realm directly perceived through
the visual sense.

  19. One needs a multi-spatial and multi-temporal stand point from
which to look down on the universe, as this is what is meant by seeing
the overall plan. This is not meant, however, to be a simple comparison
from another perspective. but rather it is meant to be the summing up of
art, the summing up of philosophy and science. When an artist uses the
language of painting to express himself, then he must cultivate the
exquisite. This cultivating the exquisite, however, is not a matter of
overelaborate formalities and superficial lines. While the great is
simple, it is simple in a subtle way.

Cf. Chapter 37 of Lao Zis Daode Jing.

   These two quotes are from the famous 14th century Chinese novel
Romance of the Three Kingdoms and are generally considered the two
different attitudes toward living and learning held by the novels
protagonists.

An allusion to the Song Dynasty poet and painter Su Dongpos (1037-1101)
famous remark that in a painting there is a poem; in a poem, a painting.

  20. Great objects have no form; great beauty, no adornment; and
great music uses sound sparingly. To express a great realm, then there
must be a great space-time continuum, a great truth, a great principle
of the Tao, and a great spirit of the universe. If such is the case,
then the artist must pursue such corresponding requirements as: great
brushwork, great ability with brush and ink, breadth of mind, mettle,
self-cultivation, and worthiness. Without these, there can be no great
undertaking. Instead, there will be: something made up; a small artistic
realm of little interest; a great scene of little interest; narrow and
shallow lines.

  1. Chinese painting is one form of Chinese culture and, regardless of
    whether it is the past, present, or future, it is an inheritance that
    continues, by expansion and creation, to develop artistic forms that
    possess the people of Chinas cultural spirit.These forms of drawing
    follow the development of history and possess the spirit of the times of
    each historical period. This spirit of the times is frequently expressed
    in schematic representations that are expressions of forms (some say
    that brush and ink paintings ought also to follow the times). What I
    want especially to stress here, however, is that, regardless of what
    historical period the artworks of the times represent, there is one main
    current that permeates them all, and that current is the significance of
    the people of Chinas cultural spirit that is the backdrop to all these
    artworks. This current is the fundamental soul of the people of Chinas
    art; their strength of character.

  21. The Tao of Ink Landscapes were established as a new pattern in
landscape paintings constructed via a consciousness of the great
universe. From beginning to end these landscapes are penetrated by
greatness: a great cultural background, great Chinese paintings, great
brush and ink work, the great spirit of the Tao, a great energy, great
mountains and waters, great fluctuations, great benevolence, great
truth, goodness, and beauty, great humanity and justice, a great awe
inspiring energy, great breadth of mind, great brushwork that leaves no
traces, and a great elegance that appears inelegant.

A people that has experienced several thousand years, close to ten
thousand years, of historical development, are a people whose cultural
spirit has formed a deep seated memorial. This memorial, following
historical developments, is an eclectic mix that synthesizes mankinds
advances in every historical period, and these have both strengthened
and enriched this memorial. Simultaneously, the people of Chinas
cultural spirit is absorbed by other peoples consolidating even further
the common pursuit of a human cultural spirit. Even if we engage in
wishful thinking, and use a utopian style of education, thought, and
behavior to the point of making it mandatory to make changes to this
memorial, and even if we were to expend all our energies for several
decades on this endeavor, ultimately we would have to admit defeat, and
we would be guilty of impeding the progress of history.

  Because the Tao of Ink Landscapes were an exploration of a
comprehensiveness, multiple perspectives, and newness in landscape
painting, the requirement, premised on the new orogenic engineering, to
achieve these landscapes is a unique creativity that included: a new
aesthetic realm, a new linguistic context, a new schematic structure, a
new conception, a new image, a new mode for brush and ink, new visual
effects, a new aesthetic orientation, and so forth. The Tao of Ink
Landscapes established new concepts of space and time, the universe,
aesthetics that strengthened both the tension on the canvas and the
paintings power to shock. The Tao of Ink Landscapes had to be able to
withstand viewers having a close look at distant views and their
searching and pondering the landscapes. The Tao of Ink Landscapes also
had to achieve a profound and harmonious unity of the subjective and
ontological spirits.

At the convergence of the end of the twentieth and the beginning of the
twenty first centuries, Chinese painting, which is one method of
demonstrating the people of Chinas cultural spirit, was criticized by
some people who said that brush and ink paintings amount to nothing, and
by others who said hold fast to the bottom line for brush and ink
paintings, a confrontation that sparked heated debate. In essence,
paintings are nothing but the expressions of forms. I believe that the
most important matter is to uphold the people of Chinas cultural spirit,
and that to improve and enrich their strength of character is of the
essence. As to whether Chinese painting amounts to nothing or to whether
we should hold fast to the bottom line, these both serve the people of
Chinas cultural spirit.

   The apparent contradictions in these phrases, such as brushwork
that leaves no traces and elegance that seems inelegant, is typical of
Taoist philosophic statements. Cf. The Book of Zhuang Zi, the usefulness
of the useless.

The term translated as people of China is minzu, literally a people, a
nation, an ethnic community. Because China is a composite of many
different peoples, however, and because the author clearly refers to all
of these peoples, I have used people of China rather than Chinese
people, a term often mistakenly thought to refer only to the majority
Han nationality.

  22. The Tao of Ink Landscapes are transformations within and outward
signs. The myriad of things in the universe are transformed within while
the outward signs are the spirit of transformations within.

The term is jiliang, literally backbone but by extension, and similar to
its use in English, strength of character.

   The terms transformations within (neihua) and outward signs (waiji)
are Buddhist in origin. Cf. The Tang Dynasty work Bianzheng Lun,
authored by the Monk Fa Lin.

  1. Art is not philosophy, but art can answer some of the questions that
    philosophy raises. These answers are not graphic solutions, nor are they
    some kind of philosophic symbols; instead, they are a kind of extension
    of the philosophic spirit.

  23. When painting landscapes, one should deliberately seek the
spirit of life, and the real nature of this spirit. Prefer the grand to
the the minute. Prefer the extraordinary to the tedious. Avoid what is
real but soulless, what lives but has no spirit.

Artists must be deep thinking philosophers. Philosophers depend on
language to expound their philosophic thinking. Artists depend on their
own unique artistic schematic vocabulary to trace their own philosophic
thinking; in other words, the deeper meaning of artworks.

  24. Painting requires ingenuity but not a blind ingenuity. Blind
ingenuity is called cloyingly clever and is to be avoided. The ingenuity
must be clumsy; and the clumsiness, ingenious. One requires both great
ingenuity and great clumsiness; great ingenuity is like great
clumsiness; and great clumsiness, ingenious.

  A typical Taoist contrast of opposites. The word translated above as
clumsy is zhuo which literally means clumsy, unskillful, poor.

  25. A painting must be both dynamic and tranquil: tranquilly
dynamic, and dynamically tranquil. Great dynamism and great tranquility.
Great dynamism is tranquil; and great tranquility is dynamic.

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