永利集团248cc登录 艺术家演讲 故乐师的辩白和理论家的辩驳相比较,缘道构景

故乐师的辩白和理论家的辩驳相比较,缘道构景

  26
把安分守己的合理性转向主体,从视觉真实转向心灵的真正,从合理世界走向主观世界,用风流罗曼蒂克种超过的不合理精气神调整物质现实,那是由写实具象转型为架空的重大,是金钥匙,也即物随心转。固然实际世界(也即生活)是情势的根基,但是富有艺术价值的文章却不是心随物转而得。

41
承认艺术的参天境界存在,正是承认宇宙的最高原理存在;否定它的存在或违反它的规律,给人类带给的不是甜蜜,而是灾害。音乐家通过投机的作品,给人以启示、净化,正是要把宇宙原理存在的精气神儿,即宇宙精气神儿表现出来。

  27
物象变形纵然丧失了合理的意义,但却是乐师表现内心神秘的标志。狂放尽管形成了夸大,怪僻爆发了不许绳,这都以音乐大师特性的分歧表现。物象的性子已子虚乌有,色彩也失去纯物质功用,现身了古板上的成形。观众认为到的是音乐大师完全在显示自个儿的心迹。那是上天今世派美术大师的骨干协作之处,正在于是用风流洒脱种极度的描绘语言表明心灵的表现性艺术。

42
艺术境界是有档案的次序的。不一致档次的艺术境界,折射着乐师分歧档次的哲思。不相同等级次序的哲思,表现出不一致档次的美术大师。

  28 画者,言也。自画出自心,自心成佛。

书法家不是耶稣,他只是秉承宇宙给予的神性去启示人。人类要开脱自身形成的泥坑,还要靠自身。美术师也是人,他也生活在人类的窘况中。

  29
心源者,艺源也。能得心者,本领得心物。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(对于外来艺术),何谈造。

画画大师用文章去启示唤醒人,自身必先是被启示唤醒的人,灵魂得到净化的人。由此,美术大师必然是独具惊人宇宙意识的人,最最少应是全人类泥淖中拔出一只脚的人。

  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。

美术师的哲思,靠艺术小说去落到实处。经过长期的实行、搜求,也会用文字语汇计算出明确学术价值的谈论。这种理论不是从书本到图书的争辩,而是由进行到理论,又由理论到施行的往往考虑体验的总合。故美术大师的答辩和理论家的说理相比,更充实操作性,但在语言的条理化、逻辑性方面不及,然却多有措施考虑的灯火。

  画山水,有景无境,入俗眼。

43
商量三个戏剧家的格局成就,首要靠歌唱家的小说,但毫无忘了音乐大师的艺术人生历程与格局言论和撰写,因为言论与写作越来越直接地表明了美学家的思量。

  有景有境,方为高手。无景有境乃巨手也。

44
承认宇宙最高原理的存在,并不是人类宗教式的信奉与敬佩,而是要有宗教性的激情。

  31 景是器,境是道。

45
主客体的圆融化大器晚成,即人天合生机勃勃。就是山川与予神遇而迹化。以合理的复出是理当如此的下人,是人随景转;以大旨去展现客体是当然的主人,是景随人转,便是山川脱胎于予。

  所谓景,即非景;非景非非景,是为景。

46
对此天人合风姿罗曼蒂克的越过,即佛家说的真如、性空、世尊、无生无灭、法性本空、缘起性空、佛我一如、意气风发真法界。老子说的无。乐师能悟通这几个,其创作会神起来的,那叫自性圆明。

  所谓境,即非境;非境非非境,是为境。

47 数者顺,道者逆。求艺者,应先顺后逆。以顺化逆,以逆化顺。

  所谓法,即违规;违规非违法,是为法。

把宗旨精气神与宇宙精气神同化,进而获得宇宙–人生–艺术的真谛。小说中形象的整合蕴涵着宇宙精气神的大真、大善、大美,也即含有美学家净化自个儿的心态,是做到人格品操修养的有机结合成分。同不经常候也表现了美学家对自然界生命的饱满觉悟,彰显了歌唱家内在的人命与宇宙精气神的深层切合。

  32 从宏观(宇宙观照意识)角度讲,艺术的万丈境界是文化表现方法。

48
乐师要水到渠成人格的华贵化,即大真大善大美的可观化合统大器晚成,那文章必然完毕着本身与宇宙精气神儿相融想荡的程度。这种地步不只是美术师的编写心态,更关键的是在小说直观的痛感上显现出来–物化道境。

  从某种狭义上讲(艺术本身观照意识),艺术表现文化。

49
李可染先生说,对于价值观要用最大的决意打进去,再用最大的决心打出去。是的,可是吾认为应该是对于金钱观要理性地打进去,理性地打出去。因为挺进去的多,打出来的却非常少,原因即在于贫乏理性或理性不理。

  33
富贵不能淫。大象无形。大美无脸。而不是无声、无形、无脸。而是无声非无声、无形非无形、无脸非无脸,是为声、是为形、是为颜。此声、形、颜者,乃为实在真、形、颜也。画者,不悟通此理,乃俗手俗画矣!

50
对于宇宙自然精气神儿的认知,能有效地开发银行戏剧家主体精气神的能动性,使这两条精气神儿主线化而为生龙活虎。这化意气风发的结合精气神线通过音乐大师艺术的直观视觉语汇表现出来,那就是文章的程度。

  34
大笔无痕,非无痕。非痕非非痕,此乃为幸福之痕,本真之痕,原态之痕,是为痕。痕者,迹也。迹者,心迹道迹神蹟。

故乐师的辩白和理论家的辩驳相比较,缘道构景。对于宇宙精气神儿的认知,不是表象的,而是通过事物表象的存在情势,去颖慧内在的神气的大真大善大美,也即所谓的自豪、大象无形、大美无颜、蓄势待发。

  35
从过去至今,都以持以形写神之意见。作者反其道而行之,以神写形是也。以形写神是再次出现,以神写形是显示。前面一个重客观;前面一个重主观。老子曰:反者道之动。

这种大真大善大美的化合境界,要在创作直观方式中表现出来,实非易事。前人只是经历到了这种精气神的定点存在,在文章直观方式上并不曾显现出来。几日前的音乐家要表现出来,守旧的格局语汇有局限,必然要有在语汇规模方面包车型客车质的敏捷创制。

  36
把本来物化,即物以心迁、地随心变、貌随心变、物以心转的历程,也是因心再造的长河。至境随心造、心随道造,再到缘道立象、象随心转、景色构景、景归境象、境象归景全经过。

这种创制,不是天上掉下馅饼来,而是综合中外古今的存在延续与接收合併以致从大自然自然最早混顿的太朴中去开掘,太古不能够,太朴不散,太朴风姿洒脱散,而法立,法于何立,立于一画。这一画,从守旧上要成立于自己。

  37 山水画品位,层面境界的渐进图式:

51 宁做书法大师的说理,毋做理论的画画大师。宁做贰个高人的书法家,毋做小说家的乐师。

  物化心化道化

52 墨道山水画实质是把中华的经济学精气神转变为中华的点子精气神的全经过的心得。

  眼中物心中物道中物

53
墨道山水画,作为生龙活虎种道意识的运动措施,当然要受到大道精气神儿的招呼。道意识乃宇宙自然大道精气神儿意识。从某种角度说,墨道画具备宇宙学的意思,因为它也当做了探求宇宙自然的另后生可畏特殊角色,这一个剧中人物是由此艺术的章程而显示出来的。

  物的迹化心的迹化道的迹化

54
墨道山水画中的宇宙自然形象,包蕴迹化着本人清洁的情结,约等于人格修养的有机内容,不独有是向自然投射的心态,也是本人内在生命与大自然精气神的化合情愫,彰显着自身对自然的宇宙观。

  38
音乐大师想明白本身是哪一手?对照本人,风华正茂看便知。要想形成巨手,必从俗手始,经二十几年,努力修炼,本事到达。

55
自作者人格净化的高贵化,就是自家与大自然精气神儿相融荡的程度。这种程度是墨道山水的美学境界。也是本身对山水画的审美意识。

  墨道山水创作多少个基本历程:第一步举行宏观的道境思索。第二步依据道境的内需,进行宏观的完整画面结合。第三步按构成必要开展立象,所谓缘道立象。在立象方面接受多维立象思维方法,集具象、抽象、心象、意象等。第四步进行绘图。在绘制中,以理性为骨干,但也会有非理性因素存在;有自然的不常,也是有偶然的必定,汇艺术历程全体学养而为之。这种为之是潜意识的,但也是蓄意的,无为无不为。中夏族民共和国通道精气神儿及民族特色,自然涵蕴此中,加之性子化的笔墨关系、虚实关系、繁简关系、黑白关系等等的接纳,那么具体的艺术语言便顺路而生,缘道而立。在那之中有理性的有心人制订,也许有非理性的任意;有理性超越的总结,也会有古板的天人合风度翩翩,物我两忘的制定心境,正是天地人化大器晚成,道物作者通悟的超越理性状态。第五步是最终的总体整理。由此,墨道山水已不是金钱观士人的诗画,却有天地的诗心,何况是品格尊贵的人的诗心。小说浩然磅礴,震人心弦,是主导与本体的冲天协调统后生可畏,也是主客观的同化畅神,给人以莫衷一是的启示,又是坦途精气神儿的直观显现,实现了华夏美术对于最高灵境的求偶,不止是行文心理,主要的是镜头直观境界。

要体会悟到宇宙精气神的留存,是遥遥绝对把握的。它是无形无象看不见、摸不着,不是单独的存在物,而是依靠于您创立的形象而存在,包罗着大真大善大美的饱满。这种精气神是与您主体精气神同化而为后生可畏,成为有机的同体精气神,运用这种同体的神气去对待一切事物,用这种精气神儿去描绘你的景观。

  39
中国画是神州知识的形状之少年老成,不管过去,以后还是未来,都以在一而再一连三翻五次、扩充创制地开采进取着富有中华民族文化精气神的方法造型,这种形态图式随着历史的上进而享有每一个历史阶段的时期性。这种时期性多呈今后图式表象,即表现格局(也是有说笔墨当随时期)。然而,要特别强调的是,不管哪个历史时代的时期性文章,都应贯穿着一条主线,那条主线就是在小说展现背后的民族文化精神内涵。那就是民族艺术的一向灵魂,强健的脊背。

56
美学家最大的生活价值,是显得出她的创造工夫,能还是不能够开采新的东西,表现新的事物。对团结风姿洒脱度得到的不二秘籍成就不是据有,而应当是延续追求探求,因为艺术世界是特别的,用有限的生命去追求那天下无双的艺术境界。

  四个民族经验了上千年、近万年的野史发展,它的中华民族文化精气神儿已形成了风华正茂座安于盘石的丰碑,那座丰碑随着历史的举行,兼容并包,融入了逐个历史阶段的人类先进文本,深化丰盛着那座丰碑。相同的时间本民族的学问精气神儿,也被人类其余民族所收到,更强了人类文化精气神的合营追求。倘使一味地幻想,用生机勃勃种乌托邦式的指点、理念、行为吗而逼迫性地去改动它的话,就算花大力气用二十几年的造诣,最后还是发布战败,成为历公元元年在此之前行的阶下人犯。

Jizis Reflections on Art

  作为中华民族文化精气神儿呈现之意气风发的国画,在20世纪界末、21世纪初交汇之际,有人提议中中原人民共和国画笔墨等于零,又有人提议要守住中华夏族民共和国画笔墨底线,引发了竞赛讨论。其实质都只是是表现情势的表象而已。小编觉着最本色最重大的主题材料是要守住本民族的民族文化精气神儿,完备、充分民族的背部,才是一向。至于等于零也好,守住底线能够,都感到民族文化精气神服务的。

  1. Acknowledging that the highest realm of art exists is acknowledging
    that the highest principle of the universe exists. To deny this
    principle exists or to turn your back on this principle does not bring
    happiness to mankind but disaster. By means of artwork, an artist
    inspires and purifies people. An artist grasps the spirit of the
    existence of this principle of the universe, and then artistically
    expresses this spirit of the universe.

  2. Artistic realms have levels. Different levels of artistic realms
    reveal the different levels of an artists philosophical thinking.
    Different levels of philosophical thinking are expressed as the artists
    different artistic levels.

  40
艺术不是教育学,然而艺术能够应对理学思辨的一些主题材料。这种回答不是图解,亦不是某种历史学符号,而是风姿浪漫种法学精气神的内蕴。

Artists are not the saviors of the world. They merely inspire people by
upholding the spiritual nature that the universe has conferred on them.
Mankind wants to free itself from the predicament it has created, but
also wants to be self-reliant. Artists are also people, and they also
find themselves in the human predicament.

  书法大师,也应是一个人理念浓厚的贤人。史学家靠文字语言去阐释自个儿的经济学观念;音乐家靠自身独特的秘籍图式语汇去迹化本人的哲思,也即文章的深层内涵。

Before artists can inspire and arouse people, they must first inspire
and arouse themselves; they must become people whose spirits are
purified. For these reasons, artists must be people who possess a high
degree of awareness of the universe. At the least, they must be people
who have extricated one foot from the morass that mankind has made.

永利集团248cc登录,Jizis Reflections on Art(two)

Artists philosophical thinking relies on artworks for expression. After
a long period of practice and exploration, artists are also able to use
a written vocabulary to summarize theories of a certain academic value.
These theories are not those passed from one book to another, but rather
they are a summarization of repeatedly thinking about experiences that
go from practice to theory, and then from theory to practice. For this
reason, if we compare the theories of artists and the theories of
theorists, the artists theories are more practical but, in their
linguistic ordering and logical aspects, however, the artistss theories
are inferior, but their theories dazzle with far more artistic thinking.

  26. 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.

  1. In researching an artists achievements, we primarily depend on the
    artists artworks, but we should not forget the course of the artists
    life and the artists speeches and writings as these speeches and
    writings are a more direct statement of an artists thinking.

  2. Acknowledging the existence of the universes highest principle is
    not the same as religious belief or worship, but it does have a
    religious sentiment.

  3. The harmonious unification of subject and object is just the unity
    of man and Heaven. This is really what is meant by the mountains and
    streams and I had a meeting of the minds and I turned them into art (Shi
    Tao).* An artist who just reproduces the object is the slave of nature,
    and is a person being transformed by scenery. An artist who uses the
    subjective to demonstrate the objective is a master of nature, and is a
    person who transforms a scene. This is an artist who gives birth to the
    mountains and streams (Shi Tao).**

  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.

* The quote is from Chapter Eight, the Chapter on Mountains and
Streams, in Shi Taos Quotations on Art. The original Chinese is: shan
chuan yu yu shen yu er ji hua ye.

  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).

** Ibid. The original Chinese is: shan chuan tuo tai yu yu.

  27. 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.

  1. With regards to the transcendent nature of the unity of Heaven and
    man, the Buddhists refer to it as: Bhutatathata (literally: thus
    always), the emptiness of the nature of things, Tathagata (literally:
    (he who) comes thusly), nirvana (literally: not subject to birth and
    death), the emptiness of all dharmas, the emptiness of all things
    causally produced, the Buddha and I are not two (i.e. all sentient
    beings have the Buddha nature), and the dharma realm of the one
    reality.* Lao Zi referred to it as non being.** If an artist is
    capable of intuiting these terms then his artworks will be spirited, and
    this is called perfect understanding of ones nature.

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

* For more information on these Buddhist terms, Cf. Soothill and
Hodous, A Dictionary of Chinese Buddhist Terms, various editions and
reprints.

  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.

** Wu, non being, is a concept developed by Lao Zi in the Daode Jing.

  29. 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?

  1. The many flow along but the Tao ebbs. Artists must first flow and
    then ebb. Flowing transforms ebbing; ebbing transforms flowing.

  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.

Assimilate the subjective spirit and the spirt of the universe (the
ontological spirit); from this you will obtain the truth* about the
universe — human life — art. The composition of the artistic image
implies the truth, goodness, and beauty of the spirit of the universe.
That is, it implies that the artists mind is self-purified, and that the
artist has completed an intrinsic combination of factors that allow him
to evaluate the cultivation of his character. At the same time, the
composition of the artistic image expresses the spiritual awakening of
the artist to the life of the universe, and embodies the profound
accordance between the inner life of the artist and the spirit of the
universe.

  30. 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.

* The term translated as truth is zhendi, a Buddhist term that is the
truth of a sage or person of insight in contrast to sudi, the common
truth of those who know appearance but not reality.

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

  1. An artist must complete cultivating his character, as only then can
    the artist achieve a profound unity with truth, the good, and the
    beautiful. His artworks will then inevitably reveal an artistic realm
    where the artists own spirit and the spirit of the universe are in
    mutually harmony and mutual purity. This artistic realm is not merely
    the artists creative state of mind, but more importantly the visual
    sensations of the artworks in this realm express the materialization of
    the Tao.

  2. Mr. Li Keran (1907-1989), has said: An artist must use the greatest
    determination to break into traditional art, and then use the greatest
    determination to break out. This is so, but I also feel, however, that
    an artist must rationally break into traditional art, and then
    rationally break out. The reason that so many artists break into
    traditional art but so few break out is that they lack rationality, or
    that their rationality is irrational.

  3. With respect to knowing the natural spirit of the universe, the
    dynamism that effectively launches an artists subjective spirit also
    transforms the lines of these two spirits into one mainline. The whole
    spirit of this singular transformation is expressed by means of the
    intuitive visual vocabulary of the artists art. This is just the
    artistic realm of the artworks.

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

With respect to knowing the spirit of the universe, this spirit does not
have an appearance but rather, by means of the existing exemplar of the
appearances of things, allows the artist to understand inner truth,
goodness, and beauty. This has been described as: great wisdom is like
stupidity,* great images have no forms, great beauty is unadorned, and
great music uses sound sparingly.

  If there are no scenes but there are realms,

The realm that integrates truth, goodness, and beauty must be expressed
in the artworks visual forms, and this is truly difficult. Our artistic
predecessors embodied the eternal existence of this spirit of the
universe through their own personal experiences, but this spirit was
definitely not expressed in their artworks visual forms. Todays artists,
however, want to express this spirit but the traditional artistic
vocabulary has limits, making necessary a creative leap with regards to
the qualitative scope of artistic vocabulary.

  Then the painter is a Master.

This type of creativity is not just manna from Heaven, but rather is an
integration of our absorbing and mixing the artistic inheritance from
the past, the present, and from China and abroad so that it expresses
that Great Pristine that arose from the chaos of the primeval state of
the universe. In primeval times, there was no artistic method because
the Great Pristine had not broken loose from chaos. But as soon as the
Great Pristine broke away from the primeval chaos, artistic method
became established. How did artistic method become established? It
became established as the uniqueness of painting. (Shi Tao)** This
uniqueness of painting, from a conceptual standpoint, must be
established by the artist himself.

  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.

* The saying: Great wisdom is like stupidity originated with the Song
Dynasty poet Su Dongpo.

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

** This quote constitutes the opening lines of Shi Taos Quotations on
Art. My translation follows Wu Guanzhongs explication in his Wo kan Shi
Tao Hua Yulu. The Great Pristine (tai pu) is another expression for the
Tao. The Chinese for the uniqueness of painting is yi hua and, as Wu
Guanzhong notes, this expression has a wide variety of interpretations.
I follow Wus explanation that the uniqueness of painting is simply the
artists own, unique experiences. Yi being understood to mean unique
(weiyi).

  What is called the scene is not the scene;

  1. Be an artist with theories, not a theoretical artist. Be a
    philosophic artist, rather than a poetic artist.

  2. The Tao of Ink Landscapes are in essence experiencing for oneself
    the complete process of transforming the spirit of Chinese philosophy
    into the spirit of Chinese art.

  3. The Tao of Ink Landscapes are patterns of activity for an awareness
    of the Tao, and of course they must be subject to careful observation as
    the spirit of the Tao. Awareness of the Tao then is just an awareness of
    the spirit of the Tao in the natural universe. Speaking from a certain
    perspective, the Tao of Ink paintings possess a cosmological
    significance because they play a further unique role as an exploration
    of the natural universe, a role expressed via an artistic mode.

  4. The natural images of the universe in the Tao of Ink Landscapes
    imply making visible my sentiments purified; that is to say, the organic
    content of the cultivation of my character. These are not only
    sentiments projected onto nature, but also sentiments that combine my
    inner life and the spirit of the universe. They embody my cosmological
    view of nature.

  5. The nobility in purifying ones character is that it takes one to a
    realm where the self and the spirit of the universe are in mutual
    harmony and mutual purity. This kind of artistic realm is the aesthetic
    realm of the Tao of Ink Landscapes. It is also my aesthetic awareness of
    landscape painting.

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

If one wants to appreciate and intuit the existence of the spirit of the
universe, this is not difficult to do. This spirit has no form and no
image and cannot be seen; it is intangible and cannot be touched; it is
not a thing that exists independently. Rather, this spirit exists by
attaching itself to the images that you create, where it embraces the
spirit of truth, goodness, and beauty. This spirit assimilates as one
with your essential spirit becoming an intrinsic consubstantial
spirit.* Use this consubstantial spirt to cope with things and events,
and use this consubstantial spirit to depict your landscapes.**

  What is called the realm is not the realm;

* The term translated as Consubstantial spirit is tongti jingshen.

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

** Landscapes here repeats the two words for mountains (shan) and
waters (shui) that make up the Chinese word for landscapes (shan shui)
so that the author is literally saying to depict your mountains and
waters.

  What is called the method is not the method;

  1. An artists raison dtre is to exhibit his creativity, and whether or
    not the artist can discover and express new things. An artist should not
    hold onto artistic successes he himself has achieved but should continue
    to seek and explore because the art world is unlimited, so an artist
    should use his limited life to seek the unlimited artistic realm.

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

Translator: E. F. Connelly, PhD

  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).

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

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

  33. 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.

  34. 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.

  Life — the artist — artworks (the eye)

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

  The universe — mans life — art (the Tao)

  35. 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:

  Reversal is the movement of the Tao.

  Cf. Chapter 40 of Lao Zis Daode Jing.

  36. 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.

  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).

  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.

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

  Materialized — mindized– Taoized

  Eye objects — mind objects — Tao objects

  Indicates the material word — indicates mind — indicates the Tao

  Literally mindized (xinhua).

  Literally Taozied (daohua).

  38. 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.

  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.

  Cf. Chapter 37 of Lao Zis Daode Jing.

  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.

  39. 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.

  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.

  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 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.

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

  40. 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.

  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.

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