Since 1840, the west wind has spread eastward, Chinese studies have declined, and national strength has gradually weakened. Seeing that the country is poor and weak, some people of insight began to seek truth in the west and seek ways to save the country and the people. Found two keys: science and democracy. The most outstanding representative of science and democracy is Marxism brought into China. Great changes have taken place in China in the past 100 years. From 1840 to the eve of the May 4th Movement, Kang Youwei, Liang Qichao and Chen Duxiu made outstanding contributions. More than a hundred years have passed, and nearly 90 years have passed since the May 4th Movement. Today, we look back on this period of history and find a question: Why do traditional cultures often break? Why did Chinese studies decline? Our school education has been westernized, our ideas have been westernized, and western values have dominated or are dominating our lives. The clothes we wear, the house we live in, our living habits and our thinking habits are all westernized. Our children have dyed their hair and are used to McDonald's. They have to take English classes since childhood, otherwise they will not be admitted to middle school or university, and they will not be able to read a doctor. Poor English, no matter how good Chinese painting is, it can't get into the Academy of Fine Arts. Want to get a doctorate in Chinese painting? We must learn English, which is the basic national condition today. We don't need to educate everyone again, how to attach importance to the west and learn from it, and we don't need to shout so loudly. In this case, the question we need to think about is how to inherit our own culture. This is the background of current Chinese painting. There is a saying that Chinese painting in a pluralistic state exists objectively and is indeed pluralistic. For example, the integration of China and the West, the accumulation of colored ink, or pure color. It is very common for people who engage in ink painting experiments to combine ink painting, materials and behavior into a comprehensive artistic state, if they are all classified as Chinese painting. There is a problem. Are these paintings still related to tradition? We must think. The traditional culture of China is not only Confucianism, but also Taoism and Buddhism. Buddhist thought also includes the theory of Zen. China's traditional culture composed of Confucianism, Buddhism and Taoism seems to be far away from us. In our textbooks, the proportion of our traditional culture is very limited, and the continuation of traditional cultural concepts is facing great challenges. Therefore, at the 16th National Congress, the central government proposed to build a harmonious society. Harmony is the core of China's traditional cultural thought. As a cultural proposition, harmony belongs to China, not to the West. Harmony with nature, society and one's own soul constitutes the core of China's traditional thought and the spirit of China's classical art. The 16th National Congress of the Communist Party of China proposed to revitalize the national culture, because it needs to be revitalized only when it is broken, and only when it is decayed. To carry out the great rejuvenation of the Chinese nation, there must be a process of advancement. Who is in charge of the promotion process? All of us here are responsible for China culture. In the works of art history in the 20th century, due to the limitation of the times, some misunderstandings appeared. After the spread of western learning 1840, China culture was viewed under a western cognitive framework. Because the angle is wrong, the conclusion is often wrong. It is also wrong to look at the law of art from the viewpoint of vulgar sociology, and it is also against the law of art to look at the history of China art from the viewpoint of class struggle, so it is impossible to draw a correct conclusion. Reflecting on China's art history and Chinese painting from a correct viewpoint and cultural standpoint should be the starting point of learning.
There are several problems that need to be clarified in the works of art history in the 20th century: First, the paintings in Yuan, Ming and Qing Dynasties can not be simply regarded as declining, and new peaks are constantly emerging among them, forming the glory after the Song Dynasty. Chinese painting always develops according to its own artistic laws. 19 17 Kang Youwei, the leader of the reformists, put forward that "modern painting in China is in great decline", and he wrote: "Chinese painting is in great decline in the tide of the country, and it is lean on the uneducated. The other two or three nights are like four kings, and the slag of two stones (Shi Tao and Xi Shi) tastes like chewing wax. After it can't be passed down, I can still stay in Europe, America and Japan today. " "With four kings and two stones, I saved a sum of Yuan people, and the Tang and Song Dynasties were not authentic. Compared with the Song people, it is also contemptible. There are only two people, Jiang Yun (Yunnan Tian, Jiang Tingxi) is a little old, and the rest are birds of a feather. Lang Shining is beyond the west. One day, there will be people who combine Chinese and Western cultures and become a great family. " This is probably the origin of the theory of "the combination of Chinese and western". In the early Qing Dynasty, when Lang Shining arrived in China, he showed his paintings and a batch of classical oil paintings to Emperor Kangxi. Kangxi disagreed with the painters in China at that time. Zou Yigui, a court painter, was invited by Kangxi to comment and asked if he painted well. Zou Yigui said, "Although I am a craftsman, I don't paint." Craft has always been a taboo in China's painting. Although European classical oil painting does not advocate artisans, it emphasizes realistic reproduction. It can replace cameras in the era without cameras. Then, a painter from China later proposed "Don't compete with the camera". Kang Youwei added: "If we continue to be conservative, Chinese painting will become extinct. And what is a new era painting that blends Chinese and western cultures? I hope so. " Since then, Chen Duxiu believes that "for the painters who are authentic in the series of paintings of, Huang, Shen Zhou and Nanzong, the idol blindly worshipped in society like this, if not overthrown, is really the biggest obstacle to introducing realism and improving Chinese painting." He wrote an article called Art Revolution, which was published in New Youth magazine. He said: "To improve Chinese painting, we must first change the life of Wang (four kings). Because to improve Chinese painting, we must adopt the realistic spirit of foreign painting. In the Southern and Northern Dynasties and the early Yuan Dynasty, Chinese painting was similar to realism in copying, portraying characters and painting animals, birds, towers, flowers and trees. Because literati pay attention to freehand brushwork, this trend was first advocated by people like Huang at the end of Yuan Dynasty, and then carried forward by people like Shen Zhou in Ming Dynasty. By the time of the Qing Dynasty, the four heavenly kings were even worse. People say that Wang Shigu's paintings are masters of Chinese painting. I said that Wang Shigu's paintings are the summary of Ni's China's evil paintings. " Kang Youwei advocated Lang Shining, Chen Duxiu said that Chinese painting should adopt the realistic spirit of western countries, and Chen Duxiu even advocated the abolition of Chinese characters, which was considered as the biggest obstacle to the communication between the East and the West. If we really follow his advice, China culture will really be finished. History does not depend on individual will.
It is reported that some Korean scholars recently suggested to the government to restore Chinese characters. Why? Because the history of Korea is written in square characters, this generation of students can't read ancient books. There is a similar situation in Japan, where Chinese character culture has influenced some countries in East Asia. In the middle of Qing Dynasty, China was still a world power. Because of the industrial revolution in the west, powerful armor and ships appeared, and then expansion and plunder appeared. After the national strength increased, their culture began to be exported. China was in a weak position at that time. In the face of a strong culture, artistic concepts followed, and many viewpoints have been affecting today. You can think about it, are many ideas right or wrong? Or what is right and what is wrong. Chen Duxiu and Kang Youwei didn't see Huang and Qi Baishi. They said that there were no Huang, Qi Baishi, Fu Baoshi, Li Keran, Lin Fengmian, Liu Haisu and Pan Tianshou. The artistic brilliance of Chinese painting, if any, is unknown. The climate in Wu Changshuo was formed after the beginning of last century, which deeply influenced Qi Baishi. From the beginning of the century to the New Culture Movement, some extreme theories had a great negative impact on Chinese painting. Mr. Lu Xun once said, "No matter ancient and modern times, no matter people and ghosts, it is the Three Tombs and Five Codes, it is the Xuanyuan, the Qian Qiu River Map, the Jade Buddha, the ancestral pill powder and the secret ointment Dan, all of them have fallen to the ground." Even Lu Xun recommended young people to study, and suggested reading less or even not reading China's books. This is incredibly radical. It can be said that the radical ideological trend has been influencing the history of the 20th century for a long time, so that it is no exaggeration to develop to the left. "Anti-tradition" is almost the tradition of the whole 20th century. Xu Beihong's article dealt a fatal blow to China's traditional painting. He hated the theory of the Northern and Southern Dynasties and said, "Dong Qichang and Chen Jiru are mediocre talents, and I especially hate Dong Qichang for ruining the 200-year history of China painting." He believes that in order to save the current disadvantage, "European realism must be adopted." Special emphasis should be placed on sketching. "Although he has a positive side to the transformation of Chinese painting, it also has a great negative impact on Chinese painting. Because it fundamentally denies the modeling concept of Chinese painting. Of course, Xu Beihong did not deny the height of Huang and Qi Baishi. He respects them very much and knows their contribution. However, his theory of Chinese painting, especially the concept of modeling, has great limitations and has a negative impact. Xu Beihong wrote this sentence after studying abroad in the 1920s, while Huang and Qi Baishi reached their peak in the last decade or two after the 1940s. Cai Yuanpei also holds this view. At that time, Cai Yuanpei, then president of Peking University, put forward the progressive idea of "replacing religion with aesthetic education", but he also said that "painting should be nurtured by learning and painting by reason. "Xu Beihong continues his viewpoint" Up to now, the decline of Chinese painting is extremely high, and there is no doubt about all world civilizations. "Reading Chinese painting today is 50 steps back from 20 years ago, 500 steps back from 300 years ago and 800 steps back from 1000 years ago. It is regrettable that the nation is weak. " The views of politicians such as Kang Youwei and Chen Duxiu should be understood in the context of political changes at that time, because they are politicians after all, and it is understandable that they have a deviation in their understanding of Chinese painting. However, a group of artists and art educators hold this view and have great influence. For a long time, it has played a considerable negative role in the research and teaching of Chinese painting. The fact is not as bad as they say. They ignored the height of Huang and Qi Baishi, the existence of Pan Tianshou, Fu Baoshi, Li Keran and Liu Haisu, and Wu Changshuo and so on. This is the limitation of art history. It's a good idea to find the root of the problems in the twentieth century. Fortunately, a group of contemporary young painters are bowing their heads from historical limitations, continuing the tradition and promoting the art of pen and ink.
I have had contact with artists from some European countries. I've never heard any painter propose to integrate China culture with their national culture. No matter France, Germany, America, Japan, etc. None of them mentioned that China painters should be integrated with their own art, but China people insisted on integrating with western painting and western painting style. Think about the reason. Are there any mistakes and limitations in China's traditional culture? Yes There are historical limitations, just as the traditional culture of every nation has limitations, so does China culture. For example, three obedience and four virtues, patriarchal clan system, theocracy, monarchical power, male power and official standard are all dross. However, China's idea of harmony between man and nature, China's view of the universe, China's view of neutrality and China's view of benevolence are certainly good. China culture has been seeking the greatest harmony between man and the universe, between man and society, and between man and himself. This is a question that our ancestors have been thinking hard about. China people know how to live, and they know how to live. They used to be very refined in culture. If western culture is a mountain, then China culture is also a mountain, which is the crystallization of human wisdom juxtaposed with western culture.
Cai Yuanpei and others once suggested that Chinese painting was unscientific, and Jiang Feng also suggested that Chinese painting was unscientific after liberation. This involves the essence and function of science and art. Chinese painting is not science, and art is not science. If art is science, art will die. Art is the product of emotion. People have to thank art to enjoy the emotion after science. Chinese painting has a systematic theoretical system which is complete and scientific. Chinese painting should follow the traditional path of China. In the past century, Chinese painting has become more and more eclectic, transforming China art with "science" and replacing traditional methods with "scientific" training in education. There is a question of understanding here, which involves cultural standpoint. This is my first question about cultural stance.
The second misunderstanding is the misunderstanding of Shi Tao's "pen and ink should follow the times".
The understanding of "pen and ink should follow the times" has been biased since the 20th century. Pen and ink can keep pace with the times, but it does not mean that it is high with the times and low without it. Art is different from politics. Let's analyze Shi Tao first. At the same time, Shi Tao's Eighth Congress did not propose that pen and ink should keep pace with the times. The eight great brushstrokes are literati brushstrokes of Chinese painting, while Shi Tao's brushstrokes are not as good as the eight great brushstrokes. Where is Jason? There is a little impatience in Shi Tao's paintings, but not in the paintings of the Eighth National Congress. Some of Shi Tao's works are a little kitsch, but not at the Eighth National Congress. Shi Tao said in the sentence: "A painter can't be lofty and lofty, but he hates to ask for clever ideas." After all, Shi Tao is everyone and can know the root cause of the times. And deliberately begging for face is harmful to your painting style. There is also a gap between Shi Tao and Dong Qichang. In the Qing Dynasty, no one thought Shi Tao's brush was Mo Miao. However, the Qing people always thought that Dong Qichang's painting brush and ink had a high degree, which was the highest realm of Chinese painting. Dong Qichang's paintings are serene, light and calm, which is a very noble atmosphere. We can also think that Shi Tao's height has personality, but the quality of pen and ink is lacking. This is the conclusion reached by comparing the Eighth National Congress with Dong Qichang. Where is Shi Tao's contribution? Reading the "One Painting Theory" put forward in Quotations of Paintings by Bitter Melons and Monks, we find that he expounded the relationship between Taoist thought and pen and ink, and integrated China's Taoist thought and Zen thought into pen and ink art, making a profound and subtle exposition, which is a great contribution. "Searching for the Qifeng Draft" is his profound understanding of life. However, blindly emphasizing "pen and ink should follow the times" weakens the inheritance of predecessors and becomes an excuse and reason for not paying attention to pen and ink. This is the problem. Where did Qi Baishi's pen and ink come from? Starting with the Eighth National Congress, Xu Wenchang and Wu Changshuo. He said: "I want Jiuyuan to be a running dog and three families to turn!" This is a poem by Baishi, the title of which is in the painting. He emphasizes inheritance and worships these three schools too much. Qi Baishi is a painter who knows how to inherit the tradition. There is pioneering spirit in inheritance, so it is not enough to divide China painters into continuation type and pioneering type. There is progress in the continuation, and there must be a foundation for development. Nowadays, a group of painters who have tried ink painting are exploring, and it is hard to say whether they can survive in the world. Of course, there is no future in repeating the predecessors, and repetition is not art. We always think that the newer the pen and ink, the better. But new is not equal to high. There is no difference between old and new pen and ink, and there is no difference between high and low artistic forms. Innovation is a historical process, and beauty is the symbol of artistic quality. So the blind pursuit of novelty leads us astray, which is the negative influence of "pen and ink should keep pace with the times" Pen and ink is the accumulation of self-cultivation, the record of personality and the continuation of tradition. One-sided understanding will only ruin Chinese painting.
Third, the limitations of understanding Dong Qichang and the Four Heavenly Kings.
Let me talk about the limitations of Dong Qichang's understanding. Dong Qichang comes first, and the four kings come last. Dong Qichang was earlier than the fourth Lue Wang and had a brief intersection with the fourth king. There are many thought-provoking remarks in Dong Qichang's Essays on Painting a Zen Room. His theory of northern and southern sects has been criticized for many years until today. Dong Qichang objectively analyzed an artistic phenomenon in the theory of the Northern and Southern Dynasties. The problem lies in "demotion" and "worship". This is the artist's personal view and the painter's personal feeling. Later, however, people criticized his theory of Southern and Northern Dynasties from the perspective of sociology. First of all, we must admit that Dong Qichang was the greatest painter in Ming Dynasty, and his influence lasted for 300 years. Mo Miao, a pen master, is perfectly interpreted in Dong Qichang. Where are Dong Qichang's paintings? He played the role of literati painting to the extreme, and had a high opinion on the epistemology of Chinese painting, which illuminated several generations and even influenced the future history. His pen is really a needle in cotton, and it is the footnote of China's Confucianism and Taoism culture. The interest between the presence and absence of Zen is also integrated into his pen, which is a kind of pen with aristocratic spirit without anger, soft outside and rigid inside, and continuous like running water. His paintings are full of tranquility, which is the most natural expression of natural mountains and rivers, and this is the catharsis of the soul. Dong Qichang made many thought-provoking remarks, suggesting that painting equals vitality, longevity and happiness. He expounded the atmosphere of attaching importance to process, feeling, subject and freedom. This is the philosophy of China people and the most vivid footnote of China traditional culture. How can it be negative?
The "Four Heavenly Kings" are the organizers and summoners of traditional ink and wash art in China, especially Wang. His understanding of pens is particularly profound. Pen is the key to Chinese painting, pen is a pen, and pen seeks quality and bone, forming vivid charm through the effect of pen. The "Four Kings" have always summarized the pen used by predecessors and influenced later painters. The "Four Heavenly Kings" lack individuality, but their skills are profound, leaving valuable pen and ink experience, which is worth summing up seriously. Zhang Geng, a painter in A Qing, praised Wang's "ripe but not sweet, raw but not astringent, light and thick, solid and bright", which is actually the overall height of the "Four Kings". As far as the arrangement and inheritance of traditional skills are concerned, the "Four Heavenly Kings" have contributed greatly and are an important topic for our study today. It is retro to look at the "Four Kings" with "pen and ink as the times". Looking at the "Four Heavenly Kings" with the pen and ink of Chinese painting shows the positive significance of sorting out the legacy of predecessors. In the contemporary era when tradition is lacking, the "Four Heavenly Kings" deserve our serious study.
Fourthly, most of the history of art since the 20th century is not stated from the perspective of artistic laws, but from the perspective of sociology, and even analyzed by the method of vulgar sociology, and the conclusion is often one-sided. Lack of research on some people who have made contributions in the field of art criticism. Take Fu Lei as an example. Fu Lei was an outstanding art critic in the first half of the 20th century. He is a pioneer in the comparative study of Chinese and western art, and has a deep study of European art, which is dominated by French artistic phenomena, but he knows more about later impressionism and expressionism than Xu Beihong. His research on European classical art can be found in Twenty Lectures of Western Artists, and his understanding of Huang art is even more advanced. It is beyond the times to think that the art of Hong Bin's old people is "better than a thousand words and people can never get tired of reading it". Fu Lei also has profound criticism on the progress of Chinese painting. In his letter to Huang, he said: "Even a few shallow people advocate the idea of improving painting, and it is naive and ridiculous to regard the dross of western painting (the recent rejection of western painting is similar, and the attack is more fierce than that of the predecessors) as a way to save Chinese painting. When you come, fewer people know, and you will worry about the future of culture. "
Attachment: Three original letters from Fu Lei to Huang.
1June 9, 943
It is a long painting of Baiyun Mountain (also like this year's new system, the date is unknown). Simple and complex brushwork, endless mountains and valleys. It is also a kind of charm to outline the charming posture of burning, conciseness and harmony.
Last week, I borrowed five or six large oil paintings from Murphy, hung them between the walls and greeted them repeatedly for several days. Different pen and ink have different realms, gloomy and gloomy, like those in the ancient style; The Committee hinted that there seemed to be poets. The beauty is that giants are not complicated, and small frameworks are not necessarily short. In his later years, there is glory, and there is still aura floating in the thick place, flowing like clouds, and two or three straight words are worth a thousand words. This makes people never tire of watching it.
Respecting the law and reforming it is an eternal principle for the ancients to learn from each other's strengths. The western painting theory in the past hundred years is far from corresponding to the words of famous artists in the Renaissance. Looking at the rise and fall of eastern and western art more generally, we can learn from nature and prosper from the past. In other words, the rules and regulations set by the sages in the past have become laws, and the cover has not been learned from nature before. The mountains and rivers in Guilin and the mountains and peaks in Yangshuo are exquisite and ingenious, and the real scenery seems to be shaped. It's not that Yun Toucun doesn't intend to do this, which proves that it is beneficial to write sketches from the southwest. Art begins with realism and eventually moves towards life. Therefore, the mountains and rivers are the same throughout the ages, and the scrolls are endless from generation to generation. Without faith and self-cultivation, there is no sentiment and no personality. No matter how hard we try, it is artificial, and it looks just a shape, picking up the dross of nature. Now the world is changing, and I can't live without my family. Just by printing vague pink books, I deceive myself. I can't get a good craftsman, let alone him!
The two brushes of Mr. Dong Ju mentioned by Mr. Wang Can are used in my humble opinion to illustrate my technique, which is similar to the western impressionism at the end of last century (the word impression was denounced by the academic school and then used). By analyzing the color composition of sunlight, he realized that the theory of light and shade was mixed. He abandoned the plain light and shade method (such as the stone painting method of China painter painting white and black) and devoted himself to expressing darkness in the light. Brush strokes are often a way to straighten things out vertically and horizontally. There are not many objects of myopia, but from a distance, the scenery is abrupt, gorgeous and spectacular, changing and floating, reaching the extreme. All these things, like Dong Beiyuan's school and my public welfare, seem to have a wonderful effect of reaching the same goal by different routes. What is the reason for the high quality?
The reasons for the decline of modern painting in China are as follows: (1) The tradition of pen and ink is completely lost. In the Qing dynasty, this disease was committed, and today it is more serious, which leads to the painter having tools that he doesn't know how to use. Nowadays, pen and ink are almost the same as waste, and I don't know where the ancients' testimonies are. Even meeting famous works is similar to seeing the sun by blind people.
(2) True mountains and waters, I don't know how to appreciate them, and I don't know how to find them. The painter paints pictures, but the paintings are patchy. In the past, people piled up the remaining mountains and rivers into a painting, which was a kind of puzzle and a kind of drama. It was far less ingenious than it.
(3) There is no way to admire the original works of the ancients, which leads to the readers' shallow knowledge, unclear sects, vague origins and the spirit of the sages. Even if there are smart people who want to be promoted, they have no recourse.
(4) The theory of painting is vague, and the disciplines and laws are gone. No wonder the art forest is deserted.
What is certain is that in this turbulent autumn, we should practice together with the aim of pedantry; Art is like this, but what is the way out for those who have made no achievements in learning sword books? Poetry, calligraphy and painting, and moral education can all be independent and unrelated. At present, the achievements of painters and the academic system of art colleges can be seen. There are even a few shallow people who advocate the theory of improving painting, and regard the dross of western painting (the rejection of western painting is similar, and the attack is more fierce than that of the predecessors) as the way to save Chinese painting. This is naive and ridiculous, and it is not worth arguing. Without the truth, fewer people know. It is enough to worry about the future of culture.
1June 25, 943
"Qian Hui's Painting Collection" is not only concise in pen and ink, elegant in painting style, far away from home, but also restrained and gorgeous in every inch of paper (which is also rare in Mr. Wang's painting style). The state is getting older and more charming. In the blue light waves, there is the illusion of cloudy and sunny days, or crossing the river at dawn, the water is fragrant, the sky is high and the clouds are light, and the red sun is still not high; Or dusk, sunset, reflected in vines and grass; Or the shower breaks, the clouds are not gathered, the green is about to drip, and the clothes are still wet; The changes are endless and dazzling. Sketch? Creation? The cover is inseparable.
Moreover, Mr. Wang Lao is an old man, but he is full of vitality when painted in ink. Yixing is flying fast; Magnificent and solemn people have it; There are many kinds of people in Gracford. An artist's life is as long as heaven and earth, and the sun and the moon win glory. Looking back at the younger generation, taking artistic things as fame and fortune and learning as a stepping stone, it is inevitable that the world will be shocked and the road will be dead. ...
The ancients talked about painting and repeatedly imitated the ancients. If they copy the landscape of the ancients, there will be real landscape deep into the wrist. Stealing such an argument is very harmful. It is natural to learn from the law and respect the law. Although there are speakers, the language is unclear. And in Chun Xue, the implementer is fresh, and it has been late, and its management is good, and the lifeblood of Chinese painting is endless.
In my humble opinion, the way to save is to legislate first, list them one by one from Wang to Shen, and match them with images, so that beginners can know what they have learned (one is the style of mustard garden, but it needs to be enriched in major events, with emphasis on the example of using pen and ink), and the other is to show the norms of the ancients and outline the painting method, layout and facilities. , and make a detailed analysis, and attach pictures. Finally, we should teach students to sketch from the scene, understand nature, let scholars integrate subject and object, and let them roam in the mind and the sky. Idealism and skywalking can only be said to be two words of creation, just like this enlightenment book. Although it is not the first career in the world, it needs old hands in economics and learning, and if teachers do it, it will be of great help to Yilin, which is also one of the ways to carry forward the national heritage. As for reading and nourishing qi, reading more Taoism can inspire people, and walking more can broaden their horizons, so it should be a painter's lifelong learning. If so, although we can't expect a great master, we won't let all beings enter the magic road. The quality is excellent. Why?
On painting, besides Mr. Wang and Mr. Yu Shaosong, I have also seen Mr. Wang, and often published in Ta Kung Pao, which seems to be very popular in Chinese and Western painting theories, and my late friend also has insightful opinions.
If there is a thread that draws a silver hook with pure iron, can it be given in the toilet?
1943
Mr. Wang has been a private scholar for a long time with his far-sighted vision and profound painting system. In the past few years, every time I made a collection of paintings with respect, I would always show it to quench my thirst. I am just a humble person, but I dare not believe in religion. I was deeply impressed by your detailed guidance and frequent awards for excellent works. I don't know what a compliment is all my life. I only see really good calligraphy and painting, so I hesitate to praise it for fear that it won't come. I have a feeling in my heart and I can't help it. You should never dare to ask such questions. It is said that learning is the public instrument of the world, with different tools and the same spiritual jurisprudence. The track of its development and evolution and the reasons for its rise and fall all have the same view. There was innovation before ancient times, but it declined after ancient times; Spirit is like art, but it seems to be a skeleton. Jews have limbs, but not rich bones. How can they be called people? Its reason is very clear, and the people who know it are absolutely fresh.
None of the famous works looks like the ancients, all of which are degenerated into the ancient people's interest in children. Shallow people don't know the source of poverty, and falsely accuse it of being dull and astringent, because at first glance it doesn't look like the real thing, because there are no signs that the ancients can find, and there is no ingenious and dazzling literary talent. Realism and antique, what can be done? His generation never dreamed of it. For example, Mr. Wang said that when browsing ancient paintings, he didn't take any measures, but in fact he got a tacit understanding, and the benefits were far less than what he got from carving a boat for a sword. Therefore, I write freely, and I don't live in one family, but I integrate all the families into one furnace, which is natural and original, and I don't seek novelty and originality. It is a link between the past and the future, because it looks forward and forward, full of meteorology and life. In my opinion, if you don't have the skill to learn from the past, aesthetic insight and broad mind, you will never be able to extract your own unique pen and ink from the imitation; If there is no unique pen and ink, you must never write; But if there is no intention of sketch creation in mind, it is impossible to develop unique pen and ink, let alone change from respecting the law to transforming the law.
The ultimate goal of art is to have no ego, but the technology it relies on must have me. If you don't have me, you have to wait and see, and if you wait for action, you have to go through inner activities, so art has no pure objectivity, and the people in the picture are never as good as the people who are photographed. Ancient and modern, Chinese and foreign, all masters and masters should understand nature; And what you get from enlightenment varies from person to person. Therefore, if there is no technology of "having me", how can we show different consciousness from person to person? Imitating and learning from the past is one of the stages of self-cultivation, thus cultivating self-expression. Sightseeing sketching is another stage of self-cultivation, from being to being, I understand nature. The relationship between antique and creation, if there is such a thing, do you think it is not elegant?
Respect for nature is alive, barely dead, real and even rational. Humble opinions are more valuable than ancient masters, nothing more than nature and life. It is not easy to understand this truth, especially to seek "nature" between pen and ink. Therefore, the previous book was very abrupt, and I was called upon to write another special book on brushwork and ink method in order to learn from Tianjin and Guangdong in the future.
In this day of cultural exchange between China and foreign countries, any academic or professional can observe and criticize mistakes and seek new life; And observation and attack errors, but only comparison reference is still. It is urgent to introduce foreign learning skills and promote ancient cultural relics. The integration of the two is urgent.