Zhu Da Lotus Bird Stone Map
1. Unreal realm
If it is purely a description of the objective world, then the role of this "description" is far less convenient and realistic than photography and videotaping, and the advantage of calligraphy and painting lies in expressing people's subtle feelings about the objective world. What is a guest world? Is what we see, hear and smell really the real face of the objective world? Philosophers and artists are skeptical about this. China's ancient philosophy holds that the universe is a gas field, constantly changing, and everything is changing. What we can perceive is an illusory fact, a judgment made by human beings based on what they already know. Only when we are fully aware of the "illusion" of the world can we understand the entity of the world. Painters in China, especially literati painters, are greatly influenced by the "illusory view", which is more or less reflected in their paintings and calligraphy works.
Zhu Da fish
2. Outside the painting
Associated with the "illusory realm" is the "realm beyond painting". "Literati painting" pursues not the painting skills themselves, but the meaning beyond painting. This "meaning beyond painting" is the fundamental reason why the gold content of "literati painting" is higher than that of "painter painting". You can find it in the painting, but it is hard to find it outside the painting, because "outside the painting" needs rich study and life accumulation to achieve it.
Zhu Da quail
3. Ugly territory
Who will define beauty and ugliness, cleverness and clumsiness? It is artificially defined and recognized by people. Scholars in China are aware of this, so questioning beauty, cleverness, clumsiness and ugliness has always been a very important part of China's traditional aesthetics. Laozi put forward "great ingenuity and clumsiness", which is the theoretical core of pursuing clumsiness. Although the creation of calligraphy and painting needs skills, it overemphasizes skills, or the traces of skills are too exposed. On the contrary, it seems petty and gives people a sense of clumsiness. If you act spontaneously, don't talk about skills, or try to reduce the traces of skills, it seems naive, but there is a naive and simple beauty.
Zhu Da goose
4. Lonely land
The road taken by China literati is doomed to be lonely. Literati, whether in opposition or in opposition, are often lonely at heart. Loneliness in art refers to the ethereal, remote, quiet and deep realm. Yunnan Tian said: "Lonely and helpless, it is best to think about it." He admired Ni Yunlin's paintings and thought that Ni Yunlin's paintings were "really lonely and a bit vulgar". Ni Yunlin created a lonely art world. Some people say that Ni Yunlin's loneliness has reached the state of "water does not flow, flowers do not bloom", showing an almost silent lonely world. Loneliness to the extreme makes people feel the origin of the universe. What he wants to express is the ideal realm beyond the secular and secular.
Bird Stone Map of Zhu Da
5. The realm of mistress
"Little Three" is an important concept in China's classical aesthetics. Mistress, describe manners, expressions, styles, etc. Nature is free and comfortable. It also describes depression and desolation. For example, "Miscellanies of Xijing": "Sima Xiangru's poems on Lin and Zi Xu, which mean mistress, have nothing to do with foreign affairs." Zhang Tang's nine-year-old poem: "From Guo Zi Xiaosan, there is no camp." Song Ceng Gong's poem: "I am also scattered, and I am happier now." As a natural solution. As an aesthetic concept, "mistress" refers to the unrestrained spirit, bleak and relaxed atmosphere, and transcends all order. The poets who are famous for their mistress are Tao Yuanming, Meng Haoran, Wang Wei and Wei. Zhong You, Chu Suiliang, Yang Ningshi and Song Sijia are the calligraphers who are famous for their mistresses. Painters who are famous for their "Little Three" are Huang, Dong Qichang and Badashan.
Bamboo, Rock and Mandarin Duck in Zhu Da
6. Cold land
Similar to Xiaosan's land, there is a desolate and cold land. Shortage, similar to mistress, coldness embodies a cool beauty. Chinese painting is full of cold forest pictures, cold pine pictures, cold Jiang Tu, snow scenes, hard rocks, dead trees, Western jackdaw in the west and wild cranes, mainly to show the meaning of tranquility and ethereal. In the Tang Dynasty, Wang Wei and Zhang Xuan were good at drawing cold forest maps, which pioneered the use of ink to express the lonely and cold realm. Hao Jing, Guan Tong, Dong Yuan and Ju Ran are good at painting ancient temples and hermits in the deep mountains and forests, further opening up the cold realm. Li Cheng combined cold with peace, which greatly enriched the aesthetic feeling of cold. Not only mountains and rivers, but also in the common themes of literati paintings such as Mei Lan and Zhu Ju, the desolate and cold environment has become a common pursuit of people. This is related to the independent and detached mind of the literati, and also to the emptiness, emptiness, silence and tranquility of Zen.