1. {Test Painter}This is a classical Chinese text
Is it this paragraph? Chen Shan's Commentary on Painting in the Song Dynasty. Original text: There is a line in a Tang Dynasty poem: "The tender green branches are a little redder, and the moving spring scenery does not need much." I heard that I tried to use this to test my painting skills in the old days.
Workers competed to decorate the flowers with spring colors, but none of them won. Only one person painted a beautiful woman standing on the railing in a dangerous pavilion where the misty and green poplar trees are reflected.
All the workers are convinced. This can be said to be the meaning of a good poet.
When Emperor Ming of the Tang Dynasty tasted the thousand-leaf lotus, he pointed at his concubine and said to his left and right: "Why do you explain the flower like this?" At that time, it was said that "the spring scenery in the upper palace is in the eyes at all four seasons", which means this.
But do secular painters also understand this evil? Gu Kaizhi was good at writing, but people thought he was crazy. Zhang Changshi Gongshu, but people think it is ridiculous.
The reason why these two people are good at calligraphy and painting is because Zhuangzi said: "The intention is not divided, but the spirit is concentrated." ("New Words from Menglu") Reference: Appendix: Selected Readings on Chinese Painting Theory: On Painting Cultivation [Ming Dynasty] Wang Shizhen said: "Painting, stones are like flying white wood, like a circle."
Another saying: "Painting bamboo, dry as if The seal script has branches like grass, leaves like real leaves, and calligraphy like official script. "The trees of Guo Xi and Tang Di, the bamboos of Wen Yu Ke, and the grapes of Wen Ri Guan all come from the grass method. This painting is also compatible with calligraphy."
As for the style of calligraphy, seal script and official script are such as swan head, tiger claw, inverted sage, Yanbo, dragon, phoenix, turtle, fish, insect, cloud and bird, magpie, swan, cow and rat, monkey, chicken, dog and rabbit, Ke Dou and others; The method is like childish painting sand, printing mud, broken hairpin strands, leakage marks, falling rocks from peaks, hundred-year-old withered vines, startling snakes entering the grass; comparisons are like dragons jumping and tigers lying down, playing in the sea and sky, beautiful immortals, and clouds gathering on the moon; If you look at Han Tui's "Preface to Master Gao Xian" and Li Yangbing's "Book to Dr. Li", you can see that the calligraphy is especially good at painting. ——"Yi Yuan Yan" On the Inheritance of Painting [Ming Dynasty] Chen Hongxu Today's people do not learn from the ancients. They rely on a few sentences to support their career, or to make a small name, and then paint with their brushes. The pen and ink are not busy, and the appearance is incomparable. It is sad. ! He wants to have a small name for others to point out, but also ridicules that old person. This old lotus is the most dissatisfied with celebrities.
——"External Records of the Paintings of Yuji Mountain House" Quoting the Theory of Painting [Qing Dynasty] Zheng Ji once saw someone writing "Spring Night Banquet in the Peach and Plum Garden", with lanterns hanging high in the woods, which was a big mistake. host. The author's intention is to use the sentence of "Wandering at Night" by holding a candle, but fly lightly to the wine cup and get drunk on the moon. The meaning of "not thinking about Taibai" is to focus on the drunken moon. Holding a candle only arouses the interest of the ancients, which is not the case at this time.
Why use lights when there is moonlight? The so-called painting is enough. However, it is not a bad idea to drop one or two lamps close to the place where the pen, inkstone, cup and plate are.
It is not appropriate to hang peaches and plums high to compete with the moon. Therefore, it is said that learning painting is expensive, while painting requires rationality.
——"A Brief Introduction to the Study of Painting in Dream House·On Scenery" The Theory of Form and Spirit of Painting [Ming Dynasty] It is not a dragon. Those who convey the spirit must use form. The form and the heart and hand come together and forget each other. This is what God entrusts. ——"The Theory of Painting" On the Realm of Painting [Song Dynasty] Su Shi If you taste the poems of exegesis, there are paintings in the poems; if you observe the paintings of exegesis, there are poems in the paintings.
The poem says: "White rocks emerge from the blue field, and red leaves are sparse in Yuchuan. There is no rain on the mountain road, and people's clothes are wet with green sky."
This is a poem written by Mo Jie. Maybe it's not true. Those who do good things can make up for the legacy of Mo Jie.
——"Dongpo Inscription and Postscript·Shu Mo Jie Lantian Misty Rain Picture" Landscape Painting Theory [Qing Dynasty] Zhu Ruoji Those who understand the principle of dryness are also the quality of mountains and rivers. Those who master the art of pen and ink can also decorate mountains and rivers.
Knowing that it is just decoration but not reason, its reason is dangerous. Knowing its nature but not legality, its law is weak.
Therefore, the ancients knew that they were in slight danger and would surely gain one. If there is no clarity, everything will be in trouble; if there is no clarity, everything will be in harmony.
The principles of painting and the technique of brushwork are nothing more than the quality and decoration of heaven and earth. Mountains and rivers are the shapes of heaven and earth.
The wind and rain, the dim light, are the atmosphere of the mountains and rivers, the density and depth are far and wide, and the approximate diameter of the mountains and rivers; the vertical and horizontal movement is the rhythm of the mountains and rivers, the density of yin and yang is the concentration of the mountains and rivers; the gathering and dispersion of water clouds is the association of the mountains and rivers. ; Squatting and jumping to the back, it is hidden in the mountains and rivers. The power of heaven.
A generous person is the balance of the earth. , The wind and clouds, the sky binds the mountains and rivers.
Water and stone are like earth's surging mountains and rivers.
Without the balance of heaven and earth, the unexpected changes in the mountains and rivers cannot be changed; although the mountains and rivers in the nine districts are bound by the wind and clouds, they cannot be in the same mold; even though the water and rocks are surging, the situation of the mountains and rivers cannot be distinguished in the writing.
Moreover, the mountains and rivers are so vast, with thousands of miles of land, thousands of miles of clouds, and countless peaks. If you look at them with a single tube, the flying immortals may not be able to get around them; if you measure them with a single drawing, you can understand the evolution of heaven and earth. also. Measuring the situation of mountains and rivers, measuring the vastness of the earth, judging the sparseness of the peaks, recognizing the scent of clouds and smoke, standing thousands of miles away, with thousands of evil eyes, they circle back to the power of heaven and the balance of earth.
The sky has the power to change the spirit of the mountains and rivers; the earth has the balance to carry the energy of the mountains and rivers; I have the power to draw the spirit and form of the mountains and rivers. This is because I was not born out of the mountains and rivers fifty years ago, nor is it a waste of the mountains and rivers to make them selfish.
Mountains and rivers make me speak of mountains and rivers, mountains and rivers are born out of mountains and rivers, and I am born out of mountains and rivers. Search all the strange peaks to make a draft.
Mountains and rivers meet the gods and their traces are transformed, so they end up in Dadi. ——"Quotations from Shi Tao's Paintings·Chapter 8 of Mountains and Rivers" On the Painting of Animals, Insects and Fishes [Qing Dynasty] Fang Xun and Qian Shunju's "Scroll of Grass and Insects" is about three feet long, with dragonflies, cicadas, butterflies, bees and grasshoppers all dotted in clusters. , the objects are similar to each other, their heads, wings and feet are either round or angular, or have clear ink or broken pens. When dabbed casually, they appear to be squirming and ready to move, and all viewers will fall over.
The painter never intended to use the brush to express the ink, and the use of the brush and the ink to express the ink has its disadvantages. However, the opposite is true, and the changes in the painting method can actually refer to the creation. ——"On the Painting Theory of Quiet Residence in the Mountains" [Qing Dynasty] Songnian: People are valued in calligraphy and painting, and it is not a false accusation if you don't believe it.
The calligraphers and painters of the past dynasties, such as Cai Jing and Qin Hui in the Song Dynasty, and Yan Song in the Ming Dynasty, all had high noble titles and high-quality calligraphy and literature. Why did later generations discard them and forget them? In fact, he has already lost a lot of money, and the rest of his skills are worthless. When we learn calligraphy and painting, we should first focus on character. For example, in the official career, we should also pay attention to history and governance, pay attention to physics and human relations, read useful books, and make more useful friends.
He is addicted to wine, greedy for sex, exploitative for money, and willful. He relies on his superb skills to behave like a scoundrel, values ??wealth but neglects friends, recognizes profits but not people, and frequently uses paintings to make people stand out. There is no need to tire of searching, even if he ranks among the three kings Wu Yun, if he has such bad deeds, his integrity will be damaged, and his paintings will not be valued by the world. [Ming Dynasty] Mo Shilong Ancient people commented on the New Year paintings and said that having thousands of volumes of books in their chests makes them even more ancient.
In the new year, the Song Dynasty clan was not allowed to travel far away. Every time they returned to the mausoleum, they had to write about the hills and valleys in their chests. If you don't travel thousands of miles and read thousands of books, how can you achieve the goal of becoming a painter? This is what I, Cao Mianzhi, have no hope of becoming a mediocre history.
[Ming Dynasty] Li Rihua must read more when painting. He must read more and see more things in ancient and modern times. He should not be narrow-minded and knowledgeable. He should be naturally thorough, with mountains and rivers magical and penetrating. Every now and then, what will happen? Are you worried about not reaching the wonderful state? [Qing Dynasty] Tang Dai has thoughts of the ages in his chest, and his wrists have the power of stretching thousands of miles. He stands outside the painting, and deliberately paints in the painting, splashing ink and swiping a brush, all of which are of natural interest. The merit of reading is too little! "Zhuangzi" says: "Knowing without learning. 2. The finishing touch of classical Chinese translation
Zhang Sengyao painted four dragons on the wall of Anle Temple in Jinling, but did not draw the eyes. He often said: "The eyes are dotted. The dragon flew away. "People thought it was ridiculous, so (Zhang) clicked the eyes of one of the dragons. After a while, thunder and lightning broke the wall, and the dragon flew up to the sky on the clouds, and the dragons whose eyes were not clicked were all there.
Original text:
Zhang Sengyao painted four dragons on the wall at Anle Temple in Jinling without dotting their eyes. Each time he said: "If you dot them, they will fly away." "People think it's a birthday because they click on one of them. In a moment, thunder and lightning break through the wall, and a dragon rides on the clouds and ascends to the sky. Those who didn't click on their eyes are all there.
Extended information:
Zhang Sengyao, Wu (Suzhou). Liang Tianjian was the minister of King Wuling. He knew painting in Zhimi Pavilion. He studied hard and became a general in Wuxing. He was a well-known painter and was good at painting Buddha statues, dragons and eagles. The story of the idiom "putting the finishing touch" comes from the legend about him. It is recorded that he used the "reduction method" of light and shade and contrast to paint "convex and concave flowers" in Jinling Yicheng Temple. It has a three-dimensional effect, which shows that he has accepted it. Foreign painting techniques.
Documents say that his painting "has only one or two strokes, and the image should be done in time", which is very similar to modern sketching and is called "sparse style".
Today, the "Five Stars and Twenty-eight Constellations True Shape Picture" copied by Liang Lingzhan of the Tang Dynasty has been handed down to the world, and has now been exported to Japan. However, the brushwork and records used in this painting are different. He had a great influence on later generations. Tang Dynasty painters Yan Liben and Wu Daozi both studied under him. In addition, he is also good at sculpture and is known as the "Zhang Family Model". ”
Zhang Sengyao’s works include “The Picture of the Twenty-eight Gods”, “The Portrait of Emperor Qiwu”, “The Picture of Han Wu Shooting Jiao”, “The Picture of Wu Wang Qiwu”, “The Picture of the Heavenly King of Xingdao”, “Qingxi” The "Strange Paintings in the Palace", "Mona Immortal Pictures", "Drunken Monk Pictures", etc. are recorded in "Xuanhe Painting Book", "Famous Paintings of the Past", and "History of Zhenguan Public and Private Paintings".