Calligraphy and painting have the same origin as "Qi"
Regarding the basic theory of China's art history, the focus of attention is the understanding of the word "source" in calligraphy and painting. Early people's understanding of calligraphy and painting was based on "origin", that is to say, there are similarities in the origin of calligraphy and painting. Although this understanding is limited now, it is undoubtedly correct. Since the advent of civilization, people have inevitably had the need to record things. With the continuous development of human society and the increasing complexity of social life, people gradually developed from knotting to taking notes, which eventually led to the emergence of words. Oracle Bone Inscriptions, as the oldest type of writing, has undoubtedly developed from the most primitive picture to a highly generalized memory symbol. Therefore, it is not difficult to find that there are a lot of pictures and words in Oracle Bone Inscriptions and inscriptions handed down from Shang and Zhou Dynasties. In addition to pictographic and reference functions, these characters also have certain painting factors. With the development of people's ability to observe, think and express themselves and objective things, these pictures and characters have gradually evolved from patterned image symbols to lines, and on this basis, magical and magnificent calligraphy art has emerged. As the ancestor of writing, painting has undoubtedly become the cornerstone of China painting art with unique oriental charm.
From this point of view, pictures and words, as tools of ancestral records, are naturally homologous; China's paintings and calligraphy, which are based on pictures and words respectively, are bound to have the same origin. In this regard, as early as the Tang Dynasty, Zhang Yanyuan also made an incisive summary for us in his "Records of Famous Paintings in Past Dynasties: The Origin of Narrative Paintings": "You have four eyes, you look up and you look down. Because the traces of birds and turtles determine the shape of the characters, it is naturally impossible to hide its secrets, so it rained heavily; Ghosts can't hide from shapes, so ghosts cry at night. At the right time, calligraphy and painting are the same, without division, just like the beginning of the elephant system. There is no way to convey its meaning, so there are books; There is no way to see its shape, so there are paintings. "
Calligraphy and painting have the same "form" source.
The word "source" of the same origin of painting and calligraphy, besides its origin, also means that painting and calligraphy have the same regularity in expression techniques, especially in the use of pen and ink. The use of calligraphy is the language of Chinese painting modeling. It is difficult to describe Chinese painting without the help of calligraphy. Therefore, Chinese painting itself has a strong interest in calligraphy. The lines and Mo Yun of Chinese painting reveal the beauty of abstraction and its independent aesthetic value everywhere.
In the Tang Dynasty, Zhang Yanyuan said in "Records of Famous Paintings in Past Dynasties: Narrating the Origin of Paintings": "The calligraphy style is made in one stroke, and it is intertwined, and the prince of Wei respects its profound meaning. So the first word in a line is often a book in the world. Later, Lu Tanwei also made a stroke, which was continuous, so I knew that calligraphy and painting used the same method. " This is the earliest discussion about the homology of calligraphy and painting. The regularity of painting and calligraphy in the use of pen and ink has been fully explored in literati paintings that flourished after the Song and Yuan Dynasties.
Literati painting has a long history. Although Zhang Heng and others did not paint in the Han Dynasty, their "painting names" have been recorded in historical records. In the Six Dynasties, the theory of Zhuang and Lao prevailed. Scholars at that time used painting to express their detachment and freedom. For example, Zong Bing and Wang Wei used landscapes to express their feelings, and literati paintings have begun to take shape. In the Tang Dynasty, Wang Wei and other generations, poetry and painting blended, and literati painting achieved certain development. In the Song Dynasty, due to the implementation of its policy of valuing literature over martial arts, China's calligraphy and painting art gained unprecedented development during this period, and literati painting, which despised skill training and attached importance to interest and pen and ink, flourished and approached maturity during this period. It also developed after Yuan, Ming and Qing Dynasties.
Literati painting attaches importance to the pursuit of pen and ink, aiming at highlighting the independent aesthetic value of the pen itself in painting, which coincides with the emphasis on the pen in calligraphy art, or it should be said that its painting pen is inspired by calligraphy pen. In the Ming Dynasty, Wang Shizhen took painting bamboo as an example in his book Art Garden, which was undoubtedly an incisive summary of painting with books. In addition, there is another saying that bamboo leaves are painted by eight-point method or Lu Gong's brush strokes, and wood and stone are painted by the remnants of hairpin and leakage marks. Li Yu, the queen of the Southern Tang Dynasty, even painted bamboo with Jin CuO's calligraphy. As for the trees painted by Guo and Tang Di, the bamboos painted by Wen Tong and the grapes painted by Wen Ri, all of them are derived from cursive script, which shows the homology of the expression techniques of calligraphy and painting, especially the use of pen and ink.
Calligraphy and painting have the same origin as "spirit"
The pursuit of China's painting and calligraphy art lies not only in formal beauty, but also in lyrical artistic conception. That is to say, the "source" of the homology of painting and calligraphy does not just stay in the superficial form of expression and the homology of pen and ink application, but goes deep into the essence of painting and calligraphy art, which is the same as the essence and artistic conception.
China's traditional painting has changed from "expressing the spirit with the form" and "taking the spirit with the form" to the plastic arts of expressing the image. The focus of its pursuit is not on appearance, but on verve. Su Dongpo once said: "On painting, it is important to look like a child, and it is close to childlike interest." Therefore, the freehand brushwork with the most oriental expressive characteristics in painting art, whether it is landscape freehand brushwork or flower-and-bird freehand brushwork, is respected by the world because of its essence; If painting can't show its charm, it is just an ink painting and can't be called painting. In the artistic creation of calligraphy, objects are often used to create, and finally the abstract shapes of the characters themselves-strokes, shelves and rules are used to express the artistic conception. Only "get carried away" can be called a masterpiece.
For example, when a painter looks at the Jialing River, he sees the surging waves, writes the appearance and pursues the essence. When calligrapher Huai Su heard the sound of Jialing River at night, he got its body. Although a painting and a book are expressed in different ways, their meanings are all about the magnificence of Jialing River, that is, the things they pursue are essentially the same. Another example is the painter's view of Gong Sundaniang's sword-dancing device, drawing its appearance and showing its momentum; Zhang Xu was fascinated by his charm. Although he is not an image, he can also see that the world is low when he dances sword.
The boundless sky, the round earth and all the tangible and colorful Vientiane are the foundation of calligrapher's ingenuity and of course the source of painter's creation. In summer, the clouds fly in the sky and the mountains on the ground spring; Plants are spinning and spitting green, and animals are running and hiding; All this is in harmony with the great wisdom of the universe. Painters observe it, appreciate it, understand it, and form all kinds of pen and ink. Painters have the pen base to turn everything into reality, and calligraphers have the talent to compete with dragons and snakes, and they are all pursuing the same thing-the charm of everything. It can be said that the art of calligraphy and painting only pursues the same meaning and interest of different forms of things, and the source of spiritual essence-the unspoken beauty of heaven and earth, that is, the source of the same spiritual essence and interest.
Calligraphy and painting have the same origin as "mind"
With the development and progress of civilization, words and pictures are no longer just tools for recording, but have become a bridge for people to express their thoughts and feelings and a tool for people to vent their feelings. The art of calligraphy and painting has high artistic value because of its author's emotional input. They are no longer lifeless works, but a vivid portrayal of the author's life and a thing with a "heart".
Take Zheng Banqiao, one of the Eight Eccentrics in Yangzhou in Qing Dynasty as an example. His bamboo paintings not only show the coolness and pith beauty of bamboo, but also give his bamboo a heart and overlap his own character with bamboo. His writing also integrates the feelings of life into it, so "it's hard to be confused" has become a famous piece of his calligraphy.
Words are like people, paintings are like people, and people's personality will be integrated into calligraphy and painting works. The art of calligraphy and painting has its own character because of the author. Therefore, it can be concluded that calligraphy and painting are of the same origin and originated from people's hearts.