â— Chinese landscape painting is deeply influenced by Taoist ideas
Chinese landscape painters and Taoists have some fate. Taoists speak of inaction. Therefore, Taoism has returned more to the hidden forests than to the world. Ancient landscape painters were also deeply influenced by the Taoist doctrine and pursued the artistic conception of landscape paintings rather than the realistic paintings of western paintings. It is precisely because of this that landscape painting only gives people endless charms and delusions. This charm and reverie are not in the paintings. Outside of the paintings, it is this meaning that “kung fu is outsideâ€. "Kung Fu" is not a skill but a philosophical thought of Lao Zi and Zhuang Zi. It is because of the profound expression of Lao Zhuang's thoughts in the painting that it can produce the charm that attracts us and it can influence our artistic design. It can be said that almost none of the Chinese paintings in China are influenced by Laozi and Zhuangzi.
Shi Tao, the founder of the "Huangshan School", namely Zhu Ruoji's "Quotations from Shi Tao", has always been respected by later generations. The original master of economics advocating "searching and making drafts" is deeply influenced by Chinese traditional culture, especially the philosophy of Confucianism, Taoism, and Buddhism. "If you don't change, you have to do nothing, you have a name and you don't have a name, you can't make it, you can't do it, you can't do it," or "you can't make a law," "Anything is invisible, and a rule is nothing." "Traces", "stupid to dementia, common customs except Qingzhi", "clouds and high-level traces, dead wood and people's hearts" and so on are almost straightforward to the Taoist ideas of Lao-tzu; "the heavens and the earth are mingled with one another, and divided into stormy weather," and " For painting, no matter the veteran learns, he first wins with enthusiasm, and the spirit of the winner is splendid.†It is also connected with the Yixue culture and the philosophy of Laozi and Zhuangzi. When brush and ink are used at any time, it is the Yi Xue culture and the Lao Zhuang Taoist philosophy. Change the version. dolcn.com
When Shi Tao was talking about landscape art, he also explained the philosophical thoughts of Taoism by Lao Zhuang. He said: The person who has the heaven and earth is the quality of mountains and rivers. The pen and ink method are those of Yamakawa. Knowing its decoration rather than reason, it is critical. Knowing its quality and illegality, its method is slightly weak. This is why the ancients knew it was a little bit dangerous and must be one. Whenever there is something unknown, everything is impaired; if there is no doubt, everything is equal. The principle of painting, the method of pen, but the quality and decoration of heaven and earth. A glimpse of it, that is, flying fairy can not deal with it; to test a picture, you can participate in the world of the earth. Measuring the situation in the mountains and rivers, the degree of land and land is wide, the peaks and peaks are examined, and the knowledge of cloud and smoke is heard. It is a thousand miles away, and the evils are countenanced. They are attributed to the right of heaven and the balance of land. Heaven has power and can change the spirits of mountains and rivers; the land has a balance and can transport the mountains and rivers; I have a painting that can conform to the shape of mountains and rivers.
Not just the ancients, today's artists often consciously draw inspiration from the philosophical thoughts of Laozi and Zhuang. Wu Guanzhong, a master of contemporary art, once said that the “zero in the form, abstract beauty, and pen and ink†is “noâ€, so he came to this conclusion, and it can be said that he was influenced by Lao Zhuang. He added that “quote†emphasizes the conception, style, and demeanor... The West emphasizes shaping, composition, gorgeousness, and madness... because I was influenced by China first, or after the 19th century, Western painting was also influenced by the East. As a result, I prefer Western modern painting, and I have come to appreciate the consistency of the nature of Eastern and Western art. Mr. Li Keran said an analogy: Learning is like climbing a mountain. Someone climbs to the east, some climb to the west, and they start far apart and do not meet each other. But when they reach the top of the mountain, they always meet. This analogy is particularly suitable for the comparison and analysis of East and West paintings. "("<Liu Guosong's Collection> Preface") We don't often talk about "nine to nine?" This is also Lao Zhuang's idea of ​​"for a long time."
Although majestic and majestic, Lao Zhuang is very abstract and it is this abstraction that has enabled us to see the beauty of high mountains and only let us find an idea that can become a guide. Wu Guanzhong said, "abstract, it is no image. Although it is a combination of tangible, light, color and lines, it does not represent a specific objective physical image. "("Abstract Beauty") in a sense says that the Chinese landscape painting presents this kind of abstract beauty. The artist found in this black and white, or "a little red in a million green plexus" The abstract relationship between black and white, red and green, and the laws that form the beauty of color.
It cannot be said that John Eaton studied Guo Xi and he mastered the essence of Chinese landscape art. He would not ask students to specifically study Chinese landscape painting and study Lao Zhuang's philosophy. However, it is certain that the art of Western abstract art is influenced to a large extent by the Chinese landscape art. Liu Guosong, who once taught in the United States, talked about the impact of Chinese painting on the West. He said that after Westerners saw the abstract beauty of Chinese calligraphy, they created abstract expressionists. The appearance of the abstract expressionist influences the whole world at once, and then they hope to absorb the nutrition from all over the world.
â— Chinese landscape art directly affects artists and designers
We can still see the tremendous influence of Chinese landscape art from many modern design works today, whether it is architectural art, product design or graphic design. For example, our architecture, because of the limitations of technology and other conditions, designers can only use abstract methods to express design emotions. The Hong Kong contemporary graphic design master who has already achieved great success reluctantly believes that there are three principles of beauty: conception--thoughts first, to form God. Innovation - Cheng Xianqi, old and new. Invigoration - fit and fit, flexible and lively. What this actually emphasizes is also Lao Zhuang’s philosophical thoughts, as well as the artistic conception of Chinese landscape painting. He advocated merging the essence of Chinese traditional culture with the concept of Western modern design. Many of his works embody this idea without exception. For example, the design of the "Bank of China logo" is entirely concise and fluent, and it is full of the sense of the times. It also contains the ancient Chinese money and the meaning of Tiancang. A "zhong" is highlighted in the middle, which identifies the Bank of China's signboard.
We can also find many works of domestic and foreign design masters, these works are also deeply influenced by the artistic conception of Chinese landscape painting. The marble screen of Yunnan is a wonderful work of art. It is decorated on a building, embedded on a Table top and framed in a mahogany frame and suspended in a high-class living room. The photos of stalactites in caves in Guilin and other places are magnified as posters for advertising; the bases and colonnades of classical Chinese architecture are Brackets, cornices, and paintings; the artistic conception of artificial gardens, water, pavilions, and gongs in Suzhou gardens; folk arts and crafts, such as ceramics, embroidery, and batik, all make us see the Chinese landscape art - penetration The Deep Influence of Artistic Conception of Landscape Painting of Lao Zhuang Philosophy . Lao Zhuang is in love with the landscape, the painter is immersed in landscapes, the landscape stimulates the oceanic and lavish philosophy of Lao Zhuang, and it also creates a picture scroll with both forms and spirits. In the same way, today's artists and designers can also perceive and excite immortal design works. Dolcn.com
Chinese landscape painting can have such charm because it contains a profound and profound Chinese cultural charm. It advocates to reshape and form, and is an image. God is the spirit of things. Chinese painting promotes a blend of scenes. At the end of the Qing Dynasty and early Republic of China, when asked by Wang Guowei in the “Human Wordsâ€, Wang Guowei said, “Every scene is a love story. "This is a blend of scenes, scenes are objective forms of existence, and sentiment is the expression of subjective emotions. Therefore, "reforming and reshaping" and "combination of scenes" are the most critical aesthetic features of Chinese landscape painting. Chinese landscape painting teaches artistic conception, Speaking of God, aiming to be first, expressing meaning is “writingâ€, turning the real scene into the realm of Italy, and putting the spirit into the end of the pen.Wang Anshi, a well-known politician in the Northern Song Dynasty, has two poems—“I can't draw from the state of mind,†"Dan Qing is difficult to write is a spirit" - it reveals the true meaning of Chinese landscape art.
The Chinese people say that "the paintings and paintings are of the same origin." This book, I think, contains articles and texts. Therefore, many landscape paintings are drawn directly from Chinese literary works or indirectly express the wonderful artistic conception of poetry and poetry. For example, when Gu Jinzhi was known as the talented, painted, and infamous in the Eastern Jin Dynasty, his two handed masterpieces, “The History of Women's History†and “Luo Shen Fu Tu†were all based on the masterpieces of the literary people. The former are based on the famous Western Jin Dynasty. Zhang Hua’s “The History of Women’s History†is an articulation of the name of the queen to ridicule the work of the queen, Jia Nanfeng. Let’s leave it alone. The latter was based on Luo Shifu, a great writer of the Three Kingdoms period. Cao Zhi is Cao Cao's youngest son and one of the most gifted literary talents. His "Seven-Step Poetry" is something many children will recite. "Luo Shen Fu" is a gorgeous article and is a famous article in the history of Chinese literature. It was written by Wei Wendi in the early four years (AD 223). The author passed Luoshui, thought of Luo Shenshen, "Qing Songyu to the Goddess of the Chu Kingdom", and made this Fu. The author of the essay met with Luo God, the gods and gods love each other, but "the way of the gods and gods" Although the deep feelings of love cannot be combined, they can only say goodbye to each other in attachment: Luo Shen "resists in ignoring loyalty to cover up evil spirits, tears flowing in the waves, eternal conscience will never die, and sadness will disappear in a strange land"; The author is "Floating in the river and forgetting about it, thinking about the rain and increasing the mum, and swiftness and not ignoring, digging and revealing to the end." Cao Zhi used gorgeous rhetoric, splendid literary grace, describes a moving story of myth.
Based on this literary masterpiece, Gu Xizhi conceived and created the volume of Luo Shen Tu. He gave full play to his rich artistic imagination, poetically portraying the artistic conception of Cao Zhi and Luo Shen when they met. Through clever composition and expressive ink, he depicted Cao Zhi's meeting with Luoshui gods on the banks of Luoshui. The depiction of the Luoshen Goddess is beautiful and beautiful, and sometimes lingers in the water: "The body's flying is fast, the vicissitudes are immortal. Lingbo's microsteps, the Luo socks's dust," and occasionally swims in the clouds: "It's as if it's a catchy moon, If the flow of wind drifts back to snow." "If you're scared, if you swim in the dragon," you're full of feelings and deportment. It is said that this beautiful fairy is the incarnation of Cao Zhi's lover, Yu Shi, who is worried about eating and eating. This map is also rich in environmental descriptions. Around Luoshen, there are Qingshan, Lushui, Hongri, Caixia, Qingyun, Hehua, Qiuju, as well as Hongyan and Youlong. This will vividly describe Luo's image in Fuwen. All are reproduced on the screen one by one, making the picture vivid and vivid. Gu Kezhi used line drawing as a means of styling to paint characters with a touch of color. He did not ask for halo decoration. The composition was well handwritten and the lines were smooth. Such as spring silkworm silking, spring clouds floating, flowing water, rich poles. Deep infectivity.
From the above preliminary discussion, the reason why Chinese landscape art is highly infectious and penetrating is that in its profound connotation, there is a philosophical thought that makes Chinese landscape art not a decoration of the United States, but that it is The driving force of the United States. Its full skill is a "point", a "line", and the surface of this, the line of students, that is, space, an infinitely delusional space. But this is the first line, which is enough to make us ponder for a long time and think for a long time. We can see a beautiful scene from the appreciation of Western landscape paintings, but nothing more. Chinese landscape painting is not the same. It has enabled us to find the link between natural beauty and artistic beauty in the point of view and line of thought. It is this connection that is the place where people are most drunk! For example, the coloring of Chinese landscape paintings, with only a small green dot, makes us feel that the green dot is full of hope, hope, joy, and green dew!