Chinese landscape painting reflects the artistic spirit of Chinese people.

The landscape painting became the subject of painting, and the landscape, nature, and objects in the form of paintings were beautified and artistic, which were inspired by the thoughts of Laozi and Zhuang. According to Lao Zi, the relationship between man and nature should be in harmony, man is the law of the earth, the law of the earth is the law of the sky, the law of the sky is the law of the road, and the law of the road is the law of nature. The Tao is "born before heaven and earth", referring to the origin of the universe. It is the sages who discovered and summarized the Tao from all natural things, which is called the sages containing the Tao. The Way of the Sage is also reflected in things, such as the 78th chapter of Laozi, "The life of a man is soft and weak, but his death is strong; the life of grass is soft and brittle, but its death is withered. This is a natural phenomenon, but the sage concluded that strong objects tend to lose their vitality, and soft objects are full of vitality. And the truth of life is that "when soldiers are strong, they are destroyed; when wood is strong, it is broken". Sage taste by the saint's way to show the image of the object and get the "way", which is called the sage "flavor image", "flavor image" to "clear mind "It is difficult to experience the root of all images with a dirty mind, so it is called clarifying the mind to taste the image. "Clarity" is inherited from the old, Zhuang aesthetic concepts, Lao Zi puts forward the "clean up the mystery" to return to the original, Zhuang Zi develops it into a "heart of fasting", "sitting in oblivion", "the heart of the world", "the heart of the world", "the heart of the world", "the heart of the world", "the heart of the world". Zhuang Zi developed it into the proposition of "mindfulness and forgetfulness" and established the theory of the aesthetic mind. Zong Bing's "clear mind" is Lao Zi's "cleansing", and Zhuang Zi's "heart fasting" and "sitting in forgetfulness" are also The state of mind of emptiness, quietness and clarity. Zong Bing believes that "clarity of mind" is a necessary condition for the realization of aesthetic illumination. "Clarity of mind" in order to "taste the image", in order to get aesthetic enjoyment from the nature itself in the state of emptiness, Zong Bing applied this philosophical thought to the creation of landscape paintings, put forward the "saint with the Tao of reflecting the object Zong Bing applied this philosophical thought to the creation of landscape paintings and put forward the idea that "the sages reflect things with the Tao, and the landscape flatters the Tao with its form". It is believed that landscape can attract saints to travel because it is qualitative and interesting spirit, reflecting the spirit of the inner spirit of the spirit essence. "Wintry Tao", meaning competition for favor, Zong Bing anthropomorphized landscape, because the landscape because of the shape of the beautiful, and all things "competition for favor", the saint's way to more concentrated reflection in the form of landscape paintings, the Taoist thought of the development of landscape painting has played a positive role in promoting. Zong Bing is the founder of landscape painting, he said in the "painting landscape preface"; and the Kunlun Mountains, the pupil of the small, forcing the eye to inches, the shape of the bet, very miles, can be surrounded by inches of the eye. True by going a little wide, then its see is very small. He said that the Kunlun Mountains is very large, and the human pupil is very small, such as painting very close to the mountains, you can not see the whole picture. Retreat far away, the whole mountain can be included in the field of vision, he explored countless times how to put the real mountains with the form of painting performance, he invented a perspective method, is to take a transparent piece of raw silk in front of the eyes, the far reflection of the scenery you want to choose, a little like today's sketching out of the hands up or to the piece of paper hollowed out to take a view of the method, this method is more than the Western perspective method more than a thousand years ago, and Chinese landscape painting is always This method is more than a thousand years older than Western perspective, but Chinese landscape painting has never utilized this kind of perspective, and has always avoided it and opposed it. Zong Bing's idea is reflected in his paintings: "A vertical drawing of three inches can represent the height of a thousand feet, and a horizontal ink of several feet can represent the distance of a hundred miles. This is not only the principle of perspective and its application that Zong Bing preached, but also reflects Zong Bing's aesthetic thoughts on how to view natural things. Zong Bing can be found in the landscape "interesting spirit" "sense of God", is his "clear mind taste image" of nature's deep sense of understanding, so that their own spirit into the beauty of the object, to be free and emancipated. His ability to forget the world of fame and fortune, this is the reason why he can clarify his mind, but also the result of his ability to clarify his mind, which is precisely from the cultivation of Zhuang. Zong Bing put his trust in the famous mountains and scenic spots of the present world and summarized them in his paintings, expressing Zhuangxue in the form of paintings and achieving a kind of spiritual transcendence. According to Chinese philosophy, "Tao" is the origin of the universe, and everything originates from Tao. The Tao, "the rope can not not be named, back to the thing, is called in all things, is called the shape of the shape, no image of the image." ("Laozi & gt; fourteen chapters") "Road" is an invisible, can not hear, can not touch the origin of the universe, ("Zhuangzi & gt; have Yu") that only through the process of quiet observation to view it. And beauty is the way, it also needs the aesthetic subject of the quiet observation to grasp. As a method of aesthetic illumination in Chinese aesthetics, Jing Guan shifts people's aesthetic orientation to the world of the mind. Unlike Western art, which focuses on sensory experience and refers to painting as "spatial art" and "visual art", traditional Chinese aesthetics places all aesthetic activities within the realm of quiet observation; (Yang Xiong's "The Words of the Law"), which says, ".... The words of the heart sound also book heart painting also." The word for the voice of the heart, the painting for the expression, the quiet observation begins with the aesthetic subject to empty all the state of mind to gaze at the isolation of the insulated realm of things, will be the integration of the two and the same as the big polyester. Thus, the cultivation of the mind to the virtual stillness is an important prerequisite for the realization of aesthetic illumination. (Wang Yuanqi "Fish Window Compendium") If the bath of snow is not complete, the desire for profit, full of celebration of reward and honor, not reputation and skill, the creation of the inevitable "twisted full of complex amplitude, the meaning of the meaning, it is vulgar." Qing Dai Zhi in ("Xi Bitter Zhai painting floss, Volume 1") said; "intentional painting, ink and brush every go looking for paintings, unintentional painting, paintings from looking for ink and brush, intentional cover is not as good as unintentional ear." Chinese landscape painting is to Confucianism, Taoism, Buddhism thought embodiment, he is not simply painting the scene, but through the painting of the scene to create a unique aesthetic way of Chinese landscape culture, with him to look at nature, sense of life. So that people from the natural universe of all things in the sensual intuition to obtain a special kind of pleasant experience, so as to greatly improve people's living conditions.

Second, the ink expresses feelings

The style of landscape painting has undergone thousands of years of evolution, each period has different characteristics, regardless of the performance of the northern landscape of the majestic and tall or the southern landscape of the beautiful scenery, although the form of expression is different, but all the ink and brush method of expression, ink and brush is the essence of landscape painting, as if it were the notes of the music, if there are no notes there will be no beautiful melody! Without the notes, there will be no beautiful melody, and without the brush and ink, there will be no unique landscape culture, so the brush and ink is the root of painting. The color concept of brush and ink in landscape painting can be traced back to the thought of Lao Zhuang, Lao Zi believes that: "five colors make the eyes blind". Knowing its white, guarding its black, mysterious and mysterious, the gate of all wonders. The door to the mystery of the world is the root of heaven and earth. Black is a profound, mysterious, subtle, unpredictable and rich color. Landscape painting is a world created by white and black, white is not a dead space, but the Tao that creates all things running forever, as Zhuangzi said, "Looking at his Que, the virtual room is white. This "white" is the auspicious light of "Tao", symbolizing the infinite extension of life. The blankness of Chinese painting is not emptiness in the context, but a hidden realm. Hiding makes people think of more object culture from one point. Early Qing dynasty painter dan Chongguang said in "painting chyuan"; "empty this is difficult to draw, the real scene is clear and empty scene now. God is not painted, the real scene appears and the divine realm is born. The location of the hostile, there is a painting more than a wart. The real and the imaginary are born together, no painting all become a wonderful place". Qi Baishi painted shrimp, no water plants and ponds but people feel full of water. If the painting on the background, the final feeling is limited to an angle, and bound themselves in a closed corner, or feel the snake added, and do not paint the background, it seems to be invited to swim in the painting, looking around, such as before and after the rave, and people reverie think about it, and savor the experience. "Black", that is, in the ink at the effort, adhere to the God, carved by heart, very catching the ink and ink vivid pen and ink rhyme, so that the object and the blank place to complement each other, cause metaphors and associations, to strengthen the artistic feeling. "Knowing the white and keeping the black", the black is more distinctive and concentrated to express the image to make the simple picture rich in associations. In the organization of ink and brush, white is virtual, sparse, black is solid, dense, white and black echo each other, penetration, so that the black in white, white in black, white for black, ink out of the form, white hidden image. "Knowing the white and keeping the black", based on the black, but also consider the white, as Yun Shouping, "Nantian Chemical Lame" said; "The ancient people's heart in the place of no ink", it is the place of no ink, so that the picture of the pine spirit of the illusory, of course, "white", but also the beauty of the "white", but also the black is solid. Of course, "white" of the wonderful, but also lies in the "ink" to wake up, management, in order to better artistic effect. Zhuang Zi believes that: "five colors mess with the eyes", simple and the world can not compete with the beauty of colorful secular beauty, can only stimulate the senses, not the true beauty. Early hermit-minded painters discarded the brilliant "five colors" and replaced it with "simple" ink landscape painting, which has become an excellent tradition of Chinese landscape painting for more than a thousand years. Ink is a powerful artistic means for Chinese painters to express objective objects and express the author's subjective feelings. Through the skillful cooperation of water and ink, using different strokes, strokes and changes in ink transportation, such as splashing ink, breaking ink, accumulating ink, and so on, we can create a rich, colorful, and wonderful ink effect, such as thick, light, dry, wet, solid, and virtual. Ink through the reconciliation of water to produce different changes in the ink image, expressing different feelings of emotional content of the beauty of the ink, so that a variety of different ink overlap and interlacing of the ink image, composed of symphony-like rhythmic changes, to achieve the ink tone of the beauty of the ink law. This high degree of unity between the sense of ink and the beauty of ink rhythm forms the "ink rhythm". Ink rhythm" can be combined with "bone method with brush" and other means of expression, distinctive expression of the objective object of the "form and spirit" and express the author's subjective "feelings". This is also known as "ink rhyme" vivid. Shi Tao mentioned in his work "Bamboo Scattered Sky Hibiscus Out of Water"; "Ink group in the black group, ink black bush in the flowers and leaves wide; try to see the pen from the smoke over, the waves and turns do not need to finish". We can appreciate his understanding of ink and ink dripping, ink in the pen, but also implies the art of natural feelings. Western landscapes use black, white, gray, light and shadow to truly reproduce nature, while Chinese landscape paintings are centered on "chi chi vividness", integrating poetry, calligraphy and painting to express the rhythm of life of yin and yang, emptiness and reality. Tang Dynasty Zhang Yanyuan in the "Records of Famous Paintings Throughout the Ages" put forward the "transport ink and five colors with" "five colors" instead of the scene of black, green, red, yellow, white five colors, that is, the ink instead of the color of the meaning, but also to express the space near and far, darkness and yin and yang, dryness and wetness and even character, temperament, etc. richer and more complex content. richer and more complex content. Wang Wei and Wu Daozi also advocated the idea of "ink and water in painting". They were not influenced by the colorful atmosphere at that time, but insisted on taking the path of giving up form and pleasing shadow. Instead, he insisted on taking the path of giving up form and pleasing shadow, focusing on ink, and constructing a kind of subtle spatial consciousness based on the Chinese cosmology and Taoist thought. Chinese painting relies on brush and ink to create a unique spatial awareness, which is as blank as Lao Zhuang's, "Tao" nature, "nothingness" and Confucianism's "heaven". In Chinese philosophy, "emptiness" and "reality" are dialectical movements, and white and black in Chinese painting are also opposites and unity. In Chinese painting, white and black are also opposites and unity. The manifestation of having reality in emptiness is to take white as black. "The real and the imaginary are intertwined, and everywhere there is no painting, there is a wonderful world". The use of different strokes and ink methods to produce a variety of ink images, can express a different ink and ink law, ink sense and the beauty of the organic combination of ink law formed the "ink rhyme". Therefore, "ink rhyme" is form and content, it is the high degree of unity between the beauty of the ink content and the beauty of the form. "Ink rhyme" is the language and rhythm of the ink itself, which is used in conjunction with the brush, modeling, chapter and other artistic means to create the landscape painting "form and spirit" of the artistic image, vividly express the theme of the work and the mood of the service. The change of color in landscape painting is basically a "change in a color" focusing on simplicity and the subtle change of thickness and intensity, which is determined by the characteristics of Chinese painting with ink. This is because the Chinese painting is characterized by ink. Because the mixed colors and too much decoration will destroy and prevent the ink performance, and once the role of ink is lost, the whole picture will be scattered and decomposed, and the work will lose the flavor and expression of the strength of the mood.

Three, the creation of natural objects

Chinese painters use brushes and ink, two simple materials to develop the culture of landscape to an extremely high level, but he has a different way of looking at the West. It adopts the "image in order to exhaust the meaning" and "view the object to take the image" method, in the "Department of the word biography" there is a passage; Zi said; the book is inexhaustible, the words are inexhaustible. However, the meaning of the sage, it is not visible? The son said; the sage set up the image to exhaust the meaning, set up hexagrams to exhaust the pseudo, the system of rhetoric in order to exhaust their words, change and pass to exhaust the benefits, drums and dance to exhaust the God. "Words are not enough" is to say that in the limitations of thought and feeling, but the "image" can be full of meaning, that is to say, with the help of images, can fully express the idea of the sage. "Observe the image" in the "Department of Rhetoric" is said, the ancient king of ?s?2's world, also, look up to the sky, look down to the law in the ground, look at the birds and beasts of the text and the ground of the appropriate, close to take all the body, far from all the things, and then began to make gossip, in order to pass the virtue of God, in order to classify the feelings of all things. "Observation of things" is the sage based on the observation of natural phenomena and phenomena of life, created. With a simple horizontal line arranged to show the universe's deep and subtle truth. "Viewing" is the direct observation and feeling of external objects. To "take" is to refine, generalize and create on the basis of "observation". "View" and "take" are inseparable from the "image". The way of viewing things is also different, can not be fixed at an angle, can not be limited to an isolated object, but should be "up to see" "down to see", both in the big (macro), both in the small (micro), both in the distance, but also in the near. Only in this way can we grasp "the way of heaven and earth," "the feelings of all things". The proposition of "observing things and taking images" explains the origin, generation, and manner of the Yi image. Since the Yi image is similar to the aesthetic image, this proposition also touches on the origin of art. Chinese painters enjoy the landscape, but not with sketching folder, oil painting box on the nature to do a painting imitation, he does not care about the mathematical form of the object, geometric proportions, color and light and physical space and time, but to put themselves into the universe of all things, to experience the taste of the vast, long and infinite and pure self-chest. To realize the mind's bath of snow and the beauty of the spirit of illumination, "Zhongyin Buju idleness, knit thatched cottage in order to cultivate peace and quiet, but also for the painting of flowers, bamboo and birds for self-entertainment." (Zhang Yanyuan, "the record of famous paintings through the ages") This unique method of aesthetic illumination, determines the Chinese painters are not directly to nature for the creation of the theme, but in the nature of the quiet gas, induced by inspiration. Once the quiet observation into the "I do not know I for the grass and insects, grass and insects for me" (Luo Dajing, "Crane Forest Jade Dew") to achieve the state of two things and forget. Li Rihua in ("Huailutang Poetry") said; "all day long in the pine and bamboo, may not be able to write pine and bamboo". This focus on the creation of spiritual feelings and Western imitation is fundamentally different. The process of quiet observation is a process of intersection and integration of things and me, because in this process the refined representation is different from the typical expression of Western painting, but a kind of percolation of the painter's emotions, the object and me. Under the domination of emotional thinking, the object-ego representation has the quality of refinement and generalization. In the objective world, leaving aside all the external relations and the existence of things, so that the appearance of the object and the self to achieve unity, the lyricism of Chinese painting can be displayed. The use of Chinese brush, all kinds of dots and lines of chapping dissolve the image of the super-virtuous realm, the integration of poetic mind, poetry in the painting scene, has become a major feature of Chinese painting. With the brush hook line and ink color intensity directly express the mood of life, through the image of the core of the spirit of simplicity and subtlety, "washed out the dust, the only storage of the lonely and very". "Fang Shishu said in the Essays of Wulongan: Mountains, rivers, grasses and trees are created naturally, and this is the actual realm. Because of the mind to create a realm, the hand to transport the mind, than the virtual realm. Void and real, is in the pen and ink have no between, so the ancients pen and ink than the mountain pale tree show, water live stone moist, outside of heaven and earth, do not build a kind of spirit of wonder. Or just waving, but also all the alchemy into liquid, discard the dregs to save the essence, and the full flavor of the virtual shadow. Chinese painting relies on the black and white relationship between brush and ink to create a wonderful mood. Ma Yuan's "Fishing Alone on a Cold River" is surrounded by a blank space except for a lonely boat and an old man fishing, but the blank space is not nothing, but makes you feel that the river is wide and the smoke is alive. The image created by Chinese ink is open, flowing and infinite. Unlike Western paintings that show a limited world, static space, the content is limited to a frame, can only become a wall decoration. The colors of oil paintings visually give the viewer a sense of urgency and anxiety. Chinese painting is the beauty of subtlety, the ink is divided into five colors, to one as ten, less than more, appreciate the landscape painting as summer drinking manna, refreshing, far-reaching charm. Landscape painting embodies the small to see the big, with less than more, a few small trees, a few small grass is the expression of a unique world, square inches can feel the universe of the big, in a scene in the sense of a "grass, a paradise," a flower, a world, "the significance of life. Landscape painting is not about painting scenery, but about seeking the inner nourishment of life and the settlement of the soul through the depiction of nature.

Four, chi chi and brush

Chi chi and bone method with the brush are two of Xie He's "six methods", the two are closely linked, the chi chi needs to be reflected in the brush, the brush needs to be chi chi to be through, the performance of the object can be vivid. "Charm" in the historical development of different meanings, pre-Qin, Han, Wei, Jin and North and South Dynasties literature, "gas" of the original meaning of the generalization of the four, one of the Han Xu Shen "Shuowen Jiezi" cloud; "gas, cloud gas also. The first is Xu Shen's "Shuo Wen Jie Zi" (Explaining Characters in Chinese). Duan Yucai note; "gas this cloud gas, derived from the name of all gas". That refers to all gaseous substances. Secondly, "Zhouyi, the Department of the word on the" cloud, "the essence of the qi for the object, the traveling soul for the change. (Han Kang Bo note; "the essence of the smoke contained in the aggregation and become things, the aggregation of the extreme is scattered and swim for the change. The ancients believed that all things in heaven and earth were formed by the gathering of qi. Thirdly, in "Guanzi, Neiye"; "The essence is also the essence of qi. Qi Dao is born, born to think, think to know, know to stop," the ancients believed that the spirit is a special thing, the spirit is called the Divine Qi. Fourth, during the Wei and Jin dynasties, qi was used to assess people's character and education. Cao Pi, the Emperor of Wei, said in "Canonical Treatise, Thesis"; "The text is dominated by qi, and the clearness and turbidity of qi has a body, which cannot be caused by strong force." . The first and foremost factor in the quality of an essay is the qi, and the qi varies according to the body of the essay. Cao Pi's "body" here refers to the body of qi, the temperament of the author. The four meanings mentioned above are closely related, and sometimes it is difficult to make a clear distinction between them. The qi of literary works is related to the author's divine qi, which in turn is related to the vital qi, which in turn is related to all the qi of the universe. Qi is also closely related to "reason" and "nature". In the "Yi, the Department of the word on the" cloud; "the essence of the gas for the thing, traveling soul for change". Another cloud; "easy simple and the world's reason to carry on". Reason and gas, in fact, that is, one and two, for the universe of all things fundamental. In terms of the world's material element is labeled as gas, in terms of the fundamental principle of all things is called reason. Reason is gas, gas is reason. Sheikh's so-called qi of qiryun actually includes the meanings of reason, Tao, and God. According to Xiehe, the beauty of painting art lies in the vividness of chi, which represents the spirit of the work and at the same time embodies the law and essence of things. "Rhyme", the Wei and Jin Dynasty, a newly created word, first seen in the Jin Dynasty, Lv Jing made "rhyme set". The Northern Song Dynasty, Xu Xian calibrated "Shuowen" when included in the "new attached" part. Shuo Wen (说文), the new annex, "rhyme, and also. From the sound, Yuan sound. Since the Jin Dynasty, talk about the character of rhyme, rhyme in the person is to refer to its speech and answer questions, the rhythm of the action, the appearance of the voice and face presented a certain style of intent. Later, the concept of rhyme was introduced from commenting on characters to commenting on literary works, referring to the style and meaning of the works. Sheikh quoted the concept of rhyme to comment on paintings, referring to the style of paintings, i.e., the artist through the image processing, brushwork rhythm, color and ink configuration, etc., so that the picture presents a certain style of rhythm and meter attitude. Xie He commented on Lu Sui's paintings in "Ancient Paintings", "the rhyme is vigorous and floating, so the style is floating. The style of floating is mainly a comment on the charm, that is, the grace and the meaning of transcendence. The relationship between qi and rhyme is very close, the meaning of qi and rhyme in painting is the relationship between the inner essence of the meaning of rhyme tends to the works of the outer meter interest. Without qi, there is no place for rhyme, and with rich rhyme, the work will be more moving." Charm and vividness" refers to the inner essence and spirit of a painting embodied through the formal structure of the depiction techniques.

Fifth, the pen and ink of the Meng Yang

"Meng Yang" word out of the "Yi Meng" book, Meng to raise the right, the holy work. Meaning, to be able to raise the right way by obscurity and obscurity, is to become the work of the saint. "Meng Yang" is the body's perception of natural things, care for nature with the heart in order to give the spirit of all things in heaven and earth, the understanding of life to have "internal" feelings, in order to achieve the understanding of nature into the subjective tendency to sublimate the process. In today's words, "to nurture" means to grasp the beauty of nature and its laws to deal with it artistically, and then to create the artistic beauty that reflects the painter's feelings and mood. Landscape painters are never passive imitation of "the concrete of all things" but to create for my use, borrowing things to write the heart, that is, life, nature, art and beauty to unify, to achieve mastery of the initiative of artistic creation. In artistic creation, the painter should correct the relationship between art and reality, grasp the aesthetics of painting in the subject of the dynamic role of the object, so as to achieve the desired artistic effect and purpose, the process mainly begins with the painter's aesthetic perception of nature, through the experience of nature, to cultivate imagery, the composition of the mood, and then create artistic images, to achieve the painters of the free God and the viewer's appreciation of the double original hope. Shih Tao and Jing Hao think that landscape painters to the creation of the teacher, the extraction of the mountains and rivers of the "quality, real", so that "the pen is not life is not God", at the same time, landscape painters must have from not knowing to know of the montage that is, the art of generalization and refinement of the power, so as to be able to comprehend the mountains and rivers of the "Hua Cai". "Hua Cai", so that, "the pen is not Meng Yung is not spiritual"; and successful landscape painters are not, such as Jing Hao said; "the reality of things, take the fact that", "the Hua of things, take the fact that", "the Hua of things, take the fact that", "the Hua of things, take the fact that", "the Hua of things, take the fact that". "The object of the Hua, take its Hua", both, is "pen and ink" to 'do its spirit and enough of its God, to achieve solid "Hua" and "Spirit", "Spirit" and "brush". "Spirit", to take God with quality. In the performance of landscape painting, "the pen to take the gas to get the beauty of its masculinity, the ink to take the rhyme to the beauty of the feminine, so the ink is wonderful ethereal inner, need to have "Meng Yang" to get the natural aura. Landscape painting development to the qing dynasty faced with the crisis of survival, landscape painting from the content to the form has been very perfect, is retro, or innovation, shi tao for this epoch-making summary, he thinks, art is life, ink and brush is derived from the perception of life, art form is not direct, but "search all the peaks draft", "the mountains and rivers make me generation of the beauty of yang and yang, ink take rhyme to the soft beauty, so the ink wonderful ethereal implicit, need to have "meng yung" to get the natural spirit. "The mountains and rivers make the mountains and rivers on behalf of the mountains and rivers, the mountains and rivers from the birth of the birth of the birth of the birth of the birth of the mountains and rivers also". The mountains and rivers and to meet the gods and signs also, so the end of the big polyester also. The artist's life of the "Meng Yang", to remove the mystery to achieve the art of the original. "True", is the essence of things. Dong Qichang put forward "Qiu Gulch within the camp", the same refers to the artist's heart feel nature, to read thousands of books, travel thousands of miles, in order to truly realize the transcendence of the object and the spirit. Painting stops at "resemblance" to the combination of life and cultivation, to achieve the artistic realm of "resemblance that is not resemblance". He summarized the highest principle of "the law of a painting", and wrote in "The Language of Painting": "Taikoo can't do anything, Taipu doesn't scatter, and Taipu scatters and the law is established. Where does the law stand? It stands on a single painting. A painting is the foundation of all things and the root of all images; it is used for God and hidden for human beings; and the world does not know that the method of a painting is self-established. The method of establishing a painting is based on the fact that there is no law, and there is a law through all the laws. This one painting collects all beyond the heavens and the earth, that is to say, ten thousand strokes of ink, there is nothing that does not begin here and end here, but listen to people's grip to take the ear." "A painting theory" mainly includes the following three levels of meaning; First, "a painting" is first of all, as a philosophical category and aesthetic category, refers to the generation of everything in the universe and the world of art, existence, development, change of the fundamental laws and regulations, as Laozi said; As Lao Tzu said, "One is born from one, two from one, three from two, and three from three. Secondly, "a painting" is also about the law of art or the creation of the law of the category, referring to the fundamental laws of painting and art and the law of form, that is, a rule of one million, all the laws of one, thirdly, "a painting" is also often used to express a more specific concept, that is, Chinese painting in the Thirdly, "one painting" is also often used to indicate a more specific concept, that is, the most basic language element in Chinese painting, no matter whether it is a delicate miniature or a masterpiece, there is nothing that doesn't start from this. These three levels are unified and inseparable, the means of brush and ink is to create the image of painting, the image of painting is to express all things in heaven and earth and the subjective thoughts and feelings, Shih Tao said; painting all things natural, my road is consistent. Therefore, the root of Shi Tao's aesthetics is another play based on the thought of Lao Zhuang. He believes that the skills of ink and brush are not from the ancients, but from the mountains and rivers of concrete, nature is my teacher, reflecting heaven and earth and I was born, all things and I for one, the idea that ink and brush should be with the times. "Monk" is the artist's experience and refinement of life, the painter must go deep into life in order to realize the essence of nature, in order to appreciate the essence of the performance of ink and brush. In the living room only copying paintings, is not able to experience the great mountains and water of the mystery, and even more can not realize the landscape painting in the "feasible", "can look forward to", "can travel", "can live", "can live", "can live", "can travel", "can live", "can live". 'can live' in the realm of art. If you do not go deep into the life of the ink and brush will become dry and boring, lifeless, ink and brush only to get the natural aura in order to show the mountains and rivers, forests and trees of the vitality. Brush and ink is not only a form of expression of painting, the key is to understand the roots of the development of Chinese landscape culture and the spirit of the Chinese literati through brush and ink. Landscape painting and Chinese culture are connected by blood, dependent on each other, Chinese culture and painting mountain culture will continue, because it is a unique form of expression to show the spirit of the Chinese people's bones.