What painting theory did Sheikh, a famous painter in Southern Qi Dynasty, put forward in Wei, Jin, Southern and Northern Dynasties?

Sheikh was a figure painter in the Southern Qi Dynasty (479-502 AD). He can draw fashionable women. But his paintings are not as influential as his theoretical works. His Catalogue of Ancient Paintings is the first complete painting theory work in the history of China painting.

"Catalogue of Ancient Paintings" first puts forward that the purpose of painting is: "Be clear about remonstrance, work hard, be isolated for thousands of years, and learn from pictures." This is to point out the effect of receiving education through real description. The emergence of this theoretical understanding is a progressive phenomenon.

He proposed six painting methods: 1. Vivid charm; 2. Draw with pen bones; 3. According to the pictogram of the object; 4. Choose the color according to the type; 5. Business position; 6. Imitate transliteration (or imitate transliteration). "Vivid charm" refers to the purpose of expression, that is, figure painting should aim at expressing the mental state and personality characteristics of the object. Gu Kaizhi's comments on painting art and people's appreciation and comments on characters since Wei and Jin Dynasties have always emphasized the vivid expression of people's spiritual temperament. These remarks are the basis of Sheikh's advocacy of "vivid charm". "Bone pen" mainly refers to the effect of "pen and ink" as a means of expression, such as the sense of movement, rhythm and decoration of lines. From the ancient painting theory, we can see that ancient painters and critics attached importance to this point. "Pictographic response, color matching and quotient position" is the modeling basis of painting art: shape, color and composition. "Imitation" is a way to learn painting art: copying is also a way to copy. There are many different copying techniques in ancient times, and painters must be familiar with them. It can be seen that the "six methods" are the practice of ancient painting and promoted to theory. In the past, there were some confused views on the "six laws". Or deliberately mystify, for example: the five methods can be learned, but the charm can only be innate. Or vividly use charm to deny the necessity of other laws and become a cover of formalism. Or take the "six methods" as the technique of creative practice, which proves that the realistic techniques of the ancients have reached a high level. This confused view needs to be clarified from a historical perspective.

The importance of Sheikh's "Six Laws" lies in his concentrated work. Although the correct, scientific and logical relationship between the "six methods" is not completely clear, it reflects a complete understanding of the development of painting art to a certain stage, which not only affirms the necessity of modeling according to objects, but also puts forward the importance of understanding the internal essence of objects, and points out that pen and ink are the means to express objects. Most of the words in the Catalogue of Ancient Paintings are Sheikh's comments on Cao Buxing and his 27 contemporary painters. In his comments, he divided painters into six categories, that is, six grades. On the one hand, it was also a method used to evaluate people's quality at that time. The evaluation of people is based on spiritual temperament and demeanor. Therefore, this scoring method and the concept of "vivid charm" are related to the atmosphere of the critics at that time. At that time, in addition to painting, there were poems and chess, all of which borrowed the method of critics. The significance of Sheikh's comments on painters in the Catalogue of Ancient Paintings also lies in the preservation of precious historical materials. After him, there were Chen Chaoyao's most famous paintings, Li Sizhen's later paintings in the Tang Dynasty, and Yan Long's later paintings by monks, which started the earliest writings in the history of painting in China. In the Tang Dynasty, Zhang Yanyuan included them in the Record of Famous Paintings of Past Dynasties.

Sheikh was a famous painter in the Southern Dynasties. It's a pity that there are no paintings to test today, but his Catalogue of Ancient Paintings is an important masterpiece in China's painting history. In his book, he commented on the works of 27 painters of the previous generation, which is almost the first systematic summary in the history of China's painting creation. Among them, his "six methods" theory is particularly wonderful, which has a far-reaching impact on China's ancient painting creation.

Vivid charm-refers to whether the overall feeling of painting a picture is vivid, which is the soul of painting.

Bone-based pen-refers to the pen of Chinese painting must have bone strength, so does the so-called pen strength.

Pictographs of objects-writing and modeling.

Color by category-color should be classified, even by season and climate conditions.

Place of business-composition

Transfer and Modeling-Portrait

The theory of six laws is the standard and important aesthetic principle of China's ancient works of art. The "six methods" first appeared in the book "Painting" by Sheikh of Nanqi. The theory of six laws puts forward a preliminary and complete theoretical framework of painting, covering all aspects of creation and circulation, from expressing the inner spirit of the object, expressing the painter's feelings and evaluation of the object, to depicting the shape, structure and color of the object with a pen, composing and copying the work. Since the theory of six laws was put forward, China's ancient painting has entered a period of theoretical consciousness. Later painters always regard the six methods as the standard to measure the success or failure of painting. Guo, an art historian in the Song Dynasty, said: "The six laws are refined and unchanged" (Pictorial). From the Southern Dynasties to modern times, the Six Laws have been used, enriched and developed, thus becoming one of the most stable and inclusive principles in China's ancient art theory.

How to discuss Sheikh's theory of six laws and how to understand and develop it in past dynasties requires necessary interpretation of the original text. Sheikh's original text and ancient prose are punctuated and punctuated, and the meaning of the six laws varies with the sentence order of later generations. But no matter what kind of point grammar, the basic content is basically the same.

It turns out that the punctuation of the six laws is generally "Who is the six laws?" A vivid spell is also true, so is the method of two bones, the pictographic characters of three objects, the four kinds of coloring, the five quotients and the six-turn model. "This notation is mainly based on Zhang Yanyuan, an art theorist in the Tang Dynasty, who wrote in Notes on Famous Paintings of Past Dynasties:" There are six kinds of painting methods: one is vivid charm, the other is a pen for bone painting, the third is pictographic, the fourth is to color according to categories, the fifth is to arrange positions, and the sixth is to transcribe. "The fourth volume of the modern Qian Zhongshu's Guanzubian discusses this passage and thinks that in order to conform to Sheikh's original intention and the ancient laws of China, it should be read like this:" Who are the six laws? "First, the charm is vivid; Second, the bone method, using a pen is also; Third, the object should be pictographic; Fourth, with the class, the color is also; 5. Operation and location; Sixth, turn, the writing is also. "

Vivid Charm "Vivid Charm" or "Vivid Charm, Vivid Yes" means that works and images portrayed in works have vivid charm and appear full of vitality. Charm, originally used by Wei and Jin dynasties to create characters, such as "charm" and "charm", refers to the spiritual temperament, emotional interest and charm of the characters from their gestures and manners. A similar concept has appeared in painting theory, which was first used to measure the characters in painting, and then gradually extended to the evaluation of works other than figure painting, and even some painting form factors, such as "Charm comes from ink and from the author" (Zhang Geng's On Painting in Pushan) and "Guan Qi Ink Painting" (Huang's Sketches of Painting). This is not the original intention of Sheikh, but the concrete application and new development of charm by later artists and theorists according to their own experience and understanding. Charm and vividness are basically the same in explaining the spiritual characteristics of characters, but the word vividness of Gu Kaizhi and even later generations refers to the inner feelings conveyed by the face, especially the eyes, while charm refers to the inner feelings conveyed by all characters, especially the posture and words, or the externalization of inner feelings. In the Sheikh era, charm, as the standard of evaluation and creation, mainly depends on the degree of description of the charm of the object in the works, and then gradually contains more factors of subject performance. Charm refers to the overall internal characteristics of the image form as the integration of subject and object. Being able to show the vivid charm of the combination of things and me is one of the highest goals of painting and even the whole plastic arts.

Bone pen "Bone pen" or "Bone pen" refers to the so-called bone pen and its closely related brushwork. "Bone method" was originally a concept of learning from each other, and later became a language for people to observe the identity and characteristics of characters, which was very popular in the Han and Wei Dynasties. In addition to the word "charm", Wei Jin people often use comments such as "bone" and "body". The word "bone" is a figurative concept, and "bone" and "bone strength" illustrate the straightforwardness, decisiveness and external performance of people's inner character in a figurative way. The word "bone" is used in the book theory, such as "those who are good at writing are rich in bone, and those who are not good at writing are rich in meat" ("Pen Map"), which refers to strength and pen power. The appearance of "bone" in painting theory began in Gu Kaizhi, such as commenting on Zhou Benji: "Diemirun has bone method"; Comment on Han Benji: "Natural bones are more exquisite and less" and so on. The words "bone method" and "heavenly bone" here are also related to people's articles and faces, and refer to the identity temperament reflected by the bones of the painted characters. Sheikh's application of "bone method" has turned to the artistic expression of bone strength and strength beauty with pen. At that time, all paintings were sketching lines, and the structure, posture and expression of objects could only be expressed by the accuracy, strength and change of lines. Therefore, he borrowed the "bone method" to illustrate the artistry of using a pen, including the meaning of pen power, sense of force (similar to the book theory of "a good writer has many bones") and structural expression. This can be seen from the words "pen for bone stalk", "novel pen", "weak handwriting" and "beyond handwriting". After Sheikh, the bone method has become an important standard for evaluating painting in past dynasties, which is the corresponding aesthetic principle inevitably produced by the unique materials and tools of traditional painting and national style, which in turn promoted the perfect development of national style painting.

Ideographic characters "should be pictographic" or "should be pictographic" means that the painter's description should be similar to the reflected object. Seng Zhao of the Eastern Jin Dynasty said that "the dharma body has no image, but should be physical", which means that the Buddha has no specific image, but it can be transformed into any image and any corresponding form. For a painter, responding to an object is to describe its appearance. This is earlier than that explained by Sheikh's painter Zong Bing with "Form writes with form, and color shows with form" (Preface to Painting Landscape). Among the six laws, pictographic problems are placed in the third place, which shows that painting aesthetics in the Southern and Northern Dynasties attached great importance to the authenticity of shapes and depicted objects. However, it was put behind the verve bone method, indicating that the artists at that time had grasped the relationship between art and reality, external expression and internal expression quite profoundly. Some critics of later generations belittled the meaning of likeness, while others raised its status. That's because different artistic concepts are at work in later generations, and its position should be said to be appropriate in the era when the theory of six laws was founded.

Coloring with classes "Coloring with classes" or "Coloring with classes" means coloring. Fortis, Grant and Buffon. Coloring is coloring. Follow-up, interpreted as "following things." "Wen Xin Diao Long Search": "The spirit of writing scenery is always with things." The "class" here is called "class", that is, "thing". Hanwang Yanshou's "Luling Photoelectricity Fu": "With color and image, you can get your feelings." Using the color image class, it can be explained that the color is similar to the drawn object image. Following the class is following the color image, so it is the same as giving the color.

Place of business "place of business" or "business and place" refers to the composition of the painting. The original intention of management is to build and build. Sheikh borrowed a metaphor to describe the layout and composition of the painter at the beginning of painting. As a noun, "position" refers to the position of people or things; As a verb, it means to arrange or arrange Sheikh said that Mao Huiyuan "has a superior geographical position and is particularly difficult to compare with it", which means relocation. In the Tang Dynasty, Zhang Yanyuan read Shang Wei together, and "Wei" was gradually understood as a noun in the verb-object structure. He said that "as for business posts, painting is always important", and the arrangement of composition is regarded as the outline of painting. The position must be decided by the camp, or the composition must be painstaking. In fact, taking composition, operation and conception as a whole is a profound insight. In this regard, there are many incisive expositions on painting theory in past dynasties.

Imitation "imitation" or "imitation" refers to copying works. Pass, move also; Or teaching, distributing and delivering. Mode and method also; Imitation and imitation. Write and copy.

The transfer of cloth in painting depends on writing. Xie He also called it "biography": "Be good at spreading the text, but not idle thinking"-in fact, the word "biography" appeared as early as the biography of Han Shidan: "Let the officials and the people spread it." Affirming the aesthetic term of blackboard painting as one of the "six methods" shows that the ancients attached importance to this skill and thing. Gu Kaizhi left the article "The Wonderful Method of Copying and Extension". The role of modeling is to learn basic skills and can be used as a means to spread works. Sheikh did not equate it with creation, so he put it at the end of the six laws.