Talking about Literati Painting

Chinese painting has become a kind of supreme representative and model of oriental painting with its profound connotation and unique national form style, and it is also brilliant in the corridor of the history of the world's visual arts. Chinese painting is a comprehensive art integrating poetry, calligraphy, seal cutting and painting. The most typical representative of this art system is the traditional literati painting, which has not only become the mainstream of the Chinese painting system, but also profoundly influenced the art of modern Chinese painting.

The Origin of Literati Painting

The origin of literati painting can be traced back to the period of the two Jin dynasties, during which the society was briefly united, and the two Jin dynasties were an important period for the transformation of Chinese social consciousness and the development of culture and art. And after the two Jin Dynasty, during the period of the North and South Dynasties, the culture of the Central Plains was dominated by foreigners. Due to the entry of foreigners into the Central Plains, they were skeptical of the Han Chinese, especially the literati and the scholarly community, and suppressed them. In order to avoid politics, some literati and scholars used painting to express their depression, instead of traditional painting in the original way. This formed the prototype of traditional literati painting. From his birth, literati painting was destined to be aesthetic in nature. During the Wei, Jin, and North-South Dynasties, Yao's "not learning to be a human being, but just entertaining himself" became the central thesis of literati painting. It became the central thesis of literati painting, which was honored as the purpose of painting by literati throughout the ages. Zong Bing's "clear mind to view the Tao, lying down to swim" to the landscape to make his mind clear. Fully embodies the mentality of literati self-indulgence.

Two traditional aesthetic evolution of literati painting

Tang Dynasty poetry was prevalent, the great poet Wang Wei poetry into painting. So that later generations regarded him as the originator of literati painting. His paintings became the model for later generations of literati painters. Poetry in painting, painting in poetry. It has become a trend that has been passed down from generation to generation. The two art forms of poetry and painting were united in Wang Wei, and both became the means for him to marvel at nature and linger in the light: "Mochizuki was originally a lyricist, but he was also known as a painter. In his life, he went to and from Rim River, where birds flew and fishes swam. The light of the mountains was full of light, and the sound of the water flowed from the liver to the spleen. He sits and sings, and he does not make worldly speeches. The high feelings are not all thick water, even the mountains and streams open heavy curtains ......" "title Wang Wei painting". Su Shi respected Wang Wei, mainly for his own advocacy of "wonderful ideas and poetry" of the literati painting to find a historical basis, in order to set up their own, different from the "painter of the painting". In the poem "Painting of Wang Wei and Wu Daozi", Wang Wei and Wu Daozi, a great painter of the Tang Dynasty, who was called the "Saint of Painting", were compared: "...... In my view of the paintings, there is nothing as honorable as the two sons. Daozi real androgynous, as vast as the sea waves turn . When he started the wind and rain fast, the pen has not reached the gas has swallowed. ...... Mochizuki's poetic aspirations, Pei Zhi attacked Fangsun. Now look at this mural, also as its poetry clear and dun. ...... Although Wu Sheng is wonderful, especially in terms of painting. Mochizuki get outside the elephant, like immortal quill thank cage. My view of the two sons are God handsome, but also in the Wei also convergence of obeisance no words." Qing dynasty Wang Wenjiao pointed out: "this poem is a clear account of the painter, so that the literati who specialize in painting, such as Mitty, Wu Zhen, Huang Gongwang, Dong Qichang, Wang Shimin's stream to read, that is, no one is not clear in the chest." Because "although dao xuan painting saint, and the literati breath is not; Mochizuki not painting saint, and the literati breath. This is very different. Since the Song and Yuan, for the scholarly painting, petal incense Mochizuki is there, and pass the mantle of Daoxuan, is absolutely no one." From here we can know, Su Shi for the literati painting to find the historical basis, in the later development of literati painting produced how great role. At the same time, it must also be pointed out that, just by taking the few masters of literati painting since Song and Yuan mentioned by Wang Wenjun as an example, we can clearly see that it is doubtful how much the painting techniques and theories of Tang Dynasty's Wang Wei had a great effect on the development of literati painting.

The development of Chinese painting to the Song and Yuan dynasties, a clear change occurred, which is the emergence of a more than the Tang Dynasty since the popular refined style of painting appears to be the brush and sketchy, do not seek to look like the new style of painting, and soon became popular among the scholarly literati. Before the emergence of this style of painting, painting a skill mainly mastered by professional painters, so the more social status of the literati mostly look down on the attitude; and this emerging style of painting after the emergence of the initial grasp of this new style of painting is mostly some famous literati, and then the literati competed to follow suit, and instead of being able to paint for the elegance of the literati. Therefore, later people called this style of painting advocated by the literati, advocated and practiced as literati painting. After the appearance of literati painting, there were different names for it. In the Song Dynasty, Kang and Zhi called it "Painting of the Hermit", Liu Xueji called it "Painting of the Scholar", and Su Shi called it "Painting of the Scholar". From the point of view of its concept as a counterpart to the traditional "painter's painting", they all refer to literati painting.

Comparing literati painting with traditional painting, one of the most important features is that it emphasizes the expression of the author's personal inner feelings, which is a kind of lyrical activity in the form of painting. Therefore, the literati painting and traditional painting, from the description of the "object", the former is mostly landscape flowers and birds, the latter is mostly characters story; from the means of creation, the former is mostly simple improvisation type of calligraphy, and the latter is mostly fine reproduction type of craft. The reason why the literati paintings would adopt the above means and depict the above contents is that the authors of the literati paintings wished to send their inner feelings through the paintings, and their aim was not only the paintings themselves, but also beyond them, so they used these artistic means which were less binding to the creation and the contents of the paintings which were less binding to the thoughts.

Painting before the Northern Song Dynasty was still mainly the specialty of painters, whose social status was not high. As a result, painting, an art traditionally regarded as one in which skill should certainly be mastered by craftsmen, was still despised by the scholars at the beginning of the Northern Song Dynasty. It was not until the emergence of Su Shi that this phenomenon changed. The development and popularization of traditional Chinese literati painting is inseparable from Su Shi's great esteem and personal experience and achievement.

Su Shi believed that painting, as an art, should have similar laws of creation and similar principles of appreciation with poetry as an art, and of course it should have the same status. "Poetry and painting are the same, heavenly craftsmanship and freshness" Su Shi: One of the Two Songs of Folding Branches Painted by Master Wang of Yanling. In this way, the Tang Dynasty Yan Liben sighed for the "painting to see the name, and the servant and so on" (The Old Book of the Tang Dynasty, Volume 100). Song people believe that "the text is not exhaustive warp and weft and the book can not be described, and then followed by painting" Guo Ruoxu: "painting and calligraphy to see and hear the Zhi" vol. 2. This artisanal skills jumped and in the traditional art of the scholarly tradition of occupying the highest position in the poetry of the creation of the same level. Su Shi, "Second Rhyme for Wu Chuanzheng's Song of Dead Wood," argues that "in ancient times, the painter was not a commoner, and his wonderful thoughts were really the same as poetry. This extraordinary (common) painter, whose "wonderful thoughts" were the same as poems, referred to Wang Wei, a famous poet of the Tang Dynasty. According to Su Shi, the poet Wang Wei can also be regarded as the painter Wang Wei: "Poet and painter, orchids and chrysanthemums in spring and fall. I am afraid that both are the same, and they are separated to enter the stream." (Second Rhyme for Huang Luzhi's Book of Bo Shi's Painting of Wang Mochizuki).

This new style of painting, which emerged in the early years of the Northern Song Dynasty, soon became popular among the scholars. After the middle of the Northern Song Dynasty, a large number of literati painters appeared in the history of painting, and almost all of them have some relationship with Su Shi, which may not be an accident of history. In his "Poem on the Smoke and Rain in Lantian, written by Mochizuki," Su Shi said, "To savor Mochizuki's poem, there is a painting in the poem; to view Mochizuki's painting, there is a poem in the painting." In this most famous statement, what is important to the theory of literati painting is the four words "there is poetry in the painting". The so-called "there is poetry in the painting" is in fact a clear statement that literati painting should have a richer intangible content than painting, within the tangible things depicted; it is a clear statement that painting, like poetry, should not only "depict a difficult scene as if it were in front of you", but also "depict a difficult scene as if it were in front of you". It is clearly stated that painting, like poetry, should not only "depict the difficult scene as if it were in the present", but also "contain inexhaustible opinions outside the words". This is also the later literati painting heavy mood, heavy style, heavy author of the beginning of learning. As the literati painting emphasizes "poetry in painting", it brings a series of changes in techniques, making the literati painting has a set of techniques very different from the traditional painting, and finally even affects the literati painting tools and materials such as paper, brush and so on, also gradually with the traditional painting to produce a difference. Therefore, to understand the content of Su Shi's theory of "poetry in painting" becomes a prerequisite for understanding the art form of literati painting.

Strictly speaking, the art of painting cannot be the art of poetry at the same time. Su Shi had two meanings in mind: first, the painter injected poetic emotion into the creation of the painting; second, the painting inspired the emotions of the admirer. These two meanings are clearly expressed elsewhere by Su Shi, and both have had a great influence on the development of the theory and practice of literati painting. Su Shi said, "In ancient times, painters were not commoners, copying and writing objects slightly the same as poets." Ouyang Shaoshi ordered the fugue stored in the stone screen. Painting using the skills of brush and ink is of course completely unrelated to the use of language skills of poetry, then, in the "copying objects" this point, why the painter "slightly with the poets with" it? The problem lies in the painter's observation and experience of the natural world, whether or not injected into their own emotions as poets. In Su Shi's view, "thin bamboo such as a ghost, flowers such as virgins," "book Yan Ling Wang Wang painted by the head of the folded branches of the second, all the objects in nature in the eyes of the poet does not have a unique mood, with this poetic state of mind to paintings, it will be "the old trip to the heart of the self-reflection, the letter of the hand pen are forgotten! "Song Fugu painting" Xiaoxiang evening scene "three" one. The author's poetry naturally flowed.

In this way, the art of painting has become a way to express personal feelings, and the tradition of "Poetry speaks of the will" is combined, so Su Shi put forward the "poetry and painting are the same, heavenly craftsmanship and freshness," only to propose that It is for this reason that Su Shi proposed that "poetry and painting are the same, heavenly work and freshness", and that "there is poetry in painting". Whether there is poetry in the painting should lie in whether the painter has poetic feelings, whether there is not expressed in the form of painting the waves of emotion: "empty intestines get wine, mango angle out, liver and lungs hewing bamboo and stone, Senran want to make can not be returned to, spit out to the snow-colored wall of the gentleman's home." "Guo Xiangzheng home drunkenly painted bamboo stone wall poem for Xie and left ancient copper sword two". "The high feelings are not exhausted by thick water, even the mountains and streams open heavy curtains", "Inscription on Wang Wei's Painting". The use of paintings as a form of expression of emotion was, in Su Shi's opinion, of equal value to poems using words: "But when I make a poem with Shaoling, or when I make a bald brush with you." The Song of the Dead Wood in Second Rhyme for Wu Chuanzheng. Thus, this kind of painting, "Mori Ran wants to make can't go back", and "good poem rushing mouth who can choose", "re-sending Sun like". The same as the poetry of the poet, have become a way to send the poet's feelings.

"Is not a tall man learning to paint, using the brush is its day. Like a good swimmer, one can steer a boat." (Hyun-hyun Shuiguan Poetry). Since painting is an outgrowth of the "style and elegance" and "poetry" in the minds of the literati, and "the style and elegance cannot be exhausted, and the ink competes with the poetry", from this standpoint, the essence of this view is that From this standpoint, the essence of this view lies in the fact that there is no direct and absolutely inevitable relationship between the laws of artistic creation such as poetry and painting and the objects they depict and reflect, and that the results of such creative activities with the creator as the intermediary are entirely shifted by the creator's way of refracting the object. As a result, "when discussing paintings in terms of resemblance, see the neighbor of the child. If you write a poem, you will know it is not a poet," says one of the two poems "Two Songs on Folding Branches Painted by Master Wang of Yanling". The famous theory of literati painting. This is not to say that the image of painting does not need natural counterparts, but only "not to seek", not to let the natural image to limit the image of painting. The theory and practice of literati painting, which advocated "not seeking resemblance" and the introduction of calligraphy into painting, had a profound impact on the development of literati painting, and became the basic principle of literati painting.

Entering the Yuan Dynasty, literati painting entered a period of prosperity. The Yuan rulers were the Mongols, usually called the horseback nation, emphasizing the military over the literati, and dividing the country into four classes, the first class for the Mongols, the second class for the Semyonians, the third class for the female Zhenren, and the Han Chinese as the fourth class. Due to the low status of the Han people, and the general literati are Han people, which led to more literati engaged in painting. Moreover, most of them lived in semi-hidden or fully hidden lives, and the subjects of their pictures were mostly scenes from their lives, so it led to the unprecedented prosperity of literati paintings. The most famous literati painters include Huang Gongwang, Wang Meng, Ni Zan and Wu Zhen. The most famous literati painters were Huang Gongwang, Wang Meng, Ni Zan, and Wu Zhen, known later as the "Yuan Four Families". Their paintings mostly showed "seclusion", "seclusion", "seclusion", "seclusion", "seclusion", "seclusion", "seclusion", "seclusion", "seclusion", "seclusion", "seclusion", "seclusion", "seclusion", "seclusion" and "seclusion". Their paintings mostly depicted "seclusion", "high seclusion", "small seclusion" and "fishing seclusion", with the attitude of "leaving the world and becoming immortal" to express the loneliness and emptiness of the scholarly class. Artistically, they advocate "elegance", "plain and naive", and "naive and faint", and theoretically, they advocate "easy brushwork", "no brushwork", and "no brushwork". Theoretically, it advocated "easy brushwork", "not seeking resemblance", and "chatting and writing in the chest". This period of poetry and letters also gradually formalized into the picture. Not only become part of the layout. And more directly express the author's voice. Poetry, calligraphy, painting, printing began to become one, poetry and painting are linked, poetry is intangible painting, painting is a tangible poem, poetry through the painting complement each other, which also marks the perfection of the form of literati painting.

Yuan dynasty literati painting flourished, its representative Ni Yunlin has a representative of the literati painting theory: "Yu's bamboo chat to write in the chest of escape ear, it is no longer more than its similarity and not, the leaf of the complicated and sparse, the branches of the oblique and straight! If I paint it for a long time, others may see it as hemp or reed, and I cannot argue that it is bamboo, so I really have no choice but to let the viewer know what to do." Ni Zan, "Bamboo Painting by Zhang Yizhong". This tradition of "writing in one's chest" inherited from Su Shi, developed into the Ming Dynasty literati master Xu Wei's expression of anger to dispel the author's pent-up "Lei Luefen Unevenness": "The old man's game of The flowers and plants are all mixed up with the four seasons. I don't blame the drawings for being two strokes short of the mark, but the way of heaven has been poorly taught lately."

Pre-Ming Dynasty literati painting in the inheritance and development period, the emergence of the "Wu School" and "Zhejiang School", Shen Zhou, Wen Zhengming, Dai Jin, etc. is an important representative of this period. Until the middle and late Ming Dynasty, Dong Qichang, who was a theorist and painter, based on Su Shi's theory of "Scholar's Painting", further put forward the theories of painting in the north and south and literati painting, and the name of literati painting was formally put forward and used. At the same time, the status of literati painting as a southern sect was established and even became the highest understanding of the concept of Chinese painting.

The Qing Dynasty saw the heyday of literati painting, with the emergence of many top literati painters, the most prominent being the Four Monks, and among the Four Monks, Bada and Shitao were the most prominent. Being a remnant of the late Ming Dynasty, they sent the pain of the country's destruction in painting and calligraphy, Bada's brushwork is wanton, indulgent, concise, condensed, exaggerated shape, cold and silent mood. Shih Tao endeavored to observe nature, despised the painters who were always in the same boat, advocated that "ink and brushwork should follow the times", "the law should be self-established", and "searched for strange peaks and made drafts" in the face of life. His ideas on the later generation of "Yangzhou School of Painting", "Yangzhou Eight Monsters", Xugu, Zhao Zhiqian, Ren Bonian, Wu Changshuo and so on have played a profound influence.

The Influence of Traditional Literati Painting on Modern Ink Painting

The "bland and naive" and "light and hidden" aesthetics of Literati Painting certainly could not be recognized by the radical reformers in the tumultuous era of nationalism; and the ink and brush techniques corresponding to the aesthetics of "bland and naive" and "light and hidden" gradually lost their traditional status with the importation of sketches from Europe. However, it has been nearly a century since Xu Beihong initiated the "Theory of Improvement of Chinese Painting" in 1919. The importation of the so-called "Western Realistic Technique", in comparison to the creators who have followed his philosophy over the past hundred years, has at most strengthened the stylistic ability of the painters, but has not been able to provide a depth of aesthetics equivalent to that of traditional literati painting. Due to the constraints of history, Xu Beihong and others were not only unable to penetrate into the profound nature of literati painting, but even more so, they wanted to utilize painting as a means of solving the political and cultural crises of the nation. The problem is that not only did Xu's approach fail to solve the national crisis, but it further led Chinese ink painting into a crisis of formalization and hollowing out. In order for ink painting to become contemporary, it is not only necessary to seek innovation in technique, but also to develop a painting language that corresponds to the contemporary aesthetic context. Brushes, rice paper, pine smoke - these materials of the agricultural era may not be unable to develop their unique character in the industrial era. It is just that the traditional ink aesthetics of "plain and innocent" or "timeless and subtle" will have to be expanded to be able to interact with the artist and the times.

Four Historical Background of the Formation of Modern Ink Painting

The twentieth century China was in a period of great and drastic changes, facing crises and transitions, destruction and rebirth, and culture and art, as the voice of the society of the times, were bound to show the characteristics of this aspect. Under the influx and impact of western culture and art concepts and various trends of thought, the pomp and dross of traditional culture and art were cleansed, and the essence of subtlety and refinement was revealed. From the twenties to the forties was the stage of prosperity and innovation of Chinese ink painting, after that, it was once reduced to the vassal of ideology, especially the transformation of Chinese painting and calligraphy from the function of aesthetics and pleasure to the policy of propaganda and illustration, which made the national painting suffered from an unprecedented blow. Since the end of the seventies, the reform and opening up has injected blood into the modern ink art to revitalize its life. In the 1980s, the creative fervor of many artists and the formation of a pluralistic pattern in the art world brought vitality and prosperity to contemporary Chinese art under the banner of maximum freedom guaranteed, creativity and change.

The history of modern Chinese ink painting is a history of change and creation, such as Huang Binhong, Qi Baishi, Shilu, Li Keran, Fu Baoshi and others, taking the path of modern transformation of the traditional literati painting; Lin Fengmian, Xu Beihong and others, is heavy in the introduction of Western painting in the color, composition into the ink. The watershed between the two orientations lies in the brush and ink, but also involves modeling and conception. The development of modern life and the process of cultural globalization since the 2Oth century have gradually deprived traditional Chinese ink art of the humanistic environment in which it lived, and as an expression of the mind, traditional ink painting has become a double obscuration of contemporary feelings due to its clichédness - obscuring the authenticity of real feelings as well as the pallor and hollowness of false experiences, and its modern transformation has become an acute cultural problem. Its modernization has thus become an acute cultural problem that has come to the fore in China at the end of the century. As a matter of fact, to "take the pulse" of traditional ink art, to reflect on it and to seek a way to change it can be traced back to some intellectuals represented by Kang Youwei at the beginning of the century, and later on by Chen Duxiu and Lu Xun. Some artists such as Xu Beihong, Liu Haisu, Lin Fengmian, Guan Liang, Shi Lu, etc. have also long started to carry out the modern transformation of traditional ink painting in their artistic practice, but due to historical reasons they were not able to go further. It was only in the 1980s that this exploration of traditional ink painting, which was once interrupted in the 1960s and 1970s for historical and political reasons, was able to unfold freely and y in a truly open cultural environment due to the reform and opening up of Chinese society, and accelerated due to the influence of cultural globalization. If it is said that the academic controversy, theoretical discussion and artistic innovation of the "ink problem" in China in the 2nd century has roughly gone through the three stages of the formulation of the problem, its recognition, the conception, molding and implementation of the solution, then the 8O-90s at the end of the century was the key 2O years of the molding and implementation of the solution.

V Development and Aesthetic Intention of Modern Ink Painting

The publication of Mr. Wu Guanzhong's Formal Beauty of Painting in 1979 and the exhibition of Taiwanese painter Liu Guosong's paintings held in the National Art Museum of China in Beijing in 1983 were the beginning of this spiritual and cultural journey. The former meant the departure from the single creative mode of Socialist Realism, opening the door to the exploration of new ink art forms, while the latter was undoubtedly a blatant "outing" of the traditional ink and brush program, providing a new frame of reference for the young mainland artists who were suffering from the constraints of the traditional ink values and language at that time. Subsequently, Gu Wenda, Wang Gongyi, Wang Chuan and others combined the conceptual expression of Western modern and post-modern art with the traditional means of ink and wash; Li Shinan's "expressive ink and wash" splashes with a spoon instead of a brush; Yan Binghui's abstract expression of a sense of spiritual strength and gravity; and Li Jin's rendering of surrealistic dreams as a metaphor for primitive life force with ink and wash, all seem completely unsurprising today but were bold and daring at the time. Although they seem completely unsurprising today, they were all bold "out of the box" behaviors at the time. All these out-of-the-ordinary behaviors not only exposed the anonymity and weakness of the traditional ink language in the new cultural context by contrasting it with traditional ink, but also provided a breakthrough for the modern transformation of ink art, and confirmed the possibility of such a transformation through the experimental explorations of the artists who tried to break away from the traditional norms.

Contemporary Chinese art entered a new stage of development in the 1990s, when artists quickly shook off the pan-conceptual tendency of the '85 New Wave, and became sensitive to the living conditions of the current society, and their pursuit of modernization of ink art was directed more toward experiments in the development of the performance of the medium, and the deconstruction and restructuring of the medium's language, and was no longer confined to the improvement of formal techniques within the scope of the traditional ones. Artists are more willing to treat ink painting as an art style with contemporary cultural taste, and use ink to express their feelings and experiences. As a result, we can see a group of ink works that are closer to the reality of rapidly modernizing China. As a kind of "in-place" modern discourse in contemporary China, the ink discourse frankly expresses the real individual's feelings, beliefs, imaginations, and expectations, and not only provides us with the text of the ink images that truly highlights the cultural sensibilities and psychological structure of the Chinese society of modernization, but also reveals the changes in the relationship between human beings and mankind as well as between mankind and nature in the Chinese society. After the mid-1990s, the abstract ink and wash that openly displayed the banner of "experimental ink and wash" formed a strong momentum, and its ****same spiritual direction was to reflect on the loss of human parts and nature brought about by modernization and high-tech development, and "experimental ink and wash", while seeking the right to speak out on contemporary conceptual issues through the shift in creative methodology, also expanded the visual strength of the ink and wash language and its impact on the modern mind to the extent that it could be used as a tool for the creation of new artworks. At the same time, "Experimental Ink Painting" seeks to speak out on contemporary conceptual issues through a shift in creative methodology, and at the same time expands the visual strength of ink language and its impact on the modern mind to an unprecedented degree.

Since ink has become "veneer," conceptual ink, like experimental ink, has been parasitized under the name of variety, which is a reason to once again oppose this ink status quo with media theory. Of course, the debate between the ink media theory and the conceptual ink theory has now shifted to the debate with the ink culture theory, although this ink culture theory is still only sporadic, and there are no major critics in sight. But to summarize, it is nothing more than their view that the media theory of ink and wash cannot fully reflect the cultural characteristics of ink and wash, because ink and wash is not only a kind of media, it also has something of Chinese culture. But this cultural theory of ink and wash can be seen as a deepening expression of the same nature of ink and wash identity theory, allowing ink and wash to make an affirmative cultural commitment, affirming ink and wash by affirming the intrinsic characteristics of culture, which may be the final result of the development of this cultural theory of ink and wash, a media theory that stems from the kind of extrapolation from the field of contemporary art to that of ink and wash that was made from a discussion of contemporary art, and which was derived from such a concept of theology as It is derived from such doctrinal concepts. Its meaning arises between the contexts set by its works, so that media in contemporary art is no longer a "referent" term for material properties, but refers first to the idea, and then to the media used to express that idea. This issue of ink media in the context of contemporary art has been continued and developed in my comments, and the complete view of The approach to the contemporaneity of ink art and ultimately limits the scope of the ink discourse, that is, when they take the possibilities of ink to be infinite-as is the case with experimental ink, and even more so with conceptual ink, the possibilities of ink are very limited.

Six Aesthetic Similarities and Differences between Traditional Literati Painting and Modern Ink Painting

The similarity between Modern Ink Painting and Traditional Literati Painting is firstly manifested in the fact that both of them possess the spirit of rebellion. The traditional aesthetics of painting is always under the constraints of politics, religion, morality and other factors, so the traditional art is utilitarian and programmed to a certain extent. Although the artist's personality and temperament are still the constituent elements of artistic beauty, the traditional rules of art make it difficult for the artist's personality to be exercised. Western Renaissance artists already had a wealth of research on the aesthetic effect of painting, but it was not until the second half of the 19th century that art was gradually freed from some of its obligations to serve society, and it was only then that it began to explore freely the freedom that led to the destruction of traditional rules.

The emergence of modern ink painting was based on anti-tradition and anti-aesthetics, and the destruction of all traditional rules of Chinese painting became its fundamental starting point. The divergence between modern ink painting and traditional literati painting is manifested in the following: the aesthetic viewpoint of modern ink painting believes that painting does not have to reflect reality, which is false and unrecognizable, and that creation bound by phenomena is not free; furthermore, the aesthetic viewpoint of modern ink painting believes that art has nothing to do with beauty, and that art is no longer the manifestation of beauty. In this way, art is left with only one task: to express oneself and to surprise.

And the painting aesthetics of traditional literati painting, modern art theorists also more accurately described, "Chinese painting on a certain period of time under the influence of religion, the identity of the author, whether or not the scholar, must also be subject to religion or the emperor's constraints. ...... Since the Sheng Tang Dynasty, scholar-authors have struggled to be free from the constraints of religion and emperors. ...... The most obvious indication of the triumphant state of affairs is to be found in that short period of time in the middle of the Song dynasty, when ink-play painting flourished." (Teng Gu, "History of Painting in the Tang and Song Dynasties") The traditional aesthetics of painting, which was influenced by the aesthetic interests of religion and emperors, was liberated from the literati, and could "develop freely". Su Shi in the "Su Dongpo set" that the biggest role of painting and calligraphy is "pleasing to the people", "enough to make fun", painting is just a hobby, used to support personal taste, so as to make fun, that is, painting and calligraphy as a send, painting and calligraphy for fun. He emphasized that people should not "lighten up death and life and emphasize painting", so the role of books and paintings is to "always be my joy". Dong Qichang in the Zen on painting also said: painting is to self-entertainment and lyricism for the purpose of Wenxiu, bland and soft form, in order not to serve the royal service and the service of others as a principle, and to the literati scholar and scholarly men, as well as the high and mighty men and although living in the official position, but the heart of the reclusive, and non-aristocratic painters as the main camp. Art is art itself, is the artist's own thing, and no longer like traditional art by all kinds of control, this point with the modern ink painting "for art and art" point of view is very suitable.

The "experimental ink" that marks the birth of modern ink painting is based on modernism and combined with traditional ink. In the past history of art, the contents of art were almost redundant, and the utilitarian moments of morality, politics, education and so on were reflected in the works of art. The art work has assumed such and such a role, therefore, the traditional art can never be completely free and aesthetic, only the traditional literati painting and modern ink painting have rebelled against and abandoned the traditional rules and constraints. The aesthetics of traditional literati painting and modern ink painting are based on the artist's aesthetics, the relative freedom of art creation, leaving behind the traditional rules and the utilitarianism of art in the past, purely based on the art's own rules, the art work shows the charm of the art itself, and the art of these two kinds of art becomes the real "free art".

These two kinds of art become the real "free art", and their essential proximity shows that human beings in the nature of the **** through.

With less and less binding force on art, the aesthetic spirit shown by art is closer to human nature. The modern spirit of traditional literati painting lies in the fact that both traditional literati painting and modern ink painting emphasize more on the subjectivity of art, and thus the human aesthetics shown in such art is closer to the law of art and the psychological needs of human beings.