Melting the heart of culture and washing the heart of Chinese painting

My painter brother Shouyou: is a study painting hard, good at research, works of novelty, quite a sense of the times, not fall into the former stereotypes of the domestic rare young talent. Especially in the color of Chinese painting is very creative, diverse compositions, a wide range of subjects, there is a more distinctive personal characteristics, performance and techniques are also relatively rich, in addition to the boneless outside the brushwork and writing characteristics, increasingly valued by the industry, in a variety of exhibitions were well received. He started to learn painting from junior high school, and successively studied under Mr. Guo Ruyu, Mr. Sun Yunyan, Mr. Hu Kaizhuo, and Mr. Mo Xiaosong. In recent years, he has been making a name for himself in exhibitions both at home and abroad, and is gradually becoming more and more recognized by the industry.

? My Shouyou brother: compassionate and kind, compassionate to help the weak, enthusiastic for public welfare activities to pay, there is a lasting spirit of dedication, he has a good relationship with friends around the good, to participate in the public welfare work seriously and responsibly quite positive. He collects students from poor families who like to paint, and not only teaches them free of charge, but also provides them with all the school supplies free of charge.

? Looking at Shouyou's paintings makes you feel the serene mind of a painter and his simple and pure aesthetics of handling awareness of the objects of painted scenery. Through his brush and ink, we are familiar with these familiar, itself accustomed to see the usual insects, fish, flowers and birds and other scenery, all of a sudden seems to begin to live and move, was given the subjective thoughts and emotions, and suddenly make the objective scenery to give the audience unlimited mood and reverie ...... Many people have praised him for his pen in the rate of intent, color and ink out of the literary talent.

? Shouyou's paintings, often with rockery, flowers and fruits, origami, these traditional flower and bird painting elements to construct a scene, but gives a person a strange feeling, as if they have long been gone, and never came. The artist employs bone-less brushwork techniques to shape the objects and visualize the images, like a bee building a nest. However, at the time of repeated staining and chafing, a vaporizing energy comes to deconstruct the reality of the painting, so that the thick ink diffuses smoke and clouds, the heavy color reflects the light of the water, and the background of emptiness becomes more and more distant. It turns out that this is not the image of the object, but the image of time and space itself, which is beyond history, but reminds people of the gaze of creation.

Before I met Shouyou, I was just a pseudo-painter, basically ignorant of painting techniques. In his studio, gradually began to really get to know Xu Beihong, Qi Baishi, Wu Changshuo, Zhang Daqian ----- these masters of Chinese painting. Yesterday in the studio we again talk about the wrong generation of emperors and was delayed by the times, in the artistic attainments of the painter Song Huizong . Song Huizong's love of painting is very sincere, he used the imperial power to promote painting, so that the art of painting in the Song Dynasty had an unprecedented development. He also created a calligraphy font called "thin gold style", and he loved to paint flowers and birds since the "courtyard style". It is one of the few artistic emperors in ancient times.

? Emperor Huizong of Song developed court painting and trained a number of outstanding painters such as Wang Ximeng, Zhang Zeduan, Li Tang and so on. He organized the compilation of books such as Xuanhe Shubu and Xuanhe Paintings and Xuanhe Bogu. It is a precious historical book in the study of art history, and still has extremely important reference value.

? Song Huizong Zhao Ji is not only good at painting, but also has high attainments in calligraphy. Zhao Ji calligraphy in the study of Huang Tingjian, Xue Yao, Chu Suiliang on the basis of the creation of a unique "thin gold style", thin quite sharp, side stroke such as orchids and bamboo, and its paintings of heavy color. It can be seen from the structure of the characters of the Thin Gold Style that Emperor Huizong of the Song Dynasty was greatly influenced by Huang Tingjian. Huang Tingjian's calligraphy strokes without constraints, with a big apostrophe, long pen four show see effort, he wrote the horizontal painting tilt uneven, vertical painting gnarled and improper, each part of the word is often a good or corresponding skewed shape to match, a reversal of the former horizontal and vertical bland, stagnant structure, so that his word appears to be the wind and spirit of the dashing, magnificent and Wei tumbling. Song Huizong viewed Huang Tingjian's book and sighed: "Huang Shu, such as holding a Taoist foot, sitting on top of a team of horses, horizontal pincers high and low, no less than ideal." The meaning of "Thin Gold Script" is that it is beautifully written in gold, taking the meaning of richness, and also boasts of its strength. Zhao Ji has a lot of calligraphic works that have been passed down to future generations in regular, running and cursive scripts, and his strokes are strong and flowing, rich in distinctive personality. Among them, the "Flora and Foliage by Cui Calyx Poetry Post" is a masterpiece of Song Huizong's Thin Gold Calligraphy, which is written in large regular script with sharp, iron and silver hooks, and has a strong and elegant style. But Song Huizong's calligraphy has the shortcomings of soft and frivolous, this may be the times and his own artistic cultivation, but he created the unique artistic personality of the thin gold style, for later generations to imitate. Both to create a large school of calligraphy.

? Emperor Huizong loved art, the reign of the status of painters to the highest position in Chinese history, the establishment of the Hanlin Painting and Calligraphy Academy, that is, the then Palace Painting Academy. Painting as a method of examination for promotion in the imperial examinations, every year to poetry as the subject had stimulated many new creative stories. All these greatly stimulated the development of Chinese painting mood. The Xuanhe Paintings Records recorded his collection of two thousand seven hundred and eighty-six bird and flower paintings, accounting for forty-four percent of the total collection. This shows the depth of his favoritism. It is recorded in the "Painting Records" that Zhao Ji had written the "Peony Zhuang Zonghe Tu". Regarding Zhao Ji's artistic achievement, his bird and flower paintings have always been regarded as the highest. The originality of Zhao Ji's art and its influence on future generations is also reflected in his bird and flower paintings. This is manifested in the following three aspects: Zhao Ji's "One in the World" Flower Sequence Zhao Ji's "One in the World" Flower Sequence Firstly, the uniqueness of the arrangement of the image concept. Since it is the painter's duty to manage the position, there are many different ways of arranging the picture depending on the subject matter and the content. There are general methods, which can be learned by everyone, and there are also special methods, which require the author's ingenuity and skillful arrangement. The composition of Zhao Ji's bird and flower paintings is sometimes unique. This was the beginning of the reform of Liu, Li, Ma, and Xia in the composition of landscape paintings in the Southern Song Dynasty. Second, the uniqueness of realistic technique. A foreign expert who studied the history of Chinese art once called Zhao Ji's realistic bird and flower paintings "magic realism" because it gives people a "magic allure". In the Northern Song Dynasty, it was not uncommon for painting theories to say that chi yun was the most important thing, but in Zhao Ji's time, it was strictly required that form and spirit should be emphasized together. "If there is rhythm without resemblance, the quality is better than the text; if there is resemblance without rhythm, it is flashy but not real"? . Similarity of form is better than the interest of the object, similarity of God is better than the interest of the sky, and the most ideal state is to reach the similarity of God from the similarity of form. The so-called realistic sketching not only requires a correct form, but also a lively spirit. Zhao Ji, in his creative practice, has been striving to achieve the divine resemblance from the physical resemblance. Legend has it that Zhao Ji painted plumes with raw lacquer eyes, hidden beans, high on the paper, a few want to be active. This is precisely in order to achieve the resemblance of God from the form of technical attempts. Third, the uniqueness of combining poetry, calligraphy, painting and printing. Zhao Ji's paintings, especially the bird and flower paintings, often have imperial poetic inscriptions, markings, signatures and seals. Poetry inscription is generally on the paintings belonging to the refined and rich all the way, such as "Hibiscus and Golden Chicken" axis, the lower left corner of the autumn chrysanthemums, a little on the diagonal supine hibiscus a plant, birds and birds according to the branches of the Golden Chicken, looking back at the upper right corner of the two butterflies flying playfully, along with the Golden Chicken's gaze, oriented to the right side of the blank space of the poem inscription: "Autumn strength to resist the frost Sheng, the Eeguan brocade feather chickens; known to be full of the five virtues, comfort over the mallard ducks. " The whole picture opens and closes in an orderly manner, the poem sends out the meaning of the painting, and the painting is more complete because of the poem. The title of the poem has actually become a part of the composition of the picture, from which we can see Zhao Ji's bold attempts and remarkable achievements in the integration of poetry and painting. The inscriptions and signatures on the paintings are generally in his unique "thin gold style", which is a perfect match between the strong font and the beautiful painting. In a word, "Emperor Huizong was a heavenly sage, and his art was extreme in God" ("Painting and Relay"), and all aspects of poetry, calligraphy and painting reached a certain artistic height, especially in painting, no matter landscape, birds and flowers, or people, all of them were able to "assign shapes to things, and get them at will, and the brush drove the creation, and was sent out on the tip of the millimeter, and all things were given their full Physiology"? The same can be said of Huizong Zhao Ji. It can be said that Huizong Zhao Ji is the only emperor in history who really has a high level of artistic cultivation and painting talent, and really called the painter.

? That is to say, two painting allusion to the topic: "return to the horse's hooves" of the story: one day, Zhao Ji spring and return, the pleasure is strong, then "return to the horse's hooves" as the theme, in the Imperial Garden held a unique painting test. Here "flowers", "return", "hoof" are good performance, only "fragrance" is something intangible, with painting It is difficult to show. Although many painters have the reputation of skillful painters, but look at each other, no way to write. Some paintings are horseback riding back in the spring, hand pinch a flower; some also in the horse's hooves above the petals stained with a few pieces of flowers, but not to show the word "fragrance". Only a young painter's whimsical ideas, happy to pen. Painting idea is very clever: a few butterflies fluttering around the hooves of the running horse, which is the image of the flowers back, the hooves of the horse still has a strong fragrance. Song Huizong leaned over to take a closer look, applauded: "Wonderful! Wonderful! Wonderful!" Then commented, "The beauty of this painting is in the wonderful intention and deep meaning. The intangible flower 'fragrance', tangible leap on the paper, people feel the fragrance!" All the painters heard, no one is not surprised, are ashamed to be inferior.

? Zhao Ji once used "deep mountains hiding ancient temples" as the title to test the students of the Academy of Painting. The first student drew the whole temple and the mountains around the temple. The second student drew a corner of the temple, and on the background, he drew a dense forest with rolling hills. The third student did not draw the ancient temple, but only a stone path in a deep valley, at the end of which a monk was fetching water from a stream, hidden by a large tree, not knowing where the temple was. "Hidden temple in the mountains" is intended to do something on the word "hidden", giving people the artistic enjoyment of "endless paintings and endless meanings". "Good hiding, not yet exposed, good exposed not yet hidden", the painting paid attention to the hidden natural, hidden skillfully, hidden poetic mood.

? After talking about Song Huizong, we talked about the patriotism and heroism of Zhang Zizhong, the famous general of the war. talk about the melting of ancient and modern techniques in a furnace of master Xu Beihong , his works show a high degree of artistic skill and wide range of artistic cultivation, is the ancient for the modern, foreign for the use of the model, in the history of art in China has played a great role in the past and the future, the past and the future. He specializes in drawing, oil painting and Chinese painting. He incorporated Western artistic methods into Chinese painting, creating a novel and unique style. His drawings and oil paintings are infused with the flavor of Chinese ink and brushwork. His works cover a wide range of subjects, including landscapes, birds and flowers, animals, people, history and myths, all of which are vivid and lifelike. His masterpieces such as the oil paintings "Five Hundred Soldiers of Tian Heng" and "Sigh After Me", the Chinese paintings "Nine Square Gaos" and "The Foolish Lord Removes the Mountain" are full of patriotism and sympathy for the laboring people, showing the people's perseverance and unyielding spirit, expressing the sorrow and indignation for the nation's demise and the longing for the bright liberation. His paintings of galloping horses, lions, and morning chickens give people vitality and strength, and express an uplifting and positive spirit. Especially his galloping horse, is more world-famous, almost become the symbol and symbol of modern Chinese painting. Xu Beihong devoted himself to art education for a long time. He discovered and united many famous people in the art world. Many of his students have become famous artists and the backbone of the Chinese art world. His contribution to the building of China's art team and the development of China's art career is unparalleled and far-reaching.

? We also " for heaven and earth to establish the heart, for the people to establish the life, for the past saints to succeed the great learning, for the world to open the peace ", these words talk about personal understanding and views and trace the exchange:

1, "for heaven and earth to establish the heart," Cheng Mingdao said: "Heaven and earth have no heart to the heart of the creatures. He also said, "Heaven and earth have no heart but become chemistry." The heart of the human being is the heart of the human being, the heart of the human being, which is to make the human being able to uphold the heart of the benevolence of fraternity and benevolence, and the heart of the saint of openness and impartiality. In fact, the heart of compassion is the heart of intolerance, that is, Confucius' "Do not do unto others as you would not have them do unto you", that is, the starting point of benevolence. In this way, Mr. Ma Yifu concluded: "The scholar's business is not to know benevolence and seek benevolence, good benevolence and evil unkindness, but to be able to do so, is to set up a heart for heaven and earth."

2, "for the people to establish life", directly from the "life" of the idea of Mencius. Mencius. The "heart of the heart" has a cloud: "The heart of the heart of the person, know their nature. If you know your nature, you know heaven. Keeping his heart and nurturing his nature is the way to serve Heaven. If one's life is short, one should cultivate one's body in order to establish one's life." Through cultivating one's body and teaching one, if one can finally reach a state where one can maintain one's sexuality regardless of whether one's lifespan is long or short, then this individual can be said to have established his or her life in peace. Zhang Zai labeled "for the people to establish life", that is, for the "people our compatriots" to "establish life", and its life lies in the teaching, "cultivation of the so-called teachings "The first thing that I want to do is to teach the people.

3, "for the past saints to succeed the extinct learning", so "past saints", Confucius, Mencius, represented by the Confucianism; "extinct learning", Confucius and Mencius, the Confucianism of the Confucianism to promote the Taoism is also. For Confucianism, Confucius is certainly a masterpiece, and the Song's Lian, Luo, Guan, Min everyone, the expansion of Confucianism to a whole new stage. Can really carry forward the inheritance of Confucius and Mencius of the Confucian Confucianism, but only the Song Confucianism.

4, "for the world to open the peace", expressed by the Confucianism is also the eternal political ideals of the Song Confucianism. The "open" expectation of the so-called. "For all generations to open peace", the realization of Zhang Zai's "Ximing" describes the cultural ideals, the people and things, all to benevolence, in order to let the blinded and ignorant modern people to return to the human spirit of honesty and clarity of the spiritual home.

Ye Cai explained: "Heaven and earth is the heart of life, the saint praised the fertilization, so that everything is correct in its life, this is for the heart of heaven and earth; build the righteousness, foster the norms, this is for the people to establish the road; following the extinction of the school, that is, to carry on the Taoist system; the opening of the peace, that is, the king up, will be taken from the law of the benefit of the Zephyr, hanging in the world." By the way: the Song Dynasty scientists believe that Confucianism is the Taoist system since Yao, Shun, Yu, Tang, Zhou Wen Wang, to Confucius, to Mencius. Since Mencius died, his teachings have not been passed on. It was not until the rise of Confucianism in the Song Dynasty that Confucianism was advocated, and it was not passed down for thousands of years. This is why it is called "Succession of the Saints to the Great Learning of the Past".

? Finally, we stand in our respective positions to interpret what is meant by "goodness". Do not harm, do not rectify, do not do bad things, sympathy for the weak, relief of the poor, giving to the masses, do not kill ------ that is good? So have to talk about Mr. Nan Shi Huai Jin "and the past, present and future generations for the self for the benefit of others. Faith and other good heart and good heart of all good roots are goodness", which comes with the problem of the great depth of Buddhism. I think this is a very good question, and it helps to clarify some of the most basic issues of Buddhism and Buddhist studies. The reason is that this question involves one of the most basic definitions of Buddhism as a whole:

"All evils are not to be done, all good deeds are to be practiced, and one's own will is to be purified, and this is all Buddhism." It is clear from the above verse that in a sense the starting point of the entire Buddhist system is the concept of good and evil. If you don't know what is good and evil and talk about Buddhism, I'm afraid that the content of the talk will become a castle in the air. We therefore call that which is good for the self and others in this life and the next good good, and that which is detrimental to the self and others in this life and the next good, evil.

So what do we mean by "good" and "bad"? It is happiness and suffering. These two personal feelings are the ultimate foundation of the Buddhist concepts of "good" and "evil".

This is not the end. Because suffering and happiness are relative. For example, even our earthly feelings of extreme suffering can be said to be extreme happiness for the beings in hell. For example, the extreme happiness of our earthly life is as unbearable as a filthy toilet to the thirty-three heavens. And the joy of the 33 heavens is like licking honey from a sharp blade in the eyes of a Lohan; in essence, it is still suffering. The ultimate, absolute, true happiness is only available to those who have broken all worries, all habits, and all ignorance. We call such a person "Buddha".

Therefore, good and evil should also be relative and absolute.

So the motives and results (in this case, the direct results) that the questioner refers to have nothing to do with good and evil (i.e., the bitterness and happiness of the final result)? This is not the case.

The Buddhist analysis of karma generally discusses the so-called "four branches", that is, the four conditions that are necessary for the production of karma: the situation, the intention, the action, and the ultimate.

The object is the object.

The intention is the motivation.

The process of doing something and the fulfillment of its purpose.

I think this is pretty much the end of the explanation. The real, concrete events, we must know that the world is extremely complex, human nature is even more complex, so there is often a mixture of good and evil, mainly evil, which is also consistent with our daily life of bitterness and happiness, life is not as good as nine out of ten feelings are the same. Therefore, adjust their own "good" intentions, but to do good things, do not ask the future, there will often be unexpected surprises.

? Shouyou brother and I have been understanding of the simplest common sense of good: when we do something, it is good for ourselves, good for others, does not harm their own interests, and will not harm the interests of others, such behavior is called "good".

Topic: What is a good work of Chinese painting. A style. Two, ink and brushwork.

Character; style. Tang Jiang defense "Huo Xiaoyu biography": "So the king of Huo's little daughter named Xiaoyu ...... yesterday sent a certain person to seek a good son of a matching style." Wei Wei, "The East," Part I, Chapter 4: "Her special care, sensitivity and determination ...... all reveal the heroic style of a commander." .

Style, scene. Tang Zhang Qiao 《宿刘温书斋》poem："不掩盈窗月，天然格调高。" Song Chen Liang, "Point Jianglip - Wing Plum Moon": "Do you know? The rain reviles the clouds, but the style remains the same." Li Jianguo, "Climbing Mount Tai in the Rain": "The mountains and the water are in a different style here, changing and harmonizing."

The meter and tone of poetry.

Poetry's meter and tone. It also refers to the artistic style of a work. Song Zhao Lingxiu (赵令畤) Hou Mackerel Records, Volume 5: "Every sentence expresses the feelings, and every piece shows the meaning. I would like to thank my singing companion for setting the tone first and then listening to the rest of the words." Yuan Huen, "The General Discussion of Hermitage - Poetry V": "The style and syntax of the poem are very similar to the works written before I was born." The Eleventh Episode of The Story of Words: "High and low, tight and slow, according to the gong and Shang, light and heavy, fast and slow, according to the meter." Qing Dynasty Dai Mingshi, "Preface to Wild Fragrant Pavilion Poetry Collection": "Even if there are one or two capable people, they are only criticizing the sound disease and seeking the style."

词语分解 格的解释 格 é 划分成的空栏和框子：格子纸。 Square of checker cloth. French style, standard: grid. Grammatical. Format. Grammar. Qualification. Qualification. Expressed qualities: grunts. Style. Personality. National character. Character. Obstruction, compartmentalization: grunt. Strike, Fight: Fighting. Fighting. Push and probe: gr. Explanation of tuning Tuning (调) à Arranging disposition: tuning order. To call. Dispatch (?) mobilize. Transfer. transfer. transferring. mobilize for defense. To marshal troops. Visit to understand: investigate. investigate. Music on the high and low length with a harmonious and good-sounding set of sounds, the high and low rise and fall of the word sound: tune. Tune number. Tune. Tone. Tune. Major key. A minor key.

国语辞典 格格é diào ? 1. The metrical and sonorous tone of a poem. It also refers to the artistic style of a work. The Golden Lotus: The First One: "High and low, tight and slow, according to the Gong Shang, spitting jade and spraying beads; light and heavy, fast and slow, according to the style, clanging gold and jade. The History of Confucianism. The Fifth History of Rulin: "His character is the best, but he refuses to learn the law of the ancients, and he just creates his own style and writes by his penmanship. 1. The character and demeanor of a person. Tang Dynasty. Jiang Defense, "Huo Xiaoyu Biography": "Yesterday, a certain person was sent to ask for a good son or daughter with a compatible style, and a certain person said that he had ten sons." Tang Dynasty. Qin Taoyu's poem "The Poor Lady": "Who loves the high style of the wind and stream, and **** pity the frugal dresser of the times. 1. style, scene. Tang. Zhang Qiao's poem "Staying at Liu Wen's Study Hall": "The moon is not hidden in the window, and the sky has passed in a high style." Song. Chen Liang (点绛唇): "One Night of Love Thoughts. The song Song. The rain revile the clouds, the style is still the same.

Brush and ink, in this sense, refers to the unique beauty of calligraphy in the use of pen and form, and has become an important aspect of the pursuit of brush and ink in landscape painting. Compared with Western painting's precise modeling of objective objects and emphasis on visual impact, the plane modeling of landscape painting, which is mainly based on the use of lines, pays more attention to the expression of a subjective interest in the nature of landscapes and the painter's life situation, cultural psychology, and aesthetic ideals are all concentrated and condensed in the composition of the brush and ink, and the brush nature of landscape painting has become the most important aspect of the landscape painting. The nature of the landscape, the painter's life situation, cultural psychology, and aesthetic ideals are all concentrated in the composition of the brush and ink, and the play of the nature of the brush and ink gives landscape painting a unique rhythm. As described in Shi Tao's "Record of Paintings", "Painting, the world's great law of change, the elite of the situation of mountains and rivers, the cultivation of ancient and modern creations, the popularity of yin and yang, borrowing ink and brush to write about all things in heaven and earth, and Tao swims in me." It is undeniable that when the supremacy of brush and ink after the Ming and Qing dynasties became a program detached from reality, the life of brush and ink declined. Brush and ink should be built on the spiritual subject of the painter, and the epochal nature of brush and ink lies in the painter's communication with the nature of mountains and rivers. The communication and dialog between the ancients and the nature of mountains and rivers can never replace the contemporary painter's knowledge and interaction with the nature of mountains and rivers. In the ancients, the landscape is obviously not a simple objective existence, but has life, the relationship between the painter and the landscape is not a one-way state of recognizing and being recognized, but is close to the communication and interaction of the relationship. "I see the green hills more charming, I expect the green hills to see me should be like this." The green mountain is not a lifeless simple landscape form, but has the spirit of weather, the painter and the landscape of the spirit of interaction, is realized by the ink and brush.

Above too written things, really let a person half-understand. To give an example: a woman out of a bookish family, dress, demeanor appearance image; and a wipe powder, frivolous artifice, artifice, low-class vulgar woman compared to the former that is to have style, the latter is known as no style.

We understand that the brush and ink, is the staccato strokes, line ups and downs, size and thickness, bearing and turning harmonic and natural, square brush, round bar, hook, press fold, point and skim, rich changes, not repeated, but also to be in order, not feeling the mess, not feeling the scattered, pleasing to the eye, the beauty of the flow of the heart to see, longing for a thousand, unlimited realm of meaning ----- so the calligraphy of Chinese painting, absolutely top quality masterpiece, will be known for generations to come.

See Shouyou painting, see him wholeheartedly with the hands of the pen and paint to create beauty; listen to Shouyou talk about the appreciation of Chinese painting knowledge, listen to him talk about the historical allusions to the feelings of the country; we look back on the patriotic deeds of our predecessors, and feel the essence of the culture of China; we take pride in the traditional culture to bring us valuable wealth, while encouraging each other to longing for how to develop their own cultural self-confidence. Culture is the bloodline of a nation and the spiritual home of a country's people. Chinese traditional culture has a forward-looking and adaptive, it is from the Chinese nation five thousand years of civilization development bred, is the country and personal development of the inexhaustible power and rich nourishment, but also the revival of China, strong and rich people rooted in the cultural soil.

I am a drop in the ocean in time, my energy is not enough to rule the country, benefit the public. But I only wish I could grasp this fleeting moment in my life, and pursue the sense of meaning that exists in the process of my short life as if I were a moth to a flame! However, I could not care less, I have something, but also to pull together to form a text, leaving aside the value of whether or not, to promote the full cultural confidence sentiment, this attitude is positive energy, the spirit of Can Jiazan, worthy of advocating affirmation. In the future, I will continue to work hard, will not be afraid of the world's eyes and comments.