Landscape painting has become the theme of painting, and landscapes, nature and objects are beautified and artistic in the form of painting, which is inspired by Lao Zi and Zhuang Zi's thoughts. Laozi believes that the relationship between man and nature should be consistent, that is, man should manage the land, the land should manage the sky, the sky should be a pipeline, and the Tao should be natural. Tao "born" refers to the origin of the universe. It is the sage who discovered and summed up Tao from all things in nature, and is called the sage with Tao. The sage's way is also reflected in things. For example, in Chapter 78 of Laozi, "People are born weak, but death is strong, and everything is born soft and brittle, and death is withered. This is a natural phenomenon, but the sage concluded that strong objects often lose vitality, while weak objects are full of vitality. The life truth of "if the army is strong, it will die, and if the army is strong, it will die"; If the wood is strong, it will fold. " The sage gets the Tao by tasting the image revealed by the sage's Tao, which is called the sage's taste image, and the taste image should be "clear-minded". If there is a dirty heart, it is difficult to understand the root of everything, which is called a clear taste. "Chenghuai" is an ideological concept inherited from the aesthetics of Laozi and Zhuangzi. Laozi put forward the idea of "removing metaphysics" and returned to its true colors. Zhuangzi developed it into the proposition of "keeping in mind" and "forgetting", and established the theory of aesthetic mind. Zong Bing's "clear mind" is Lao Tzu's "purity", and Zhuangzi's "fasting" and "forgetting" is an empty and bright state of mind. Zong Bing believes that "open mind" is a necessary condition to realize photo aesthetics. Only by "clearing the mind" can we get "taste" and aesthetic enjoyment from the natural ontology in the state of nothing. Zong Bing applied this philosophical thought to the creation of landscape painting, and put forward the viewpoint that "sage reflects things with Tao" and landscape flattens Tao with shape. It is believed that landscapes attract saints to travel because they are qualitative, interesting and spiritual, which embodies the inner spirit of spiritual ontology. "Advocating Taoism" means competing for favor. Zong Bing is the embodiment of scenery. Because of its beautiful shape, the landscape can compete with everything for favor. The sage's way focuses more on the form of landscape painting, and Taoist thought has played a positive role in promoting the development of landscape painting. Zong Bing is a pioneer of landscape painting, he said in the preface to painting landscapes; Moreover, Kunlun Mountain has a big pupil and a small eye, and the eye is forced to be inches long, so it is not gambling, but it can be surrounded by inches for several miles. If you leave it wider, you will see that it is very small. He said that Kunlun Mountain is very big, but people's pupils are very small. If you are close to the mountain painting, you can't see the whole picture. Looking back from a distance, you can see the whole mountain. In his countless explorations, how to show the real mountain in the form of painting, he invented a perspective view method, which is to put a transparent raw silk piece in front of your eyes and reflect the scenery you want to choose from a distance, a bit like the method of raising your hand or hollowing out pieces of paper when you go out to sketch today. This method is more than 1000 years earlier than the western perspective, but it has never been used in China's landscape paintings and has been avoided. The embodiment of Zong Bing's thought in painting is that "painting three inches vertically can reach the height of thousands of feet, and painting several feet horizontally can reach hundreds of miles away. This is not only Zong Bing's perspective principle and its application, but also embodies Zong Bing's aesthetic thought about natural things. Zong Bing can find his "interesting spirit" and "spiritual feeling" in the landscape, which is his profound understanding of nature and makes his spirit melt into the object of beauty and be liberated freely. He can forget the fame and fortune in the world, which is the reason and result of his open-mindedness, which comes from the influence of Zhuangzi. I pinned my hopes on the world famous mountains and rivers and absorbed them into my own paintings, showing Zhuang's painting form and realizing a spiritual transcendence. China's philosophy holds that Tao is the origin of the universe, and everything originates from Tao. Tao, "rope is indispensable, and what belongs to things is called everything, and it is invisible." (Chapter 14 of Laozi) "Tao" is the invisible, inaudible and intangible origin of the universe (Zhuangzi); You You) thinks that it can only be observed through the process of waiting and watching. Beauty is the Tao, and it also needs the meditation of the aesthetic subject to grasp it. As a method of China's aesthetic view, he completely moved the aesthetic dimension of human beings to the spiritual world. Different from western art, which pays attention to sensory experience and calls painting "space art" and "visual art", China's traditional aesthetics puts all aesthetic activities in a state of meditation; (Yang Xiong's "Fa Yan") said; "The husband said the truth, draw the truth. "It's heart, painting is expression, and contemplation begins with the aesthetic subject focusing on the isolated and insulated material environment with an empty state of mind, and merging the two together. Therefore, spiritual accomplishment is an important prerequisite for the aesthetic realization of photos. (Wang's "Fish Window Manbi") If the snow is not exhausted, it will be greedy and full of praise. When creating, it must be "delicate, meaningful and tacky." "It was worn in the Qing Dynasty (Xi Kuzhai Painting Xu, Volume I);" I am interested in painting. Every time I look for pen and ink to draw, I am not interested in drawing. Here comes the painting. I'm looking for pen and ink. It's better to cover up intentionally than unintentionally. "China's landscape painting is the embodiment of Confucianism, Buddhism and Taoism. He did not simply paint landscapes, but created a unique aesthetic way of China's landscape culture by painting landscapes, and used him to observe nature and realize life. People can get a particularly pleasant experience from the perceptual intuition of everything in the natural universe, thus greatly improving people's living realm.

Second, express your feelings with ink.

The style of landscape painting has experienced thousands of years of evolution, and each period has different characteristics. Both the majestic mountains and rivers in the north and the beautiful mountains and rivers in the south are represented by pen and ink. Pen and ink are the essence of landscape painting, just like notes. Without notes, there is no beautiful melody, and without pen and ink, there is no unique landscape culture, so pen and ink is the foundation of painting. The color concept of landscape painting pen and ink can be traced back to the thought of Laozi and Zhuangzi, who thought that "five colors make people blind". Know its white, keep its black, mysterious and mysterious, the door of Wan Qi. The gate of Xuanzang 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 a way to create the eternal operation of everything. As Zhuangzi said, "If you look at others, the empty room is white". This "white" is the auspicious light of "Tao" and symbolizes the infinite continuation of life. The blank of Chinese painting is not nothingness in artistic conception, but hiding place. Hiding makes people think of more object culture from one point. In the early Qing dynasty, the painter Sasakawa Shigemitsu said when painting Sasakawa. "Empty this difficult figure, real clear now empty scene. God can't draw. The real scene is now, and God is born. The position is hostile, and the paintings are mostly warts. Virtual reality and reality are born together, and no painting is the beauty. " The shrimp painted by Qi Baishi has no aquatic pond, but it makes people feel full of water. If you paint the background, you will eventually feel confined to a closed corner, or feel that not painting the background is gilding the lily, as if inviting you to swim in the painting environment, looking around, fascinating and memorable. "Black" refers to Mo Yun who works hard in pen and ink, insists on vivid and focused description, and pays great attention to vivid brushwork, so that objects and blank areas complement each other, arouse metaphors and associations, and strengthen artistic feelings. "Knowing white and keeping black", the black part is a more vivid and concentrated expression of the image, which makes the simple picture full of associations. In the organization of pen and ink, white is empty, sparse, black is solid and dense, and white and black echo and penetrate each other, and there are images of white in black, black in white, black in white, black in ink and hidden in white. "Know white and keep black", based on black, and consider white, as the cloud "The Lame in the South" says; "The heart of the ancients was in a land without ink", which made the picture relaxed and illusory. Of course, the beauty of "white" lies in the awakening and management of "ink" in order to achieve better artistic effects. Zhuangzi believes that the "five-color puzzle" is simple, and the world can't compete with it. Colorful secular beauty can only stimulate the senses, but it is not real beauty. Early hermit painters abandoned the gorgeous "five colors" and replaced them with "simple" ink and wash landscape paintings, which became an excellent tradition of China landscape paintings for more than 1,000 years. Ink painting is a powerful artistic means for China painters to express objective images and express their subjective feelings. Through the ingenious cooperation of water and ink, we can create thick, light, dry, wet, solid and virtual by using the changes of different strokes, strokes and ink transportation, such as positive, negative, pressure, frustration, rubbing, splashing, breaking and accumulating. Through the harmony of water, ink painting produces different ink painting image changes, showing the beauty of ink painting implication of different feelings and emotional contents, making different ink painting images overlap and stagger, forming a symphony-like rhythm change, and achieving the beauty of ink painting rhythm in ink painting tones. The ink feeling of this kind of ink is highly unified with the beauty of ink method, forming a "Mo Yun". Mo Yun can vividly express the "form and spirit" of objective images and the subjective "emotion" of the author by combining the means of expression such as "bone pen", which is the vividness of "Mo Yun". Shi Tao mentioned it in his work "Lotus Out of Water"; "In the ink group, there are black groups, and the leaves in the ink group are wide; Try to see the pen wear smoke, and the waves don't have to be exhausted. " We can appreciate his understanding of ink painting and painting, and it also contains the feelings of art for nature. Western landscape painting reproduces nature with five tones of black, white, gray, light and shadow, while China's landscape painting takes "vivid charm" as the core, combines poetry, books and paintings, and expresses the rhythm of life with one yin and one yang, one deficiency and one reality. In the Tang Dynasty, Zhang Yanyuan put forward the idea of "five colors conveying ink", which replaced black, blue, red, yellow and white with "five colors", that is, ink replaced color, which could also express richer and more complicated contents such as spatial distance, light and shade, yin and yang, dryness and wetness, and even personality and temperament. Wang Wei and Wu Daozi also advocated that "ink painting is the best in painting". In his creation, he was not influenced by the colorful atmosphere at that time, but insisted on walking away. Based on China's cosmology and Taoism, a mysterious space consciousness is constructed. Chinese painting relies on pen and ink to create a unique sense of space, which is just like the "Tao" of Laozi and Zhuangzi is nature and the "nothingness" of Confucianism. The "emptiness" and "reality" in China's philosophy are dialectical movements, and the white and black in China's paintings are also the unity of opposites. There is truth in emptiness, which is manifested in white and black. Truth and reality coexist, and everything that is not painted has become a wonderful place. Various ink images produced by different strokes and methods can express different ink meanings and ink rules, and the beauty of ink meanings and ink rules is organically combined to form the "Mo Yun". Therefore, "Mo Yun" is both a form and a content, which is a high degree of unity of the beauty of pen and ink content and the beauty of form. "Mo Yun" is the language and rhythm of the formal beauty of ink painting itself. It works with pen, modeling, composition and other artistic means to create an artistic image of landscape painting with both form and spirit, vividly expressing the theme and artistic conception of the work. The color change of landscape painting is basically a subtle change that pays attention to simplicity and massiness, which is determined by the pen and ink characteristics of Chinese painting. Because complex colors and excessive decoration will destroy and hinder the performance of ink painting, once the role of ink painting is lost, the whole picture will be scattered and decomposed, and the works will lose their charm and artistic conception.

Third, create the image of nature.

The Chinese painter has developed the landscape culture to a very profound level with the two simple materials of pen and ink, but he has a different way of observation from the West. It adopts the methods of "setting up the image to the best of its meaning" and "looking at things and taking images". There is a passage in "Biography of Cohesion"; Confucius said; This book is not full of words, and words are not full of meaning. However, is the meaning of saints invisible? Confucius said; Sages set up images to the best of their ability, divination to the best of their falsehood, words to the best of their ability, and inspiration to the best of their ability. "Words fail to convey meaning" refers to the limitations of thoughts and feelings, while "images" can convey meaning, that is, with the help of images, the thoughts of saints can be fully expressed. "Looking at things and taking images" is said in Cohesions's Biography. The ancients believed in the king of Xi family, looked up at the sky, looked down at the earth, looked at the culture of birds and beasts, looked at the suitability of the earth, and looked at everything near and far, so they began to gossip, in order to understand the virtue of the gods and the feelings of everything. "Looking at things and taking images" was created by saints based on their observation of natural phenomena and life phenomena. A simple horizontal line arrangement represents the profound and subtle truth of the universe. "View" is the direct observation and feeling of external objects. "Take" means refining, summarizing and creating on the basis of "view". "Viewing" and "taking" are inseparable from "image". Look at things in different ways. We can't fix an angle, nor can we confine ourselves to an isolated object. But to "look up" and "look down", focusing on the big (macro), small (micro), far and near. Only in this way can we grasp "the way of heaven and earth, the love of all things" The proposition of "viewing things and taking images" explains the source, generation and way of images in Yi. Because there are similarities between Yi's image and aesthetic image, this proposition also touches the origin of art. Painters in China are happy between mountains and rivers, but they will not imitate nature with sketch clips and oil painting boxes. They don't care about the mathematical form, geometric proportion, color light and physical space-time, but put themselves into the universe to get rid of the endless and infinite pure self-mind. To understand the spirit of the soul bathing in snow and beauty, "Zhong lived in a leisurely and spacious place, married and raised the spirit of peace and harmony, and also painted flowers and birds for his own entertainment." (Zhang Yanyuan's Notes on Famous Paintings of Past Dynasties) This unique aesthetic way determines that China painters do not directly ask for the motif of creation from nature, but seek inspiration from nature. Once we wait and see, "I don't know if I am a grass bug, and the grass bug is for me" (Luo Dajing's Record of He Lin Yu) reaches a state of forgetting both things. Li Rihua said in "Poetry of Huailutang"; "You may not be able to write pine and bamboo under the bamboo forest in Qiao Song all day". This sense of paying attention to creative spirit is essentially different from western imitation. The process of meditation is a process of cross-integration of things and me, because the representation extracted in this process is different from the typical performance of western painting, but a representation of the painter's emotion, the representation of things and me. Under the control of emotional thinking, the representation of things and themselves has the nature of refinement and generalization. In the objective world, only by putting aside all external relations and existing things can the appearance of things and me be unified and the lyrical brushwork of Chinese painting be displayed. The application of pen and various dotted lines in Chinese painting has become a major feature of Chinese painting, dissolving the supernatural beauty of Vientiane, melting the poetic heart and integrating the poetic realm into the painting. The lines drawn by the brush and the shades of ink directly express the mood of life and penetrate the core of the characters. Its spirit is simple and implicit, "wash away the dust and leave me alone." Fang Shishu said in "On Unintentional Temple": It is natural that mountains and rivers are covered with vegetation, and so is this reality. It is better to create an environment by heart and transport the heart by hand than a virtual environment. What is empty is really a gap between pen and ink. Therefore, the ancient pen and ink are more beautiful than mountains and rivers and Cang Shu, and the water is vivid and smooth. Outside the world, this is a miracle. In other words, they are all refined into liquid, abandoning me to save essence, and the songs are wonderful. Chinese painting relies on the black-and-white relationship between pen and ink to create a wonderful artistic conception. Ma Yuan's "Fishing Alone in the Cold River" is all blank except for a lone boat and an old man fishing, but the blank is not empty, which makes you feel that the river is wide and the smoke is curling. The image of China created by ink painting is open, fluid and infinite. Unlike western paintings, which show a limited world, a static space, the content is confined to a frame and can only be decorated on the wall. The color of oil painting brings anxiety and anxiety to the viewer visually. Chinese painting, on the other hand, takes implication as beauty, and the ink is colorful, with one as ten, and less wins more. Appreciating landscape painting is like drinking nectar in summer, which is refreshing and has far-reaching influence. Landscape painting embodies the idea of seeing the big with small, winning more with less, and several small trees and grasses show a unique world. You can feel the universe between square inches, and the life meaning of "a grass and a day" and "a flower and a world" can be realized in one scene. Landscape painting is not a landscape painting, but a description of nature, in order to seek the inner support of life and the settlement of soul.

Fourth, verve and pen.

Vivid charm and bone brush are two methods in Sheikh's "six methods", which are closely related. Charm needs to be reflected with a pen, and charm needs to be connected with a pen to express a vivid image. "Yun Qi" has different meanings in historical development. In the documents of pre-Qin, Han, Wei, Jin, Southern and Northern Dynasties, the original meaning of "Qi" can be summarized into four kinds. One is the cloud in Xu Shen's Shuo Wen Jie Zi; "Gas, gas also. Pictographic ". Duan Yucai note; "Qi is cloud gas, which is extended to the name of all qi". That is, all gaseous substances. Second, the book of changes says that "the essence is the thing, and the wandering soul is the change". (Korean note; "The essence of smoke accumulates into one thing, but when it gathers, it will disperse, and when it swims, it will change. The ancients believed that everything in the world was made up of qi. Third, in the "Pipe Indoor Industry", it is also refined, and the essence of gas is also refined. Airway means life, life means thinking, thinking means knowing, and knowing means stopping. "The ancients thought that spirit was a special thing and called it spirit. Fourth, in the Wei and Jin Dynasties, people were judged by qi and educated. Cao Pi, the Emperor of Wei Wen, said in Dian Lun Wen that writing is mainly based on qi, which has a body and cannot be caused by force. The level of the article is mainly qi, and the difference of qi is due to one's own body. Cao Pi's "style" here refers to the noumenon of literary spirit and the author's inner temperament. The above four meanings are closely related, and sometimes it is difficult to completely distinguish them. The qi of literary and artistic works is related to the qi of the author, to the vitality and to all the qi of the universe. Qi and reason are also closely related to sex. In the copula of Yi, the essence of cloud is things, and wandering souls are changes. "Another cloud;" Easy to simplify, the world makes sense. " Reason and qi, actually called one go, are the foundation of all things in the universe. As far as the material elements of the world are concerned, it is called qi, and as far as the fundamental principle of everything is concerned, it is called reason. Reason means qi, and qi means reason. Sheikh's so-called Yun Qi Qi actually contains the meanings of reason, Tao and God. Sheikh believes that the beauty of painting art lies in its vivid charm, which not only represents the spiritual outlook of the work, but also embodies the law and essence of things. "Rhyme" is a new word created in Wei and Jin Dynasties, which first appeared in Lv Jing's Rhyme Collection in Jin Dynasty. In the Northern Song Dynasty, when Xu Xuan revised Shuowen, he included it in a new annex. "Shuo Wen Xin Fu" said, "Rhyme and Harmony". Judging from the sound, it's Yuan's voice. Since the Jin Dynasty, people have paid more attention to rhyme. The rhyme in People's Tales refers to a certain manner and attitude in its words, questions and answers, action rhythm and voice. Later, the concept of rhyme changed from a critical figure to a critical literary work, which refers to the charm of the work. Sheikh quotes the concept of rhyme to comment on painting, which refers to the charm of painting works, that is, the painter makes the picture show some charm and instrument posture through image processing, brushwork rhythm, color and pen and ink configuration. Sheikh commented on Lu Sui's paintings in the Catalogue of Ancient Paintings. "Charm vigorous floating, so the style floating. Style is mainly about charm, that is, elegance and detachment. Qi is closely related to rhyme. The meaning of qi and rhyme in painting is the internal essence of the relationship, while the meaning of rhyme tends to the external appearance and interest of the work. Without gas, the rhyme is uncertain, and the rhyme makes the work more moving. " "Vivid charm" refers to the inherent essence and spirit of painting works through formal structure description.

Fifth, pen and ink cultivation

The word "nourishing nature" comes from Yi Meng, which is also a sacred work of nourishing nature by virtue. It means that being able to support the right path with ignorance and silence is the most sacred achievement. "Nurturing" is the noumenon's perception of natural things. Caring for nature with heart can endow everything in the world with spirit, and the understanding of life should have the feeling of "nurturing", so as to achieve the understanding of nature and then accommodate the process of subjective sublimation. In today's words: cultivation is to grasp the natural beauty and its laws and treat them artistically, and then create artistic beauty that reflects the painter's feelings and artistic conception. Landscape painters never passively imitate "the concreteness of all things", but take nature for our own use and use things to write their hearts, that is, unify life, nature and artistic beauty, so as to grasp the initiative of artistic creation. In artistic creation, the painter should straighten out the relationship between art and reality and grasp the positive role of the subject in painting aesthetics, so as to achieve the expected artistic effect and purpose. The process mainly starts from the painter's aesthetic feeling of nature, and after experiencing nature, cultivating images, forming artistic conception, and then creating artistic images, realizing the smooth mind of the painter and the double original hope of the audience. Like Hao Jing, Shi Tao believes that landscape painters learn from nature and extract the "quality and reality" of landscapes, so there is a saying that "pen is not life but spirit". At the same time, landscape painters must have the cultivation ability from the unknown to the known, that is, to summarize and refine art, in order to understand the "brilliance" of mountains and rivers, so there is a saying that "pen without cultivation is invalid"; And successful landscape painters are right, as Hao Jing said; The combination of "the reality of things, taking the reality" and "the brilliance of things, taking its brilliance" is the only way to "have a pen and ink", so as to "make the best of its spirit, achieve its solidity," brilliance "and" spirit "and take its spirit by quality. In the performance of landscape painting, "the pen has its masculine beauty and the ink has its feminine beauty, so Mo Miao's ethereal connotation needs to be cultivated to obtain its natural aura. The development of landscape painting in Qing Dynasty is facing a crisis of survival. Landscape painting, whether retro or innovative, is perfect in content and form. Shi Tao made an epoch-making summary for this. He believes that art is life, pen and ink come from the feeling of life, and the art form does not come directly, but "collects all the strange peaks to draft" "As far as mountains and rivers are concerned, mountains and rivers are born in mountains and rivers, and mountains and rivers are born in mountains and rivers." Mountains and rivers meet with gods and trace them back, so they are finally cleaned up. The artist's "nurturing" of life can only be achieved by removing metaphysics. Landscape painting does not seek "likeness", but "truth", such as; Guo; "Take the truth from the image of things" is a similar antonym. True people are afraid of strength, and similar people can get their shape and keep their breath. Truth is the essence of things. Dong Qichang's proposal that "Chou He should respond" also means that artists have a profound understanding of nature. Only by reading thousands of books and taking the road of ten thousand can they truly surpass the image and spirit. Painting ends with "likeness", living and nurturing two combination, and reaching the artistic realm of "difference". He summed up the highest principle of "one painting method", which he wrote in "Painting Language"; "Swire can't, too simple, too simple, and the law is also established. Where the law is, it is there. Painters are the foundation of everything and the root of Vientiane; Seeing for God and hiding for others; The world doesn't know, so the painting is self-reliant. The method of painting can not be born, and the method can be consistent. This painting was collected outside the HarmonyOS system, that is, thousands of pens and thousands of inks. It didn't start here, but it was grasped by people. " "One Painting Theory" mainly includes the following three meanings; First, "one painting", as a philosophical category and an aesthetic category, refers to the fundamental laws and rules of the emergence, existence, development and change of all things in the universe and the artistic world, as Lao Tzu said; One, two, three, three knives together. Secondly, "one painting" refers to the category of artistic law or creative method, and refers to the fundamental law and formal law of painting art, that is, one unified everything and everything is unified. Thirdly, "one painting" is often used to express a more specific concept, that is, one painting at a time, the most basic language element in Chinese painting, whether it is an exquisite sketch or a masterpiece. These three levels are unified and inseparable. Pen and ink are used to create painting images, and painting images are used to express the universe and subjective thoughts and feelings, Shi Tao said. Everything is natural, and my way is consistent. Therefore, Shi Tao's aesthetic root is another effort based on Laozi and Zhuangzi's thought. In his view, the skill of pen and ink does not come from the ancients, but from the concreteness of everything in the mountains and rivers. Nature is my teacher, which embodies the idea that heaven and earth coexist with me and everything is one with me. Pen and ink should follow the times. "Cultivation" is the artist's experience and refinement of life. Only when a painter goes deep into life can he feel the essence of nature and appreciate the essence of pen and ink. Just copying a painting spectrum in the living room means that you can't understand the mystery of mountains and rivers, and you can't understand the artistic realm of "feasible", "promising", "swimable" and "livable" in landscape painting. Without going deep into life, pen and ink will become dry, boring and lifeless. Only by gaining the aura of nature can pen and ink show the beauty of mountains and rivers and the vitality of trees. Pen and ink is not only the expression of painting, but also the key to understand the development root of China landscape culture and China literati spirit through pen and ink. Landscape painting is closely related to China culture. China culture and landscape painting culture will continue, because it is a unique manifestation of China people's spirit.