This openness is reflected in the copywriting. Whether it is a folk painter, a court painter, a noble scholar or a literati, or an art scholar and a freelance painter today, we should start with the model classics. Mainly through writing, learn the ancient methods of writing and ink, get rid of the dust in the chest and make a difference. Then, in the natural landscape, we should understand the reason, perceive it with our heart, create images, and materialize the techniques obtained by copying on paper to improve the concrete embodiment of its independent value in the works. Dong Qing Yun Qi said: "Beginners must copy the ancients if they want to understand pen and ink. The ancient pen and ink, the rules of Fiona Fang to also ". Tang said: "it is the easiest to copy on the face, but it is difficult to convey the spirit." Copying on the face is true. " Fang Xun also advocated: "To copy ancient paintings, we must get the spiritual lifeline of the ancients. If you ponder and think, you will gain something, and you will write it down; If you copy it four times, you will see the effect of continuous change. If you act as if you are doing it, you will forget it. Although you copy all day, what do you have to do with the ancients? " It can be seen that the ancients had a unique view on learning from teachers, which is also a continuation of the national cultural spirit.
Although it was said in ancient times that Song people respected the principle of nature, Yuan people pursued artistic conception, and Ming people advocated the agility of painting, it also formed the difference in the issue of "learning from foreigners" during the transformation of the times. With the establishment of the Qing Dynasty, the art of calligraphy and painting has also changed. The inheritance of this national culture in the long river of history has been inherited by people with strong will and perseverance. Preaching, teaching and dispelling doubts for teachers, spreading in a two-way natural way, virtually constructing an inexhaustible technical context of Chinese culture. And this solid national culture was not formed by accident in one day. As the saying goes, "I have learned from the past, but I have not seen my wife." People who regret not being familiar with it will also be arrested. Knowing it but not knowing why, a gentleman can only borrow the past to open up the present. "Learning must follow the rules, and deification must also follow the rules. Things in the world often have the right to change, and they must be changed regularly. When you know what happens, you should pay attention to contingency and learn from the past. Don't be a person who knows nothing about the past. In the 1980s, with the arrival of artistic thoughts, some painters worshiped foreign things and fawned on foreign countries, abandoning their national treasures. There are also some people who know nothing about the past, indulge in arguments with the ancients every day and enjoy themselves quickly, and finally disappear under the aura of the ancients. Of course, there are still some responsible persons who have prospered and passed on the national cultural spirit. Today's painters no longer blindly follow the trend, but re-examine their own national art. The inheritance of Chinese painting is not to convey its paintings, but to convey the heart and ambition with paintings, keep pace with the times and form its own unique artistic characteristics. Although there are few achievements, it has an inestimable influence in the history of painting. The so-called "painting can't meet the predecessors, but catch its meaning." "
"Knowing God's virtue is like the feelings of all things" is the meaning of sages' writings, which is actually the highest realm pursued by China's calligraphy and painting art. Books are paintings of the heart, and paintings are impressions of the heart. Seeking points and painting can make people's hearts fit with the "Tao" of heaven and earth, which can be used not only in the Middle Ages but also in the Millennium. Understand the articles of association of various schools, push the ideas of various schools, and express your spirit with the laws of the ancients. This is also the embodiment of life integration of different art forms under different social systems.
Contemporary Chinese painting is facing a rapidly changing world. In the face of the collision between foreign culture and China culture, it is particularly important for the ancient "cascading" tradition to adapt to the new exhibition space and communication mode and to continue the relationship of "learning from others". How to choose, inherit and develop it makes us feel a great responsibility.
To inherit and carry forward the tradition of China, we need to learn from others by leaps and bounds. Calligraphy and painting can't be separated from eating the ancients, but neither can eating the ancients. Will eventually break away from the ancients and become a family. We should not only learn from the ancients, but also learn from nature. In the face of nature, the ancients are disciples of today's people, and the ancient law also comes from nature. Therefore, in addition to attaching importance to copying the ancients, we also pay special attention to learning from nature and life, so as to cultivate the painter's observation ability, memory ability and sketching ability. In fact, it is also to protect those highlands in the mind and create new pillars to defend the Tao.
In the process of studying and promoting Chinese painting, there are a lot of historical works about advocating classics. For example, Song Nian's "Hua Lun in the Art Garden" in Qing Dynasty says: "We should not show the talents of our predecessors and create the beauty of experts. Concentrate on hard work, experience hard work, and it is not easy to be extraordinary. " In the Ming Dynasty, Dong Qichang's Essays on Painting a Zen Master further said: "The painter took the ancients as his teacher at first, and then took creation as his teacher." Views are the most expressive.
Throughout the growth process of ancient and modern masters, copying the works of predecessors is only one aspect of their integration with predecessors and inheritance of tradition. They learn from the ancients in different ways, so their artistic styles are different.
The healthy development of learning from teachers is a powerful guarantee for the inheritance of Chinese painting. Huang pointed out: in the ancient three dynasties, Wei, Jin and Six Dynasties, there were laws in paintings, and the laws were natural rather than verbal. Yan, Li and Wu in the early Tang Dynasty were feudal painting schools, not national painting schools. Wang Wei and Zheng Qian sought painting skills from calligraphy poems, but realized their skills. Five endorsements and six laws, and the detention of Song Qifa in the Northern Song Dynasty is also a loss. To continue to learn from the ancients, we must follow the path of the ancients, accept their experience and methods, lay a solid foundation for new excellent methods, and then move forward to a new future. It means "accepting tradition" and "bringing forth the old and bringing forth the new". Chen Zhong advocated innovation and accepted tradition. Bitter gourd monk said, "Therefore, a gentleman can only borrow the past to open up the present." Borrow the past to open up the present, that is, bring forth the old and bring forth the new. This shows the value of learning from tradition. Therefore, the development, innovation and creation of the new school of Chinese painting have always benefited from the essence of the ancients. The so-called "going in and out" finally succeeded and forgot its dependence.
Traditional literati painters and traditional literati's cultivation paths are similar to the growth of today's painters. The core content of their education is often character education and realm cultivation, which also determines the personality cultivation of China painters and the living atmosphere of Chinese painting art. The difference is that today, painters have more opportunities to appreciate works of art with diverse styles. The prosperity of science and technology provides convenience for our study. We should make proper use of it, so that the relationship between teachers and students of works of art can continue healthily and our artistic treasures and national spirit can be truly inherited.
In short, different times have different voices on the issue of "learning from teachers", which requires us to awaken and open up the aesthetic consciousness of the times with a high degree of subjective consciousness and the spiritual strength of advanced culture, and to continue the traditional art road of China in a brand-new way. ;