Zong Bing's Preface to Painting Landscape in Southern Dynasties;
The husband takes the eye as the reason, and if the class is refined, the eyes are United. You should be able to feel God, who is beyond reason. Although it is very complicated to ask for a secluded stone, why add it? It is also the end of god, the sense of environment and the trace. If you can write beautifully, you are sincere.
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If (the author) can not only follow the principle of "understanding with the eyes" (meaning: the real object seen by the eyes coincides with the inner understanding of this object), but also can skillfully show it, then what the viewer sees and understands in the painting will be the same as (the author).
What the eyes see and the heart feels are all synaesthesia to the "God" expressed in the natural landscape. The spirit of painters and viewers can be detached from gloom, and "reason" will follow.
Even if you visit and feel the natural landscape with a calm mind, what can you add? Besides, "God" has no specific shape and is difficult to grasp. It lives in the image of mountains and rivers, but only communicates with its companions, and Li also lives in the shadow of mountains and rivers.
If we can capture the "spirit" and "reason" of the natural landscape, and show it skillfully through the brush, we will exhaust the road of landscape painting.
Extended data:
Zong Bing's Preface to Painting Landscape is the first paper devoted to landscape painting in the history of China painting, which has an opening, normative role and important influence on the pattern of "Thirteen Subjects of Painters" gradually formed after the prosperous Tang Dynasty, and has been valued by painting theorists in past dynasties.
For example, Zhang Yanyuan's Records of Famous Paintings in the Tang Dynasty, Wang Bi's Manual of Painting and Calligraphy in the Ming Dynasty, Zheng Chang's History of Painting in China and Yu Jianhua's History of Painting in China are all transcribed, quoted and played.
Especially in the late Ming and early Qing Dynasties, inspired by the trend of "crazy Zen", in the political atmosphere of the Ming and Qing Dynasties, contrary to the "four kings" orthodoxy that emphasized "retro" and statutes, the landscape painters of the adherents school emphasized sweeping monk, abandoned statutes and converted to Zong Bing's Preface to Painting Landscape, forming a powerful trend of thought.