The "Songjiang School" scholars, especially Dong Qichang, Mo Shilong, Chen Jiru and others, have a high cultural accomplishment in the fields of literature, philosophy, religion, history, culture, and calligraphy, so the vision of painting creation is very broad, based on long-term practical experience and theory of painting, and constantly integrate, integrate, and enhance the realm of painting, and constantly open up many new painting categories and brush and ink vocabulary, forming a series of painting ideas and concepts. Mo Shilong's "Painting Theory", Dong Qichang's "Painting Purpose", "Painting Eyes", "Painting Zen Room Essays", Chen Jiru's "History of Painting and Calligraphy" and "Nigulu" are all summaries and reflections of the painters of the "Songjiang School" in painting theory and practice. The painting ideology established by the "Songjiang School" can be summarized in the following aspects:
1. Integrate the ideas and concepts of Confucianism, Buddhism and Taoism to create new theories of painting
The era in which the "Songjiang School" lived was a historical period in which society was in a period of drastic change and turmoil, and it was also a historical period in which the thought was relatively free, creative and explosive. In terms of painting ideology, in addition to their own traditional Confucianism and cultural literacy to play a role in them, the continuous in-depth development of the Neo-Confucian concept of mind, Zen thought and Lao Zhuang thought, for the "Songjiang School" of the formation of the concept of painting, painting creation practice also played a very important role, it can be said that the "Songjiang School" is the rise of the late Ming Dynasty cultural new trend of thought and Confucianism, Taoism, Buddhism and the three schools of thought and increasingly integrated, A painting genre that has emerged under the specific cultural conditions of unity, so it has a very subjective and strong lyrical painting ideology, and pays attention to the expression of ideological concepts and spiritual emotions in painting creation. At that time, the new concepts and methods of sexual spirituality, childlike innocence, psychology, science, and Zen that appeared in the fields of philosophy and literature did have a very profound impact on the formation of the painting ideology and concept of the "Songjiang School", so the "Songjiang School" continued to pay attention to the subjective mind, sentimentality, Zen metaphor painting, and brush and ink vocabulary, which was related to the cultural background and the background of the times at that time, and the specific era of the late Ming Dynasty determined the formation and new development of the painting ideology and concept of the "Songjiang School". Zen Buddhism pays attention to intuitive experience, the epiphany theory of inner consciousness, the straightforwardness pursued by Lao Zhuang, the indifferent and truthful thoughts, and the neutralizing spirit of Confucianism, etc., all of which are very clearly expressed in the painting concept and aesthetic concept of the "Songjiang School". In particular, Zen Buddhism has played an extremely important role in promoting the establishment of the subjective painting mentality of the "Songjiang School" and the establishment of the painting concept of the Northern and Southern Sects.
Qing Xu Zhang, "Songjiang Bangyan Book, Dong Qichang".
2. The proposal of the concept of painting in the Northern and Southern Sects and the formation of the concept of subjective expressive style
The Songjiang School of Painting, especially Mo Shilong, Dong Qichang, Chen Jiru, etc., very clearly put forward the idea of the division of Chinese landscape painting into the north and the south, believing that Zen Buddhism has two sects of the north and the south, and the development and evolution of landscape painting should also have the nature of the two sects of the north and the south advancing respectively, so the theory of the division of the north and the south of the sect was proposed
The Zen family has two sects in the north and south, the beginning of the Tang Dynasty, and the two sects in the north and south of the painting, and also in the Tang Dynasty, but its people are not the north and south ears. Beizong Li Sixun father and son color the mountain, and spread it as Zhao Gan, Zhao Boju, Bo Xiao of the Song Dynasty, and even the horses and Xia generations. Nanzong Wang Maha began to use shade, a change of hook and cut the method, which passed on Zhang Qi, Jing, Guan, Guo Zhongshu, Dong, Ju, Mi family father and son, to Zhi Yuan of the four families. It is also like after the release of the six ancestors, the children and grandchildren of Pony, Yunmen, and Linji are prosperous, and the Northern Sect is slight. The so-called Yunfeng stone moraine of the Maha is out of the sky, the penmanship is vertical and horizontal, and it is involved in the creator. Dongpo Wu Daozi and Wang Wei painted the wall Yiyun: "I am also inseparable from Wei." "Knowing!
Mo Shilong, "Painting Theory").
The painting of literati began with Wang Youcheng. Later, Dong Yuan, Seng Juran, Li Cheng, Fan Kuan, and his son-in-law Li Longmian, Wang Jinqing, Minan Gong and Hu'er all got from Dong Ju. Until the fourth year of the Yuan. Huang Zijiu, Wang Shuming, Ni Yuanzhen, and Wu Zhonggui are all their true stories. I am a man of Wen Shen, and he takes over the mantle from afar. Ruo Ma Xia, as well as Li Tang and Liu Songnian, are also the faction of General Li, and they are not easy to learn.
Dong Qichang, "Essays on Painting Zen Room").
It is believed that there are two sects in the history of painting, the north and the south. The "Songjiang School", "Painting with Zen" and "Southern and Northern Sects" were extremely important painting concepts that emerged in this period, and the "North-South Sect" was already a conscious historical view of Chinese painting style, and the formation of this painting concept was of great significance in the field of Chinese painting theory. The "Songjiang School" sorted out Chinese painting, Chinese painting, and Chinese painting from a broader field and perspective, and established the concept of painting dominated by "Southern Sect". The formation of this concept of painting has indeed had a drastic impact on the development of Jiangsu painting since the end of the Ming Dynasty, and the emergence of "Songjiang School", "Jinling School", "Loudong School" and "Yushan School" is almost all closely related to this new painting theory. The formation of the painting concept of the "Songjiang School" in the north and south sects introduced painting into a more grand concept and cultural vision, deeply expanded the foundation of the concept and practice of Chinese painting, and opened up an inexhaustible source of spiritual value for the development of Chinese painting.
3. The formation of the concept of painting creation of "taking painting as a sustenance and painting as pleasure" and the emergence of the concept of painting creation in the theory of cosmogenesis
The Songjiang School of Painting already has the concept of "painting the way" and "painting science", and has a very conscious and clear understanding of the subject of painting creation. The "Songjiang School" believes that the act of painting should not be an act that consumes life and spirit, but should be a self-disciplined behavior of the subject who has commitment, investment and spiritual pleasure. A painter who knows the way of painting should be the holder and holder of the vitality of the universe, and only when the practice of painting creation is integrated with the supreme image of the universe and integrated into an organic whole, can it rise to the realm of transcending the daily life and the unity of all things. With this understanding, he put forward the concept of painting creation of "taking painting as a sustenance and painting as pleasure" and the idea of painting creation in the theory of cosmogenesis
The way of painting, the so-called universe cares about the hand. There is nothing but life in front of you. Therefore, they tend to live longer. As for the meticulous depiction, as a creator, it can lose life and cover lifelessness. Huang Zijiu, Shen Shitian, and Wen Zhengzhong are all big people. Qiu Ying was short-lived, Zhao Wu Xingzhi was more than 60 people, although Qiu and Zhao had different personalities, they were both practitioners, not to paint as a send, but to paint as a pleasure. Placing himself in the painting, since Huang Gongwang, began to open this door.
Essay on Painting Zen Room).
Painting creation can not only directly participate in the creation and biochemistry of all things in the universe and nature, but also the external manifestation of self-ontology, which is the spiritual world and value positioning that painting creation should pursue.
4. Advocate the "epiphany theory", and attach great importance to the subjective psychological experience and intuitive painting values of painting
The Songjiang School of Painting has a very clear understanding of the subjective mentality, creative form and psychological consciousness of painting creation, and believes that painting creation has a very close relationship with the painter's personal psychological experience and profound and rich subjective intuition, and that the painting creation should fully take into account the painter's own mental state, and take into account the painter's own psychological state and intuitive state. The mental state of the subject of painting creation often plays a decisive role in the result of painting creation, and the change of the mental state of the painter's painting subject undoubtedly has a very strong impact on the quality, height and category generation of painting creation. All painting creation is the recording, manifestation and reflection of the spiritual activities of the subject of painting, and the crystallization of subjective abstraction, comprehensive reflection and insight into the different circumstances of all things in the universe
Hanmo's work, good work painstakingly, did not dare to consume gas. Those who are especially good are either drunk, or dreaming, or sick. The game is supernatural and can do anything. Why bother with the king of gods?Creation is complete. It is rumored that Zhang Xu is a grass saint, drinks several buckets, wets his head with ink, and writes on the wall. The wind and rain were bleak, and the viewers were amazed. Prince An Weiwen, a few liters of ink per grinding, lay down under the quilt, and got up from a deep sleep. Words do not add dots, if there are ghosts and gods. This is all beyond the pen and ink. Observing Mr. Wang today, when he is a human being, he can't afford to be sick. According to the twenty chapters of the pillow poem, the words are all advocated by the music house, and it is with the two sons.
Essay on Painting Zen Room).
Painting creation should not be treated with a state of decline, exhaustion, and exhaustion, but should be deliberate and "good work and hard work". As for the more advanced painting creation activities, it requires a huge amount of spiritual energy, and it is more necessary to have a subjective state of mind that directly determines all things in the universe and gives full play to its essence and subtlety, rather than a mental experience in a daily state, and must make the subject's mind in a mental state similar to drunkenness, dreams, and illness, in order to obtain a higher aesthetic pursuit and spiritual image. All in-depth subjective states of mind, such as dreams, learning, illness, drunkenness, Zen, poetry, and literary mirrors, should be spiritual realms that deserve great attention and attention in painting creation. The profound experience and comprehension of different spiritual realms may bring new opportunities and new achievements to the development of landscape painting. Therefore, the creation of painting must fully explore the content of subjective psychological experience and intuition of painting, form a new value of painting, and achieve breakthroughs and creative progress. The "Songjiang School" has discovered the decisive significance of the subject of painting creation to the creation of painting, and discovered the important value of the subject consciousness to the creation of painting.
Therefore, it is necessary to actively change the subject of painting creation to obtain a deeper spiritual experience, and the changes in the mental state of the subject of drunkenness, dreams, and illness can certainly enhance the new connotation of painting expression and vision, and can "play supernatural powers, do everything". However, if we want to achieve instantaneous transcendence and direct recognition and integration with the ontology, we must carry out spiritual training and in-depth excavation. With this understanding, the "Songjiang School" has an unusual interest in the "epiphany theory" of Zen Buddhism, and discovers that the subject of painting creation should obtain new spiritual resources and unimpeded passages through the change of the subject's state of mind
Yu Shi Shen bamboo grate words, long time no contract, one day in the boat to lie down, chanting incense to hit the bamboo karma, to knock on the boat in the cloth sail pole, open and provincial, since then there is no doubt. From the tongue of the old monk, there are thousands of theories, and it is clear to touch. It is also when the boat crosses the five ponds in May of the year of Yiyou. In the autumn of his year, he returned from Jinling, ignoring the three thousand worlds of one thought, and his consciousness was not good, and he was two and a half days, and then he knew what the university said: absent-mindedness, blindness, hearing but not hearing, it is the realm of enlightenment, and it cannot be misunderstood.
Ming Dong Qichang, "Rongtai Collection", vol. 1).
Through the intuitive experience and understanding of the creative subject into a higher spiritual atmosphere to obtain the essence and supreme secret of painting creation, the "Songjiang School" believes that the opening up of the way of Zen enlightenment should be the most effective method and way to promote the creation of subjective expressive painting
Li Zhaodao's faction, for Zhao Boju and Bo, is extremely sophisticated and has morale. Those who imitate it by future generations will get their work, but they can't get their elegance. If Yuan's Ding Yefu and Qian Shunju are already. Cover 500 years and have a real father, and in the past Wen Taishi, he was urgently subdued. Taishi painted in this family, which cannot be inferior to the Qiu family, so it is not to increase the price with praise. When the real father painted, he didn't hear the sound of preaching Khotan, like the hairpin next door, and Gu Qi's skills were also close to suffering. At the age of fifty, I knew that this school of painting was not to be practiced. For example, meditation, accumulation of calamity into a bodhisattva, not such as Dong, Ju, Mi three families, but a super straight into the land also.
Essay on Painting Zen Room).
This theoretical understanding has made an essential judgment on the nature of painting in the Northern and Southern Sects, and also provided a conceptual basis for the emergence of subjective expressive painting. Nanzong painting is like the Zen method of epiphany, which does not need to go through the accumulation of tribulation meditation and directly enter the land of enlightenment. The emergence of the "Songjiang School" and the "Epiphany Theory", which focused on the subjective psychological experience and intuitive values of painting, provided a new painting category and ideological concept for the development of landscape painting since the late Ming Dynasty, and also had milestone significance.
Ming, Dong Qichang, Lin Hejing, Poetic Paper, 887x38.7
5. Attach great importance to the theory of painting knowledge of "reading thousands of books and traveling thousands of miles".
The Songjiang School of Painting has formed a very clear and conscious idea of painting epistemology, believing that only with a systematic and profound knowledge system can painting creation reach the supreme state of painting. Without profound and systematic knowledge reserves, without unique understanding and theoretical insights, it is impossible to try to make breakthroughs in painting creation, and there are indeed many such regrets in history
In the past, people commented on the New Year, saying that the thousands of books in the chest were more ancient. In the new year, the Song clan was not allowed to travel far, and every time the tomb returned, he had to write about the hills and ravines in his chest. If you don't travel thousands of miles, don't read thousands of books, and want to be a painting ancestor, can you get it?This is in my Cao Mianzhi, and there is no hope for mediocre history.
Mo Shilong, "Painting Theory").
Scholars and gentlemen read many different books and see many different people.
Essay on Painting Zen Room).
A creative painter must "read thousands of books and travel thousands of miles", "read many different books, and see many different people", and only by forming a clear and clear theoretical insight can he make a difference. The life experience of the "Songjiang School", especially Dong Qichang, has very successfully verified the "Songjiang School", a rational understanding and epistemological painting ideology with an overall situation. Without Dong Qichang's lifelong diligent reading, his experience in constantly appreciating and collecting famous paintings of the past dynasties, and his browsing of famous mountains and rivers, debates and literary meetings with contemporary high-talent philosophers, it would have been impossible to form Dong Qichang's transcendent spiritual feelings, cultural insights and artistic creative ability, and it would have been impossible to have such far-reaching painting theories and paintings that influenced later generations!
6. Actively introduce calligraphy into painting, and create a new concept of pen and ink vocabulary.
The Songjiang School of Painting formed a new concept of brush and ink vocabulary. In the process of long-term painting practice, they not only discovered two major categories of abstract brush and ink styles, but also liberated brush and ink from the shackles of natural entities:
With the strange theory of the path, the painting is not as good as the landscape;With the subtlety of pen and ink, the landscape is by no means as good as the painting.
Essay on Painting Zen Room).
With the establishment of a new concept of brush and ink vocabulary, painting with subjective expression transcends the attachment and subordination to natural objects, and the brush and ink vocabulary and painting form begin to appear as independent aesthetic objects in the elements to be expressed in painting. The subjective concept of brush and ink becomes a more conscious object of expression in painting
The ancients said: "There is pen and ink" pen and ink, many people do not know. Isn't it incomparably inky to paint?But if there is a contour but no law, it is incomparable;There is a strict method without weight, back, and obscurity, that is, there is no ink. The ancients said: "The stone is divided into three sides", this phrase is both pen and ink, which can be referred to.
Mo Shilong, "Painting Theory").
Scholars should paint with the method of grass and strange characters, trees such as bent iron, mountains like painted sand, and never go to the sweet and vulgar path, which is morale.
No, even if it passes, it has fallen into the painter's demon world, and it is no longer hopeless.
Ibid.) Brush and ink is not only a component of the object object, but also further acquires independence and abstraction, becoming the carrier of subjective expressive style and the direct constituent element of the picture, which can exist as a language form that directly expresses and reflects the painter's temperament. The complete independence of brush and ink as the constituent element of the picture makes the brush and ink vocabulary have an independent value and status in the elements of Chinese painting, enriches the theoretical scope of brush and ink in Chinese painting, and enhances the understanding of the expressive, abstract and subjective nature of brush and ink. This concept of painting composition with elements of modern painting made Chinese painting a pioneer in the late Ming Dynasty because it had some elements of modern painting and the germination of modern painting concepts. The theoretical understanding and practice of the "Songjiang School" on brush and ink can be regarded as an important watershed in the historical development process of Chinese painting. During this period, paintings with different qualities from traditional paintings began to appear, marking a new stage of development for Chinese painting.
Zhao Qibin).