Bao Yinsong's simple view of the creation of Chinese paintingThirteenIf you want to understand Bao Yinsong's Chinese painting creation, we should start from two places. One of them is a landmark: it is said that he lives in seclusion in the mountains of Pingyang in eastern Zhejiang, far away from the mainstream art world, so he has a leisurely and casual atmosphere.
Traditional Chinese medicine emphasizes qi cultivation, and Pingyang is mountainous and also near the sea, with ups and downs in height and depth, and the mighty East China Sea connects with the outside world. Huang Gongwang moved here from Pingjiang Mansion to complete his kindergarten in the year of his grandfather, and was supported by the smoke and clouds in the mountains, and he also saw the ocean of soup and soup, and it is difficult to say that this kind of living environment had no moisturizing and silent influence on his later creation of "Fuchun Mountain Residence Map". 
Bao's silver pine, a cloth scribe, did not have Huang Gongwang's ups and downs of the journey, and did not need to be ordered to wave the so-called "Pingyang panorama", and he consciously abandoned the fearlessness of business and art, and hid in a small building to watch the flowers bloom at four o'clock. Pingyang is a place with an area of more than 1,000 square kilometers and a limited number of residents, and the literary and artistic environment cannot be compared with Beijing, Shanghai, Guangzhou and even the provincial capital Hangzhou, but it provides more hidden assets, and also makes many big city artists envy - there is no need to deliberately create a world outside the world, and there is a Zen machine hidden in the middle of a blade of grass. 
It is true that the carriages, horses and mail are slow, and there is no need to invest in the hustle and bustle of the red dust, as he said: there are flowers and fruits in the courtyard as offerings, small stoves to cook tea, idle things, and self-satisfaction at dusk. Because of its proximity to farming, knowing the season, plowing and reading in the rain, you can feel the sea of Bodhi sand by sticking your body in the soil. Bao Yinsong treats painting as an act of planting. Most of the flowers and birds of others are painted, but the flowers and plants in his pen are planted by himself. Painting here is not only the result of painstaking management, but also the product of practical theory that knows what to do. Only a farmer who is well versed in the way of flowers and plants can know the complexity of one more branch and the cold defect of one less leaf. The Heart Sutra advocates that the world should understand "no dirt and no purity, no increase or decrease", but only after experiencing the increase and decrease of dirt, and steaming and rising in the rolling red dust a few times, can we truly reach the balance of the vacuum of the five aggregates. Bao Yinsong's Baicao Garden obviously provided a dojo for him to practice meditation, and his creations were never water without a source or a tree without roots. Therefore, looking at its flowers and birds, the vivid and vivid shape of the pen must not be a conjecture, so that the ink can be real, and on the basis of the simple act of copying flowers and birds, how can you see the superiority? It is said that there is a spirit, a god, and a soul. 
Bao's flower and bird creations have many picture scrolls for the four o'clock Qing Dynasty. The act of offering itself is also very interesting, since the Wei and Jin dynasties, in the study of the meditation hall of the literati and squires of the past dynasties, there is more of this kind of landscape performance installation art. This kind of behavior not only hides a sense of alienation from the famous field, but also is full of real and tangible fireworks in the world, which can show taste and family background. Large families have their own ancient artifacts, and the fragrance of melons is overflowing, and the scholarly white clothes can also fold the cold plum and crushed stones to pick up the fallen fruits. And Bao Yinsong's clear supply picture, because there is a real ** - their own spring flowers and autumn leaves, cups and bowls, can be infinitely combined and infinitely created, only need to paint a little slower, rigorous, restrained, and these are the obvious self-requirements in Bao Yinsong's picture, so it has formed a clean and delicate but not sweet personal style, compared to its similar Yun Shouping, Bao Yinsong's flowers and birds are lighter in color, lower saturation, this aspect is the result of careful design, On the one hand, it is probably the author's pursuit of temperament as a metaphor: it is tea rather than wine, why should it be strong, it can be full of energy. 
Looking at the categories of his creations, all landscapes, flowers and birds, and characters are all refined. Mountains and rivers see the pattern of courage, flowers and birds see daily cultivation, and characters see the secret mind. The pen can not be sluggish, the coloring is warm but not soft, the scribe painting is especially taboo and boneless, avoid pretending to be a high posture and the skill is unbearable to support the Taoism, but also avoid being afraid to generously express the feelings of entering the WTO. Fortunately, these faults are not very visible in Bao Yinsong's paintings. 
The landscape in the southeast of Zhejiang is not the same as the landscape in the Fuchun Xin'an area written by Zijiu. Bao's landscapes are mostly composed of high and far-reaching methods, and the forests are verdant, and there is the elegance of the gradual river. Although the mountains are steep, there is little sense of oppression in the deep ravines. Tactful, it is a scene that can be approached and walked into, occasionally or you Qing imitation immortal leisure reading Maun foot scholar one or two embellishments, there is leisure and elegance, no grand narrative, is a kind of scenery at your fingertips, daily life Zen, see a flower blooming, relying on the sound of bamboo through the forest wind, the east slope said "why not Xu Xing", go down the mountain at dusk and return to the orphan hall, then you can release a volume of the South China Sutra, twilight four, have to meet the gods and Buddhas, not the three emperors and five emperors, do not want Xiahou Shang Zhou, the wind flags are not moving, at this time there is a barefoot woman carrying a fish basket through the market, then the heart is moved. 
Bao Yinsong likes to paint Buddha statues, pen ploughing, painting Manjushri, green lion lotus are enough, but there is no sword, and the usual Manjushri statue is very different. Dare to speculate, the ignorance and stupidity in the world, the five poisonous troubles, do not need to be cut or killed, maybe it is also wisdom for the time being. Bao Yinsong's treatment of the mountains and rocks is round and chaotic, and the treatment of the Buddha figures also weakens the edge, but provides the viewer with an opportunity to rethink their feelings. If there is no difference between sex, this is very close to Lao Zhuang's thoughts. If this image Manjushri is regarded as the self-projection of the author, it can be seen as "I have no treasure", and it is also a humble gesture of getting along with the world. Therefore, if you want to understand Bao Yinsong's Chinese painting creation, you should start from the second place, saying "Taoist Heart and Buddha's Will". Bao Yinsong has fully learned this daily lesson of contemplating the world's law, and he does not have to narrate when writing, and he does not have to face the wall every day when cultivating his mind. The road is full of flowers in the mountains, and there is an occasional sigh in the face of the busy life of seeking rice and food, which is a self-situation. If you can sacrifice yourself to feed the tiger to propagate the Dharma, it will be the Goddess of Mercy in the fish basket.
In the Ming and Song dynasties, there was "Fish Basket Guanyin Like Praise", which said, "In the twelfth year of Tang Yuanhe (817 AD), there was a beautiful woman on the golden sand beach on the right side of Shaanxi. The woman said: 'Concubines can teach scriptures, and those who can recite "Pumen Pin" overnight are fine. 'Dawn, twenty of the mighty. The woman said: 'How can one body be worthy of all the husbands and evils!' Please change the "Diamond Sutra", as in the previous period. 'Those who are able are half of them. The woman resigned, and asked for the Lotus Sutra for three days. Only Ma's son can. The woman was married. At the beginning, the woman is dead, and death is the erosion and exhaustion. On other days, there are monks and Ma's son to open the Tibetan view, but only the ** clavicle bone remains. The monk said, 'This Guanyin manifests to transform your ears. The words flew away. He is a multi-chanter in Shaanxi. ”
Although Bao Yinsong likes to paint fish baskets, he also knows that Chuanzhi does not have to be so strong. If you can use your own small coordinates to open the hearts of the world with a spare pen in the spring and autumn period, and sweep away the obstacles, it is also a merit. His creation is already close to this path. 
Fish Basket Guanyin 22x70cm
Manjushri 22x70cm
Cooking Spring 14x70cm
Ancient Temple Visiting Spring 14x70cm
Bamboo dock Hou Chun 14x70cm
Pine Path Spring 14x70cm
Huatang Ruishou 33x96cm
Funa Kiyoxia 22x70cm
Red Plum Clear 22x70cm
1 room Yoshichang 22x70cm
Songmao Puchang 22x70cm
Mei Fang Cha Yan 22x70cm
Hanmo Liufang 22x70cm
Longevity Ruyi 22x70cm 2024 Book of Answers