姬子画语录辑录_艺术家资讯_雅昌新闻

41 认可艺术的万丈境界存在,正是认同宇宙的参天原理存在;否定它的留存或违反它的原理,给人类带来的不是甜美,而是祸患。音乐家通过和谐的作品,给人以启发、净化,就是要把宇宙原理存在的振作振作,即宇宙精气神展现出来。

42 艺术境界是有档次的。分歧档案的次序的艺术境界,折射着美术大师不一样档期的顺序的哲思。不相同档次的哲思,表现出分裂档期的顺序的美术师。

歌唱家不是耶稣,他只是秉承宇宙付与的神性去启示人。人类要解脱本人产生的泥坑,还要靠自身。音乐家也是人,他也生活在人类的窘况中。

书法家用文章去启迪唤醒人,本身必先是被启发唤醒的人,灵魂获得净化的人。由此,美术大师必然是全部莫Daewoo宙意识的人,最起码应是人类泥淖中拔出三只脚的人。

乐师的哲思,靠艺术文章去得以达成。经过长时间的举行、查究,也会用文字语汇计算出肯定学术价值的理论。这种理论不是从书本到图书的谈论,而是由实践到理论,又由理论到实施的累累考虑体验的总合。故美学家的答辩和理论家的答辩相比较,更充裕操作性,但在语言的条理化、逻辑性方面不如,然却多有办法寻思的火焰。

43 商量贰个歌唱家的方式成就,首要靠画画大师的著述,但决不要忘记了美学家的艺术人生历程与艺术言论和行文,因为言论与创作更加直白地宣布了乐师的思维。

44 认可宇宙最高原理的留存,并非人类宗教式的信仰与敬佩,而是要有宗教性的情怀。

45 主客体的圆融化意气风发,即人天合风华正茂。正是山川与予神遇而迹化。以客观的复出是理当如此的下人,是人随景转;以大旨去显示客体是自然的主人,是景随人转,便是山川脱胎于予。

46 对于天人合生机勃勃的超过,即佛家说的真如、性空、释尊、无生无灭、法性本空、缘起性空、佛作者一如、大器晚成真法界。老子说的无。音乐家能悟通这一个,其小说会神起来的,那叫自性圆明。

47 数者顺,道者逆。求艺者,应先顺后逆。以顺化逆,以逆化顺。

把重心精气神儿与大自然精气神同化,进而获得宇宙--人生--艺术的真理。小说中形象的组成包括着宇宙精气神的大真、大善、大美,也即含有音乐大师净化自个儿的心境,是水到渠成人格品操修养的有机结合成分。同期也显示了音乐大师对天体生命的饱满觉悟,彰显了美学家内在的生命与大自然精气神的深层切合。

48 美学家要形中年人格的华贵化,即大真大善大美的万丈化合统风姿浪漫,那小说必然完结着本人与宇宙精气神儿相融想荡的境地。这种地步不只是美术大师的编著心情,更要紧的是在文章直观的感觉上海展览中心现出来--物化道境。

49 李可染先生说,对于金钱观要用最大的厉害打进去,再用最大的决意打出来。是的,然则吾认为应该是对此守旧要理性地打进去,理性地打出来。因为挺进去的多,打出去的却非常少,原因即在于紧缺理性或理性不理。

50 对于宇宙自然精气神儿的认知,能立见成效地开发银行书法家主体精气神的能动性,使这两条精气神儿主线化而为大器晚成。那化意气风发的重新整合精气神线通过艺术家艺术的直观视觉语汇表现出来,那就是文章的地步。

对于宇宙精气神儿的认知,不是表象的,而是经过事物表象的存在方式,去颖慧内在的动感的大真大善大美,也即所谓的自豪、大象无形、大美无脸、蓄势待发。

这种大真大善大美的化合境界,要在创作直观方式中表现出来,实非易事。前人只是经历到了这种精气神的定势存在,在创作直观情势上并不曾显现出来。明天的音乐家要表现出来,守旧的章程语汇有局限,必然要有在语汇规模方面包车型大巴质的飞跃成立。

这种创立,不是天上掉下馅饼来,而是综合古往今来的接续与选拔合并以致从大自然自然开始混顿的太朴中去开采,太古不可能,太朴不散,太朴风流倜傥散,而法立,法于何立,立于一画。这一画,从观念上要创立于本人。

51 宁做音乐家的反驳,毋做理论的音乐家。宁做三个哲人的美术大师,毋做诗人的歌唱家。

52 墨道山水画实质是把中华夏儿女民共和国的教育学精气神儿转变为神州的方法精气神儿的全经过的体会。

53 墨道山水画,作为生机勃勃种道意识的运动措施,当然要碰到大道精神的招呼。道意识乃宇宙自然大道精气神儿意识。从某种角度说,墨道画具有宇宙学的含义,因为它也担纲了商讨宇宙自然的另风度翩翩卓殊剧中人物,这一个剧中人物是通过措施的点子而表现出来的。

54 墨道山水画中的宇宙自然形象,富含迹化着自身清洁的情怀,也等于人格修养的有机内容,不唯有是向自然投射的情感,也是小编内在生命与宇宙精神的化合情结,展现着小编对本来的宇宙观。

55 自己人格净化的华贵化,正是笔者与大自然精气神儿相融荡的境界。这种程度是墨道山水的美学境界。也是自家对山水画的审美意识。

要体会悟到宇宙精气神儿的存在,是稳操胜算把握的。它是无形无象看不见、摸不着,不是单独的存在物,而是依赖于你创立的影象而留存,饱含着大真大善大美的振作振作。这种精气神是与你主体精气神儿同化而为意气风发,成为有机的同体精气神儿,运用这种同体的旺盛去看待一切事物,用这种精气神去描绘你的山山水水。

56 乐师最大的活着价值,是突显出她的创新技能,能无法开采新的东西,表现新的事物。对团结早已获得的诀窍成就不是占用,而应当是持续追求探究,因为艺术世界是最佳的,用轻巧的生命去追求那然而的艺术境界。

Jizis Reflections on Art

  1. Acknowledging that the highest realm of art exists is acknowledging that the highest principle of the universe exists. To deny this principle exists or to turn your back on this principle does not bring happiness to mankind but disaster. By means of artwork, an artist inspires and purifies people. An artist grasps the spirit of the existence of this principle of the universe, and then artistically expresses this spirit of the universe.

  2. Artistic realms have levels. Different levels of artistic realms reveal the different levels of an artists philosophical thinking. Different levels of philosophical thinking are expressed as the artists different artistic levels.

Artists are not the saviors of the world. They merely inspire people by upholding the spiritual nature that the universe has conferred on them. Mankind wants to free itself from the predicament it has created, but also wants to be self-reliant. Artists are also people, and they also find themselves in the human predicament.

Before artists can inspire and arouse people, they must first inspire and arouse themselves; they must become people whose spirits are purified. For these reasons, artists must be people who possess a high degree of awareness of the universe. At the least, they must be people who have extricated one foot from the morass that mankind has made.

Artists philosophical thinking relies on artworks for expression. After a long period of practice and exploration, artists are also able to use a written vocabulary to summarize theories of a certain academic value. These theories are not those passed from one book to another, but rather they are a summarization of repeatedly thinking about experiences that go from practice to theory, and then from theory to practice. For this reason, if we compare the theories of artists and the theories of theorists, the artists theories are more practical but, in their linguistic ordering and logical aspects, however, the artistss theories are inferior, but their theories dazzle with far more artistic thinking.

  1. In researching an artists achievements, we primarily depend on the artists artworks, but we should not forget the course of the artists life and the artists speeches and writings as these speeches and writings are a more direct statement of an artists thinking.

  2. Acknowledging the existence of the universes highest principle is not the same as religious belief or worship, but it does have a religious sentiment.

  3. The harmonious unification of subject and object is just the unity of man and Heaven. This is really what is meant by the mountains and streams and I had a meeting of the minds and I turned them into art (Shi Tao).* An artist who just reproduces the object is the slave of nature, and is a person being transformed by scenery. An artist who uses the subjective to demonstrate the objective is a master of nature, and is a person who transforms a scene. This is an artist who gives birth to the mountains and streams (Shi Tao).**

* The quote is from Chapter Eight, the Chapter on Mountains and Streams, in Shi Taos Quotations on Art. The original Chinese is: shan chuan yu yu shen yu er ji hua ye.

** Ibid. The original Chinese is: shan chuan tuo tai yu yu.

  1. With regards to the transcendent nature of the unity of Heaven and man, the Buddhists refer to it as: Bhutatathata (literally: thus always), the emptiness of the nature of things, Tathagata (literally: (he who) comes thusly), nirvana (literally: not subject to birth and death), the emptiness of all dharmas, the emptiness of all things causally produced, the Buddha and I are not two (i.e. all sentient beings have the Buddha nature), and the dharma realm of the one reality.* Lao Zi referred to it as non being.** If an artist is capable of intuiting these terms then his artworks will be spirited, and this is called perfect understanding of ones nature.

* For more information on these Buddhist terms, Cf. Soothill and Hodous, A Dictionary of Chinese Buddhist Terms, various editions and reprints.

** Wu, non being, is a concept developed by Lao Zi in the Daode Jing.

  1. The many flow along but the Tao ebbs. Artists must first flow and then ebb. Flowing transforms ebbing; ebbing transforms flowing.

Assimilate the subjective spirit and the spirt of the universe (the ontological spirit); from this you will obtain the truth* about the universe -- human life -- art. The composition of the artistic image implies the truth, goodness, and beauty of the spirit of the universe. That is, it implies that the artists mind is self-purified, and that the artist has completed an intrinsic combination of factors that allow him to evaluate the cultivation of his character. At the same time, the composition of the artistic image expresses the spiritual awakening of the artist to the life of the universe, and embodies the profound accordance between the inner life of the artist and the spirit of the universe.

* The term translated as truth is zhendi, a Buddhist term that is the truth of a sage or person of insight in contrast to sudi, the common truth of those who know appearance but not reality.

  1. An artist must complete cultivating his character, as only then can the artist achieve a profound unity with truth, the good, and the beautiful. His artworks will then inevitably reveal an artistic realm where the artists own spirit and the spirit of the universe are in mutually harmony and mutual purity. This artistic realm is not merely the artists creative state of mind, but more importantly the visual sensations of the artworks in this realm express the materialization of the Tao.

  2. Mr. Li Keran (1907-1989), has said: An artist must use the greatest determination to break into traditional art, and then use the greatest determination to break out. This is so, but I also feel, however, that an artist must rationally break into traditional art, and then rationally break out. The reason that so many artists break into traditional art but so few break out is that they lack rationality, or that their rationality is irrational.

  3. With respect to knowing the natural spirit of the universe, the dynamism that effectively launches an artists subjective spirit also transforms the lines of these two spirits into one mainline. The whole spirit of this singular transformation is expressed by means of the intuitive visual vocabulary of the artists art. This is just the artistic realm of the artworks.

With respect to knowing the spirit of the universe, this spirit does not have an appearance but rather, by means of the existing exemplar of the appearances of things, allows the artist to understand inner truth, goodness, and beauty. This has been described as: great wisdom is like stupidity,* great images have no forms, great beauty is unadorned, and great music uses sound sparingly.

The realm that integrates truth, goodness, and beauty must be expressed in the artworks visual forms, and this is truly difficult. Our artistic predecessors embodied the eternal existence of this spirit of the universe through their own personal experiences, but this spirit was definitely not expressed in their artworks visual forms. Todays artists, however, want to express this spirit but the traditional artistic vocabulary has limits, making necessary a creative leap with regards to the qualitative scope of artistic vocabulary.

This type of creativity is not just manna from Heaven, but rather is an integration of our absorbing and mixing the artistic inheritance from the past, the present, and from China and abroad so that it expresses that Great Pristine that arose from the chaos of the primeval state of the universe. In primeval times, there was no artistic method because the Great Pristine had not broken loose from chaos. But as soon as the Great Pristine broke away from the primeval chaos, artistic method became established. How did artistic method become established? It became established as the uniqueness of painting. (Shi Tao)** This uniqueness of painting, from a conceptual standpoint, must be established by the artist himself.

* The saying: Great wisdom is like stupidity originated with the Song Dynasty poet Su Dongpo.

** This quote constitutes the opening lines of Shi Taos Quotations on Art. My translation follows Wu Guanzhongs explication in his Wo kan Shi Tao Hua Yulu. The Great Pristine (tai pu) is another expression for the Tao. The Chinese for the uniqueness of painting is yi hua and, as Wu Guanzhong notes, this expression has a wide variety of interpretations. I follow Wus explanation that the uniqueness of painting is simply the artists own, unique experiences. Yi being understood to mean unique (weiyi).

  1. Be an artist with theories, not a theoretical artist. Be a philosophic artist, rather than a poetic artist.

  2. The Tao of Ink Landscapes are in essence experiencing for oneself the complete process of transforming the spirit of Chinese philosophy into the spirit of Chinese art.

  3. The Tao of Ink Landscapes are patterns of activity for an awareness of the Tao, and of course they must be subject to careful observation as the spirit of the Tao. Awareness of the Tao then is just an awareness of the spirit of the Tao in the natural universe. Speaking from a certain perspective, the Tao of Ink paintings possess a cosmological significance because they play a further unique role as an exploration of the natural universe, a role expressed via an artistic mode.

  4. The natural images of the universe in the Tao of Ink Landscapes imply making visible my sentiments purified; that is to say, the organic content of the cultivation of my character. These are not only sentiments projected onto nature, but also sentiments that combine my inner life and the spirit of the universe. They embody my cosmological view of nature.

  5. The nobility in purifying ones character is that it takes one to a realm where the self and the spirit of the universe are in mutual harmony and mutual purity. This kind of artistic realm is the aesthetic realm of the Tao of Ink Landscapes. It is also my aesthetic awareness of landscape painting.

If one wants to appreciate and intuit the existence of the spirit of the universe, this is not difficult to do. This spirit has no form and no image and cannot be seen; it is intangible and cannot be touched; it is not a thing that exists independently. Rather, this spirit exists by attaching itself to the images that you create, where it embraces the spirit of truth, goodness, and beauty. This spirit assimilates as one with your essential spirit becoming an intrinsic consubstantial spirit.* Use this consubstantial spirt to cope with things and events, and use this consubstantial spirit to depict your landscapes.**

* The term translated as Consubstantial spirit is tongti jingshen.

** Landscapes here repeats the two words for mountains (shan) and waters (shui) that make up the Chinese word for landscapes (shan shui) so that the author is literally saying to depict your mountains and waters.

  1. An artists raison dtre is to exhibit his creativity, and whether or not the artist can discover and express new things. An artist should not hold onto artistic successes he himself has achieved but should continue to seek and explore because the art world is unlimited, so an artist should use his limited life to seek the unlimited artistic realm.

Translator: E. F. Connelly, PhD

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