姬子画语录辑录_音乐大教师的天分讯_雅昌情报

26 把实际的合理转向主体,从视觉真实转向心灵的真人真事,从合理性世界走向主观世界,用一种超过的无理精神调控物质现实,那是由写实具象转型为架空的重大,是金钥匙,也即物随心转。固然实际世界是办法的底蕴,可是全部艺术价值的创作却不是心随物转而得。

27 物象变形即使丧失了合理的意思,但却是书法家表现内心神秘的暗号。狂放即使形成了夸大,怪僻产生了极度,那都以音乐家天性的不如展现。物象的表征已子虚乌有,色彩也失去纯物质成效,现身了思想上的扭转。观众感到到的是美术大师完全在表现自身的心田。那是天堂现代派艺术家的着力协同之处,正在于是用少年老成种特别的点染语言表达心灵的展现性艺术。

28 画者,言也。自画出自心,自心成佛。

29 心源者,艺源也。能得心者,技艺得心物。心物者,艺物也。艺物者,自然造化也。造化者,化造也,对古不化、对物不化、对景不化、对外艺不化,何谈造。

30 缘道立象,象自立。缘道求法,法自生。缘道构景,景自构。缘道化境,境自存。

画山水,有景无境,入俗眼。

有景有境,方为高手。无景有境乃巨手也。

31 景是器,境是道。

所谓景,即非景;非景非非景,是为景。

所谓境,即非境;非境非非境,是为境。

所谓法,即非法;违规非违规,是为法。

32 从宏观角度讲,艺术的最高境界是知识展现方法。

从某种狭义上讲,艺术表现文化。

33 平平淡淡。大象无形。大美无脸。并非无声、无形、无脸。而是无声非无声、无形非无形、无脸非无脸,是为声、是为形、是为颜。此声、形、颜者,乃为真正真、形、颜也。画者,不悟通此理,乃俗手俗画矣!

34 大笔无痕,非无痕。非痕非非痕,此乃为幸福之痕,本真之痕,原态之痕,是为痕。痕者,迹也。迹者,心迹道迹神蹟。

35 从古代现今,都以持以形写神之意见。作者反其道而行之,以神写形是也。以形写神是重现,以神写形是表现。前面二个重客观;前者重主观。老子曰:反者道之动。

36 把自然物化,即物以心迁、地随心变、貌随心变、物以心转的进程,也是因心再造的进度。至境随心造、心随道造,再到缘道立象、象随心转、景观构景、景归境象、境象归景全经过。

37 山水画品位,层面境界的渐进图式:

物化心化道化

眼中物心中物道中物

物的迹化心的迹化道的迹化

38 书法大师想驾驭自个儿是哪一手?对照自身,意气风发看便知。要想造成巨手,必从俗手始,经三十几年,努力修炼,才干落得。

墨道山水创作多少个为主历程:第一步进行宏观的道境考虑。第二步依照道境的急需,举办宏观的风流倜傥体化画面结合。第三步按构成须要举行立象,所谓缘道立象。在立象方面选取多维立象思维方法,集具象、抽象、心象、意象等。第四步举办绘图。在绘制中,以理性为骨干,但也会有非理性因素存在;有早晚的突发性,也可以有奇迹的料定,汇艺术历程全体学养而为之。这种为之是无心的,但也是佛口蛇心的,无为无不为。中黄炎子孙民共和国民代表大会道精气神及民族特色,自然涵蕴当中,加之本性化的笔墨关系、虚实关系、繁简关系、黑白关系等等的应用,那么具体的法子语言便顺路而生,缘道而立。个中有理性的周详制订,也会有非理性的自由;有悟性超过的满含,也是有历史观的天人合生机勃勃,物笔者两忘的制定心理,就是天地人化生机勃勃,道物作者通悟的高出理性状态。第五步是最终的欧洲经济共同体整理。由此,墨道山水已不是古板士人的诗画,却有天地的诗心,况且是巨人的诗心。文章浩然磅礴,震人心弦,是中央与本体的惊人协调统生机勃勃,也是主客观的同化畅神,给人以莫衷一是的启迪,又是通道精气神儿的直观显现,达成了中华夏儿女民共和国写生对于最高灵境的追求,不仅仅是写作心态,首要的是镜头直观境界。

39 中华夏族民共和国画是友好邻邦文化的形象之大器晚成,不管过去,未来如故他日,都以在这里起彼伏一而再再三再四、扩充成立地进步着全体中华民族文化精气神儿的主意形象,这种形态图式随着历史的升华而具有每一种历史阶段的时期性。这种时期性多呈未来图式表象,即表现格局。可是,要非常着重提出的是,不管哪个历史时代的时期性小说,都应贯穿着一条主线,这条主线正是在创作表现背后的中华民族文化精气神内涵。那多亏民族艺术的常常有灵魂,健壮的后背。

叁个民族经验了上千年、近万年的野史发展,它的中华民族文化精气神儿已形成了大器晚成座壁垒森严的丰碑,那座丰碑随着历史的开展,兼容并包,交融了逐个历史阶段的人类进步文本,深化丰盛着那座丰碑。同时本民族的学问精气神,也被人类此外民族所选用,更巩固了人类知识精气神儿的联合签字追求。若是始终地幻想,用风度翩翩种乌托邦式的教导、观念、行为吗而强逼性地去改换它的话,就算花大力气用数十年的武功,最后还是发布倒闭,成为历史发展的监犯。

用作中华民族文化精气神显示之生龙活虎的国画,在20世纪界末、21世纪初交汇之际,有人提议中华夏族民共和国画笔墨等于零,又有人提议要守住中中原人民共和国画笔墨底线,引发了比赛商议。其实质都可是是表现情势的表象而已。作者感到最本色最要害的难题是要守住本民族的民族文化精气神儿,完备、丰硕民族的脊梁,才是素有。至于等于零也好,守住底线能够,都感觉全体公民族文化精气神服务的。

40 艺术不是法学,不过艺术能够答应农学思辨的一些主题材料。这种回答不是图解,亦非某种文学符号,而是风流倜傥种理学精气神的内蕴。

乐师,也应是壹个人观念浓厚的圣贤。史学家靠文字语言去阐释自个儿的历史学理念;音乐大师靠自身特殊的主意图式语汇去迹化自身的哲思,也即小说的深层内涵。

Jizis Reflections on Art

  1. Change the real object into the subject, and turn the visual sense of reality into reality as seen by the soul. Go from the objective world to the subjective world by utilizing a type of transcendental subjective spirit to dominate physical reality. This is the key to transforming concrete reality into the abstract, it is the golden key as the material world is changed by mind.Although the real world (that is life) is the foundation of art, nonetheless, all artwork that has artistic value is definitely not obtained by a mind changed by the material world.

While the quote itself (Chinese: wu sui xin zhuan) is attributed to the Buddha in The Lankavatara Sutra (compiled in the fourth century CE), the philosophic idealism expressed in this quote is also a principle of the Consciousness-only School (weishi lun) that flourished in the Tang Dynasty.

This quote, in Chinese xin sui wu zhuan, is the authors play on the words of the above quote: wu sui xin zhuan (the material world is changed by mind).

  1. When the form of a physical image is changed, although it forfeits its significance as an object, nonetheless, it symbolizes the artists expression of an inner mystery. Although unrestraint leads to exaggeration, and eccentricity produces abnormal forms, these are all different expressions of the artists mind. When the special features of the physical image no longer exist, and colors also lose the effect of pure substance, then what emerges is a transformation in concepts. What the viewer feels is that the artist has completely exposed his inner mind. This is something about which the School of Modern Artists in the West has reached a fundamental consensus and, this being so, they use a special kind of painting language to convey the souls artistic expressions.

  2. A painting is speech. If the painting reveals ones mind, then that mind is enlightened.

The Chinese word translated as enlightened is fo which literally means the Buddha; the original meaning of the word Buddha, and its original Chinese transliteration fotu, however, was the enlightened one.

  1. The source of the mind is the source of art. One who gets his mind is then capable of getting the objects in his mind. The objects in ones mind are the objects of art. Art objects are natures creative transformations. Nature transforms creatively.Transforming creatively, however, does not mean transforming the ancient, objects, scenes, or art from outside (that is art from abroad), so how about creating?

Nature transforms creatively is the authors play on the Chinese term: zaohua, which, as a noun, can mean Nature and, as a verb, to create or to nurture.

  1. If you follow the Tao to establish the image, then the image establishes itself. If you follow the Tao to seek an artistic method, then an artistic method arises by itself. If you follow the Tao to structure a scene, then the scene structures itself. If you follow the Tao to transform an artistic realm, then the realm itself comes into existence.

Painting landscapes, the vulgar eye sees scenes but not realms.

If there are both scenes and realms, the painter is competent.

If there are no scenes but there are realms,

Then the painter is a Master.

The Chinese for follow the Tao is yuan dao, a term that also has the sense of going along with the Tao, being on the edge of the Tao, and because of the Tao.

  1. The scene is an instrument, the artistic realm is the Tao.

What is called the scene is not the scene;

The non-scene is not the non-scene; it is the scene.

What is called the realm is not the realm;

The non-realm is not the non-realm; it is the realm.

What is called the method is not the method;

The non-method is not the non-method; it is the method.

As noted above, the word translated as instrument is qi, a word that means instrument, device, or tool. Qi is used in The Book of Changes in sharp contradistinction to dao (i.e. the Tao). Cf. Confucius remark in the Second Chapter of the Analects of Confucius that the princely man (i.e. the Confucian humanist ideal) is not a mere instrument (qi).

  1. Speaking from a macroscopic perspective (the universe reflects consciousness), the highest artistic realm is where culture expresses art.

Speaking in a certain narrow sense (where art itself reflects consciousness), then art expresses culture.

  1. Great music uses sound sparingly. Great images have no form. Great beauty has no adornment. But it is not that there is absolutely no sound, no form, no adornment. Rather, silence is not without sound; the formless is not without form; the unadorned is not without adornment; and this is the meaning of sound, form, and adornment. This kind of sound, form, and adornment are authentic truth, form, and adornment. If a painter does not thoroughly comprehend this principle, then that painter is a conventional artist painting conventional pictures.

  2. A great brush leave no traces. No traces are not non-traces. There are the traces of creativity, of the real, of the original state; these are all traces. Traces are signs; signs that include: signs of the mind, the Tao, and the spirit.

Life -- the artist -- artworks (the eye)

The artist -- the cultivation of life -- artworks (the mind)

The universe -- mans life -- art (the Tao)

  1. From ancient times until the present, artists have persisted in the concept of using forms to paint mysteries. I do just the opposite and use mysteries to paint forms. Using forms to paint mysteries is reproducing the subject of the painting while using mysteries to paint forms is an artistic expression. The former repeats the object; the latter, the subject. Lao Zi said:

Reversal is the movement of the Tao.

Cf. Chapter 40 of Lao Zis Daode Jing.

  1. Painting natural objects is a process of objects move with the mind,the earth transforms following mind, appearances transform following mind, and the material word is changed by mind. Painting natural objects is also a process of re-creating according to mind.It is a process of going from the realm is created according to mind, and mind is created in accord with the Tao, to follow the Tao to establish the image, the image is changed by mind, the images of the scene constitute the scene, the scene returns to the realm of images, and the realm of images returns to the scene.

This quote is from the Shishi Tongjian, a work compiled by the Korean Monk known as Caoyi Chanshi (the Grass Cape Chan Monk), (1786-1866).

These several quotes about how mind effects changes and transformations are typical of the philosophical idealism of such Buddhist schools of thought as Chan, consciousness-only,etc.

  1. A landscape paintings qualities and the levels of its artistic realm are displayed in the following schematic:

Materialized -- mindized-- Taoized

Eye objects -- mind objects -- Tao objects

Indicates the material word -- indicates mind -- indicates the Tao

Literally mindized (xinhua).

Literally Taozied (daohua).

  1. Does a painter want to know how good he is? Let him compare himself to others, and he will know at first glance. Is the painter thinking of becoming a Master? Then he must start as a conventional painter, spend several decades striving to cultivate himself and practicing his art, and only then will he achieve it.

Several basic processes produced the Tao of Ink Landscapes. The first step was to proceed to the macroscopic conception of the realm of the Tao. The second step was to proceed to the overall paintings macroscopic composition based on the requirements of the realm of the Tao. The third step was to create the image based on the needs of that composition, the so called laying hold of the Tao to create the image. As to the aspect of creating the image, I utilized a mode of thinking that allows for the creation of multidimensional images, sets of concrete images, abstract images, mental images, and so on. The fourth step was to paint a draft. In the draft, the painting should be guided by rationality but there should also be some irrational elements. There should be inevitable accidents, and accidental inevitabilities brought about by the learning and cultivating that is a convergence of artistic processes. This type of bringing about is unconscious, but there are also conscious elements so that by doing nothing, nothing is not done.Chinas spirit of the great Tao and the characteristics of Chinas nationalities are naturally embodied in this, and when we add individualized applications such as the relationships between brush and ink, false and real, complex and simple, black and white, and other such applications, then the the concrete artistic language avails itself of the Tao to come into being, and lays hold of the Tao to establish itself. In this there is a rational, meticulous creativity, and also some irrational randomness. There is a rationally transcendent epitome, but also the traditional unity of Heaven and man, a creative mood in which both the ego and objects are forgotten, and a state that transcends rationality in which Heaven, man, and earth are one and the Tao, objects, and the ego are fully comprehended. The fifth step was the last overall putting of things in order. From here, the Tao of Ink Landscapes are not just the traditional literatis poetic paintings,but the poetic mind of Heaven and earth and also of the philosopher. The artworks are awe inspiring and majestic and touch peoples heartstrings. They are a harmonious unity of the subjective and the ontological as well as the smooth assimilation of subject and object. They provide each individual with a different inspiration, and they are also the visual appearances of the spirit of the great Tao. They demonstrate that Chinese paintings striving for the highest spiritual realm are not only a creative state of mind but also, and more importantly, paintings of a realm directly perceived through the visual sense.

Cf. Chapter 37 of Lao Zis Daode Jing.

An allusion to the Song Dynasty poet and painter Su Dongpos (1037-1101) famous remark that in a painting there is a poem; in a poem, a painting.

  1. Chinese painting is one form of Chinese culture and, regardless of whether it is the past, present, or future, it is an inheritance that continues, by expansion and creation, to develop artistic forms that possess the people of Chinas cultural spirit.These forms of drawing follow the development of history and possess the spirit of the times of each historical period. This spirit of the times is frequently expressed in schematic representations that are expressions of forms (some say that brush and ink paintings ought also to follow the times). What I want especially to stress here, however, is that, regardless of what historical period the artworks of the times represent, there is one main current that permeates them all, and that current is the significance of the people of Chinas cultural spirit that is the backdrop to all these artworks. This current is the fundamental soul of the people of Chinas art; their strength of character.

A people that has experienced several thousand years, close to ten thousand years, of historical development, are a people whose cultural spirit has formed a deep seated memorial. This memorial, following historical developments, is an eclectic mix that synthesizes mankinds advances in every historical period, and these have both strengthened and enriched this memorial. Simultaneously, the people of Chinas cultural spirit is absorbed by other peoples consolidating even further the common pursuit of a human cultural spirit. Even if we engage in wishful thinking, and use a utopian style of education, thought, and behavior to the point of making it mandatory to make changes to this memorial, and even if we were to expend all our energies for several decades on this endeavor, ultimately we would have to admit defeat, and we would be guilty of impeding the progress of history.

At the convergence of the end of the twentieth and the beginning of the twenty first centuries, Chinese painting, which is one method of demonstrating the people of Chinas cultural spirit, was criticized by some people who said that brush and ink paintings amount to nothing, and by others who said hold fast to the bottom line for brush and ink paintings, a confrontation that sparked heated debate. In essence, paintings are nothing but the expressions of forms. I believe that the most important matter is to uphold the people of Chinas cultural spirit, and that to improve and enrich their strength of character is of the essence. As to whether Chinese painting amounts to nothing or to whether we should hold fast to the bottom line, these both serve the people of Chinas cultural spirit.

The term translated as people of China is minzu, literally a people, a nation, an ethnic community. Because China is a composite of many different peoples, however, and because the author clearly refers to all of these peoples, I have used people of China rather than Chinese people, a term often mistakenly thought to refer only to the majority Han nationality.

The term is jiliang, literally backbone but by extension, and similar to its use in English, strength of character.

  1. Art is not philosophy, but art can answer some of the questions that philosophy raises. These answers are not graphic solutions, nor are they some kind of philosophic symbols; instead, they are a kind of extension of the philosophic spirit.

Artists must be deep thinking philosophers. Philosophers depend on language to expound their philosophic thinking. Artists depend on their own unique artistic schematic vocabulary to trace their own philosophic thinking; in other words, the deeper meaning of artworks.

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