论中国文人画的笔墨精神与时代危机

Abstract

Chinese ink-and-wash painting has an unique philosophical implication and feeling of humanities. It has always been concerned about "I" rather than "Thing". One's feelings are reflected in objects and express themselves in a description of natural living object. Finally, it would be reached the boundary of "thing and I being one" and recreate subjective arts through objective figures at the same time. This opinion and effect of "External Learning from Naturalism and Internal Comprehension, Exploring and Seeking the Source of Creation in the Course of Experiencing the Natural and the Real Life" have made complete combination of Aesthetics and Pen-and-Ink Spirit. In this study, the language of ink and wash painting was considered in Chinese arts theory. The relation between aesthetics and techniques of paintings was studied first, and then artistic disciplines of artists, the way of acquisition of rich painting language and the meaning of them were analyzed. A popular example of Pen and Ink Spirit would be a painting in the literary artist's style proposed by Su-Shi. So, at the very first, the concept of that was analyzed and the reason why literary person seek a painting in the literary artist's style was investigated. 'Conceiving' in “conceiving before painting" is artistic conception of poem. Incorrupt and elegant personality of literary person and atmosphere of detached elegant are expressed in it. The process of artistic creation is the process of change from "spiritual in eyes" to "spiritual in mind", and from "spiritual in mind" to "spiritual in painting". This is the process of materialization from imagery to figure, and specific thoughts of artist is manifested through various artistic imagination and thought. Figure and lingering charm is expressed by ink, which is basic language of ink-and-wash painting. Ink-and-wash paintings express artistic conception by brush technique and ink style and reach the boundary of aesthetic. Literary artists regard artistic conception in the process of creation. Artistic conception falls into the important category, and it matures by life experiences of artist and constant creative activity, then and not till then the language of ink-and-wash painting is completed by the way of thought and painting techniques. Next, contemporary crisis of paintings in the literary artist's style was examined. Today studies for paintings are far from sufficient. Because many artists put more weight on techniques of ink-and-wash painting rather than aesthetics of ink-and-wash painting, cultivation of the mind and artistic development. Many artists just follow an old tradition without their own language of brush and ink and their pictures are filled with self-interest and selfish desire. It is because they do not fully understand traditional culture and lack self-discipline. As a result, a painting in the literary artist's style is in urgent crisis since dignity of paintings declines remarkably and pen-and-ink spirit is not reflected in the pictures. A painting in the literary artist's style requires deep thinking. Studies for history of existing ink-and-wash paintings should be done actively, so one should rediscover calligraphy ink impression and learn individual pen-and-ink spirit in directly. This kind of spiritual awakening must start from new values, philosophical ideology and art idea. And then natural techniques of the art should be chosen. Finally, contemporary implied culture, spirit of ink-and-wash painting and rationality should be reexamined in various aspects.