Zhu Liangzhi | On the concept of "immeasurable" in traditional Chinese art philosophy

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Source | Journal of Peking University (Philosophy and Social Science)

Original question | Zhu Liangzhi

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There is an "immeasurable" concept of art in traditional Chinese art philosophy. This concept is discussed here from the four aspects of taking things as the quantity, the large system is not cut, the small is large, and the one is all. These four questions are all important theoretical propositions introduced by traditional philosophy and deeply rooted in the concept of art: taking things as the quantity, the emphasis is on letting go of the position of taking people as the quantity, and all things will be one; The large-scale system is not cut, highlighting the concept of traditional art without distinction; Transcend the relativity of finite and infinite, and achieve aesthetic transcendence in the non-measurable realm of no small and no large; And one is everything, and the emphasis is on the truth of perfection.

One of the fundamental characteristics of the experiential philosophy of one flower and one world and one grass and one country in traditional Chinese art is the transcendence of quantity. What it presents is a state of life, and this state is the "immeasurable world". This paper discusses the four key theoretical issues of taking things as quantity, large system without cutting, small medium and large, and one is everything, in order to see the thinking of traditional art philosophy in this regard. These four questions are all important theoretical propositions introduced by traditional philosophy and deeply rooted in the concept of art. The four propositions reflect the connotation of the "immeasurable" artistic concept from different angles: taking things as the quantity, focusing on putting down the position of taking people as the quantity, and making all things one; The large-scale system is not cut, highlighting the concept of traditional art without distinction; Transcend the relativity of finite and infinite, and achieve aesthetic transcendence in the non-measurable realm of no small and no large; And one is everything, and the emphasis is on the truth of perfection. Immeasurable philosophical concepts have had an important impact on the creation of traditional art forms.

1. There is a unique "autumn water spirit" in the philosophy of Chinese art. Ming Shen Zhou's "Lying Tour Atlas" 17 open, now in the Palace Museum in Beijing. One of them opens the landscape, painting the autumn breeze, a person on the shore under the tree, reading near the water, the old wood is sparse, the autumn water is rippling, and the reader looks pleasant. There is a poem on it: "When the west wind of Gaomu falls leaves, Xiao Shuang sits late. "Autumn Water" is not finished, who knows about the heart and the sky. "Reading "Autumn Water" by the autumn water of the pure water and shaming, the heart is with the autumn water, and then swims with the heaven and earth. The painter painted the coexistence of this "heart and heaven travel". Man is now the "being" of the world, not the viewer of the world. Although "Autumn Water" is in the outer part of "Zhuangzi", it is the key to understanding Zhuangzi's thought, and this article plays the main purpose of "Wandering" and "Theory of Things", and has the characteristics of mentioning Zhuangzi's thought. There was a saying in the predecessors that "I read the book of the lacquer garden, and the "Autumn Water" is a full article"[1], which summarized Zhuangzi's thought in the "Autumn Water" chapter. In the field of literature and art, the spirit of Qiushui has become a synonym for people and the world to become a day together. Dong Qichang (1555-1636) said: "I once participated in the "Autumn Water" chapter, and was too lazy to write pictures of famous mountains." [2] After reading "Autumn Water", he was too lazy to paint famous mountains, because there are famous mountains, there are nameless mountains, and the concept of famous and nameless is the difference between knowledge, and it is impossible to paint people's unique life experience by painting landscapes in this way. Through the dialogue between Hebo and Beihairuo, the chapter of "Autumn Water" focuses on the issue of "quantity". When the autumn water arrived, a hundred rivers poured into the river, and between the two rivers, there was no argument about cattle and horses, so the river god (the river god) was overjoyed, roaring and noisy down the river - it saw the boundless sea. He Bo originally thought that "the beauty of the world lies in himself", but in front of the sea, "he saw (now) Er Er ugly". He Bo was amazed by the sheer size of the sea, but Beihairuo (the god of the sea) said, "I am between heaven and earth, and I am like a small stone and a small tree in the mountains." Between heaven and earth, there are many kinds of things; Time stretches on, and there is no end; Fortune and misfortune are alternate, and life is endless; Beauty and ugliness refer to each other, stand because of people, and so on. If we look at the world through the eyes of knowledge, and the world is divided by human knowledge, there is no world itself, only the phantom of the world. The purpose of this book is to transcend the "quantity" of size, superiority and inferiority, beauty and ugliness, good and evil, and to transform people from the appearance of the world to the participants of the world. When people close the eyes of knowledge, open the inner sense of life, and shake the boat of life into the depths of the reeds of the world, the horizontal wind is calm, at this time people are with the reeds of the bleak sea, and the high-flying sand gulls are winged, where there will be any big, small, beautiful and ugly divisions. The "Qiushui Spirit" that returns to the world of life from the other side of knowledge embodies Zhuangzi's philosophy of "Heaven and earth coexist with me, and all things are one with me". The spirit of Qiushui is what Guo Xiang said about the consciousness of people and the world "becoming a day together"[3], and Shen Zhou's "heart and heaven travel", which is also the meaning.

01 Ming - Shen Zhou "Lying Tour Atlas" - Excerpt 1

The spirit of Qiushui is to establish a unique concept of "quantity", which Zhuangzi calls "taking things as quantity". These four words can really be described as the magic weapon for the development of traditional art. "Dongting Zhang Ledi" is an important realm of Chinese art, and it is a meaningful story from "Zhuangzi · Heavenly Fortune". The article wrote: "Beimen Cheng asked the Yellow Emperor and said: Emperor Zhang's "Xianchi" is happy in the wilderness of Dongting, I am afraid of hearing at first, I am sluggish when I hear it, I am confused when I hear it, and I am silent and silent." [4] On the surface, the idea of "harmony" is similar to the idea of "great happiness and harmony with heaven and earth" in the Book of Rites and · Music, but it is fundamentally different. "Music Notes" says: "Heaven and earth are humble, and kings and ministers are determined. The humble and the high have been revealed, and the noble and lowly are in a position. There is a constant movement, and the small is different. If the party gathers by like, and the object is divided by groups, then the life is different. In the heavens and the earth, in this way, the celebrant is different from the heavens and the earth. The earth is on the air, the weather is falling, the yin and yang are rubbing, the heaven and the earth are swinging, the drum is thunder, the wind and rain are fighting, the four hours are moving, the sun and the moon are warm, and the hundred are prosperous. In this way, the sum of heaven and earth is also happy. Obviously, this is a kind of harmony of order, a fit of superiority and inferiority, and a measure of "quantity". The basic starting point of Dongting Zhang Ledi, from fear to slackness, and from slackness to confusion, is to remove the factor of "quantity", "harmony" in immeasurable. For Beimencheng's question, the Yellow Emperor's answer is divided into three parts, that is, three "plays". The first "play" makes people "afraid": "The four seasons are stacked, and all things are born; One prosperity and one decline, Wenwu Lunjing; One is clear and one is turbid, yin and yang are harmonized, and the sound of the streamer is streamer; The stinging insect began, and I was shocked with thunder; Its death has no tail, and its beginning has no head. One death, one life, one together. There is no end to what is always, and there is no place to wait. Thou shalt be afraid. "The world of yin and yang harmony, turbidity and body, is the world of "quantity", people in this "human realm", listening to the joy of "salty pool", suddenly like being in the wilderness, suddenly have a sense of fear, fear shocked the relationship between order and knowledge, from "human realm" to "material realm" transformation. From "fear" to "slackness", into the realm of taking things as the quantity and the current perfection. The Yellow Emperor said: "I play it with the sum of yin and yang, and the candle with the light of the sun and the moon; Its sound energy is short and long, soft and rigid; The changes are the same, not the usual; In the valley is full of valleys, and in the pits are full of pits; Tu But( gap) Guarding the gods, taking things as the measure...... If you stand on the path of the four voids, lean on the canopy and groan. I know what I want to see, and I can bend to what I want, I can't do it, I'm a husband! The form is full of emptiness, and even the snake. Thou hast been a snake, so thou hast neglected. "Taking things as the quantity, destroying the boundary between man and me, dissolving the distinction between the infinite and the finite, and compromising all things, this is the immeasurable world. The third realm is from "slackness" to "confusion", which depicts the experience of the realm of bliss, which is the same as all things, speechless and pleasant, thus filling the heavens and the earth, and the buds are wrapped in the six poles, complete and sufficient. Zhuangzi said: "Foolishness, foolishness, the Tao can be carried and followed." The theory of the three "performances", from the quantity to the immeasurable, from the immeasurable to the realm of "preparations" full of harmony, clearly shows the general idea of Zhuangzi's immeasurable philosophy. The core of "Dongting Zhang Ledi" is to highlight the "truthfulness" of life, and the four characters "quantity with things" proposed in it are of great significance in Zhuangzi's philosophy. Regarding its explanation, Guo Xiang said that it means the same as Lao Tzu's "big system is not cut". Cheng Xuanying: "The size is short, and the amount depends on the object." [5] Lin Xiyi Shiyun: "Follow the dosage of all things, say that I am happy, and I don't need to be clever but follow nature." [6] And Qinglin Mingming's words are even clearer: "This word is full of joy and is all-encompassing...... Take the object as the quantity, because the size of the object is also according to the amount it receives. The valley is full of pits, speaking on the spot; Tu but guards God, just the words of people; Take things as the quantity, just the words. [7] Tu Di (gap) - to block the gaps in knowledge, to guard the gods, the so-called "plug its exchange, keep its light", so as to make things immeasurable. Take things as the quantity, not the quantity of people, that is, not the amount of knowledge, fill everywhere, lack less, in the valley full of valleys, in the pit full of pits, with the amount of the world as the quantity. This is the theoretical essence of the philosophy of the current full experience of traditional art. Zhuangzi's "taking things as the quantity" and abandoning the "quantity" of knowledge does not mean that the external objective reality is the quantity, but the immeasurable is the quantity. Of course, taking "immeasurable as quantity" is not a negation of "quantity". If this is the case, it will still fall into the intellectual separation. The core of taking things as quantity is the transcendence of "quantity". "Zhuangzi · Mountains and Trees" said: "If the husband floats by morality, it is not, there is no reputation, there is no dragon, a snake, with the times, and there is no will, one up and down, with harmony as the quantity, floating in the ancestor of all things, things but not things, then Hu Ke and tired!" " Taking things as the quantity, that is, "taking harmony as the quantity" - returning to the world from the other side of the world, and achieving the realm of people and the world becoming a day together.

02 Ming-Shen Zhou's "Lying Tour Album" - Excerpt 2

It is precisely for this reason that Zhuangzi's "taking things as the quantity" is actually "taking things as the embrace", and without direct life experience, it is impossible to materialize in the immeasurable realm of the world. The "Zhuangzi · Theory of Things" says: "The saint cherishes it, and everyone argues about it." Nostalgia is experienced; Debate is knowledge. Zhuangzi advocated the philosophy of "embracing all things", emphasizing the return to the ocean of life from the shore of knowledge, because the shore of knowledge is waterless, and forgetting each other in the rivers and lakes is the way to live a long life. The "bosom" of "the sage's cherishment" and "the bosom of all things" is equivalent to the meaning of the "belly" of Lao Tzu's "belly is not the goal". The fifteenth chapter of Lao Tzu says: "The five colors blind; The pentatonic tone is deafening; The five flavors are refreshing; galloping and hunting, making people mad; Rare goods, people do not want to be a saint, so go to the other to take this. "Purpose" refers to the way of separating the world with human senses, and the result can only be the definition of the world by man, resulting in the rupture of the close relationship between man and the world. The "belly" is to experience the world as a whole. "Abdomen" is equivalent to the meaning of "contemplation" in the later art theory and "wisdom contemplation" in Zen Buddhism, it is the inner consciousness of life, and it is a pure experiential activity that transcends the subject and object. The three words "Huai", "belly" and "view" are important concepts that mark the traditional philosophical experience method. Without experience, there would be no philosophy of art discussed here. The concept of "one flower, one world" in Chinese art philosophy is the way to experience life beyond knowledge. It is the enlightenment of life brought about by the reflection on "knowledge". Only by suppressing the "human" component can a small flower become a complete world. To a certain extent, it can be said that the philosophy of one flower and one world is to create a world of "non-human" (non-knowledge, non-fame, non-emotion, non-beauty and ugliness), and to return the world to its true nature, to save the world from the bullying of people and from the "seal" of knowledge and emotion. Dong Qichang said: "Knowing a word, the door of all wonders; There is another cloud: Knowing a word, the door of all evils. [8] With regard to knowledge, Chinese philosophy pays attention to its two characteristics: knowledge is power, and knowledge is also an obstacle. The accumulation of knowledge is an important sign of the advancement of civilization, and since the pre-Qin period, Chinese philosophy has been wary of knowledge. From Lao Tzu's "those who know do not speak, and those who speak do not know", Zhuangzi's "heaven and earth have great beauty without speaking", to Zen Buddhism's philosophy of "not setting up words, pointing directly to the people's hearts", all reflect this ideological tendency. Many Chinese thinkers have seen the conflict between man and man, and between man and nature, but the solution is not to conquer it with knowledge and overcome it with human strength, but to transcend the barrier of knowledge, overcome man's purposeful activities, and save lives in accordance with the trend of nature. In the West, it is "I think, therefore I am", but in the eyes of many Chinese thinkers, it can be said that "I think, therefore I am not there". This absolutely does not mean that the Chinese advocate obscurantism and are anti-intellectualists, but it reflects the efforts of traditional Chinese thought to discover and expand the inner momentum of life. The spirit of Qiushui, taking things as the quantity, and cherishing all things, the three are different, and the meaning is the same, all pointing to the realm of transcending the distinction of knowledge and returning to the unity of all things, which is the cornerstone of the formation of the traditional aesthetic understanding centered on experience.

Second, the big system does not cut Guo Xiang uses the four words "big system does not cut" to annotate "taking things as the quantity", the two meanings are similar, but the theoretical focus is different. Take things as the quantity, emphasizing the attitude of integrating with things; The large-scale system is not separated, and a philosophical concept is highlighted: there is no distinction. "Lao Tzu" Chapter 28 Cloud: "Knowing its male, guarding its female, is the stream of the world." For the world stream, Changde does not leave, and returns to the baby. Knowing its whiteness and guarding its black is the world's style. For the world's style, Changde is not distant, and it returns to Wuji. Knowing its glory, guarding its humiliation, is the valley of the world. For the valley of the world, Changde is enough, and it returns to Park. Pusan is a tool, and the saint uses it as an official, so the big system is not cut. [9] Breaking free from the intellectual contemplation of man, dark, confused, empty, boundless, is Pu—an unbroken world of harmony, where there is no distinction of knowledge, and it exists naturally like a baby; There is no fighting, and the eternal femininity is maintained; Like the streams of the world, like the valleys where the pure air flows, ethereal and all-encompassing, flowing without stagnation, although supple and infinitely powerful. Lao Tzu depicts the simple world with "the big system is not cut". The grand system, the highest system and principles. Mowing, cutting, respectively [10]. Lao Tzu believes that the highest system and the most fundamental system of tailoring are "simple" without distinction. The simple ones are not dispersed, and they are not divided. He said: "Seeing simplicity, less selfishness and few desires, no worries about learning." Plain and chaotic, it is a world that is separate from knowledge, pure and uncarved, that is, what he called the clumsy and foolish realm. The same is true of the "return to infancy" and "return to infinity" mentioned in this chapter. infants, undivided state of absence; The infinite, without the initial state of knowledge separation. Sage, Lao Tzu often used to describe the highest level of people. The official, that is, what Zhuangzi said, "the official heaven and the earth, the government and all things" ("De Chong Fu"). The saint used this method of no distinction to judge the masses and penetrate the heavens and the earth. Lou Lie's "Commentary on Lao Tzu's Tao Te Ching" believes that "the big system is not cut" means: "Big is the 'big' of the 'name of the strong' mentioned in Chapter 25, which refers to the Tao and Pu." system', said: 'cut also. ''Great system' means to punish all things with the Tao. (Beijing: Zhonghua Book Company, 2011 edition, p. 77) Lao Tzu's thought is not to emphasize primitive harmony, but to replace artificial coercion with natural inaction, to replace pretentiousness with simplicity and purity, to replace the world's competition with peace and equality, and to encompass the beauty of the world with an ethereal heart. The great system is the way of symbiosis between man and the world, and it is full of harmonious beauty. Ruling the heavens and the earth, governing all things, and judging the world with an undifferentiated mind is the theoretical core of the "philosophy of the perfect experience of the present".

03 Ming - Shen Zhou "Lying Tour Atlas" - excerpt 3

The Zhuangzi develops this idea. "Emperor Ying" said: "The emperor of the South China Sea is a da, the emperor of the North Sea is a sudden, and the emperor of the center is chaos. When they met in the land of chaos, they treated them very well, and they repaid the virtues of chaos, saying: 'Everyone has seven tricks to eat and breathe, and this is unique. 'Try to chisel it, dig it a day, and die in seven days. This is the last paragraph of the inner chapter, which is generally believed to be written by Zhuang Zhou, and this passage of Zhuangzi has the meaning of summarizing his own thoughts. It can even be said that Zhuangzi's philosophy is the philosophy of chaos. The world of knowledge and reason is clear, and the world of chaos is dark. However, Zhuangzi believes that what the world thinks of as a clear world is truly unclear, breaking the original order of life with superficial rationality. And the chaotic world, although dark and unclear—not "cleared" by knowledge—is clear and pure. In fact, Lao Tzu's "clear way" and "see small and bright" also mean this. The rational world is orderly, organized, and the chaotic world is indistinguishable, and it is a world without "reason". However, in Zhuangzi's view, the kind of order and rationality that people are keen to establish are mostly absurd and contrary to the real existence of man, and man's intellectual efforts are, to a large extent, to put shackles on man, and the chaotic world has no such tricks, it is the place of human life. The idea of the undivided system has injected special impetus into the development of Chinese art. Without the emergence of such ideas, perhaps the path of traditional art would have developed in a different direction. What it brings is not to imitate the tradition of heaven and earth, but to integrate with the spirit of the world, and the experiential philosophy of Chinese art is formed on the basis of this theory. This is one of the fundamental ideas that form the difference between Chinese and Western art. Two issues are discussed here. (1) In Western philosophy, since ancient Greece, there has been a systematic idea of imitating nature, and in China, the creation of the law is also its fundamental principle. "Zhou Yi · Upload of Words" said: "Yi and heaven and earth are accurate, so they can bridge the way of heaven and earth." The law is like heaven and earth, imitating nature, and taking creation as the highest paradigm, which is the fundamental principle of Chinese culture. The concept of art was also deeply influenced by it. For example, "the creation of foreign teachers, the source of the heart" is the highest program of Chinese art, although it is made by man, it is like the opening of heaven, the ingenuity of heaven, and the pursuit of natural interest, these concepts have profoundly influenced the development of traditional art. This idea is extremely complex, and we cannot simply judge it as the embodiment of the idea of "the unity of nature and man", and understand it as the imitation of external nature. That is, from the perspective of the philosophy of the unity of heaven and man, there are also different theoretical emphases: one is to integrate man with heaven and earth, with the main body as the mainstay, and through the creation of man, to integrate heaven and earth, and then achieve the unity of heaven and man, which is a form. The heaven in this is the existence of reason and order. The second is to take heaven and man as the object of imitation, prostrate under heaven and earth, and even think that "nature is beautiful" - nature has a more comprehensive and perfect embodiment than man. The heavens in this are the objects of faith. However, unlike the above two forms, it is neither man who unites heaven nor man who rules man by heaven, but there is no heaven, no man, and only a world of chaos. Not to demarcate man from the heavens, man is the sky, and the heavens are neither in the heart nor outside the mind, this is the theory of the unity of heaven and man in the theory of life experience, which is the third form. Among the artistic traditions since the Tang and Song dynasties, this third form has been the most influential, and to a certain extent, it has replaced the early model of imitating heaven and earth, and transformed the philosophy of the unity of heaven and man into a theory of life experience. Zhuangzi once put forward the idea of "being a disciple of heaven", which can easily be understood as "learning from nature". On the surface, "getting along with the sky" - heaven is talking about the relationship between man and heaven; "As a disciple", it is said to treat heaven with the attitude of a disciple. In this way, heaven is the teacher, and man is the disciple, reflecting the attitude of man who takes nature as the object of teaching. Just as it is a misreading to understand that "the external teacher creates the nature, and the inner and outer creates the subjective creation" based on the theory of "attaching importance to objective nature outwardly and subjective creation inward", it is also a great misunderstanding of Zhuangzi's philosophy to understand "being a disciple with heaven" as taking nature as a teacher. "Zhuangzi · Great Master" said: "The true people of the ancients are righteous and not friends...... Therefore, it is also one good, and one is good. One is also one, and one is not the same. One of them is a disciple of the sky, and the other is a disciple of man. Heaven and man are not compatible, it is called a real person. "A real person, the supreme ideal personality." "No friends", as Shi Tao said, "the law of the ancients is in the "no couple"[11], is simple, absolute and undifferentiated, that is, "no cut". Guo Xiang notes this cloud: "One of them is also a heavenly disciple; It's not the same, and so are the people. The husband and the real person are the same as the heavens and the people, and they are not different from each other. "The real person" is good in the "one", which refers to the realm of "one" without distinction. The one who is disgusted is also "one", and the "one" here is the opposite of "not one", which is separate. And the "oneness" favored by the "real person" is not the opposite of the "inconsistency", it is "uncut" and absolute. In terms of the concept of Buddhism, it is the same. The so-called "one is also one, and one is not one", neither "one" nor "not one". The same heaven and man, all things, and things for spring, with things as the quantity, and all things, just one. Therefore, "heaven and man do not win each other", heaven and man are one, and there is no question of who to compete with. It is very different from the traditional philosophical concept of "heaven and man win each other". It is precisely for this reason that Zhuangzi said that "being a disciple with heaven" has no difference between heaven and man, nor between master and apprentice. Man is not imitating heaven and taking heaven as the object of teaching, but is in harmony with heaven and man, and the so-called "rest of heaven and heaven" is also. The sentence structure of "being a disciple with the sky", such as "the party will be a human being with the creator" and "being a spring with things", I am "an apprentice" like the sky, how the sky is "a disciple", the sky has no teacher, and it is not a disciple. Therefore, the meaning of "being a disciple with the sky" is that there are no disciples and no teachers. Heaven is also a teacher, and he is also a teacher. Self-rooted, spontaneous and self-generated.

04 Ming-Shen Zhou "Falling Flower Poetic Intent"

In fact, this is also Lao Tzu's ideological insistence. Chapter 25 of Lao Tzu says: "The heavens are great, the earth is great, the Tao is great, and the people are also great. Man is the law of the earth, the earth is the law of the sky, the heaven is the law, and the Tao is the nature. The five concepts of man, earth, heaven, Tao and nature mentioned here are very easy for people to understand as a hierarchical relationship, people imitate the earth, the earth imitates the sky, the heaven imitates the Tao, and the Tao imitates nature, and the layers are progressive. The Tao is independent and unequivocal, a natural principle of non-action, when people break free from the shackles of doing, that is, they return to the truth of the Tao. The greatness of the Tao is not the size of the volume, but the nature of heaven and earth that exists in itself, doing nothing, such as the emptiness of the valley, which is endless, omnipresent, and all-encompassing, so it is called great. The Tao is nature, the Tao is natural, and there is not a nature outside the Tao, that is, the Tao is nature, that is, heaven and earth. Man has given up the view of separation, and has attained the realm of "Tao is nature, heaven is earth, and man is man". It is precisely this idea that Zhuangzi's "discipleship with heaven" encapsulates it. Based on this theory, let's look at the natural theory of teacher law in ancient art theory. At the end of the Ming Dynasty, Dong Qichang had a systematic discussion on the nature of the teacher, please see the following three paragraphs: the painter took heaven and earth as his teacher, followed by the mountains and rivers as his teacher, and then took the ancients as his teacher. Therefore, there is a saying that "if you don't read thousands of books, you can't travel thousands of miles, you can't paint", and "the sky is idle and ten thousand horses and my teachers are also". However, it is not quiet without him, and those who are good at haunting are not enough to say this. Belch! It is in my generation, and there is no hope for mediocrity. ("Self-titled Sketch", "Coral Net" vol. 42) The painter first took the ancients as his teacher, and later took the creation as his teacher. I see Huang Zijiu's "Tianchi Map", all of which are fakes. Last year, I traveled to Wuzhongshan, under the stone wall, I was happy and insightful, and shouted "Huangshi Gong". Unexpectedly, Yu said: "I met my teacher today." ("Bahuang Zijiu Light Crimson Landscape", "Coral Net" volume 33 citation) The painter took the ancients as his teacher, and he has been superior to the top, and he should take heaven and earth as his teacher. Every time you look at the changes in the clouds, you will be close to the middle of the mountain. When you see strange trees when you go to the mountain, you must take them from all sides. The tree has those who can't see the painting on the left and the painting on the right. If you are familiar with the natural expression, the person who conveys the spirit will forget each other with the form, the shape and the heart and hand, and the god will also entrust it. How can there be a tree that does not enter the painting, and the special painting is collected in the silk, dense but not complicated, steep and beautiful, that is, a painting of the family's ears. In the first paragraph, he talks about the three objects of teaching, the mountains and rivers and the ancients, which means the same as what he said about reading 10,000 books and traveling 10,000 miles, which is the accumulation of knowledge and experience. What is surprising is why there is a separate "heaven and earth" in addition to the mountains and rivers? This is where Dong Qichang's wisdom lies. This world is not the specific nature of the sun, moon and beautiful sky, rivers and lakes, but refers to the truth of experience and the creation of the heart. This division of heaven and earth is the realm of "ten thousand horses in the sky". "Zhuangzi · Horseshoe" said: "The horse's hooves can trample on frost and snow, the hair can resist the wind and cold, the grass can drink water, and the feet are on the land, and the true nature of this horse is also." Dong Qichang's "idle" realm is here. He takes the sky and ten thousand horses as his teacher, that is, heaven and man are one, there is no teacher outside, and the teacher has a unique vision. Dong Qichang's discussion of art not only emphasizes the accumulation of knowledge of reading thousands of books and traveling thousands of miles, but also emphasizes the inner spiritual enlightenment of "qi rhyme cannot be learned" (this does not refer to the innate endowment), the two go hand in hand, but always take the direct experience of "a super straight into the land" as the highest state of life. It is not the rejection of knowledge, but the transcendence of knowledge. In the second paragraph, the ancients are the teachers and the creation is the teacher, which is the same as the first two teachers in the first paragraph, and the teacher who "meets my teacher today" is the experience of "the teacher's heart" and his own current experience. The same is true of the third paragraph, which emphasizes the "taking heaven and earth as teachers", that is, the state of experience in which "form and mind and hand come together and forget each other". "Heaven and earth" is not an object external to me, but the reality of life invented at the moment, and "heaven and earth" is a state of life that is open for a while. From this point of view, Zhang Qi of the Tang Dynasty "the outer teacher creates the nature, and the heart is the source", it is obviously not the subjective and objective combination of imitating nature outward and attaching importance to the inner as some commentators say, and this dichotomy is not in line with the fact of traditional art philosophy. Qing Daixi said: "Painting is based on creation, what is creation, my heart is the creation of the ear. There are habits outside of my heart. Therefore, it is said that hating the ancients is not like me. [12] Creation is not a centrifugal source, not a mental source; The source of the heart is not separated from creation, and it is not in creation. Creation is the source of the heart, and the source of the heart is the source of creation. Talking about creation without the source of the heart, creation is only a purely external hue; Creation is the reality of the source of the heart. That is, creation, that is, the source of the heart, that is, the reality, this is the core of the idea of "the creation of the outside teacher, and the source of the heart". (2) The influence of the idea of pursuing the infinite system has also enabled the traditional art philosophy to have a unique understanding of the relationship between the finite and the infinite. The relationship between the finite and the infinite is one of the core issues of traditional art philosophy. The finite and the infinite are a pair of contradictions, and Chinese philosophy attaches great importance to the near and the far, and the self and the object. The development of the soul is the lifeblood of Chinese art. The people of the Han Dynasty had the mentality of "adults traveling in the universe", advocating "great hearts" and flowing with the sky, so as to "include the universe and have an overview of the past and the present". Since the Wei and Jin dynasties, the wind of high has blown in Shilin, and the ideal personality of the scholars is that Mr. Adult, which is a model of humanity that transcends the limited and reaches the infinite. The so-called "view of the past and the present in a moment, caress the four seas in a moment"; "Resistance is between thousands of years, and it is high on the surface of the eight wildernesses". When the Jin people looked at nature, they said: "The rivers and mountains are falling, and there is a trend of thousands of miles." This mentality also affected the landscape painting at the beginning of the grass, the landscape stretches endlessly, and the human eye can only see a few miles, to draw it to the silk, it is really difficult to chase. Therefore, in the early theory of landscape painting, the "bigness" of the landscape and the "smallness" of the picture were relatively opposed, and it was proposed to use the "potential" to overcome the limitations of the "small" and reproduce the "bigness" of the landscape. Zong Bing's "Painting Landscape Preface" cloud: "And the husband Kunlun is big, the pupils are small, and the eyes are forced to be inches, then its shape is invisible, and it can be surrounded by inches. If the sincerity is slightly wider, it will see that it is small. Today, Zhang Juan is reflected in the distance, and the shape of Kunlang can be enclosed within a square inch. Vertical painting of three inches, when thousands of feet high; The horizontal ink is several feet, and the body is hundreds of miles. Du Fu also said in "The Theme of the Drama Wang Zai's Painting of Landscapes and Songs": "You Gong is far away from Gumobi, and it should be thousands of miles away." The pursuit of infinite interest in the limited has become an artistic interest.

05 Ming-Hongren "Landscape Ink on Silk"

Mr. Zong Baihua believes that the yearning for infinity is an important feature of Chinese art. He said: "The ancient Greece did not seem to have discovered the natural beauty around the temple. Most of them look at the building itself in isolation. The ancient Chinese were different. They always have to contact the outside nature through buildings, through doors and windows...... 'the window contains a thousand autumn snow in Xiling, and the door is anchored in the ship of Dongwu Wanli' (Du Fu's poems), the poet leads from a small room to the snow of a thousand autumns and a ship of thousands of miles, that is, from a door and a window to experience infinite space and time. There are so many such verses. "He regards this as a typical example of seeing the big in the small, and through the human sensors, the small space is introduced into the large space, enriching the feeling of beauty." No matter how majestic a foreign church is, there are always limitations, but when we look at the altar of heaven, this platform is not facing the roof, but a void dome, that is, the whole universe as its own temple. This is very different from the West. [13] However, in the context of the philosophy of indiscriminate indiscrimination, there is something to be considered in such a statement. According to this indistinguishable view, it must be a bridge between the finite and the infinite. In the realm of pure experience, there is no finite and infinite, and the present is full of what means the dissolution of the infinite. The small is now big, not from the small to see the wider world, with the finite to pursue the infinite, but the big in the small, the infinite in the finite, or there is no size, there is no infinity and finite. The so-called priceless breeze and moon, near the water and distant mountains, are a depiction of the joy of the soul in the present, rather than the satisfaction brought by the near and far, looking down on the crowd and looking up at the sky. In the realm of experience, it is a unique day, and the small is a "sky", and this day is a full world. The so-called "but teach autumn to think enough, you don't have to have more moonlight" is also. In fact, in Tao Yuanming's concept, there is the idea of the dissolution of infinity, and his philosophy of "all things are self-sufficient" and "Hanhua is self-proud" extinguishes the guidance of infinity and gives the whole meaning of the instantaneous contemplation experience under the East Fence. In other words, the change in the concept of art since the Tang and Song dynasties is a reflection on the essence of art on the basis of the philosophy of non-distinction. The civilization of ritual music, the tradition of comparison, and the direction of the Tao have constructed China's unique tradition of artistic thought, which in essence breaks the original order of life with superficial rationality, and deviates from the proper meaning of art to a large extent. The philosophy of the present perfect artistic experience is to restore authenticity, to the original order of life, the fundamental object of artistic expression. The expressions of dead wood, cold forests, desolation and loneliness that we see in art are not to appreciate the taste of taste, but to break the superficial rational order, which is said to be a matter of course.

3. The small and middle school is now a big document that says: "My hall is built every time it is printed." [14], the small in the big is now large, and the square inch of the world in the heart can recreate a world. This romantic statement is related to an important principle of traditional artistic creation. The National Palace Museum in Taipei is the Tibetan tradition of Dong Qichang's "Small and Medium Present Volume", which is imitating the landscape work of the famous Song and Yuan dynasties, and the imitators are Fan Kuan, Dong Yuan, Ju Ran, Wang Xu, Gao Yanjing, Zhao Mengfu, Huang Gongwang, Wu Zhen, Wang Meng, Ni Zhan, etc., with a total of 22 pairs of books and paintings. The four characters inscribed at the front of the book, "small in the middle and now large", should be Dong Qichang's handwriting [15]. The four characters of "small and big" are based on the "Lengyan Sutra", which is four clouds: "I hide it with the wisdom of immortality. And if you come to hide only the wonderful enlightenment, the circle shines on the Dharma realm, so the middle one is immeasurable, the immeasurable is one, the small is large, the big is small, the immovable dojo is all over the ten realms, and the body contains 100,000 endless voids. [16] The Lengyan Sutra talks about the principles of "Sexual Enlightenment" and "Enlightenment". Sexual consciousness is to enlighten with the consciousness that is not dependent on other bodies, and to illuminate the boundless Dharma realm. Rigpa is the mind that is stained by delusions, and through practice, the delusions are dispelled and the delusions are restored. Whether it is rigpa or sexual awareness, the enlightened person has a pure and innate consciousness that is not born or destroyed, that is neither small nor great, that is both inside and out, and that is all light. The four characters "small in the big are big" are nothing less than the discovery of the true meaning of literati painting, and the emphasis is on the invention of natural consciousness. There are many meanings of "literati painting" in ancient and modern times, and the most important point is that it is a sincere invention. Without this "little bit of wisdom", it is impossible to get out of the "true" realm; With this "little bit of wisdom", we can transcend all forms of knowledge in the concept of "quantity" and become enlightened and self-reflective. The mind is inventing, not contrived. This mind is universal and everyone has it, as Buddhism says everyone has a pure mind. Human beings have their own hearts, which are difficult to appear due to delusions, and in the enlightenment, the light of the "heart source" is drawn out, so that it can be "manifested", where does the external light need to shine! Su Zhe of the Northern Song Dynasty said: "The big and the mountains and rivers of heaven and earth, the fine and the fine dust, this heart is omnipresent and omnipresent. It is to see the big in the small, the big to see the small, one for the million, ten million for one, all the heart of the law, but not to create something. [17] The method of the small and the big is a unique method of the mind, which invents the wisdom of the nature of life and illuminates the great use of the boundless Dharma realm with a little spiritual light. It goes straight to the heart, not the external artificiality. This is the essence of traditional art philosophy. The meditation on the big and the small accompanies the development of Chinese intellectual history and even art history. Human life is short and fragile, and large means a yearning for the infinite beyond the finite, a push for a sense of human power in conflict, and an obsession with authority and control in conquest. Small, on the other hand, means an acknowledgment of the inability of human beings to truly control the world, choosing the path of self-control and restraint, and focusing on oneself and the work of the moment. Big, is the outward extension; It is small and is an inward retraction. The development of Chinese intellectual history has generally gone through a process from attaching importance to the big to emphasizing the small (for example, the pre-Qin thought attached importance to the "big", Mencius said: "The rich is beautiful, the full and glorious is great, the great and the transformed is holy, and the holy and unknowable is God"; "Yi Chuan" advocates the "adult" character of "being in harmony with heaven and earth, in harmony with the sun and moon, and in order with the four seasons", and so on). The same is reflected in art, the Han and Tang dynasties and the Song and Yuan dynasties, there is a clear difference, the former is subtle and sublime, the latter is delicate and exquisite; The former attaches more importance to the schema of force, while the latter attaches more importance to the invention of synesthetic. A monk asked Master Zhaozhou: "How is the monk's carelessness?" Zhao Zhou said: "No big or small." [18] The four characters "no big and no small" are a kind of thinking that is different from the difference between big and small, and has important value in the history of Chinese thought. The core of the philosophy of the small is that there is no big or small. The view of size is based on quantity, which is contrary to the true consciousness of nature. In the pre-Qin period, this idea was revealed. Lao Tzu is "big" in the name of "Tao", but it is still big but not big, and the intention is not big or small. Chapter 25 of "Lao Tzu" refers to the Tao as "great", the so-called "so the Tao is great, the sky is great, the earth is great, the people are also great, and there are four great in the domain". But he sometimes refers to the Tao as "small." Chapter 34 Clouds: "The avenue is overflowing, and it can be left and right. All things are born without giving up, success is not there, clothing and nourishment of all things without being the main, often without desire, can be named in the small; All things are returned to the Lord, but they can be called great. It is not self-sufficient in the end, so it can become great. "The Tao is omnipresent, it is for the "big", the success and the blessing, and the "small", Lao Tzu uses this non-quantitative realm to smash the knowledge of people's size, superiority and inferiority. This can also be seen in Zhuang Hui's argument. "Zhuangzi · the World" quotes Huizi as saying: "The greatest is the greatest, and it is called the great one; To the small without the inside, it is called the small one. "The Great One is the infinite universe; Xiaoyi is an infinitesimal world, and Keiko is talking about the relativity of the finite and the infinite. He was a naturalist who loved all things, and once sighed: "Heaven and earth are magnificent!" He affirmed the "greatness" of heaven and earth, and this "greatness" is what it means in terms of volume. Keiko satirized Zhuangzi with "big and insignificant". The realm that Zhuangzi aspires to is always in the "vast desert land", "infinite gate", "infinite wilderness" and "land of nothing". Keizi said that Zhuangzi's theory was "big", which meant that what he said was broad in space. And Zhuangzi's "big" is fundamentally different from Huizi. His "bigness" is a life sentiment that transcends knowledge, rather than a quantitative view. "Zhuangzi · De Chong Fu" says: "Eyes are small, so they belong to people!" It's so big, it's a heaven of its own. "Man is small, but heaven is big. Why are people small? It is not that the volume is small, but that people are in the snare of the knowledge system of how large and small, and how high and low they are, so they are small. He wants to return to the "greatness" of heaven, rest in the heavens, and flow with creation, not to be great, so that he can become great[19]. The "bigness" of Huizhuang is different from the volume in terms of volume and beyond the volume.

06 Ming-Hongren "Landscape Painting"

Wang Fuzhi explained that the size of Zhuangzi was not waiting for him and said: "The form is in two rooms, and it is just a swim." No small is big, no one is complacent. There is nothing to do, and there is nothing to do, and there is nothing to do. Those who do not wait, do not wait for things to establish themselves, do not wait for things to make meritorious contributions, do not wait for the real to make a name, the small and the big are consistent, and they are all at ease in the sky. (Wang Fuzhi's "Explanation of the Wandering Problem", Zhuangzi Jie, vol. 1, edited by the Editorial Committee of Chuanshan Quanshu, Volume 13, Changsha: Yuelu Publishing House, 1988 edition, p. 81) Feng Duofu of the Southern Song Dynasty said in "The Story of Yanshan Garden" on gardening: "The husband is a treasure of the world, and he does not have to keep it for himself. The implication is in the object, and it is pleasing to the suitability. And Nangong Yanshan is hidden, and it is returned to the Su family. The treasure is in heaven and earth, and it is not my gain. With a fist of stones, it is easy to count the acres of garden; If it is small and large, but it is big and small, the weight of Mount Tai can make it lighter than the feathers, and all things are in a finger, then it is said that in a room, looking up at the universe, it is also one. [20] Yuan Yang Weizhen (1296-1370) wrote a book for Gu Ying (1310-1369) and said: "On the surface of the earth, there is water, and Da Luo is boundary, a scum of the floating urgency, in the center of the swirling water, and people do not understand, and the enlightened will be outside the whirlpool. Phew, God, a big Ying; land, a big boat also; To the human being, with the Tao as the body, into the infinite gate, beyond the boundless boundary, Si has to see the great boat outside the boat. [21] Shen Zhou's poem "Inscription Xu You Abandonment Scoop Picture": "One thing has one tiredness, and my form is still redundant. This spoon is also used to pay Changchuan. In the vast world, I also have a scoop of ears. I and Scoop, how to see each other! [22] This reflects the thinking of transcending the size in traditional art, where man is like a scoop between heaven and earth, establishing the "grand view" of life, opening the eyes of the universe, and inventing the "heaven" view of "the great and great" mentioned by Zhuangzi. At this time, the small building can also become a big view, the spoon can also be combined with the big river, and a punch of the stubborn stone is a universe. Tang Shunzhi (1507 - 1560), a Ming Dynasty artist who was deeply versed in the art of art, said in "Little Yan Ming": "The big one is calm and profitable, and the small one is profitable." If there is no dweller wall and house, who will write for ten years? If there is no traveler Cangshan and white water, who will be with the elite of the five mountains?" [23] He is called small, comfortable and self-sufficient. This grand view may be called the "philosophy of immeasurable art", which is very different from some of the ideas that emphasize the breadth of quantity in art theory: first, it is not a popular generalization in traditional philosophy and art concepts. For example, in "Zhou Yi", "its name is also small, and its class is large", and "Wenxin Carving Dragons · Search" said in "The sun is a star, and it is a poor word; Jagged Woruo, two words are poor: and less is always more, and the situation is exhaustive", all belong to a kind of generalization, to summarize more with less, and to reflect richer content through the emphasis of some aspects, after all, it is still out of quantitative considerations, which is different from this "immeasurable art philosophy". Second, it is not a miniature of the real scene, such as the popular miniature landscape in today's urban landscape, which reduces the actual landscape proportionally, so that people can enjoy the rich scenery in a relatively short time, which is a proportional "quantity" of consideration. Third, it is not a typical example of Western art theory, there is a fundamental difference between the two emphasizing experience and reproduction. This "immeasurable art philosophy" has a profound impact on the creation of traditional art forms, such as the following principles of form creation:

(1) Not in the complicated and simplified

Cheng Zhenghua (1604-1676) said: "Painting is simple and complex, it is about brush and ink, not about the realm. The people of the Northern Song Dynasty were thousands of valleys, and none of them were undiminished, and the Yuan people were withered and thin, and none of them were complicated. [24] As a great artist in the late Ming and early Qing dynasties, Qingxi was a person who truly understood Chinese art. It is rumored that he advocated that "painting is expensive and simple, not expensive and complicated", in fact, his real idea is: no matter the complexity or simplicity, only the realm. Simplicity is the concept of quantity, and the realm is the creation of life, which is the fundamental formal law of literati art. Qing Jinnong painted a plum blossom, with the inscription: "Loss and damage to the spirit of jade." Loss is an important concept in Lao Tzu's philosophy of natural inaction. Lao Tzu said: "For the sake of learning day by day, for the Tao day by day. Loss after loss, so that nothing can be done. "Loss, obviously, is not a reduction, or subtraction, not a quantitative change. It is the opposite of "learning more and more", and the way of doing is the way of inaction that transcends knowledge. A branch of plum blossoms, not see its less, full of chaotic plum and do not feel that it is more, the key lies in the discovery of the human heart, not in the form of the number. It is precisely for this reason that the Tao of Destruction is the way of the whole of nature and spirituality, and the way of the creation of life. Chinese art attaches great importance to simplicity and cannot be considered in terms of complexity and simplicity of form, especially in literati art. The emphasis on ethereal in calligraphy and painting cannot be simply understood as "blank", the sparse place can be walked, the dense place is impermeable, and the beauty is not in the transparency and stagnation of the form; The emphasis on simplicity in Chinese art does not mean that artists think that it is better to be dull than rich and splendid. A few branches of red knotweed, a piece of white clouds and loneliness, can become a wonderful land, the key is the experience of the heart. The great foolish Zen master of Qinglian Temple of the fifth generation, who was friends with Jing Hao, wanted to get Jing Hao's paintings, and wrote the poem "Begging Jing Hao Painting" to seek: "A large number of old prisons are strong, and the traces of the king's pen are known. Don't ask for a thousand streams of water, stop two pines. Leave a stone under the tree, and trace the distant peak on the edge of the sky. Near the rocky and damp place, but the ink smoke is thick. Jing Hao happily painted for it, and replied with a poem: "Arbitrarily sweeping, the peaks and mountains are the first to be." The tip of the pen is cold and thin, and the ink is light and the wild clouds are light. The rock fountain is narrow, and the roots of the mountain are horizontal. When the meditation room is exhibited, it is also called bitter emptiness. [25] The painter replied with "Don't ask for a thousand streams of water, but only two pines", and the painter replied with "The tip of the pen is cold and thin, and the ink is light and the wild clouds are light". The water has no hustle and bustle, and the mountains are between the presence and the none, bringing people into the ethereal and indifferent realm. This dialogue is quite symbolic in Chinese art, because the external volume and situation are not the center of the literati's artistic pursuit, but the presentation of the spiritual realm is the ideal heaven of the artist.

07 Ming-Shen Zhou "West Mountain Rain View Picture Scroll on Paper"

"A spoonful of water also has a curved place, and a piece of stone also has a deep place"[26], which is an important view of Yun Nantian (1633-1690) in the early Qing Dynasty. For the philosophy of one flower, one world, one grass and one country, Nantian has a deep experience. He said: "Yunlin painting is innocent and simple, one wood and one stone, and it has the interest of thousands of rocks and ravines. Today, people seek the cloud forest with a tree and a stone, and the cloud forest is lost several times. [27] Yunlin's paintings are a model of the realm of simplicity and rationality, such as the poem "Painting" by Yanjiang: "The clouds and forests are handed down from generation to generation, and I am afraid that they are not all shallow." In this understanding, the heart of the text is simple and complex. [28] Simplicity and complexity are the same, painting to the point where there is no complexity and no simplicity, and when the time reaches the ultimate state. (2) There are not many traditional paintings that have broken branches, which started in the Five Dynasties, flourished in the Southern Song Dynasty, and developed since the Yuan Dynasty. The composition of this kind of painting is simple, often the tree takes a branch, and the flower produces a few flowers, and it becomes a phase. In the Five Dynasties, Huang Zhen and Zhao Chang sometimes had works of broken branches, and this kind of work attaches importance to realism, often taking a cross-section, and simplifying and miniaturizing the form. There are many broken branches in the Southern Song Dynasty fan sketches, which pay attention to decoration and pursue vivid expression. There is another type of work in traditional painting, which is in the form of fans, albums, scrolls, landscapes, flowers and birds, and this kind of works pursues high elegance and simple composition, which is quite important to literati art. The Northern Song Dynasty Wen Tongshan painted a bamboo, the Southern Song Dynasty Yang Bu Zhishan painted a plum, the late Southern Song Dynasty Zhao Zigu good orchid, often the picture is a plant, Yuan Ke Jiusi, Ni Yunlin is good at sprinkling dust of bamboo branches, Ming Shen Zhou is good at sketching (such as "Lying Tour Atlas"), Qing Jin Nongxi painted the damaged and damaged ink plum, and so on. Although it is difficult to summarize this kind of works into a unified form, there is a consistent pursuit in the presentation of the state of life, they are similar to the traditional folded branch paintings in terms of composition, they are very simple, but they are fundamentally different from the folded branch works, they regard the realm as the fundamental pursuit of artistic creation, and do not present the number of objects and images in the form. This kind of work is a lively presentation of the current Yuancheng philosophy of life. Wen Tong painted bamboo branches, and people at the time had the comment of "100,000 husbands", a flower and a leaf, constituting a unique life realm and conveying people's subtle life feelings. During the reign of Yuan Yanyou, the title of "Mountain Village Dweller" Zhao Zigu's "Four Pictures": "Light ink is a heroic photo, a flower, a leaf, and a spirit. Fanxiang once entered the dream of Lushan, and the legacy is like a spring in Xiangshui. [29] This flower, leaf, and spirit is a kind of display of life, and the photographer is not a man-made flower shadow, but a "pour-out" of the world to bring out the true interest. Lu Xingzhi's "Biwu Cangshi Map" by Lu Xingzhi in the Forbidden City in Beijing is the only book of Lu Cunshi [30]. This painting depicts lake stones, sycamores, and cypress trees, and the brush and ink are moist. Standing among the lake stones, there are many holes, just like the years are reckless, leaving people with dream memories. The direct title of the land line on it is: "'Waiting for the stinging is broken, and the people speak on the west wind shore. The moon falls on the sand and the water is overflowing, and I am surprised to see the reed flowers coming to the geese. Poor and thin Lan Cheng, affectionate because of Qingqing. There is only a sycamore leaf, and I don't know how many autumn sounds. This friend Zhang Shuxia gave the rest of the work. Yu can not remember, in the first year of Zhizhi (1321) midsummer twenty-four days of the play as a green stone, and the immortal (press: that is, Lu Liu, there is a Lu left inscription) The west window sits at night, because of the language and this, in a blink of an eye twenty-one years, now Qingqing, Shuxia are all deceased, trance as the next world, then the book in the frontispiece, in order to remember the emotion of the moment. Zhang Shuxia, that is, the great poet Zhang Yan of the Southern Song Dynasty (1275-1349), said in the words of "Qingping Le" that "there is only one sycamore leaf, I don't know how many autumn sounds", although it is derived from the ancient saying "a leaf falls and knows the strength of autumn", but it expresses the artist's subtle life experience, as if it has become the aesthetic ideal world of traditional art. Yuan people are good bamboo rolls, the so-called "ink and wash branch is the most sluggish", may be influenced by the text, Yuan people often paint a branch of bamboo, but perfunctory for a long scroll, this is extremely difficult to create, Zhao Ziang, Gu An, Ke Jiusi, Ni Yunlin, etc. are good at this. Shanghai Museum collection of Ke Jiu Si ink bamboo two paragraphs, once the late Ming Dynasty great calligrapher Xing Dong identified, the first section of only a bamboo, there is a question of Boyan does not flower: "to the old collection of dead wood, bamboo and stone on the east slope of a small volume, every leisure, in the bright window quiet a few rooms, when the exhibition plays, do not feel the dust and worry disappear, wish to have a good ear." One day, a friend gave me a branch of Wenhuzhou ink bamboo, which is similar to the height of Po Xian's painting of dead wood, and it is not the same, and he said: This day is also a spouse. "Bazhong involves the origin of "a branch of ink bamboo" and its unique value. Yunlin likes to paint bamboo all his life. Traditional bamboo painting pursues "this bamboo is a few feet of ears, and there is a tendency to find the zhang", but he is not enthusiastic about the pursuit of "potential" - a unique sense of dynamism - but prefers to express the spirit of everywhere and lacking through bamboo painting. He likes to paint a branch of bamboo, and his "Bamboo Tip Picture" has no complicated form, but only a little bit of interest. Title cloud: "This body has realized the illusion bubble, and the pure element is like the sun and moon lamp." The National Palace Museum in Taipei has a bamboo branch album, and the inscription on the cloud forest is: "Dreaming into the Yundang Valley, the breeze is cold in June. Gu Jun thinks far, writes and gives a branch to see. [31] Also in the National Palace Museum in Taipei, "Spring Rain New Fence Map", also painted a bamboo, on which many people inscribed, among which Ye Baiyun: "Mr. is clear and cold, loves to write about the forest and jade, the lake and the sea have returned to the cicada, and a branch is left for future generations to see." [32] There is extraordinary thinking in one of his bamboos. (3) Not in the small and large, here in the garden to discuss a little. The United Kingdom philosopher Bacon (1561-1626) said of gardening: "Civilized human beings build beautiful houses first, and gardens are late, because garden art is higher than architecture." [33] The same is true in China, where gardening, as a unique art, has its origins in architecture, but is different from it. Before the Han Dynasty, there were gardens in China ("Shuowen": "So the tree fruit also.") ), Yuan ("Sayings": "So raise poultry also.") ), 囿 ("Saying": "囿, Yuan has a wall.") ), the garden ("Shuowen": "So planting vegetables is called garden.") ), Shu ("Ji Rhyme": "Courtyard, Tian Lu also.") , etc., these are still different from the gardens and gardens of later generations. Gardens in the true sense of the word in China are a later art[34], which generally arose from the Eastern Han Dynasty to the Six Dynasties. The second volume of Yang Zhi's "Luoyang Jialanji" of the Northern Wei Dynasty said that at that time, the mansion of Sinong Zhang Lun was gorgeous, "more than the beauty of Bangjun's garden and mountain pool", indicating that "garden mountain pool" had been widespread at that time. The garden is the art of integrating into nature, it is different from the architectural design of the pavilions, galloping is the psychology of the close integration of man and nature, and the integration of the house where people live and the landscape and the forest is the key to the consideration of garden art. In the early days, most of the gardens came from large families, and the style of luxury was strong. Reading the Western Jin Dynasty Shi Chong's "Thinking of Sighing", you can feel the luxury that comes to your face, the so-called "more happy and relaxed in the evening, good Lin Xu, and then fat escape to Heyang other industries." Its house is also, but it blocks the long causeway, the front is close to the clear canal, the cypress is more than 10,000 trees, and the river is surrounded by the house. There are pavilion ponds and marshes, more fish and birds, family vegetarian skills, quite the voice of Qin Zhao. Out is to swim and fish for the thing, into the piano and book entertainment", there is a royal palace momentum. Its sheer size is its fundamental characteristic. Since the two Jin Dynasty, the small garden integrated with nature has begun to be valued by people, such as Tao Yuanming's cherished three paths on the barren, pine chrysanthemum still exists in the small garden, the so-called "leaning on the south window to be proud, judging the knee of Yi'an", is the representative. Yu Xin of the Southern Dynasty "Xiaoyuan Fu" is an epoch-making document on the value of Xiaoyuan, the so-called "If the husband is above a branch, the nest father has a place to nest; In a pot, the pot has a place to stay", a few acres of forest gardens, lonely people, can be full of their minds. This has an important impact on the construction of future generations of small gardens.

08 Yuan-Ni Zan "Landscape, Flowers and Birds"

After the Tang and Song dynasties, in addition to the practical function (residence) and aesthetic function (rhyme and longitudinal eyes), the garden paid more attention to its function of settling people's hearts (Yunke house), creating a world that integrates with nature, not only for the eyes to see, but also for the soul to seek a home. As Bai Juyi said, "the day is for the sun and the moon, and people borrow the garden", the view of the garden pond is in line with the care of people's life, and it has become a world of nourishing the body and mind and stretching one's own life. Architect Tong Ning said: "The beauty of gardening is that the virtual and the real reflect each other, the size is contrasting, and the height is commensurate." [35] Shen Fu of the Qing Dynasty also said in the first volume of the "Six Records of the Floating Life": "If the pavilions and pavilions of the Ruofu Garden, the corridors of the suites, the stacked stones form mountains, the flowers are planted to take advantage of the potential, and the small see the small in the large, the small in the big, the real in the real, the real in the virtual, or hidden or exposed, shallow or deep." The space creation of the garden cannot be without the consideration of the size of the virtual and the real. But this consideration must serve the realm, the creation of the world in which human life experiences. Clever borrowing is the supreme law of traditional garden art. Because it is suitable for mountains and mountains, and water for water, it emphasizes the integration with nature and creates a space where one person and the world are one; Borrow, not the scenery of the garden, that is, the scenery of the garden, borrowed from the curtain wind and moon, emphasizing that the person who views the garden is the master, you come, the scenery in the garden, the wind and moon outside the garden, only to really come alive, the breeze and the moon are priceless, near the water and the mountains are loved, only in the viewer's soul can be realized. Therefore, traditional gardens place special emphasis on creating a space for dialogue with the world. The scenery of the garden, there are small and large, virtual and real, high and low, inside and outside, always in the soul loop, always in the spiritual connection, always in the garden you climb, enjoy the scene of a moment of spiritual connection. The face is to open the window of your soul; The eaves of the cloud wall are designed for you to join the light clouds; The curved bridge corridor is built for you to carry out the circulation with the world; The rockery waterfall spring is a rhapsody that leads you to gallop the mountains and rivers...... In short, everything is designed for you, in order for you to join the sequence of the world, to invite you from the other side of the world to the world, you are not here to see the scenery in the garden, you are the people in the garden. It is precisely in the pursuit of the realm that the Chinese look at the small in the big and the big in the small. Small is not really small, it means that you step into the middle of it; Bigness is not the beauty of the volume, it is the movement of the world with which you swim. The big movement is sent out by you, and the small coil is not far away from the ethereal clouds and the water that is far away, and does not forget to be with the breeze and the moon. Ji Cheng said: "You need to know how to occupy the sky." [36] As a rockery, to draw a beautiful shadow in the outline of the void, the creator of the garden (both refers to the gardener, and refers to the gardener) has the world, the chest of the article, the vast number of thousands of acres, the four hours of the splendor, the void and nothing, because of the reality into the void, leaving their own life for a moment, is "I am also with Yan" self-adaptation. Chinese garden art, which is produced in the philosophical background of experience, is a different category of garden art in the world, and its special feature is that it is an art of life experience. In the experience, it is full of everything, and there is nothing missing. For this reason, it is said in the garden that "a punch will be too much for a thousand miles, and a spoonful will be for thousands of rivers and lakes"[37], which is not, as Mr. Zhou Weiquan said, "to shrink and imitate the vast natural landscape within easy reach" [38]. Mr. Zhou Weiquan is a leader in contemporary garden research, and I have always respected the benefits of his research, but there are also views that I cannot agree with. For example, he said: "The stone rockeries in the garden are all abstract and typical shrinkage and copying of the real mountain, which can show the situation of the mountains and forests in a very small area, and transform the momentum of thousands of rocks and ravines." [39] I think this view is not in line with the true tradition of Chinese garden thought. The literati garden valued the experience of life, rather than the scaling and typical generalization of the volume.

Fourth, one is everything, everything is everything, everything is one, in the literati art since the Tang and Song dynasties, this theory is like a sharp sword, splitting the dense forest of knowledge, pointing directly to the true nature of life. Here are three related philosophical propositions in art. (1) One is all and everything is all, and everything is one, as an important concept of Chinese art philosophy, influenced by Taoist and Zen philosophy. The philosophy of Lao Zhuang plays a fundamental role here. One is the root of everything, and it is to be attributed to "one". "One" is the realm of non-knowledge and non-distinction. Lao Tzu's "hold one for the world" of the "one" is exactly like this. In Chinese Buddhist philosophy, this proposition has a complex theoretical form, and the Tiantai, Huayan, and Zen schools have different theoretical propositions [40]. The three ancestors of Zen Buddhism, the monk Can, said in the "Faith Inscription": "One is everything, and everything is one. But if so, why not worry! Faith is the same, there is no faith. Words are broken, not the past and the present. These sentences summarize the view of Zen Buddhism in this regard. Traditional art introduces the concept of "one is everything, everything is one", emphasizing the idea of life creation. As part of the One Finger of the Poet, the Twenty-Four Poems reflect the ideas of the Yuan Dynasty scholar Yu Ji (1372-1448) on artistic creation. Among them, "Implicit" said: "Without a word, it is as romantic as possible." If the language is not difficult, if it is unbearable. There is a real Zai, and it rises and falls. If it is full of wine, it will return to autumn when it is flowered. Leisurely empty dust, flickering sea. Shallow and deep gather and scatter, and take one from 10,000. The implicit argument is not a rhetorical method in literature, but a principle of realm creation. This implication can be said to be a kind of "immeasurable implication". A speck of dust is the vast vastness, a wave is the vast ocean, in the shallow and deep, in the scattered condensation, ten thousand "harvested" in the "one", "one" can encompass all things, and what is highlighted is the idea of "one is everything, everything is one". "Quotations on Shi Tao's Paintings" talks about the theory of "one painting", which is actually the truth that one is everything and everything is one. "One" is a clear one, a return to one's origins, and a true nature, starting from a stroke of one, which is the self-heart. "One painting" is the way of enlightenment from the root, and it is also the way of "Daquan". "A Painting Chapter" says: "Traveling far and ascending, knowing the skin inch, this painting is all over the world, that is, hundreds of millions of brushstrokes, which do not start here and end here." He also said, "The law of one painting is established, and all things are established." "The Misty Chapter" says: "From one to ten thousand, from ten thousand to rule one." Turning one into a cloud, the world's ability is complete. The "Seniority Chapter" says: "One rule ten thousand, ten thousand rule one." They are all saying that "one painting" is the law of the whole world. One is everything, one painting is ten thousand paintings, as the so-called one flower and one world, one leaf is the same, from the true spirit, the creation of the true lifeline, are all "Daquan".

09 Qing - Shi Tao "Landscape Painting"

In Shi Tao, "one painting" transcends the measurement of knowledge, all laws are one, and all things are born with "one". "One painting" has two ends, and the "Misty Chapter" of "Misty Chapter" is "not distinguished, it is chaos." Those who dispel chaos, give up a painting and who yes" includes both sides of the body. Physically, it is an undivided chaos, with a primordial "self-nature", which can also be said to be the ontology of creation (creative itself). In other words, "one painting" has the kinetic energy of creation, that is, what he called "those who dispel chaos, who will give up a painting and who is yes", is in a state of not being developed, and creates with "self-nature". If these two ends are expressed in Buddhist terms, they are "wisdom and wisdom". "One Painting" is neither a concrete starting point nor a final conclusion. Shi Tao proposes that "one painting" is not due to some abstract "Tao", a more reasonable and decisive truth, but to the starting point of all creation to the authenticity of life, and to the artist's direct understanding of the ordinary and the present. His way of encompassing is as he said in the poem "Title Zhuo Ran Lutu": "The water on all sides is boundless, and there is no way to think about the fish." It is not said that the world is small in this world, and the volume is Shu Shu and Zhuo Ranlu. [41] In the realm of no distinction, the true nature is issued, all the calculations of knowledge and measurement disappear, and the "quantity" does not exist, how big or small there is! The "one" of "Twenty-Four Poems" and "Quotations from Shi Tao's Paintings" is not absolute truth and ultimate value. The "non-dual method" transcends the "two" - the distinction between birth and death, and also transcends the "one" - the idea of the ultimate value pursuit. As the "Faith Inscription" says: "Two are owned by one, and one cannot be kept." If you don't have one mind, you won't be blamed. "All laws return to one", and where does "one" return? "One" means that there is no return, to one's own heart, to one's own direct experience in the present. Therefore, the "one" mind is not born, so that "one is everything, everything is one". One is all, not "all" from "one"; "Everything is one" is not the ultimate "one" from "everything", but there is no "one", there is no "everything", and with the opposition of "one" and "all", that is, the perception of quantity, it is not a life experience that comes from the truth. (2) The moon prints ten thousand rivers, and everywhere is round Qing Yun Nantian said when commenting on Dong and giant paintings: "The moon falls on ten thousand rivers, and everywhere is round." This is an important proposition in traditional art philosophy. Su Shi's poem "The Old Rhyme Presents the Cool Elder": "But the strange cloud mountain does not change color, how do you know that Jiang Yue will solve the clone." Southern Song Dynasty King Shipeng Note: "Buddha Book Cloud: The moon falls on a thousand rivers. and "Passing the Lantern Record": The monk asked the monk Longguang, what is the reason for the four-day offering of Bintou Lu, and the teacher said: In the same month of thousands of rivers, ten thousand households are in spring. The so-called 'moon seal ten thousand rivers'. But the strange cloud mountain does not change color, the mountains and rivers are still the same, and the color is like this. One is the meaning of everything. Su Shi's poem involves the issue of "moon seal and ten thousand rivers". Shen Zhou's "Tianchi has this pavilion, and there is this month in eternity." January shines on the Tianchi, and all things glow. Not special for the pavilion, the moon is also selfless", which also reflects the idea of "the moon is printed in ten thousand rivers, and everywhere is round". This proposition is originally transferred from Buddhism. In Chinese Buddhism, Huayan Sect calls itself "Yuanjiao", Wu Zetian once ordered Huayan Grandmaster Fazang to say the wonder of Huayan, Fazang used the lion at the gate of the palace as a metaphor to say the law, he said: "One by one, there are boundless masters (that is, lions); Again and again, take this boundless master, and return it to one by one. [42] Every thing has its own perfect nature, and every thing is a whole. The Southern Song Dynasty physicist Chen Chun (Beixi, 1159-1223) explained the "Tai Chi" cloud: "In short, it is just a reason, and it is only a Tai Chi. In other words, all things in heaven and earth have their own principles, and each has its own Taiji, and all of them are muddy and have no deficiencies. "For example, a large piece of mercury is round on the ground, and it is scattered into thousands of small pieces, all of which are round, and all of them are round, and they are all round, and they are all round, and they are still round on the ground. Chen Jisuo's saying that "the moon falls on thousands of rivers, and everywhere is round" is also the same. [43] The theory of several theories is intended to illustrate the theory of the distinction between reason. The Southern Zen theory is closest to the concept of traditional art philosophy, and it is also the main source of such discussions in art philosophy. Zen Buddhism emphasizes that touch everywhere is everywhere, the present is round, the so-called West is in the present, and the present is full. Huineng's disciple Yongjia Xuanjue's "Song of the Enlightenment" said: "All water appears in January, and all water is taken in January." "Biyan Lu" said "a dust, the earth receives; As soon as a flower blooms, the world rises", which is also this meaning, is another expression of the concept that one is everything and everything is one. However, the saying that "the moon is full of rivers and rivers, and everywhere is round" highlights the characteristics of perfection. "One" means the direct life experience of the moment, not waiting for him to be completed, the present is round, and there is no regret. As Xiyun said in "The Essentials of Passing the Heart": "Deep self-realization, straight down, complete and sufficient, and nothing to owe." [44] The Panshan Zen master of Zen Buddhism said: "The heart and the moon are lonely, and the light swallows all things." [45] Lonely, nothing to be treated; Roundness, nothing is lacking, and this is exactly what it says. The moon is full of all rivers, everywhere is round, not thousands of moons have a moon rule, that is in terms of the whole and the part, but to give each existence its own meaning, the meaning of existence is not in its high degree of generalization, as we usually say in the special embodiment of the general, in the finite embodiment of the infinite. The meaning of existence lies in itself. Here there is no distinction between the finite and the infinite, there is no general and special general affiliation, and there is no whole and part. When existence is freed from the shackles of human quantification and the reality of life is restored, everything is complete. A small garden is a world of abundance; A wildflower, without brilliant colors, is a lowly flower species, and is in a remote place, and there is nothing missing. (3) Mustard Seed Na Sumeru Mustard Seed Na Sumeru is also a proposition initiated by Buddhism and formed in traditional art philosophy. It is another expression of the idea that "one is everything". Li Yu has a mustard seed garden, and Hu Zhengyan has ten bamboo houses, all of which are said to be small, but the small can be seen in the big, and the mustard seeds can accommodate the world. Qing Daixi painted a small scene of clouds and water in Yanxi, and the inscription cloud: "Or a few inches of Yan'an can accommodate a thousand feet of mountains and hundred-foot trees, but people's eyes are like beans, and they see the dust for a moment, and Mount Tai is also a moment, and the world is included in Sumeru mustard seeds, how can the world deceive me." A friend hides strange stones, he painted a picture of the seventy-two peaks pavilion for it, and inscribed the cloud: "Xu Xuan's family has seventy-two peaks, build a pavilion to store it, belong to writing this picture." Or say: The peak of the hermitage is in the pavilion, why is the peak in the painting outside the pavilion? Answer: Su Duanming pot in Jiuhua, Jiuhua is free in the cloud table. He also said: 'There is the East China Sea in the sleeve', and the East China Sea is confused. Sumeru is in mustard seeds, and mustard seeds are in Sumeru. There should be no stagnation when solving people. [46] When there is no stagnation in understanding people, one thing is one world.

10 Qing-Shi Tao "Tao Yuanming's Poetry Intent Book"

Mustard Nasumi is a metaphor in the Buddhist scriptures, "Vimala Sutra · Unthinkable": "If the bodhisattva is a liberated one, with the height and breadth of Sumeru, there is nothing to increase or decrease in the inner mustard." "The Records of the Teachers of Ranga" quotes the cloud of the "Yingluo Sutra": "Mustard seeds into Sumeru, Sumeru into mustard seeds." [47] Mustard seeds, the seeds of mustard greens, are described in Buddhist scriptures as very small things. In the Buddhist cosmology, Mt. Meru is the center of the world, also known as Mt. Myoko. Sumeru into the mustard seed, the majestic and boundless Mount Meru, contained in a mustard seed, this is said to be immeasurable, immeasurable one. Zen Buddhism uses "Sumeru mustard seeds" to represent the realm of enlightenment, and the seventh volume of the "Jingde Chuan Lantern Record" records: "Jiangzhou Thorn Shi Li Bo asked the master (Lushan Guizong) and said: 'In the teaching, Sumeru has mustard seeds, and Bo is not doubtful. Mustard Na Sumeru, don't you talk nonsense?' The teacher said, 'Is it still possible for a man to make a man read 10,000 books?' Li said: 'Yes. The teacher said, "The top of the heel is as big as a coconut, and ten thousand books are facing in the direction?" Lee bowed his head. [48] Transcending the views of the great and the small, the inferior and the sage, and understanding the world with the equality of all laws, is the fundamental purpose of the Sumeru mustard seed doctrine. In the field of art, Sumeru mustard seeds are used to express the immeasurable philosophy of the small and the large. At the end of the Northern Song Dynasty, Dong Kui (word Guangchuan) said: "Those who have a love of mountains and rivers in the middle, the gods condense wisdom and understand, and those who get it in the heart will be sent outside, and they will undress majesticly and meet with the mountains, forests, springs and stones." Although it is cultivated, it also loses its courage. Therefore, it can catch Sumeru in a mustard, and the air is more than enough, and there is no compound mountain. [49] He described Fan Kuan's state when he painted, undressing majesticly, forgetting things and self, sweeping away all constraints, and attaining the realm of one being all and all being one. Sumeru mustard is here to express the transcendence of the spirit. The Song Dynasty poet and monk Dao can admired the realm of "eight wildernesses into the household", and his poem "Xianchao Begonia Cave": "The guests sit in the shade of flowers, and the guests drink the flower dew." Mr. has his own spring, eight wilderness and one household. It looks forward to repairing, and a branch reads the world. The crane cart does not come, and the east wind blows the sunset. [50] Mr.'s own spring, the eight desolations and one household, in fact, is the mustard seed Na Sumeru, which is the spring color of his own family, and if he looks at it from his true nature, he will take the heaven and the earth and the eight desolations into one household." Mr. 's own spring "implies the words of Zen Buddhism "Lucky Star Chinese Restaurant", and a hundred flowers bloom in spring, like "spring meaning" - the true nature of this creation, sprinkled on the branches of thousands of flowers and trees, making the flowers bloom. Therefore, spring is one, flowers are ten thousand, and thousands of flowers in the world all come from this "spring one", from "one" to "everything". Flowers are splendid, spring is everywhere, and the flowers are spring, that is, flowers are spring, that is, ten thousand is one. This is the truth that one is all and all is one. Qing Zhang Chao said: "The spring is the essence of heaven; Autumn, the sky is different. [51] This is precisely the case. Another farewell poem by Dao Chan also expresses similar thoughts: "The universe enters the eight windows, and the hibiscus makes clothes. The eyes hang for eternity, and the deep pillar book spreads incense. The end of the pen is inchable, and it is necessary to make the world cool. The rest of the things are also elegant, and it doesn't hurt to play right. Upside down and hundreds of monsters, Lu Li Luo Zhongfang. The arrogance presses the bull fight, not to mention the light. laughing at his children Cao, the white road is empty. The autumn wind is a three-foot sword, and the dust presses down. Cut off the laurel in the moon, and this sideburns are not blue. I want to help Beidou and use cinnamon syrup. The article is here, and the mountains are a millimeter. From Susi to Yiluo, the waves are in full swing. How many wandering people, the clothes are back to flying. Who knows every inch, a reed can be sailed. Don't forget this matter. [52] The poem is written with joy and eloquence, and the truth expressed is deeply interesting. The universe into the eight windows, hibiscus clothes, including the spirit of the universe of heaven and earth, to make the most beautiful clothes in life, all kinds of persistence in the world, all kinds of restraints, wrapped in people, deducing so many absurdities, it is better to be intoxicated in life, high and far away, calmly loop, "who knows the square inch, a reed can be navigated", a spiritual reed, ploughing through the world's thousands of waves, such as looping in the leisure stroll. Back to the discussion of Dai Xi quoted above, when he talked about Sumeru's mustard seeds, he quoted "the East China Sea in his sleeve", the poem came out of Dongpo, and Dongpo brought back some small stones like "marble nests" formed by the battle with the waves from the East China Sea, in order to raise stone calamus, and composed a poem "I hold this stone to return." There is the East China Sea in the sleeve" [53], the valley takes this as the eye in the poem, and the Later Zen family takes this as the head of the hall, such as the Zen master Yuan Jue of the Northern Song Dynasty once said: "Dongpo Yun: 'I hold this stone to return, and there is the East China Sea in the sleeve'; Valley Cloud: 'Hui Chong smoke and rain and reed geese, sit in my Xiaoxiang Dongting. If you want to call the boat back, others say that it is Danqing', this Zen essence also. [54] Bringing back a few pieces of East China Sea stones, such as hiding the East China Sea in your sleeve, is a kind of feeling of looking up to life and connecting heaven and earth. The name of the east slope is called "Jiuhua in the pot", which is also the meaning. Shen Zhouyou wrote a poem about strange stones, saying: "It has been hidden in the East China Sea from the deep sleeve, and it will roll up a small poem." [55] This is exactly what it means.

Exegesis:

1. Ma Dingguo, "Reading Zhuangzi", in Yuan Haowen, ed., Zhongzhou Collection, Episode A, Shanghai: East China Normal University Press, 2014, p. 61. 2. Lu Shihua's "Wu Yue's Catalogue of Paintings and Calligraphy" Volume 5 "Dong Wenmin Painted Landscape Vertical Scroll for Wang Feng", and inscribed the cloud: "Xun Zhishangbao is a painting for many years, diffuse, not by the old lazy, every time I see his recent works, the rhyme is rushing, moving the ancient law, has entered the room of the yellow idiot Ni Yuan, which is eye-catching. Because of the title poem, a superb cloud: 'I once participated in the autumn water chapter, and I was lazy to write famous mountain photos. There is no Buddha to be respected, and the generous family laughs. 'On the first day of April, the Qinglong River boat times, its Chang. (The Complete Book of Chinese Painting and Calligraphy, Volume 8, Shanghai: Shanghai Painting and Calligraphy Publishing House, 1994, p. 1121) The drawing was painted in 1629 and is no longer available. 3. Guo Xiang explained the heavenly sounds: "The husband is a natural one, how can there be another thing?" That is, the genus of all the tricks is more than bamboo, and it will become a day and a lot. (Guo Xiang's Note, Cheng Xuanyingshu's Commentary on the Nanhua Zhenjing, Beijing: Zhonghua Book Company, 2008 edition, p. 26) 4. Dongting is a pretext for boundlessness, Cheng Xuanyingshu: "The wilderness of Dongting, between heaven and earth, is not the Dongting of Taihu Lake." Xuan Yingyun: "Dongting, Yu Guanghan." See Guo Xiang and Cheng Xuanyingshu, Commentary on the Nanhua Zhenjing, p. 290. 5. Guo Xiang's Commentary and Cheng Xuanying's Commentary, Nanhua Zhenjing Commentary, p. 292. 6. Lin Xiyi, Zhuangzi Feng Zhai Kou Yi Proofreading, vol. 5, Beijing: Zhonghua Book Company, 2009 reprint, p. 231. 7. Lin Yuanming, "Zhuangzi Yin", Selected Annotations of the Essentials of Literature and History of the Past Dynasties, Shanghai: East China Normal University Press, 2011, p. 151. 8. Dong Qichang, "Rongtai Collection", Volume 1, Shao Hai Inventory School: "Rongtai Collection", Hangzhou: Xiling Seal Society, 2012 edition, p. 572. 9. This section is from the passage of the king of the book. Yi Shunding's "Reading Lao Notes", Ma Xulun's "Lao Tzu's Proofreading" and Gao Heng's "Lao Tzu's Correct Words" all believe that the six sentences from "guarding its blackness" to "knowing its glory" are infiltrated by future generations, and there are no such six sentences in silk books A and B. Zhang Shunhui's "Lao Tzu's Evidence" and Dang Shengyuan's "Lao Tzu's Analysis of Righteousness" often have the habit of omitting books quoted by the ancients, and "Huainanzi · Dao Ying Chapter" is cited as "knowing its glory, guarding its humiliation, and being the valley of the world." The original meaning of the passage is smooth, so follow it. 10. Lou Lie's "Commentary on Lao Tzu's Tao Te Ching" believes that "the great system is not cut" means: "Great is the 'big' of the 'name of the strong' mentioned in Chapter 25, which refers to the Tao and Pu." system', said the text: 'cut also. ''Great system' means to punish all things with the Tao. (Beijing: Zhonghua Book Company, 2011 edition, p. 77) 11. A sentence from Shi Tao's "Wild Gully Qinglan Picture Axis" in the Nanjing Museum. 12. Title: "Dense Forest and Steep Mountains", Xi Kuzhai Paintings, vol. 5, The Complete Book of Chinese Painting and Calligraphy, Volume 14, Shanghai: Shanghai Painting and Calligraphy Publishing House, 2000, p. 192. 13. Zong Baihua, Essays on the History of Chinese Aesthetics, Hefei: Anhui Education Press, 2006, p. 43. 14. See Dai Xi's "Xi Kuzhai Paintings" volume 2 quote: "Eshi sorted out the basin stones, gave Fu Nengye, and occasionally wrote in the painting. Wen Zhi Zhaoyun: 'My hall is made every time it is printed. 'Alcohol pen play, but also under the wrist also. (The Complete Book of Chinese Paintings and Calligraphy, Vol. 14, p. 159) This is not found in the collection of Wen Zhengming's writings. 15. The Shanghai Museum also has similar albums, and there is considerable controversy in the research community about the true authors of these two albums. 16. "Lengyan Sutra", translated by Emperor Tianzhu Shamen Ban Honey in the Tang Dynasty, the nineteenth volume of the Taizheng Collection. 17. Su Zhe, "Preface to the Quotations of Elder Dongshan Wen", Luancheng Collection, vol. 25, edited by Chen Hongtian and Gao Xiufang: Su Zhe Collection, Beijing: Zhonghua Book Company, 1990 edition, p. 429. 18. The Collected Sayings of Gu Zun Su, Vol. 13, Beijing: Zhonghua Book Company, 1994 edition, p. 224. 19. Wang Fuzhi explained that the size of Zhuangzi has nothing to wait for: "The form is in two rooms, and it is just a swim." No small is big, no one is complacent. There is nothing to do, and there is nothing to do, and there is nothing to do. Those who do not wait, do not wait for things to establish themselves, do not wait for things to make meritorious contributions, do not wait for the real to make a name, the small and the big are consistent, and they are all at ease in the sky. ( Wang Fuzhi's "Explanation of the Wandering Journey", Zhuangzi Jie, vol. 1, edited by the Editorial Committee of Chuanshan Quanshu, Volume 13, Changsha: Yuelu Publishing House, 1988 edition, p. 81) 20. Ming Zhengde Xiu: "Jingkou Sanshan Zhi" volume 7, engraved in the seventh year of Ming Zhengde. 21. Yang Weizhen: "Dongweizi Anthology", vol. 18, "Records of Calligraphy and Painting", four series.

22. Bian Yongyu, "Shigutang Calligraphy and Painting Collection", vol. 55, vol. 25, Hangzhou: Zhejiang People's Fine Arts Publishing House, 2012, p. 2068. 23. Tang Shunzhi's "Jingchuan Collection", volume 13, four series. 24. Cheng Zheng's words, see Zhou Lianggong, Reading Pictures, vol. 2, edited and edited by Zhu Tianshu: The Complete Works of Zhou Lianggong, Volume 5, Nanjing: Phoenix Publishing House, 2008, pp. 94-95. 25. Liu Daool, "Supplement to the Famous Paintings of the Five Dynasties", The Complete Book of Chinese Painting and Calligraphy, vol. 1, Shanghai: Shanghai Painting and Calligraphy Publishing House, 1993, p. 42. 26. Wu Qiming, ed., The Complete Works of Yun Shouping, Beijing: People's Literature Publishing House, 2015, p. 327. 27. Wu Qiming, ed., The Complete Works of Yun Shouping, p. 339. 28. See Wang Shiqing et al., eds., The Collection of Records of the Yangtze River, Hefei: Anhui People's Publishing House, 1984, p. 32.

29. Bian Yongyu, Shigutang Calligraphy and Painting Examination, Vol. 45, Vol. 15, Hangzhou: Zhejiang People's Fine Arts Publishing House, 2012, p. 1745.

30. Research Center for Ancient Chinese Painting and Calligraphy, Zhejiang University, ed., The Complete Works of Yuan Painting, Vol. 1, Vol. 2, Hangzhou: Zhejiang University Press, 2013, p. 40. 31. Zhang Guangbin, "The Four Great Masters of the Yuan Dynasty", Taipei: The Palace Museum, 1975 edition, p. 301. 32. "Shiqu Bao Ji Preliminary Edition" Imperial Study (Volume 38) bibliography. There is a poem inscribed by Yunlin: "Today, Yao He chanted verses, saying that I am sick with food. Gift Xiangjiang green phoenix tail, the highest peak of the phase. "Xinhai autumn wrote bamboo tips and poems to present the second sect of the soldiers, Zhan". Painted in the autumn of 1371. Fu Shen considered this work doubtful, arguing that "the calligraphy is very similar to that of the contemporaries", and that the level of painting does not correspond to the level of Yunlin, and if it is genuine, it may be "a work when he was in a bad mood" (Ni Zan and Yuan Dynasty Mozhu, Ni Zan Studies, Shanghai: Shanghai Painting and Calligraphy Publishing House, 2005, p. 298). 33. Cited in Tong Ning, "The Influence of Chinese Gardens on the East and the West", Tong Ning's Collected Works, Vol. 2, Beijing: China Architecture & Building Press, 2001, p. 347. 34. The introduction to Chen Zhi's History of Chinese Gardening, Beijing: China Architecture & Building Press, 2006, pp. 1-3. 35. Tong Ning, Jiangnan Garden Chronicles, Beijing: China Architecture & Building Press, 2014, p. 16. 36. Counting: "Yuanye" Volume 1, Building the Society. 37. Wen Zhenheng, Chronicles of Long Things, vol. 3, p. 24. 38. Zhou Weiquan, A History of Classical Chinese Gardens, Beijing: Tsinghua University Press, 2008, p. 35.

39. Zhou Weiquan, A History of Classical Chinese Gardens, p. 27.

40. The idea that one is everything and everything is one is unhindered is the most thoughtful exposition of Zen Buddhism and Huayan Buddhism. However, the important differences between the two schools are as follows: Huayan's theory of one and many reciprocities is based on the theory that phenomena are integrated and ontology, and the truth is embodied in all phenomena (Shu Xian), and all phenomena are embodied in the truth as the ontology (Juanzang). "One" is the ontology, and "everything" is the phenomenon; "One" is single, and "ten thousand" is the whole. From "one" to "ten thousand", that is, the difference in quantity, one hair and all hair, one thing and all things. What Nanzong Zen has broken is the discriminating wisdom of the ontology of this phenomenon. At the same time, the theory of Huayan Sect emphasizes that there are thousands of different things in the world, and each thing has its own nature, so it shows differences, and there is a common principle in different things. Zen Buddhism, on the other hand, is the concept of complete equality, which holds that the differences between things are caused by the discriminating wisdom of people, and that the existence of things itself is not different, nor is there any difference in measure. 41. Shi Tao, Zhuo Ran Lu Tu Scroll, now in the Shanghai Museum, painted in 1699. 42. Fang Litian, "Huayan Jin Shizi Chapter Proofreading", Beijing: Zhonghua Book Company, 1984 edition, p. 64. 43. Chen Chun, Beixi Ziyi, Vol. II, Beijing: Zhonghua Book Company, 1983 edition, pp. 45-46. The Chen Jisuo mentioned here, that is, Chen Yuan ( ? - 1145), the character Zisuo, Shi Yangshi. 44. According to Qu Ruji, "Zhiyue Lu", vol. 10, Chengdu: Bashu Publishing House, 2011 edition, p. 300. 45. Five Lantern Huiyuan, vol. 3, Beijing: Zhonghua Book Company, 1984 edition, p. 149. 46. For the above two quotations, see Xi Kuzhai Paintings, vol. 1, The Complete Book of Chinese Paintings and Calligraphy, vol. 14, Shanghai: Shanghai Painting and Calligraphy Publishing House, 2000, pp. 155, 152. 47. Taishō Collection, Book 85. 48. Zhu Junhongdianxiao, Jingde Chuan Lantern Record, vol. 7, Haikou: Hainan Publishing House, 2011 edition, p. 182. 49. "Title Fan Kuan Painting", Guangchuan Painting, vol. 6, Hangzhou: Zhejiang People's Fine Arts Publishing House, 2016, p. 95. 50. "Liutang Outer Collection" Volume 1, Qing Wenyuan Pavilion Four Libraries Complete Book. Dao Can ( ? —1271), a monk of the Dahui sect of the Linji Sect in the Song Dynasty, a native of Taihe, Ji'an (Jiangxi), with no text, is the heir of the Laughing Weng Miaokan. The common surname is Tao, a descendant of Yuanming. He once opened a church in Raozhou (Jiangxi) Jianfu Temple, and later served as the abbot of Lushan Kaixian Huazang Zen Temple. 51. Zhang Chao, The Shadow of a Dream, Vol. 1, Hangzhou: Zhejiang People's Fine Arts Publishing House, 2017, p. 14. This is one of the "Art and Culture Series" published by the society. 52. "Liutang Outer Collection", Volume 1, "Wu Taiqing Youyuan Served Far Away and Sent Farewell Rhyme with Poems". 53. "The Stone Wall of His Excellency Wendeng Penglai is a Thousand Zhang, Broken by the Waves When Fighting, Sprinkled for a Long Time, All Mature and Lovely, the Native People Say This Marble Vortex also, Take Hundreds to Raise Stone Calamus, and Write Poems to Leave the Old Man of Citang", Kong Fanli, Su Shi's Collected Poems, Vol. 31, Beijing: Zhonghua Book Company, 1982 edition, pp. 1651-1652. 54. Five Lantern Huiyuan, vol. 19, Beijing: Zhonghua Book Company, 1984 edition, p. 1292. 55. "Xie Gu Tianxiang Sends Jiangle Stone", "Selected Poems of Ishida", vol. 2, Qing Wenjin Pavilion Four Libraries of the Whole Book.

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