The Chinese Theory of Art: Shi Tao (Part V)
10. Dividing Sections:
The practice of dividing a picture into “three levels” and “two sections” seems to be a reflection of nature. In some occasions this is true. Such dividing lines seem to exist when the Changjiang heads into the sea, and when the mountains of Zhejiang rise up on the opposite side of the river. The three levels say that the first level is the ground, the second level contains the trees, and the third level the mountains. To distinguish distances, the so-called two sections say that the mountains are on top and the immediate scene is below. In the center, some clusters of clouds cut the picture sharply in two.
But to paint a picture, one should not stick to the arbitrary three levels and two sections, but should give the whole picture a sense of cohesion. There should be unexpected breakthroughs to show the strength of the artist’s conception. If this sense of cohesion is established, minor faults may be forgiven.
11. Short-cuts
There are six short-cuts in painting: emphasis of scene, on mountains, contrast, additions, abrupt endings, and suggestions of danger. Emphasis of scene means the scene is in spring, but the hills may be as if in winter. Emphasis on mountains means the trees are sparse as in winter, but the hillsides are in spring. Straight trees contrast with leaning rocks. When the hills are vague, willows and bamboos, bridges and summer houses are additions. Abrupt endings mean that the scene suddenly comes to a stop. Trees and rocks are left incomplete, fading away into the thinnest possible strokes. Places suggesting danger are when roads are blocked off, or natural inaccessible formations on the seas. They can also be the appearance of high peaks, sharp bluffs, and plank roads and paths built into hillsides. Here great strength of brush-strokes must be shown.
12. Woods and Vegetation:
The ancients painted trees in groups of threes or fives, or even nine or ten trees together. They were so arranged that they faced in different directions with light and shadow at various heights, giving a sense of life-likeness.
13. Sea Waves:
There are currents in the sea, and hidden veins in mountains. The mountains pile up on one another, break off into ravines and deep valleys in the most unexpected zigzag manner, and the air and clouds and mist breathe through them. This is like currents and tides in the sea. The sea can also act like mountains. Its surf rises like hillcrests and its ebb resembles mountain ranges. One might think of the sea only as the sea, and of the mountains strictly as mountain only, which would be a mistake. To me mountains are seas and seas are mountains, and the seas and mountains know that I know. This is the romance of brush and ink.