Chinese Art: Shen Zongqian: Part II
7. Get Back to Painting
True art aims at archaic simplicity, while the modern age prefers novelty and excitement. The motivation of the two are opposites.
8. Tone and Atmosphere
Artists who do not understand the secret that brush-work and ink-work often go for striking monoliths, waterfalls and very old trees to impress by their bizarre forms, or to shock people by being outrageous. This is why modern art is sinking daily into vulgarity.
There is something strangely moving in a placid rush-covered autumn lake, or in distant hills beyond a forest valley. Ancient poets often sang of these to express their moods and sentiments. Visual artists recorded these moments in their paintings to express that unattached, poetic mood. As a result, a few simple strokes are able to convey an atmosphere of which one never tires. The straining for effect does not hold up well in comparison.
The ancients impress one by their brush-work, or by their special flavor, or by their style. These all come from the personality of the artist himself and cannot be learned. What can be learned are the basic rules. After these rules have been firmly learned, come the artist’s own development.
Whoever can penetrate into our common human nature can create something immortal. So what is the most extraordinary comes from what is in everyday life. That is the way it is. To create effect apart from human nature ends always in bizarre or weird tricks. One can never be moved or touched at heart by such creations. Modern artists often think how they can be different from others, and distinguish themselves, and affect crazy ways to attract attention. It the work meets with popular approval, then they are proud of themselves, and are followed by ignorant imitators.
10. Avoid Vulgarity
Both poetry and painting are occupations which help to express human moods and feelings. Therefore, what can be a subject of poetry can also be a subject of painting, and what is vulgar in painting is like bad verse.
There are five kinds of vulgarity: vulgarity of mind, of tone, of atmosphere, of brush-work, and of subject matter. Vulgarity at a mental level refers to an artist who does not care to copy the old masters, not is capable of originality, who paints in a routine, monotonous, spiritless fashion. By vulgarity of tone is meant an ink-wash picture which shows merely blotches of white and black, and where it is impossible to see any beauty in the brush-work. Vulgarity of atmosphere refers to a commonplace design, where the ink-work is clumsy and the picture is smothered by a dark atmosphere. When an artist is taught by vulgar teachers who do not understand the traditional principles of brush-work, his rapid strokes are like a sprung bow and his blunt strokes are like a brush. And finally, a painting may have for its subject not the events of history or other positive material, but only the luxuries of the rich and powerful and other such themes.
Those who love luxury should not paint.
Those who fight for power and money should not paint.
Those who like to play up to the popular taste should not paint.
Those who have a low, vulgar mind should not paint.
Art work is all a matter of temperament. What goes towards cultivating the temperament should be kept, what is harmful to it should be left out. In this way, one gradually gets away from vulgarity and comes nearer to culture. The cure may not be permanent or complete. There is a world of constant distractions. One needs to strive to reach that calm and genial atmosphere where freedom is gained by abandoning all vain pursuits after glory and power, and by reaching out for a full understanding of Nature and human nature. This takes patience.