"Draw Zen Room Notes"

Author: (Ming) Dong Qichang
Publisher:
Publishing Date: 2005-10-01
Features: The Collected Notes from the Studio of Painting and Chan is a theoretical work on painting and calligraphy creation and criticism by the Ming Dynasty calligrapher and painter Dong Qichang. The book is divided into four volumes. Volume 1 includes sections on the use of the brush, criticism of calligraphic styles, inscriptions on self-written works, and reviews of old calligraphic scrolls. Volume 2 includes sections on painting techniques, the origins of painting, inscriptions on self-painted works, and reviews of old paintings. Volumes 3 and 4 consist of miscellaneous notes and essays by the author, including personal accounts and critiques of poetry and prose. The book advocates for "studying by intention rather than by direct copying," stating that the essence of a calligrapher lies in their ability to harmonize while maintaining a sense of separation. In terms of painting, it centers on the North-South School theory, promoting literati painting and admiring the charm derived from the traditions of literati calligraphy and painting. His theories on painting had a decisive influence on the Qing Dynasty's "Four Wangs" painting school. Mi Hairyao once said: "No downward stroke is without a retracting one, no forward stroke is without a gathering one." These eight characters are a true incantation of unparalleled power. However, one must grasp the essence to truly master it. Poetry seeks not perfection in words, nor strangeness in style—the natural and unrestrained is my master. These are the words of Su Dongpo. It is no wonder his name is revered for a thousand generations. The Chan school has two main branches, the Northern and Southern. They began to diverge in the Tang Dynasty. The North-South Schools of painting also originated in the Tang, though the individuals involved were not necessarily from the North or South. The Northern School includes the colored mountain paintings of Li Sixin and his son, which were passed down to the Song Dynasty's Zhao Gan, Zhao Boqiu, Zhao Bosuo, as well as the likes of Ma and Xia. The Southern School, pioneered by Wang Mojie, began to use ink-wash techniques, transforming the traditional carving method. This lineage was carried forward by Zhang Bo, Jing Hao, Guan Zhongyou, Dong Qichang, Shi, Mi's father and son, and the four great masters of the Yuan Dynasty. The Collected Notes from the Studio of Painting and Chan is a theoretical work on painting and calligraphy creation and criticism by the Ming Dynasty calligrapher and painter Dong Qichang. The book is divided into four volumes. Volume 1 includes sections on the use of the brush, criticism of calligraphic styles, inscriptions on self-written works, and reviews of old calligraphic scrolls. Volume 2 includes sections on painting techniques, the origins of painting, inscriptions on self-painted works, and reviews of old paintings. Volumes 3 and 4 consist of miscellaneous notes and essays by the author, including personal accounts and critiques of poetry and prose. The book advocates for "studying by intention rather than by direct copying," stating that the essence of a calligrapher lies in their ability to harmonize while maintaining a sense of separation. In terms of painting, it centers on the North-South School theory, promoting literati painting and admiring the charm derived from the traditions of literati calligraphy and painting. His theories on painting had a decisive influence on the Qing Dynasty's "Four Wangs" painting school.