Chinese painting ink ox performance techniques

Author: Xie Jingqiu
Publisher:
Publishing Date: 2003-02-01
Features: About 6,000 years ago, when our ancestors entered the agricultural era, the ox, as one of the six domestic animals, has been inseparably linked with humans. The "first among the classics," the I Ching, describes "Qian represents the horse, Kun represents the ox," symbolizing the ox as a symbol of virtue, bearing burdens, and enduring hardships. In the Rites of Zhou during the Spring and Autumn Period, it was recorded that during the late winter, the Zhou Dynasty held ceremonies to worship ghosts, making earthen oxen to send away the cold and welcome spring. Later, it was changed to celebrate the Beginning of Spring, and the earthen oxen were called "spring oxen." In modern almanacs, the "Spring Ox Painting" is often used as the opening image to indicate the year's abundance or scarcity. The term "sacrifice" originally contained the character for "ox," evolving from the noun referring to offerings to heaven in ancient times to the verb meaning "to dedicate oneself." Throughout history, the image of the ox has been imbued with rich cultural connotations, making it a worthy "ambassador of diligence and dedication," and it aligns perfectly with the civic moral spirit promoted today! In the long process of China's agricultural social development, "work from dawn to dusk," the ox and humans have been inseparable companions. It was not only a tool for production but also a friend to people. With its gentle temperament and ability to endure hardships, the ox shares many similarities with certain experiences in people's lives. Moved by the times, they shed tears; gazing at the moon, they think of home. Thus, numerous scholars, officials, and literati throughout the ages have written poems and essays about the ox. Tang Dynasty writer Liu Zongyuan wrote the Ox Ode, which includes the lines, "Plowing a hundred mu daily to fill the imperial granaries, yet the flesh is not fit for my mouth, and my hide and horns are used." Li Gang of the Song Dynasty expressed regret with the words, "As long as all living beings are well-fed, I will not hesitate to lie in the setting sun, weary and sick." The great literary figure Lu Xun used the couplet "With cold disdain toward a thousand critics, I willingly bow as an 'infant ox'" as his motto, which was widely copied by people. The famous poet Guo Moruo praised the water buffalo as the "national beast" in his long poem Ode to the Water Buffalo, saying, "You are resolute, majestic, and selfless. Your horns are as vast as rainbows, your belly as boundless as the sea, firmly grounded yet soaring in the heavens." The image of the ox has long been depicted in ancient rock paintings and appeared in beautifully crafted bronze oxen during the Shang Dynasty. In the sexagenary cycle of the Chinese calendar, the ox occupies the position of Chou. During the Han Dynasty, the ox was frequently depicted in many stone carvings, and even in exquisite silverware, it was used as the motif for lamps. Paintings featuring the ox have been common since the Wei and Jin periods, with masterpieces appearing in every dynasty. Notable examples include Tang Dynasty artists Dai Song and Han Hun, Song Dynasty artist Yan Ciping, Yuan Dynasty artist Du Ben, Ming Dynasty artist Xu Dao, and Qing Dynasty artist Yang Jin. In modern times, masters such as Ren Boqian, Qi Baishi, Liu E, Xu Beihong, and Pan Tianshou have all created works featuring the ox. The late renowned painter Li Keran named his studio "Shi Niu Tang," and the ox was an extremely important part of his artistic repertoire. Additionally, in folk crafts throughout the ages—such as paper-cutting, embroidery, pottery, and cloth decorations—the image of the ox has been widely used. Beyond being the "ambassador of diligence and dedication," the ox also represents a pastoral landscape of abundance and contentment. Common expressions like "ox-like strength," "ox-like spirit," and "ox-like momentum" symbolize people's perseverance and drive to excel. Chinese painting is traditionally characterized by its philosophical and literary attributes. Gaining a deeper understanding of the ox can help elevate emotions and inspire creative passion, which is one of the distinguishing features of Chinese painting compared to Western painting. This tradition should be inherited and further developed. Ink and wash painting, as a form of artistic expression, is an integral part of China's uniquely national painting language. It transcends distinctions between the refined and the popular, deeply rooted in the hearts of the Chinese people, and is widely cherished. The techniques and principles discussed in this book are based on this understanding. The author hopes to build upon this tradition to establish a personal artistic approach, enriching and promoting the legacy of this art form.