National Classics Library · Calligraphy and Painting Theory — Notes from the Studio of Painting Zen

Author: (Ming) Dong Qichang
Publisher:
Publish 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 master of painting and calligraphy, Dong Qichang. The book is divided into four volumes. Volume One includes sections on the use of the brush, critiques of calligraphic styles, inscriptions on self-written works, and critiques of old scrolls. Volume Two includes sections on painting techniques, the source of painting, inscriptions on self-painted works, and critiques of old paintings. Volumes Three and Four consist of miscellaneous notes and essays by the author on various topics, including personal anecdotes and critiques of poetry. The book advocates for "approaching calligraphy with intention and spirit," emphasizing that the essence of calligraphy lies in harmonious unity and spiritual separation. In terms of painting, it centers on the theory of the Northern and Southern Schools, promoting literati painting and revering the charm and resonance that have been condensed through the tradition of literati painting and calligraphy. His theories on painting had a decisive influence on the "Four Wangs" painting school of the Qing Dynasty. Mi Haidao once said: "No downward stroke is without contraction, no forward stroke is without recovery." These eight characters are a true incantation of unparalleled significance. However, one must grasp the essence and momentum. Poetry seeks not perfection in words, nor strangeness in expression; the natural and unrestrained is my master. These are the words of Master Su Dongpo. It is no wonder that his name is revered for a thousand generations. In Chan Buddhism, there are two schools—the Northern and Southern Schools—which began to diverge in the Tang Dynasty. Similarly, the Northern and Southern Schools of painting also originated in the Tang Dynasty, though the individuals involved were not geographically confined to the North or South. The Northern School is represented by the colored mountain paintings of Li Sixin and his son, which later influenced artists such as Zhao Gan, Zhao Boqiu, Zhao Bosuo, and the likes of Ma and Xia during the Song Dynasty. The Southern School, pioneered by Wang Mojie, who first employed ink-wash techniques, transforming the traditional carving method. This line of transmission includes Zhang Bo, Jing Hao, Guan Zhongshu, Dong Qichang, Shi, Mi family (father and son), and the four great masters of the Yuan Dynasty.