Gao Huagé Chen Pei Qiu -- Talking with Masters about Art

Author: Zheng Zhongzhi
Publisher:
Publishing Date: July 1, 2004
Features: Chen Peiqiu (1923—), styled Jian, native of Nanyang, Henan. In 1942, she entered Southwest Associated University to study science and engineering, and in the same year, she was admitted to the National Art College in Chongqing to study landscape painting. She graduated from the National Art College in Hangzhou in 1950 and joined the Shanghai Cultural Relics Management Committee. In 1955, the Shanghai Chinese Painting Academy was established, and she was appointed as an artist, serving in that role to this day. "Talking with Masters about Art" is an oral series that records the experiences and reflections of art practices by masters such as Xie Zhiyao, Tang Yun, Cheng Fa, and Chen Peiqiu. I have interacted with them for decades, either watching them paint at their desks or engaging in free-flowing conversations. Through listening to their words and observing their actions, I gradually realized that the differences in their brushwork, ink, water, and color use stem from their distinct inner experiences and emotions. I thought it would be better to let them "speak and paint for themselves," to reharmonize their inner experiences with their expressed artistry. Isn’t this better than others’ critiques? Driven by this underlying motivation, they spoke unintentionally, and I listened attentively, which led to the creation of this oral series. The theory of Chinese painting often originates from the experiences and emotions of the artists. Gu Kaizhi’s "Theory of Conveying Spirit" can be considered a mature work in Chinese painting theory. Initially, when painting women on walls, though the "four limbs may be beautiful or ugly," they lacked vitality. Later, he had an epiphany: "The essence of conveying spirit lies in this point (‘this point’ refers to this)," and the figures he painted on the walls came to life. Later generations changed "point" to "view," with the meaning remaining the same. Other concepts like "playing the five-string lute while watching flying wild geese" and "obtaining inspiration" also stemmed from his experiences.
Zong Bing of the Southern Dynasties traveled and painted landscapes on walls for his "sleeping tours," practicing "clarity of mind in observing the Dao" and "clarity of mind in tasting images," allowing "all interests to merge with his thoughts." He deeply lamented, "What else can I do?" and replied, "To express spirit is enough." This self-asked, self-answered manner expressed his inner experiences and proposed the concept of "expressing spirit," which became the foundational and mature work in landscape painting theory. Xie He synthesized the ideas of "conveying spirit" and "expressing spirit" to propose the "Six Principles," bringing Chinese painting theory to systematic completeness. However, his own experiences were far less profound than those of Gu Kaizhi and Zong Bing. Xie Zhiyao strongly agreed with the saying "the eye is higher than the hand," believing that only when the eye surpasses the hand can the hand be improved. The theories of Gu Kaizhi’s "conveying spirit" and Zong Bing’s "expressing spirit" marked the peak of Chinese painting theory. Whether their paintings can be considered an artistic peak is debatable, but under their theoretical guidance, Tang and Song Dynasty painting reached its peak, which is undeniable.
In the late Tang Dynasty, Zhang Bo still followed Gu Kaizhi and Zong Bing, emphasizing the importance of experience and achieving the combination of subjectivity and objectivity. It can be concluded that without the "high eye" (theory) of the Wei, Jin, and Six Dynasties, the peak of Chinese painting might have appeared later. Since the Yuan Dynasty, Chinese painting has declined, not only in technique but, I believe, more importantly, due to the painters’ detachment from experience or their shallow inner world. The four volumes of "Talking with Masters about Art" focus on the experiences of the elderly painters and the evolution of their styles, which is not just a change in technique but a transformation that occurs as their experiences deepen. The painter’s experience, as an important factor in painting, is often ignored today. I am slow-witted and unperceptive, and my understanding of what the masters discuss is superficial. I can only do what they say, and what is recorded here is but a fraction of what they spoke, with many omissions and potential errors. Please forgive any shortcomings.