Chinese Calligraphy, Painting and Architecture

Arts Teaching Kit for Senior Secondary Curriculum
Visual Arts
Chinese Calligraphy,
Painting and
Architecture
[Student notes]
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Contents
Preamble
Learning plan
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Lesson 1: Chinese Calligraphy, Painting and Architecture
1.1 Introduction — How do you appreciate Chinese architecture?
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1.2 Tse Ha’s Six Principles
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1.2.1 ‘Spirit resonance’
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1.2.2 ‘Heaviness and lightness of brush stroke’
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1.2.3 ‘Correspondence to the object’
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1.2.4 ‘Applying colours in accordance with the type’
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1.2.5 ‘Be particular about the composition’
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1.2.6 ‘Following prototype with adaptation’
Exercise: Chinese Art Criticism
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Appendix: Tse Ha’s six principles — limitations or opportunities?
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Summary, Key words and Further reading
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Disclaimer
Create Hong Kong of the Government of the Hong Kong Special Administrative Region provides funding support to the project only, and does not otherwise
take part in the project. Any opinions, findings, conclusions or recommendations expressed in these materials/events (or by members of the project team) do not
reflect the views of the Government of the Hong Kong Special Administrative Region.
© 2012 Hong Kong Institute of Architects
Arts | Chinese Calligraphy, Painting and Architecture
Topic 02
Chinese Calligraphy, Painting and Architecture
Major teaching areas
Interdisciplinary teaching areas
Visual Arts
Design and Applied Technology
Strand 1 Visual Arts Appreciation and Criticism in Context
•
• Formal knowledge
Liberal Studies
• Signs and symbols
•
Strand 3 Value and Impact
M3: Modern China
• Types of image and image development strategies
• Knowledge of history and ways of seeing
Learning objectives
• To learn how to appreciate Chinese art and architecture
• To identify artistic, social, and cultural contexts influencing Chinese architecture
• To be able to compare the artistic production of the East and the West
Learning plan
Lesson
Lesson 1
Contents
• 1.1 Introduction to Chinese art and architecture appreciation
Chinese Painting and
Architecture
• 1.2 Tse Ha’s ‘Six Principles in the Category of Ancient Paintings’ applied to
Chinese art and architecture
Arts | Chinese Calligraphy, Painting and Architecture
• Knowledge in context
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Lesson 1
Chinese Calligraphy, Painting and Architecture
1.1 Introduction — How do you appreciate Chinese architecture?
How do you review the design and setting of Chinese architecture?
Sam Tung Uk Walled Village Layout Plan
© Department of Architecture, University of Hong Kong
Sam Tung Uk, Tsuen Wan
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Exposed roof structure
Arts | Chinese Calligraphy, Painting and Architecture
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t
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1.1.1 Relationship between Chinese Calligraphy, Painting and Architecture
Chinese architecture is more than a craft.
1.1.2 Methodology of Chinese Calligraphy, Painting and Architecture Appreciation
‘
Painters
p
shall treat paintings as a means of
teaching the people and recording the
rise and fall of their country. Even though an event has passed
for thousands of years, it could be studied and understood
from old paintings.
Tse Ha, The Category of Ancient Paintings
’
A Chinese painting by Wang Ting-chih (王亭之). © Wang Ting-chih
Arts | Chinese Calligraphy, Painting and Architecture
The Southern Qi painter Tse Ha’s “Six Principles in the Category of Ancient Paintings“ (謝赫古畫品
錄中之六法) is the first systematic methodology of Chinese painting appreciation. The six principles
presented in the work constitute an aesthetic-political standard that can be applied to historic
paintings or to the appreciation of Chinese art and architecture even today.
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1.2 Six Principles in the Category of Ancient Paintings
Tse Ha’s ‘Six Principles in the Category of Ancient Paintings’ are:
1. Spirit resonance (氣韻生動);
2. Heaviness and lightness of brush stroke (骨法用筆);
3. Correspondence to the object (應物象形);
4. Applying colours in accordance with the type (隨類賦彩);
5. Be particular about the composition (經營位置); and
6. Following prototype with adaptation (傳移摸寫).
The first principal is spiritual connection while the others are technical skills.
Chinese architecture can be reviewed in the same way.
1.2.1 ‘Spirit resonance’ (氣韻生動)
Application in Chinese Architecture
• Vibrancy is established through planning of spatial
sequences.
• Spatial experience is always emphasized in Chinese
architecture.
• Shan shui (mountain-water),
• figure and
• flowers-and-birds
This is the essence on the underlying conceptual thoughts
behind art and architecture to achieve “delight” that is
passed to the audience.
during the Period of Disunity.
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Arts | Chinese Calligraphy, Painting and Architecture
Principle
Vibrancy forms the spiritual basis of a painting. Except
in the religious and mythological paintings that were
popular throughout Imperial China, painters paid special
attention to:
The Rain and Mist Pavilion by Zhang Guchu. © Hong Kong Museum of Art
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The main hall of Chi Lin Nunnery is
situated in the middle of the whole
complex. Two pavilions were placed
on the sides at the front. The 凹
shaped setting encloses an open
mediating space in front of the main
hall. The layout of the building reveals
a vibrancy of space.
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1.2.2 ‘Heaviness and lightness of brush
stroke’ (骨法用筆)
Principle
This principle refers to the application of the brush
with power and skill. Theoretically, a painter’s brush
is the extension of his arm, belly and mind. A good
painter draws like a dancer moves.
Application in Chinese Architecture
• The painterly gesture lies in the use of an axis, local
symmetry and expression of structure.
• Visible gestures, however, can be seen in roof ridges,
brackets and exposed structures.
Huang Bin Hong’s Scenes of Mount Huang.
© Hong Kong Museum of Art
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In calligraphy, these properties appear not only in the skill of writing, but also an axial approach in lining text.
The above is Rubbing of Chinese Calligraphy written in running & cursive script by Wang Hsi-chih.
© Hong Kong Museum of Art
Symmetric layout of Forbidden City along a central axis.
© Tommy Chen - Wikipedia User
Arts | Chinese Calligraphy, Painting and Architecture
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1.2.3 ‘Correspondence to the object’ (應物象形)
Principle
A painting should show the spirit and life of people through their appearances and gestures.
Application in Chinese Architecture
Specific building forms are created for different functions and for specific groups of users.
Xiao Yi was the Emperor Yuan of Liang, the first Chinese emperor-cum-painter. However, his Portraits of Periodical
Offering of Liang are not considered successful because the figures are so still and lifeless.
© National Museum of China
[Discussion]
1 In terms of architecture, specific forms of buildings are created for different functions. Do you think the
following buildings fulfil the principle of “Correspondence to the object“? (Keywords: Reaching heaven,
place of gathering)
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Giant Wild Goose Pagoda, Shaanxi
© Bobak Ha’Eri - Wikipedia User
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Shaxi theatre, Yunnan
© Li Li - Wikipedia User
Arts | Chinese Calligraphy, Painting and Architecture
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1.2.4 ‘Applying colours in accordance with the type’ (隨類賦彩)
Principle
Use of colour is always an important part of painting. Colours should be selected either to match
an object’s natural appearance or to emphasize some symbolic meaning. The colour of an object
will vary depending on the content, time and location of the topic. A painter paints leaves in red to
represent autumn, for example. In Shan shui painting, water and fog make up large, evenly coloured
areas of the image.
Application in Chinese architecture
Specific colours and ornamental details are set in accordance with rank and symbolism.
[Discussion]
1
How do the colours influence the atmosphere in the following drawings?
Arts | Chinese Calligraphy, Painting and Architecture
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Parts of the leaves are red in Autumn Landscape, a
very realistic scene.
© Hong Kong Museum of Art
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The colour of white is used in Visiting a Friend in
Snow by Li Guixin to represent the snow.
© Hong Kong Museum of Art
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p
Temple of Heaven in Beijing has a dark blue circular
roof. Circular geometry represents ‘heaven’ in Chinese
culture. © Charlie Fong - Wikipedia User
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The Forbidden City is roofed in yellow glazed tiles.
Golden yellow was long a symbolic colour of the Chinese royal family.
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Original roof is made of gray or green tiles. The
photograph above shows a pavilion in Hangzhou.
Arts | Chinese Calligraphy, Painting and Architecture
Calligraphy can be done in different styles, which are guided by different geometries and forms. Each style and geometry
has its own meaning, just as in architecture. © Ngan Siu-Mu
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1.2.5 ‘Be particular about the composition’ (經營位置)
Principle
Composition is about the relationship between space and form. A painter renders three-dimensional space
two-dimensionally on paper. Depth of field is the best tool to express the distance between objects.
Application in Chinese Architecture
In architecture, this principle can be expressed as :
• the importance of proportion of elements;
• solid-and-void relationship; and
• spatial composition.
In architecture, function and space are always in dialogue. Space enclosed by buildings is always an
important element.
Arts | Chinese Calligraphy, Painting and Architecture
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Leaving blank space is an important technique in Chinese
painting. The image above is Dragonfly and Root by Zhao
Shao’ang. The top-left part of the painting is left blank while
the branch and the calligraphy occupy the right and bottom
parts of the paper. © Hong Kong Museum of Art
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The spatial relationship of objects in the Chinese painting above
by Wang Ting-chih is interesting. By arranging the rocks near and
far, the painting presents a depth of field on plain paper.
© Wang Ting-chih
The image above is Oxen by Li Keran. The
composition of virtuality and reality is
another important technique in Chinese
painting. The river and body of the oxen
are presented virtually while the boy is
presented in a real way.
© Hong Kong Museum of Art
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The Forbidden City has a large open space for the emperor to hold court. At the same time, there are smaller
spaces and open corridors to separate major palaces and buildings. These spaces have different functions,
such as circulation division, garden, gathering space and buffer between public and private spaces.
Arts | Chinese Calligraphy, Painting and Architecture
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1.2.6 ‘Following prototype with adaptation’ (傳移摸寫)
Principle
Though a painter should observe and follow the natural
environment, Tse Ha put imitation of predecessors as the
sixth principle because the technical skill of painting can be
learnt easily from teachers. Reference to previous experiences
or historical studies could be helpful, yet the spirit of the
prototype could never be copied.
Application in Chinese Architecture
Standardization of construction methods saves materials and
time, and also prevents corruption.
p
Chinese building structure in Treatise on
Architectural Methods or State Building
Standards, the first Chinese book about
architecture and craftsmanship.
1 We have learnt Tse Ha’s ‘Six Principles in the
Category of Ancient Paintings’. Do you think
Tse Ha’s principles could be applied to Western
painting or not? Why or why not?
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The above paintings are Landscape in the Style of
Shitao drawn by Lu Shoukun and Zhu Nianci. Even
when the painters imitate from the same painter
Shitao, none of the paintings are exactly the same
since painters apply their own style and skills.
© Hong Kong Museum of Art
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The tangent circle pattern of King Yin Lei (left) is adapted from the Forbidden City (Right © Gisling - Wikipedia
User). It has a similar pattern, but different colours and proportions.
Arts | Chinese Calligraphy, Painting and Architecture
[Discussion]
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[Exercise]
Chinese Art Criticism
After studying the basic rules of Chinese art and architecture,students should be able to analyse a piece of
architecture in ancient Chinese painting. This exercise enhances students’ knowledge of traditional Chinese
painting and building methods.
Instructions:
•
E ach student should research a Chinese painting from a book or the internet. The painting shall
contain at least one building.
•
Students shall photocopy the chosen Chinese painting and affix it to the page below.
•
Students shall complete the table, applying Tse Ha’s six principles to judge the quality of the painting.
•
S tudents shall follow the six principles to comment on the architectural quality of the building in the
painting.
Detail
Title of the painting:
Photocopy or photograph of the chosen painting
Name of the painter:
Original Size:
Brief description:
Aesthetic Quality
How do you appraise the painting in
terms of Tse Ha’s six principles?
Arts | Chinese Calligraphy, Painting and Architecture
Year of completion:
Architectural quality Can you evaluate the quality of
of the building inside architecture in the painting?
the painting
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Appendix:
Tse Ha’s six principles — limitations or opportunities?
「六法」其實很新潮
影響中國畫壇最大的繪畫理論，應推南齊謝赫的《古畫品錄序》。在「序」中，他提到「畫有六
法」，至今尚成為討論的話題。
這段文字必須全文引用，然後始能討論，否則論點就會對不準準星 ──
「雖畫有六法，罕能盡讀，而自古及今，各善一節。六法者何 ── 一氣韻生動是也；二骨法用筆是
也；三應物象形是也；四隨類賦彩是也；五經營位置是也；六傳移模寫是也。唯陸探徵衛協備讀之
矣。」
謝赫十分推崇陸探徵與衛協，認為他們兩人的畫六法備讀。然而謝赫亦不過是泛泛之言而已，因為
像陸探徵與衛協這樣的畫家，其實已不屑於「傳移模寫」，因此我們可以理解「傳移模寫」指的是
基本工夫。並不是說陸衛二人靠「傳移模寫」來作畫。
謝赫於「畫品」的第五品列舉三人，中有「劉紹祖」一條，評曰：「善於傳寫，不閑其思……時人
為之語，號曰移畫。然述而不作，非畫所先。」足見「傳移模寫」即是臨摹，也可以說是複製。在
古代，有複製圖畫的需要，一幅壁畫壞了，如果沒有精於複製的畫家便很難修補。古畫往往有「粉
本」，這粉本便是留為作修補的依據。
因謝赫所說的「六法」，如果站在創作的立場，便只剩下「五法」。這「五法」屬於技巧性的又佔
去了其四，即是筆法（骨法用筆）；造型（應物象形）；賦色（隨類賦移）；章法（經營位置）。
餘下的一法「氣韻生動」則是屬於感性而非純技巧的理性。也可以說，後四法相對帶點物質性，唯
「氣韻生動」屬於精神領域。
所以謝赫評陸探徵說：「窮理盡性，事絶言象，包前孕後，古今獨立。」這種評語可謂十分之抽
象，只能理會，不可言詮，所以謝赫自己也只能說「事絶言象」。
Arts | Chinese Calligraphy, Painting and Architecture
這段文字說的雖是「六法」，但屬謝赫之意，卻毋寧說是他認為有六種可以成家的畫，即是說，「
六法」雖得一法，亦可以卓然獨立 ── 說「而自古及今，各善一節」，即是這個意思。
謝赫評畫很注重感性，例如他評張墨及苟勗便這樣說：「風範氣候，極妙參神，極妙參神。但取精
靈，遺其骨法，若拘以體物，則未見精粹，若取之象外，方厭膏膄，可謂微妙也。」這說法即是「
遺貌取神」，顯然是感性而非理性。
因此，總括謝赫的藝術思想，分明是重感性，輕理性；重精神，輕物質。如果「現代」派要找理論
根據的話，其實大可發揮謝赫的理論，並不須要挖空心思，又禪又道又是陰陽之類那麼玄，亦不必
危言聳聽，說寫畫依然要注意筆墨，就會導致民族文化死亡。
謝赫這種思想是道家思想，而且是道家中的老莊思想。
我們不妨比較一下孔子與莊子對繪畫的態度。孔子說：「志於道，據於德，依於仁，游於藝。」將
「藝」與仁義道德並列，很緊張，至少一點也不瀟灑。
可是《莊子》中卻有這麼的一段 ──「宋元君將畫圖，眾使皆至，受揖而立，舐筆和墨，在外者
半。有一史後至，儃儃然不趨，受揖不立，因之舍。公使人視之，則解衣般礴，裸。君曰：？矣，
是真畫者矣。」　所有應聘替宋元君寫畫的畫家拘於形跡，唯最後到的一人能不拘形跡，未畫畫便
先解衣，這就令人想到，如今穿起西裝打上領帶寫畫的人，一定不為莊子認可。
莊子借宋元君的口說「是真畫者」，足見莊子認為寫畫其實是屬於精神領域的事，因此不能受到縛
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束；甘受縛束，便只是俗手而已。道家思想跟儒家動不動就講「用世」的理性顯然有很大分別。儒
家思想畢竟只能用來治國平天下，若說到藝術，恐怕便不及道家的灑脫。可是，如何提倡揚棄筆
墨，一味「現代」，一味玩「效果」的人，卻偏偏是自尋縛束。筆者很知道他們那種研究物料，研
究製造「效果」的工作十分之苦心，要產生一種「效果」，實在比女人生小孩還要難。因為女人生
產是腹中已有成品，他們卻腹中空空如也，要憑空造出一點甚麼與眾不同的東西出來，所以更難，
而且要靠運氣。
這種做法，可以說恰恰跟謝赫的藝術理論相反，也跟老莊思想相反。然而很不幸，中國的山水畫卻
正以老莊思想為發展基礎，而山水畫更是國畫的主流。因此，本來他們大可以借用謝赫的理論，卻
偏偏不能，便是由於這種緣故。謝赫要解除縛束，他們卻其實是自尋煩惱，自找枷鎖 ── 一種「效
果」一旦成立，便是落於形相，也就或是創立這種「效果」的人的枷鎖了。
如今很多人想推翻「六法」的說法，那恐怕只是出於一種概念，認為凡古老的東西都要革新而已。
其實謝赫的「六法」最重感性，實在很與現代的藝術思潮主流合拍，問題只在於你如何理解謝赫的
說話。筆者本人便絶對覺得他「新潮」，所以能寫畫觸及精神領域的畫家，古今實在不多。
談錫永，筆名王亭之
信報 1 990年
Arts | Chinese Calligraphy, Painting and Architecture
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Summary
1. Chinese architecture can be evaluated using many of the same principles that were
traditionally used to evaluate painting. Both forms of art are concerned with nature,
tradition, and skill.
2. Tse Ha’s six principles are
•
Spirit resonance;
•
Heaviness and lightness of brush stroke;
•
Correspondence to the object;
•
Applying colours in accordance with the type;
•
Be particular about the composition; and
•
Following prototype with adaptation.
Arts | Chinese Calligraphy, Painting and Architecture
Key words
Chinese art
Chinese architecture
Tse Ha’s Six principles
Further reading
1.
國立臺灣大學《畫家介紹》，視覺素養學習網。
ht tp: / / vr. the a tr e.nt u.edu.t w /finear t /pai nt er.ht m #p aint er-c h
2.
李浴《中國美術史綱》，瀋陽：遼寧美術出版社，1988。
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