1. Source: The theory of artistic creation put forward by Zhang Yun, a painter in the Tang Dynasty. It is a typical expression of the theory of "learning from nature" in China's aesthetic history.
Second, interpretation: "nature" means nature, and "mental source" means the author's inner feelings. In other words, artistic creation comes from imitating nature, but the beauty of nature cannot automatically become the beauty of art. For this transformation process, the artist's inner feelings and construction are indispensable.
"Learning from nature" clarifies that reality is the foundation of art and emphasizes that artists should learn from nature. It is based on materialism that insists on the relationship between art and reality, with the color of simple materialism. In essence, it is not reproduction and imitation, but pays more attention to the lyric and expression of the subject, which is the high unity of subject and object, reproduction and expression.
Extended data
The painting style represented by "outside nature, inside"
The creative method of "Nature is made by foreign teachers and the heart comes from China" was advocated by Zhang Yun, a painter in the Tang Dynasty. He advocated the unity of objective images and subjective feelings, which became an immortal saying of painting, which was of great significance in the history of China fine arts and had a great influence on the painting theory of later generations.
Its representative figure, Zhang, was active in the late 8th century. He is good at literature and painting mountains and rivers, especially pine trees. Good at ink and wash landscapes, especially fine turquoise. It is said that he can draw pine with both hands. "One is a living branch, and the other is a dead branch. It is a shovel-shaped, free and easy. I think nobody cares. The branches are moist in spring, and the dead branches are miserable in autumn "(Zhu's Record of Famous Paintings in the Tang Dynasty), which has the reputation of killing two birds with one stone and shows superb skills.
He also paints in ink, not seeking clever decoration. Painting landscape is full of inspiration and passion, and its beauty is close at hand, which is the representative of ink and wash landscape painting in Tang Dynasty. Zhu also said that his landscape paintings are "high and beautiful, close at hand, deep and heavy, the stone tip is about to fall, and the spring sounds like a roar." Gai thought that "it is near, if it makes people cold, it is far, if it is extremely extreme." Vivid and infectious.
Volume 97 of Don Cui Wen records Zhang Xuan's painting scene, which shows that his painting style is vigorous. At that time, twenty-four guests came to see him paint, lived in it and sat in a basket full of air. Later, "the magic chance came", and he "suddenly produced electric current to excite the air, shaking the earth, destroying the swimming plug, (assisting) Huo to glance at the column, flying ink and spraying, and his hand was like a crack, which was intermittent." When the painting is finished, "throw a pen and look around."
Zhang Yanyuan's "Famous Paintings of Past Dynasties > On Painting Landscape Trees and Stones" said that "the change of landscape began in Wu and became in Erli", and later said that "the shape of trees and stones is better than Wei Yan's, and it is poor". In the eyes of the Tang people, Zhang Yun's paintings are still higher than those of Wang Wei and others. Zhang Xuan likes to use purple hairbrushes in her paintings, and she belongs to a passionate painter in Wu Daozi. He often paints with a hairbrush and gets carried away. Simple hand-painting, painting, over time, formed a habit, and even developed into Wang Mo's "frowning feet and wiping hands". The finger painting of later generations should be influenced by it.
Baidu Encyclopedia-Learn from nature and learn from the heart.