Wang Yachen 汪亚尘: Conditions that Should be Considered in Painting 绘画上应该注意的条件

绘画上应该注意的条件

Over the past few years, Western painting in China has entered its initial phase of introduction. It is likely that those who learn painting will stray from the correct direction if they do not have a reliable set of guiding principles. Therefore, at the beginning of this article, I would like to give those beginners in the field some advice.

我国洋画近几年来，可说是初输入的时代。学画的人，如果不把方针捉定，不免走入歧途；所以我这篇起首，先要对于初学洋画者，有几句忠告！

People studying Western painting in the past few years attach much importance to the instructors. They tend to imitate strokes drawn casually by their instructors. Yet, they barely know anything about the theories and principles of Western painting. Since the May Fourth Movement, students from all over the country have learned some lessons and have begun to use their initiative in the learning process.[1] This important ideological trend has also enlightened a generation of students of Western painting. I believe that there are bound to be a considerable amount of people who disagree with the authority of the instructor. The instructor is but a guide who goes one step further than the student. However, there has never been any fixed school of thought in the education of fine art. Thus, we must not regard the paintings drawn by our instructors as models. Similarly, we must not imitate the paintings in Western printed painting albums or on postcards. Additionally, we should avoid directly copying the topics of the paintings of others as well. This kind of copying habit is a hindrance to the development of “individuality”.[2]

前几年一般学洋画的人，对于教员，看得很重要，只要教员随便画几笔，大家都依了他去学习，可说对于学理方面，一点多不晓得，自从五四运动以来，全国各学校的学生受了一种极大的教训，都晓得自动起来了。一辈学绘画的，也随着这个潮流的好影响，觉悟了许多；我晓得现在不赞成教员的人，一定很多。教员不过是一个指导者.比较学生先进一步罢了，但是在美术教育上讲起来，从来是没有确实信念的；所以教员画的画，万不可当做范本，还有西洋来的印刷画帖咧，明信片咧，也切不可模写；看见了别人的画，也不可因袭做自己的画题，这种临摹的习惯，是发展“个性”的障碍物。

First of all, we should find models in the “infinite variety” of nature. That is to say, we should discard all thought of copying and start from “personality” and “creativity”. This “creativity” must be carried out without any hesitation, because all that we see in our daily life can be regarded as models. Therefore, we are able to find a variety of subjects of painting as long as we observe the objects and phenomena that we see in daily life from the aspects of “line”, “color” and “tone”. Whether to draw sketches or color paintings depends on personal preferences.

第一只要从广大自然界中“森罗万象”，里面去找我们的范本，换一句说，就是要排除一切的摹写，从“个性”，“创造”方面进行。这个创造一点不可迟疑的，最好明日就要实行。为什么不可迟疑呢？因为我们日常所触目的东西，都是范本，只要将眼睛所看见的物象，从“线”，“色彩”,“调子”方面观察起来；就能够发见许多画题，这些画题随各人所欢喜， 用素描也可，用色彩也可。

For example, on a hazy winter’s morning, when the bladder-cherry-colored sun is rising from the horizon, it casts the sloping purple shadows of the pedestrians on the road.[3] The light also becomes a gorgeous tone. This is an excellent example of painting subjects in nature.

例如冬天模糊的早晨，那酸浆色的太阳升起来的时候，行路 的人同样带着紫色的斜影，再者那光线射着物体上成为极美观的调子；这就是自然的好画题。

When you look at yourself in the mirror, if you imagine your personality and appearance to be a “self-portrait”, then the smoothness of your skin, your complexion as well as all your facial expressions are perceptible. A painter should be able to see through these secrets and then start to draw by using specific techniques. In this way, we will gradually discover their mysteries, mysteries that cannot be observed by the naked eye. What we have discussed above can be referred to as a systematic attitude towards the study of art.

譬如向镜中照着自己的颜面，把自己的性格，和相貌，来作 “自画像”，那麽皮肤的粗细，种种的血色，以及瞬时的表情，都能够辨识，绘画人的眼睛，先要直接看破那些秘密，再依着手法 去画.慢慢底就会找到他们的神秘，——这神秘是指审察不出的东西而说，——以上所说的，是对于研究艺术上有系统的态度。

Some people may not be able to accept such a systematic attitude. This is probably due to their unfortunate experience of being forced to copy the works of others in primary school. Although they are now students majoring in painting, this lousy habit remains in their mind. Free painting, which is also undertaken by people, requires us to start from absolute freedom. Furthermore, nature should be deeply engraved upon our hearts. We must recognize that, in the education of painting, there is hardly a way to develop initiative among the students. That is why we should abolish this obsolete pedagogical method of copying. We should always bear in mind that we must engrave the very existence of aesthetics deeply in our minds. With the help of this kind of feeling, it would be easier for us to appreciate the mysterious music of nature.

这个有系统的态度的感觉，或者有些人看不惯，也未可知。 这是因为小学时代受了临摹压迫之故，虽然现在专学绘画，他的脑筋里，还是存着那个恶习惯。自由画，——是人为的，要在无拘束的自由上面发挥：然而对于自然要有深信的铭感.要晓得绘画在教育上面，培养能性的时候是极少效力的，所以我们要把那临摹的旧教育，实行灭亡了才行！我们对于美的铭感，要深记在脑筋中，一刻不可忘记。有了美的铭感，再听那自然的秘曲，就容易了。

To approach the lively “infinite variety” of nature, those who study Western painting should firstly observe nature from the aspects of color, shape and tone before revealing a variety of phenomena. These phenomena, whether they are visible or concealed, should also be experienced in the poetry of nature. It is essential to use unconstrained skills to depict directly and honestly what we have observed. Now, I will discuss the conditions that should be considered in painting for reference.

学洋画的人接近那活泼的“森罗万象”，先要从色彩，形状， 调子，上观察；然后流露各种的现象，那种醒目，沉潜的现象； 也都要从自然诗意中感受的。无拘束的技巧，用直率的表现，是非常紧要，我现在将关于绘画方面应该注意的条件写在下面，以供大家的参考。

1. The first condition is called “expression”. Realism is the essence of Western painting. Therefore, we should pay due attention to the expression of the real world. “Expression” here represents a display of all-natural elements in the painting, which first needs to be pure. That is to say, we should engrave what we see directly in our mind to demonstrate our frankness and honesty. Thereby, Western painting attaches great importance to “impression”, “perception” and “recognition”. This is a type of feeling that is developed from the endless practice of skills that can eventually reach the point of purity.

一（表现）洋画家的我，就是实写家的我；所以关于实写的表现，不可不确实注意！（表现）就是将天然万物显在画面上， 这个表现，第一要纯洁，从眼睛看到的物体，铭感到心中，显那直率的诚实；所以绘西洋画，对于（印象）（感觉）（认识）等； 都极重要的。这种一切的实感，只要从技巧上不间隙的锻练，必能达到纯洁的地步。

2. The second condition is “feeling”. As I said above, we have to obtain a profound feeling in poetic nature, and then express it in an honest way. For example, whoever sees a bunch of sensuous grapes will imagine their pleasant taste. However, this is not only related to our appetite; our feelings about beautiful things are also lurking inside. Thus, these feelings are exactly the initial intention of fine art. Pierre-Auguste Renoir,[4] one of the most famous French painters, is very good at expressing the feeling of beautiful human bodies.[5] He once said, “If a woman didn’t have buttocks and breasts, she wouldn’t be paintable”.[6] From this quote, we know that he was deeply moved by the mystery of beauty. He made this statement because he had such a deep feeling about the beauty of women’s shapes and facial expressions. The same is true for the grapes I mentioned above. These grapes would not be paintable if they were not suggestive of a pleasant taste.

二（感受）我上面所说，要从自然诗意中得来的，有深理的感受，然后成诚实的表现。例如一串紫蒲萄，不论那个看起来，对于那丰阔的蒲萄，就有一种美味的想像。但是这个时候，并不是单在食欲方面的感想；对于美的感受，也都潜伏在里面的；所以美术最初感受的动机，就是在此。法国最著名的画家鲁奴爱而 Renaler Agurte善于表现善肉体的感觉。他有一句话说：“如果裸体的女子没有乳与尻的曲线美，我就不画女子了。”这句话，就晓得他是受着美的神秘的感触。他因为对于女性美在形态,表情,上有了这种深的感受；所以有这句公布的话。我上面所说的蒲萄，也是如此；如果没有美味的想像，我们也就不愿意画了。

Love is born out of fascination, and this love is precisely what we get in our feelings. With this love of feeling, we will have a desire to express it. To satisfy this desire, we must observe from the aspects of shape, color and tone, as well as to feel a variety of interests.

凡是被迷惑占住的中间，就生出爱，这个爱也就是感受上所得着的。有了感受的爱，就有表现的欲望，这个欲望是要从形状，色彩，调子，上观察的；同时也须感受各种的趣味。

3. The third condition that should be considered is “taste”. Taste is the product of education. There is a complex difference between the tastes of primitive people and those of civilized people, as well as between the tastes of children and adults. This difference can be recognized in the appeal of one’s surroundings. For example, if a bunch of grapes is placed in a basket or on a plate, then we should not treat it as a separate existence. If we then place the grapes on a table with a bottle of wine or in a garden where the sunlight is streaming down from above the fence, some kind of poetic inspiration (ganxing 感兴) would spontaneously arise in our minds. On the basis of this, it is indispensable for our painters to use “love” and “taste” to express our skills. Now, I am going to move on to the pursuit of skills. According to this pursuit, the first thing is the observation of different shapes.

4. The concept of “shape” here includes the artistic sense of “framework”. No matter how good the color or tone is, a painting is considered inferior if it contains no shape. Therefore, we must endeavor to “find the shape” through careful observation. Our initial impression of an object is completely based on its shape. For instance, the shape of a single grape is different from that of a bunch of grapes. Additionally, if we put them together on a plate, the grapes should never be treated separately.

5. The essential thing in Western painting is “tone”.[7] It is also the strength of Western painting. First of all, our expression of the object we have observed must be three-dimensional. Then we have to separate the tints from the shades on each side of what we have drawn.[8]

6. I will now explain the phenomenon of “plane”. What is a plane? For example, a triangle has three planes, a square has four planes, and even though a circle does not have any corners, it establishes the most “planes”. Thus, if you look at the slant planes of an elderly person’s nose and lips, when they are exposed to the same light source, you will observe the phenomenon of “plane”.

Paul Cézanne is a famous modern French painter in history who examines the phenomenon of plane.[9] In his paintings, the colors used for shaded planes and those used for bright planes are all separated very carefully. Where light grey is used for shaded planes, yellow is used for bright planes. The colors that contain a little bit of green are used for the division of different planes. When painting chrysanthemums, their leaves and flowers can display a variety of planes. Then, when painting the shaded areas, the expressionism is more thoughtful. He certainly did feel the mystery of tone. There is a strict order in each of his paintings, and we cannot find a trace of untidiness in them.

7. I will now move on to “brushwork”.[10] According to whether or not the painting skills we use are in an advanced state, our brushwork can be divided into a variety of tastes. But in my opinion, the word “brushwork” seems to bear no relation to a painter’s taste. In China, we call it biqi (style of a painting 笔气). Biqi is an extremely valuable factor in Chinese painting. However, biqi is of no consequence in Western painting. We must know that “brushwork” is totally based on techniques. We only need to focus on our “love” and “tastes” of nature, as well as the observation of different expressions; then we will be able to gain graceful brushwork. Some Western painters say, “A mature painting looks good even when you hold it in your hands”. That is why I say that a good painting must show a particular brushwork.

What is mentioned above is an overview of sketching. It is also my own experience from everyday life. In conclusion, being true to nature takes priority in Western painting. Furthermore, art is boundless, with absolutely no restrictions. Art is the only maker of rules. Art is never derived from rules. The schools of painting, such as impressionism,[11] cubism[12] and futurism were established before the rules were made;[13] rules do not exist before schools came into being. Art is all about uncertainty. For instance, in mathematics, five plus five strictly equals ten. On the contrary, art is indeed more flexible and unrestrained. As learners of Western painting, we should be aware that art is universal; that is the reason why we should express our own personalities. All these words are drawn from the experiences that I would like to share. If you find any fault with what I have said, please do feel free to conduct further research.