Wang Yachen 汪亞塵: Conditions that Should be Considered in Painting 繪畫上應該注意的條件

繪畫上應該注意的條件

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.

我國洋畫近幾年來，可説是初輸入的時代。學畫的人，如果不把方針捉定，不免走入歧途；所以我這篇起首，先要對於初學洋畫者，有幾句忠告！

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]

前幾年一般學洋畫的人，對於教員，看得很重要，只要教員隨便畫幾筆，大家都依了他去學習，可説對於學理方面，一點多不曉得，自從五四運動以來，全國各學校的學生受了一種極大的教訓，都曉得自動起來了。一輩學繪畫的，也隨着這個潮流的好影響，覺悟了許多；我曉得現在不贊成教員的人，一定很多。教員不過是一個指導者.比較學生先進一步罷了，但是在美術教育上講起來，從來是沒有確實信念的；所以教員畫的畫，萬不可當做範本，還有西洋來的印刷畫帖咧，明信片咧，也切不可模寫；看見了別人的畫，也不可因襲做自己的畫題，這種臨摹的習慣，是發展“個性”的障礙物。

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.

第一隻要從廣大自然界中“森羅萬象”，裏面去找我們的範本，換一句説，就是要排除一切的摹寫，從“個性”，“創造”方面進行。這個創造一點不可遲疑的，最好明日就要實行。為什麽不可遲疑呢？因為我們日常所觸目的東西，都是範本，只要將眼睛所看見的物象，從“線”，“色彩”,“調子”方面觀察起來；就能夠發見許多畫題，這些畫題隨各人所歡喜， 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，那酸漿色的太陽昇起來的時候，行路 的人同樣帶着紫色的斜影，再者那光線射着物體上成為極美觀的調子；這就是自然的好畫題。

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.

譬如向鏡中照着自己的顔面，把自己的性格，和相貌，來作 “自畫像”，那麽皮膚的粗細，種種的血色，以及瞬時的表情，都能夠辨識，繪畫人的眼睛，先要直接看破那些秘密，再依着手法 去畫.慢慢底就會找到他們的神秘，——這神秘是指審察不出的東西而説，——以上所説的，是對於研究藝術上有系統的態度。

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.

這個有系統的態度的感覺，或者有些人看不慣，也未可知。 這是因為小學時代受了臨摹壓迫之故，雖然現在專學繪畫，他的腦筋裏，還是存着那個惡習慣。自由畫，——是人為的，要在無拘束的自由上面發揮：然而對於自然要有深信的銘感.要曉得繪畫在教育上面，培養能性的時候是極少效力的，所以我們要把那臨摹的舊教育，實行滅亡了纔行！我們對於美的銘感，要深記在腦筋中，一刻不可忘記。有了美的銘感，再聽那自然的秘曲，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.

學洋畫的人接近那活潑的“森羅萬象”，先要從色彩，形狀， 調子，上觀察；然後流露各種的現象，那種醒目，沉潛的現象； 也都要從自然詩意中感受的。無拘束的技巧，用直率的表現，是非常緊要，我現在將關於繪畫方面應該注意的條件寫在下面，以供大家的參考。

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（表現）洋畫家的我，就是實寫家的我；所以關於實寫的表現，不可不確實注意！（表現）就是將天然萬物顯在畫面上， 這個表現，第一要純潔，從眼睛看到的物體，銘感到心中，顯那直率的誠實；所以繪西洋畫，對於（印象）（感覺）（認識）等； 都極重要的。這種一切的實感，只要從技巧上不間隙的鍛練，必能達到純潔的地步。

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）我上面所説，要從自然詩意中得來的，有深理的感受，然後成誠實的表現。例如一串紫蒲萄，不論那個看起來，對於那豐闊的蒲萄，就有一種美味的想像。但是這個時候，並不是單在食慾方面的感想；對於美的感受，也都潛伏在裏面的；所以美術最初感受的動機，就是在此。法國最著名的畫家魯奴愛而 Renaler Agurte善於表現善肉體的感覺。他有一句話說：“如果裸體的女子沒有乳與尻的曲線美，我就不畫女子了。”這句話，就曉得他是受着美的神秘的感觸。他因為對於女性美在形態,表情,上有了這種深的感受；所以有這句公布的話。我上面所説的蒲萄，也是如此；如果沒有美味的想像，我們也就不願意畫了。

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.

凡是被迷惑佔住的中間，就生出愛，這個愛也就是感受上所得着的。有了感受的愛，就有表現的慾望，這個慾望是要從形狀，色彩，調子，上觀察的；同時也須感受各種的趣味。

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 感興) 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 筆氣). 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.