What are the innovations of Chinese painting? What is the reason? What's the difference between modern Chinese painting and Yuan, Ming and Qing painting?

Rereading Cai Yuanpei's "Object Sketch" —— A topic triggered by Huang He Qi Baishi's sketch

Author: 2005-11-2512: 42: 00.

Text/Hang (Ph.D., Academy of Fine Arts, China Academy of Fine Arts)

Essay is a Buddhist term, which refers to a short version of Buddhist scriptures. Later, it was borrowed as a form of literary works-mostly referring to a small production with simple form and far-reaching significance, as opposed to a large production. It often appears in the form of small vertical shaft, picture album, fan, hand roll, etc. Which is more playful. Ancient essays emphasize the feelings of literati, pursue a light and detached aesthetic feeling, and have a unique and indifferent atmosphere. However, this is not the case when you look at Huang and Qi Baishi's sketches. Relatively speaking, compared with the ancients, they showed a little more closeness to life outside of pen and ink, which also made them more lively and rich. Or landscape, or grass insects, with a sense of body odor sensitive to life to obtain the authenticity that the ancients lacked-the sense of sketching. The formation of this visual experience is quite consistent with the rumor that Qi Baishi painted with crabs and traveled with Huang Sketch. In fact, from a certain point of view, this difference is not only reflected in Huang Heqi, but also a different experience gained by Chinese painting in the twentieth century compared with the ancients. It should be said that the acquisition of this experience has something to do with the emphasis on sketch training under the background of "the west wind spreading eastward" in the twentieth century. Among them, Cai Yuanpei's "body sketch" is an unavoidable problem in this topic.

Cai Yuanpei mentioned in his speech at the Peking University Painting Research Association in June that 19 19: "There are two hopes for learning painting in the future, that is, sketching more and persevering." [1] This speech was published in Peking University Monthly and Painting Magazine. This is another important document about painting after Cai published the Theory of Replacing Religion with Aesthetic Education in New Youth in August 2007. Compared with 19 17, which only discusses the function of art from a macro perspective, the views on painting put forward in this speech are more specific and clear. He raised hope at the beginning, then analyzed the differences between Chinese and western painting methods, and then pointed out the phenomenon that "Western painting adopts China painting". Finally, he called on "Western artists can adopt my own strengths, but I can't adopt the strengths of westerners alone?" Therefore, people who are eager to learn Chinese painting must also use the beauty of western painting to describe gypsum images and field scenery ... Today, when we study painting, we should pay attention to it by learning science, get rid of the careless habits of celebrities, get rid of the ridicule of craftsmen, and walk into art in a scientific way "[2]. When discussing Cai Yuanpei and the history of China art in the 20th century, the academic circles pay more attention to the theory of aesthetic education on behalf of religion (1). However, the author thinks that, regardless of the macro-impact of Cai's aesthetic theory on the cultural development of China in the 20th century, from the micro-perspective of painting, if Cai can be listed as a person who has an important influence on China's painting in the 20th century, then this speech is even more worthy of our attention, because it puts forward more clearly and directly the scientific method of "sketching" in western painting to study the development of China's painting. Of course, the background of Chua's theory is the common topic of China's cultural innovation in the 20th century-the west wind spreading eastward. As an integral part of China culture, Chinese painting is no exception. For example, when Shen Bao introduced the calligrapher Wang in 19 13, he said: "Since the spread of Ou Feng to the East, scholars have tried their best to learn new things, and nine times out of ten, calligraphy is beyond their power, but it seems difficult to choose one who pursues excellent calligraphy. " [3]。 But the problem is that the general environment of the west wind spreading eastward does exist, but what impact does it have on the creation of Chinese painting? However, this is a question worthy of our calm reflection [4]. In fact, as far as the information presented by the academic circles is concerned, there is no information showing that the internal development of Chinese painting before1917-19 was strongly impacted by the "west wind" we imagined! On the contrary, many data show that before1917-1919, the interior of Chinese painting circle was relatively calm, and the traditional literati associations and painters' activities such as Xuannan Painting Society in Beijing and Qingyiguan Painting Society in Shanghai were still the leading forces of Chinese painting. Although there is also a speech on "on calligraphy and painting, preserving the quintessence of Chinese culture" [5], its foothold is to regard Chinese painting as a unit that needs to be preserved under the external pressure of China culture, not to say that Chinese painting should be reformed to cope with "spreading from the east to the west". The same is true of the example cited by Wang. His exclamation is only aimed at "nine times out of ten people who don't learn calligraphy", not at the abandonment of the so-called "national quintessence" in calligraphy. That is to say, although Chinese painting is in the overall cultural environment where the west wind is spreading eastward, its internal structure is still stable and its development direction shows more self-discipline [6]. However, when Cai's article was published, this "relative calm" had changed. Cai's advocacy of sketching, Kang Youwei's proposal in 19 18 that "Chinese and western paintings will enter a new era" and Chen Duxiu's proposal that "the realism of western paintings should never be adopted in improving Chinese paintings" are all based on the argument that "realism of western paintings is the first priority". Aiming at the intrinsic value core of Chinese paintings, Chinese paintings will have to face an inherent innovation problem.

At this point, history has played a modest joke, which is enough to arouse our questioning-Kang Youwei, Chen Duxiu and Cai Yuanpei are not people in the painting world. What impact will their remarks have on Chinese painting? This is a problem worthy of our vigilance [7]. Looking through the Collection of Chinese Paintings edited by Yao Yuxiang in the 21st year of the Republic of China, none of the above three articles was selected. The book systematically collected and sorted out the more important expositions in the field of Chinese painting at that time, "collecting the comments of famous domestic artists on Chinese painting, plus trade-offs." [8] The starting point of his choice is that "people who study Chinese painting now are still thinking before the Tang and Song Dynasties, so they are complacent about their own gardens. People who study western painting blindly copy western faces. So each other's barriers are tight and silent, and each has its own right and wrong. People who make a fuss about painting are either slaves of the ancients or descendants of western paintings. I don't know why, they just eat the dross of the ancients and take their wisdom. Alas, it is also good and bitter! In view of this, the two brothers wanted to organize the theory of Chinese painting into a system, so that those who later learned Chinese painting would not go astray. " [9] It should be said that the vision of editor Yao Yuxiang's selected works is relatively broad, and the 29 articles he selected were also influential articles in the painting circle at that time, with certain representativeness. The social influence of Kang, Chen and Cai failed to be selected, which seems to imply some historical truths to us from one side. Of course, I don't mean to deny anything by saying this, but I just want to remind us to take a cautious attitude in the face of history-analyze and understand people's feelings in specific phenomena, and restore or collage the relatively real face of history in the process of this feeling. For example, we blindly emphasize the importance of Kang Youwei's Preface to 10,000 Mu Cottage. Of course, there may be nothing wrong with putting forward the value of this article, but it is inappropriate to think that this article has opened up a new era. Because even Xu Beihong, who has close contacts with Kang Youwei, does not seem to agree with or respond to Kang's point of view. When Xu published "Ways to Improve Chinese Painting" on 19 18, the appendix at the end of the article said: "People who are close to you often imitate vulgar paintings. In fact, I am an artist and I do not advocate sectarianism. I just moved to China because I studied European painting and the materials are realistic. At first, I didn't dare to give up, so I took shallow people as my teachers. Moreover, no one in the world can use the creation of the ancients to limit their performance. Lang Shining is still in an imperfect era, and artists can convert to it! Hong should strive to benefit himself in the future. If he is the only one, even if he is stupid, he will be more lucky! Comrades and gentlemen, look at each other. Sorrow is only the beginning. " [10] Xu Beihong got Kang Youwei's support, and even eloped with Jiang Biwei in 19 17, and got Kang Youwei's support. This can be seen from the turning point of the two. Xu Beihong's 19 18 also met Cai Yuanpei under the introduction of Kang Youwei's disciple Luo Yinggong, and was able to join the newly established Peking University Painting Research Association as a tutor [1 1]. However, Xu published such an article shortly after entering Peking University, and did not intend to agree with Kang's admiration for him many years ago. And this happens, either because Kang Youwei's article circulation is limited and Xu has not read it; Either Xu has seen it, but he dare not go along with it because of the strength of traditional painting, and even wants to draw a clear line with others' comments. Then it is doubtful how much influence Kang's works can have, let alone create an era. This phenomenon is enough to remind us that in the face of history, we should try to avoid too subjective judgment, but should carefully look for the true footprint of history in trivial details.

However, as mentioned above, this is not to deny the value and significance of Kang Youwei and Chen Duxiu's articles. In terms of the social influence of Kang and Chen at that time, the publication of such words was enough to give birth to a public opinion influence of innovation and change in the external environment of Chinese painting, even if it could not directly affect the development of Chinese painting [12]. However, this influence is not caused by an isolated phenomenon, nor can it be immediately revealed, but a process of gradual influence with many other factors. Among these "many other factors", Cai Yuanpei's speech is undoubtedly worthy of our attention. Even from a certain point of view, Cai's articles are more important than Kang's and Kang's, and seem to have a direct and significant impact on the development of Chinese painting at that time. At that time, Cai was the president of Peking University, initiated the establishment of Peking University Painting Research Association, and became the chairman of the board of directors of Shanghai Academy of Fine Arts on 19 19 [13], which had a direct influence on the north-south art education and research institutions at that time. It can be said that compared with Kang and others, his comments on Chinese painting at that time were directly facing the art world. Moreover, his Speech at Peking University Painting Research Association was published after Chen Shiceng announced his withdrawal from Peking University Painting Research Association in June1910. Today, we don't know the specific reasons for parting ways, but when Chen left, Cai's statement that "we should study painting now, focus on it with scientific research methods, and get rid of the careless study of the school of celebrities" seems correct, because the so-called school of celebrities is exactly what is advocated. It is speculated that Cai Chen's breakup may be due to their different views on painting. Cai left and made such remarks after leaving, which showed that he attached importance to the painting research society of Peking University. Therefore, in the specific teaching research, Cai Yuanpei should also try his best to publicize his painting ideas. Then, with art education as an intermediary directly facing the painting world, Cai Yuanpei's painting thought will inevitably have a certain direct impact and influence on the painting world. This is a condition that Kanghe people don't have. Indeed, Tao Lengyue, Xu Beihong, Lin Fengmian, Liu Haisu and others will promote Chinese painting in China in the future, all of which are related to the support of Cai Yuanpei. Therefore, among the three articles about Chinese painting innovation published by Kang, Chen and Cai Yu1919, Cai's article deserves our attention.

So, what view does the importance of Cai Wen reflect? Cai always emphasized in his article that "Chinese painting and western painting have different starting points, Chinese painting begins with copying and foreign painting begins with writing." This difference makes Chinese painting "the ancients learn painting, and non-literati celebrities scribble at will, that is, craftsmen and technicians describe and imitate." Therefore, he stressed that "those who are eager to learn Chinese painting must also use realistic western painting sets to describe plaster statues and field scenery." [14] is his initial appeal of "doing more physical sketches". Although Cai's essays do not directly judge the value of Chinese and western paintings, there is no doubt in his writing logic that "attaching importance to realistic western paintings is a good medicine for Chinese painting innovation" This statement is quite in tune with that of Kang and others. It is this kind of harmony that makes the three schools' ideas different from the quintessence concept under the so-called "west wind spreading to the east" of predecessors, but directly point to the core value of Chinese painting "west wind spreading to the east". However, compared with Kang and Chen, Cai's essays have gone beyond a debate only from the cultural level, but put forward a more specific training method under the slogan of "advocating realism", that is, the concept of sketching. Then, this concreteness undoubtedly makes Cai Wen have a stronger influence on the internal stability of Chinese painting.

In fact, "sketching" as a vocabulary is not new in the history of Chinese painting. According to the available data, it should first appear in the writings of Song people, mostly referring to the flowers and birds painted by Zhao Chang. For example, "Modern famous paintings, Li Cheng's Ju Ran landscape, Bao Dinghu, Zhao Chang Huaguo ... Changhua's sketches are realistic, soft and vulgar, and the ancients are unparalleled, but they are incomparable." [ 15]; "Just like Zhao Changhua's sketching forced him to pass it on as a treasure, not a flower." [16] At this time, sketch is a multi-biased verb, which means to depict an objective object realistically [17]. In the Yuan Dynasty, people began to prefer noun attributes. For example, there is a saying in Jue Yuan's "Hui Zong Mei Que Tu" that "the master sketched from the gods, a chic spring scenery in the south of the Yangtze River." [18] Dianzhu and Fen are good at sketching, and flowers and birds have excellent works. Zhao Changming and Huang Quanqi, later called Cui Zixi. [19] However, at this time, De's sketches began to deviate from the original meaning of "realism", such as Peach Blossom in the Snow by Qian, Zhu Facade set each other off, and Dust Hate to Sell. Who will write the sketch? The Wangs have bananas in the snow. [20] Wang Mo's Banana in the Snow is quite different from Zhao Changzhi's Painting Flowers and Birds. Another example is Qian Daxin's "Make the ink hold the dragon to show the problem", in which there is a sentence: "A master writes about God for sketching, not writing form, dripping ink and splashing ink, and spreading enthusiasm. Needless to say, [2 1] splash-ink method "only writes the spirit but not the form" and "lifelike". It can be seen that as a vocabulary, the meaning of "sketching" in the history of China painting has changed: from the way of description to the reference of painting; From seeking truth to writing about God. However, this change is not a complete inheritance and change in time series, but it is sometimes confused, that is, it is not a scientific concept with a fixed definition in a strict sense, which is essentially different from the concept of "sketch" that specifically refers to physical modeling training in the 20th century. Even Zhao Chang's earliest sketches emphasized the concept of "lifelike", not the process of "modeling the scene", but only the description of the final effect of the picture "close to reality". If there is a word closest to the concept of sketch in the history of painting in China in the 20th century, it may be the word "portrait" in some usages. For example, Yan Zhitui in the Southern Dynasties once said in Yan Jiaxun, "Painting is wonderful. Since ancient times, there have been many celebrities who can do it, and I have always had them. It is also difficult for Emperor Liang Yuan to draw cicadas, sparrows, white fans and horses by hand. Prince Wu Lie took pictures and sat on the guests and became several people. Ask the children, everyone knows their names. " [22] But in connection with the investigation of real paintings at that time, this description of the scene may be closer to the "sketch" than the physical modeling sketch [23]. In this regard, the concept of "multi-object sketching" put forward by Cai Yuanpei in 19 19 should have nothing to do with the painting history of China, and it is totally a foreign concept.

However, Cai Yuanpei was not the first person to introduce the concept of "sketching" into China. 1965438+August 3, 20051day-September 3, 2005, the advertisement column declared continuously published the news that "Oriental Painting Association is recruiting members": "Since the publication of this association, many people have joined, and there are also many boarders. The old dormitory is unbearable. Today, the clubhouse is specially promoted, which makes the classrooms, dormitories and bathrooms clean and quite hygienic in Gaochang. There are also leisure rooms, newspaper reading rooms and library buildings, all of which are well arranged. Courses include still life sketch, plaster model sketch, human body sketch, outdoor sketch and so on. The official meeting date of this association is September 5, Gregorian calendar. After that, you can join the club day by day, and the boarders still have a balance. Fortunately, we hope to hurry. If you want to know the detailed chapter, just come and see it, which will let you post a chapter. " [24] Among them, the systematic sketch training is clearly put forward, even divided into four categories: still life, plaster, human body and outdoor. The Oriental Painting Society was founded by some teachers of the Shanghai Painting Academy at that time, with seven members including Wu, Yu, Liu Haisu, Shen and so on. "They tried to jointly study and promote the Western painting movement in the form of painting societies." They advocated the principle of sketching, and also held a sketch tour of Putuo Mountain in the summer vacation of the same year, which was the earliest precedent for opening outdoor sketch of western painting in China. [25] In addition, Shanghai Academy of Fine Arts also organizes students to go out to sketch. For example, in April and May of 19 18, Liu Haisu led students to the West Lake in Hangzhou to sketch in the wild, and in June of 1, the "Exhibition of Travel Sketch Achievements of Shanghai Academy of Fine Arts" was held at Zhejiang Education Society in Hangzhou. Moreover, the sketching activities in the above materials are still outdoor sketching. In theory, indoor sketching should be earlier than outdoor sketching, and it should be introduced to China with the introduction of western picture teaching method in China. Moreover, according to some data, this foreign method of learning painting was confused with the method of copying Chinese painting when it was introduced to China. Compare the advertisements of Shenbao 19 14, 19 16 with those of pencil drawing in Shanghai Academy of Fine Arts. 19 14 the first issue of pencil drawing says, "is it easy to draw a husband?" However, it must be done step by step, from the beginning to the end. Pencil drawing is the beginning of learning to draw, no matter pen, watercolor, oil painting, etc. We should start with pencil drawing. There are few good models in the ancient market, which is not enough to lure backward people. In view of this, our agency specially published a pencil drawing post ... "[27] In western painting, pencil drawing is the foundation, which should be based on sketch, and the publication of the album is only to enrich the visual experience, and it is not copied. However, Liu Haisu's pencil drawing is a copying model, which is called "pencil drawing sticker" as a copybook, indicating that the two concepts and methods of Chinese and Western painting are confused under the mutual influence. However, in the advertisement of 19 16, the situation has changed. "To learn western painting, we must start with lead painting. If they learn lead painting well, no matter what kind of western painting, they can easily solve it. However, lead painting must pay attention to sketch and cover text draft. Although every bit of the painting is true. " [28] At this point, the obvious China name "pencil drawing sticker" disappeared. Although Linxi lead painting was mentioned, the concept of sketch was emphasized from this copying mode. The publishers of the two advertisements are both from Shanghai Academy of Fine Arts, so the change of views before and after reflects the publishers' in-depth understanding of "sketch training" from one side, and also shows that "sketch", as a way to learn painting modeling training, has gradually become clear from the confusion with the traditional concept of copying in China during the spread of China. By 19 19, this situation has completely changed. The advertisement for "The True Solution of Painting" said: "The first episode was published by the Commercial Press, focusing on the principles and techniques of pencil drawing with illustrations." [29] At this point, the problem of copying pencil drawing is no longer mentioned, but people can directly understand the principles and techniques of sketch, which shows that the understanding of the concept of sketch in modeling training is mature.

Thus, long before Cai Yuanpei advocated "body sketch", the sketch training of westernized ideas had already experienced a gradually mature spreading process in China. Moreover, some data show that at the latest in 19 17, sketch as a name concept of painting has also been formed. 1965438+On June 1-3, 2007, Jiangsu Education Association held a "Handmade Painting Exhibition" to promote vocational education and promote painting handicraft education in primary schools. There is the title of "Picture Department" in the types of essay, and the catalogue is divided into "memory painting, sketch painting, pattern painting (from sketch to pattern), sample painting (which is a pattern prepared before writing) and special application painting (such as stationery for two envelopes of advertising books)." [3 1] However, after clarifying the spread of the concept of "sketching" before Cai Yuanpei, a new problem appeared. That is, are the concepts of these sketches the same as those put forward by Chua Meier? If they are the same, what is the value or significance of Chua's theory? If not, what are their differences?

It should be said that Cai's "sketching" and the above-mentioned "sketching" belong to "modeling training for objects" in the process of learning painting, and their basic meanings are the same, that is, Cai's so-called "depicting plaster statues and field scenery" and "sketching plaster statues and outdoor sketching" are both ways of learning painting for modeling training objects, and there is no essential difference. But the problem is that Cai's object is Chinese painting. He is "eager to learn Chinese painting, and he must also use the beauty of western painting to describe gypsum images and field scenery". His ultimate hope is to "get rid of the sloppy habits of celebrities, get rid of the ridicule of craftsmen, and enter art by scientific methods" [32] This is an innovative language aimed at the value core of Chinese painting, but his previous "sketching" is not the case. Regardless of the Oriental Painting Society or Shanghai Art Institute, the "sketching" advocated is to promote the development of western painting, not Chinese painting [33]. Then, this difference is the difference between Cai Yuanpei's "body sketch" and his predecessors, and it is also its significance and value. As mentioned earlier, although the Chinese paintings before1917-1919 were under the impact of "spreading from the west to the east", they were relatively stable as a whole culture. The concept of sketch in western painting only erodes the external resources of Chinese painting through the study and promotion of western painting [34], but it develops internally. Therefore, in this case, Cai Yuanpei's call for climbing the mountain and carrying it out in detail through art education research institutions naturally had a different influence from his predecessors-he began to really blow the "West Wind to the East" into the value core of Chinese painting, and made clear the specific means of this "East Spread" from the operational level. It is precisely because of this that Cai Yuanpei has an unavoidable unique value in the development of Chinese painting in the twentieth century. Although, he is not in the painting world. Of course, the significance and value of Cai Yuanpei is not an isolated phenomenon. Although history ultimately takes individual phenomena as the representative of historical will, in its real evolution and development, the meaning of one phenomenon is related to other phenomena, that is, Cai Yuanpei's meaning was not completed by himself. We can't forget that before Cai Yuanpei advocated "sketching in kind", Kang Youwei and Chen Duxiu spared no effort to advocate the realistic spirit of western painting. Without such a prelude, perhaps Cai Yuanpei's solo is hard to work. Of course, Kang and others can't have a direct impact on the painting world because of the lack of Cai Yuanpei's unique art education background, but their cultural attitudes and influences are undoubtedly not a group of important notes between the external impact and the internal development of Chinese painting. Perhaps, their deafening cry for Chinese painting may not get a direct response, but it can undoubtedly form a social force that requires Chinese painting to innovate itself more clearly than in the past, and this force is an important driving force for Chinese painting to enter the road of "innovation" in the twentieth century. In a sense, it is Kang and two people who make it easier for Cai Yuanpei to open the door of "innovation" in Chinese painting. Therefore, under the social environment of "the west wind is spreading eastward", Chinese painting gradually loses its inherent stability, which should be the result of their joint efforts. Time should be1917-1919-a concept of time with a turning point.

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[1] Cai Yuanpei, Speech at Peking University Painting Research Association, Peking University Monthly,1910.25.

[2] Cai Yuanpei's Speech at Peking University Painting Research Association, Peking University Monthly,1910.25.

[3] Wang, a great artist, submitted an application and declared19131031.

[4] The development of Chinese painting in the 20th century is not a simple straight line, but a relatively complicated and trivial historical phenomenon. But later critics often ignored the richness of this development, made simplistic judgments, and often forgot or misread history itself. Specifically, forgetting or misreading history is generally manifested in two forms: one is to understand history as the result of simple contradictions and conflicts, which leads to either/or, staged development and evolution, without paying attention to the multiplicity and interweaving of contradictions that promote historical evolution; Second, regarding history as the evolutionary history of major events and important people has produced a one-sided view that a few phenomena refer to the whole history, without paying attention to the diversity and interaction of historical components. Therefore, in the face of the problem of "the west wind spreading eastward" in the early 20th century, we often adopt a simple "shock-reaction" model to demonstrate or understand, and expand this influence, even ignoring the details and process of its specific evolution, and simply applying the words or concepts of a period without analyzing the subtle relationship between various phenomena and factors in this period or hiding the truth.

[5] The purpose of Qingyige Calligraphy and Painting Society can be seen in "discussing calligraphy and painting and preserving the quintessence of the country". See Brief Introduction of Maritime Qingyige Painting and Calligraphy Society and Shenbao 19 12 12.

[6] This kind of self-discipline here does not mean that the development of Chinese painting is an isolated, closed and conservative external environment, but a self-affirming attitude in culture. However, on the concrete operational level, it may be open and flexible-in the face of the west wind spreading eastward, it can absorb the factors of western painting to improve it, and the way Ren Bonian treats western painting is an example. But this attitude is completely different from the later revolution of "trying to save Chinese painting with western painting", and the result is the same.

[7] When talking about the situation of Chinese painting at that time, the current academic circles often quote two articles by Kang Youwei and Chen Duxiu to discuss the "revolution". However, according to the author's understanding, in the development of Chinese painting in the 20th century, these two articles were not hooked by Mr. Lang and Mr. Shui Tianzhong until the 1980s, and were widely quoted. Then, it is too subjective and dangerous to say that these two articles have cultural symbolic significance without analyzing their specific influence at that time.

[8] Yao Yuxiang, On Chinese Painting, edited by Lida Bookstore, 1932, 10.

[9] Yao Yuxiang, preface to On Chinese Painting, Lida Bookstore 1932 10.

[10] Xu Beihong, the appendix text of "Methods to Improve Chinese Painting", originally published in Journal of Peking University on May 23-25, 2008.

[1 1] See Yang Xianrang's Case Concerning Xu Beihong, Art Research,No. 1.

[12] But when expounding this influence, we should avoid ignoring the expansion and generalization of facts and simply use slogans to mark it. This is a subjective mistake that should be avoided when studying history.

[13] Lan, Cai Yuanpei and Shanghai Academy of Fine Arts —— An analysis of Cai Yuanpei's influence on modern art education in China, Art and Design,No. 1 2005.

[14] Cai Yuanpei, Speech at Peking University Painting Research Association, Peking University Monthly,1910/October 25th.

[15] Ouyang Xiu (Song), Collection of Official Documents of Ouyang Wenzhong Returning to the Field, Volume II.

[16] Shi Dehong Juefan (Song) Shimen Zen Volume 23.

[17] Huang Quan's Sketch of Rare Birds in the Five Dynasties was named after the sketch, but it was only a manuscript. The so-called "Sketch of Rare Birds" first appeared in Xuanhe Painting Spectrum, and its painting title was Huizong Shoujin Painting Style, so the name should be decided by the Song Dynasty, not its original name.

[18] (yuan) "Rong Qing lay down" Volume 45.

[19] Wu Kuan (Ming) Yi Weng Family Collection Volume 12.

[20] Qian (Qing) "Muzhai Beginner Collection" Volume 5.

[2 1] Qian Daxin (Qing) "Poems of Thousand Words Hall" Volume 7.

[22] Yan Zhitui (Liang)' Yan family precepts, Volume I, Acrobatics Article XIX'.

[23] linking this case with Zhao Chang's realistic sketch, it also shows from a certain angle that Chinese painting has some kind of "sketch" bud in its development process, but there is no doubt that this bud has not taken shape, of which the original

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