"The Painter's Theory" And "the Historian's Theory

Lin Quan Gao Zhi and picture seeing and hearing annals are two important painting theory works produced in the middle and late Northern Song Dynasty.The differences in family background,knowledge composition and personal preferences between the authors Guo Xi and Guo Ruoxu lead to differences in writing motivation and material sources between the two works,which forms the difference between landscape painting monographs and painting history monographs,or the opinions on painting in the two works are called "painter’s theory" and "historian’s theory".As two works of the same era and in the same field,they are bound to face some of the same problems;The author’s identity and position will inevitably lead to different views on various issues.These similarities and differences constitute the premise of academic comparison.There are six main problems that can be compared with each other:First,the understanding of "painting".Lin Quan Gao Zhi is understood from itself,that is,"painting should be painting",which mainly belongs to the nature of painting ontology,and the interpretation is easy to enter the subtle level;From the perspective of society,history and culture,i.e."working with the six books",which mainly belongs to the nature of painting function theory,and the discussion is easy to enter the broad level.Second,the use of the words "body" and "method".From the multi-level understanding of Lin,"body" has the meanings of situation,realm,body observation,genre and picture relationship,and "law" has the meanings of laws,methods and rules,so it is diverse;In the painting,"Ti" mostly refers to style,"Fa" mostly refers to painting,and its meaning is single.Third,the acquired or congenital problems of painters’ talent.Lin believes that it can be obtained the day after tomorrow.Although Guo Si said in the preface that his father Guo Xi "got it by nature",Guo Xi’s own remarks did not mention nature;"Tu" believes that it is innate complacency,especially its theory of "Qi and rhyme are not teachers",which is consistent with Guo Si’s point of view.Fourth,the function of painting."Lin" tends to be self entertaining,and the sentence "pleasure people’s will,really get my heart" is the central idea of Guo Xi’s landscape painting;Although there is also a sentence "people know all the rites and music" for figure painting,it is still "the heart of Linquan" that occupies the whole gist.The painting has equal functions in politics,religion and self entertainment.Fifth,painting performance.In terms of subject matter,"Lin" only involves landscape painting and is single,while "Tu" involves many "doors",see comprehensiveness;In modeling,Lin emphasizes the potential state,while Tu emphasizes the gas appearance,potential state and structure;Yu Bi mo,Lin is specific and exquisite;"Tu" is based on abstract generalization.Sixth,draw "disease"."Lin" puts forward the "eight noes" of etiology and the "four noes" of disease;"Three paintings" are "useful".Taking these problems as the center and juxtaposing the two works,the rich connotation behind many concepts,terms and essays can be revealed.The two works not only have different views on specific issues,but also have differences in the whole: in terms of starting point and self positioning,"Lin" is painting and discussing painting,while "Tu" is both managing history and discussing painting;As far as the theoretical output path is concerned,"Lin" is "from the inside",while "Tu" is "from the outside".Thus,the two works have formed their own different logical expansion systems in terms of text: Lin is "there is a law for painting mountains and rivers",and Tu is "should follow the actual record".From the comparison between Lin Quan Gao Zhi and the records of pictures,we can find that the two works actually represent two different theoretical types in the history of Chinese painting: "the theory of painters" and "the theory of historians".These two theoretical types show different orientations of painting theory: "painting theory" and "painting theory".Further from the field of painting,the two works confirm a common cultural phenomenon: any argument is a "Prejudice" generated under a certain position,and various "prejudices" together form and enrich history.Comparing different "prejudices" and seeing each other may gain "insights",so as to deepen the theoretical cognition as a whole;This is also the significance of the comparative study of relevant cases in the history of art.