Naturally Carving

The academic problem of "no handwriting" in landscape painting is that there is a way and an art,and the skill reaches the way.When appreciating landscape painting,the "no handwriting" picture exists beyond the artistic aesthetic value of independent ink stick.The so-called "no" is the "invisible" caused by the artistic conception of the picture,which rises to the natural artistic realm of "Tao",and the inner artistic meaning can be completely released without other aesthetic interference."No handwriting" in landscape painting further embodies the spirit pursuit of vividness and skill to Tao through the skills and spiritual nature of "bone technique with pen" and "coloring with class".Ink stick is the external condition to achieve "no handwriting" in landscape painting,which requires the ability to use a pen with "positive edge",that is,"a pen has a pen,and a pen has no trace".Under the highly refined color concept of "ink is divided into five colors",people’s spiritual breath is contained in traceless brush and ink,which is integrated into the nature of description.In the expression,it is "No Way As Way","Both subject and object are dissolved",which is in line with the body posture of things and the rational posture of painting.Through the brush and ink,people express their understanding of the natural "principle".In addition,"no handwriting" is the emphasis on the inner beauty rhythm of the work,which is the overall picture mood of the work,and it has the aesthetic effect of "vivid charm".Generally speaking,the "no handwriting" of landscape painting contains the aesthetic concepts of "vivid charm","bone technique with pen" and "coloring with class".It is the combination of "technique" and "Tao",and also the sublimation of "technique" and "Tao".The second and third chapters of the article confirm the aesthetic value and significance of “no handwriting” in landscape painting through the creation thoughts and landscape features of landscape painting in various historical periods since Song Dynasty,and illustrate the theoretical significance of “no handwriting” in appreciation of contemporary landscape painting creation.