CHAPTER 1
Preface to the First (1679) Edition
PEOPLE nowadays enjoy looking at landscape paintings as much as at the scenery itself. Panels of screens offer countless vistas, and scrolls and albums spread before us a variety of scenes—distant hills and plains, blue-green mountain peaks, and murmuring brooks. At one moment a landscape may appear overcast with mist and clouds, at another the view emerges clear and fair. Or one may find oneself by a spring of pure flowing water, ready to set out over hills and ravines, free to roam without having to wax one's sandals or take up a bamboo staff.
It is one thing, however, to look at pleasant pictures painted by other people and another matter entirely to paint such pictures. Appreciating the works of others, one is essentially a spectator receiving impressions; whereas, in painting pictures, the conception originates and rises from the deepest recesses of the heart. There is this significant difference in the approach to landscape painting.
All my life I have loved landscape painting, but it has been the pleasure of looking at other people's work, for I myself cannot paint. In the past, when I used to travel, I often met painters, men who had followed in the footsteps of Mo-chieh and Ch'ang-k'ang, who kindly let me discuss with them the Tao in painting. When, however, I began to ask questions, they would knit their brows and declare: "It is easy to appreciate the idea of Tao but quite another matter to give it form."
I have been ill now for the past year and unable to travel, being confined to sitting or lying in my room, shut off from all other activities. Fortunately I have paintings and so can unroll whole landscapes on my table. They are here before me even while I eat or sleep. I enjoy this kind of wandering while at rest. It has prompted me to write on one of these scrolls: "Many walled cities under my roof and many landscapes before my eyes." In my solitude, I have regretted not having the knowledge and ability to write about this branch of the Seven Manifestations.
This thought was in my mind one day when I was talking with my son-in-law, Yin-po, and I said to him: "Painting is an ancient art. How is it that there are excellent treatises on the painting of figures, birds, animals, flowers, and plants, yet the most important category, landscape, seems to have been neglected? Do you suppose that most of us can only enjoy looking at landscape paintings?—that, while we may understand the idea of Tao in painting, it is really impossible for us to be more definite about it? Is it true, do you suppose, that landscape painters through the centuries have purposely guarded this secret among themselves?"
Thereupon, Yin-po brought out an album. "This has been in our family for many generations," he said.
At the sight of the album my curiosity was aroused. On examining it carefully, I found that it contained copious examples of the methods of individual masters of various schools of (landscape) painting. I particularly noted the comments and their calligraphic style, for they seemed to bear the touch of Ch'ang-hêng, of our family. At the end of the album were two seals, inscribed "Li Family Collection" and "Liu-fang," which confirmed my impression that the album was compiled by Ch'ang-hêng.
Since the album was a record of a private collection, the material and its arrangement were not suitable for a manual of painting. Just then, however, Yin-po brought out another album, and he smilingly explained: "When I was living at the Mustard Seed Garden in Nanking, I commissioned Wang An-chieh to rearrange, enlarge, and edit the whole work, an arduous task. Finally, after three years, he completed the work."
Eagerly I took up the album and examined it. I could not help applauding the whole and each of its parts, stopping here and there to sigh with admiration. The plan of the book included the original forty-three pages, to which had been added detailed instructions on the painting of trees and branches, including methods of dotting leaves and of drawing mountain ranges, peaks, rivers, and waterfalls, as well as banks, slopes, rocks, bridges, paths, palaces, houses, boats, and carts. Wang An-chieh, in moments of leisure, had copied out the whole work, enlarging and rearranging it to a total of one hundred and thirty-three pages. He included examples of the styles of many of the masters and of every important school of painting. Furthermore, to aid the beginner, he added forty pages of text on brushwork and the handling of ink tones, composition, and perspective. Following the instructions in this book, one could eventually paint a picture of what hitherto had been locked in one's imagination—could produce results, as it were, with a few twists of the wrist. Would it not be a pity to hide this wonderful book from the world? I have been most anxious to see it published so that generation after generation of those who love to look at landscapes may also learn to appreciate landscape painting and, moreover, may not only read the Manual but also try to paint. For, as the saying goes, thus may ten thousand miles be illustrated in a foot, and one may wander in a landscape while actually at rest and never have to go any distance.
Written on the third day after the summer solstice in the Chi Wei cycle, the eighteenth year of the reign of K'ang Hsi (1679), by Li-wêng (Fisherman of the Lake) Li Yü at Ts'êng Yüan in Wu-shan.
CHAPTER 2
The Fundamentals of Painting
Ch'ing Tsai T'ang Discussion of the Fundamentals of Painting
LU CH'AI says:
Among those who study painting, some strive for an elaborate effect and others prefer the simple. Neither complexity in itself nor simplicity is enough.
Some aim to be deft, others to be laboriously careful. Neither dexterity nor conscientiousness is enough.
Some set great value on method, while others pride themselves on dispensing with method. To be without method is deplorable, but to depend entirely on method is worse.
You must learn first to observe the rules faithfully; afterwards, modify them according to your intelligence and capacity. The end of all method is to seem to have no method.
Among the masters, it was a different matter. Ku (K'ai-chih) Ch'ang-k'ang applied his colors sprinkling and splashing, and the grass and flowers seemed to grow at the movement of his hand. Han Kan, whose picture The...
