第一章全球画艺术的发展

全球画艺术的发展犹如中国的太极，全球画发展经历三个阶段。

1、太古无极全球画：太古初时是无极、画无中西之分。这从东西方原如洞穴壁画可找佐证，画法都是先用线条勾勒，再上色彩。

2、中西偏胜全球画：一分为二，一个发展线条的造型功能，以线造型，形成中（东方艺术），一个发展色彩的造型功能，讲究光色明暗造型，形成西（西方艺术）。然后沿着各自的轨道发展，中（东方艺术）的发展由线到面，再到体，吸收西方文化。吸收体的西方文化蔚然成风约在20世纪初开始。西（西方艺术）的发展是由体到面，再到线，吸收东方文化。吸收线的东方文化，自印象派开始。中西艺术史的发展历程表明：中西绘画的发展刚好是两种相反互补过程。

3、中西合一全球画。现在，无论美术，还是经济，都进入了一个全球化互补的时代。中（东方艺术）以线、韵见长，西（西方艺术）以形，色、材取胜。中西美术能够强强联合，优势互补，双强大顺，形成中西合一的全球画艺术。

第二章 中西合一的全球画五法

（一）何为中西合一的全球画五法?一为新独内美，一为形合表真，一为线面道禅，一为色感达心，一为材媒传观。

（二）中西合一的全球画五法第一法：新独内美

新独内美：画道之中创造为上。人类的发展过程，就是创造的过程。无论是科学，还是艺术，概莫能外。而创造贵在新独内美，新独内美为作品的最高境界。新即创新，讲究新思维新观念，追求新形式。独即宏扬创造，构思独特。中国画论有云：意高为高，意古则古，意奇则奇。作为一件艺术品，以新独，意独成之，则境界自高。画之价值，在于内美。中国画之内美，集中体现在笔墨上，西画之内美，集中体现在形，色，构成上。西画之内美，自印象派后开始，也即为现代派作品。艺术之所以为艺术，当听从内心的呼唤，此为艺术最高境界。人类的进化，由低级向高级发展，而艺术审美观的进化，则由外向转向内美。在低级阶段，如西画印象派之前的绘画，以外美，摹仿自然能事。中国画由于走中庸之道，一开始就内外美兼具。因此在印象派绘画之前，应当说，中国画艺术高于西画，但自印象派之后的现代派美术，向纯内美发展，而中国画未能突破谢赫六法论半步，中国画艺术则相对滞后。在人类进化到今天科学日新月异，艺术向纯内美发展，已是历史的必然。艺术的审美观由传统的优雅，愉悦的美转向内美，转向反判，创造之美。在多数情况下，这种内美对仍停留在古典的，传统审美观的人看来是“丑”的，因此在一定程度上，现代派的美以“丑”为美。由于新独内美为绘画创作的最高原则，这和科学的探索有异曲同工之妙，皆为宏扬人类的创造性。因此，现代派艺术的走向将和现代科学紧密结合。现代科学的前沿陈地也将是现代派艺术最感兴趣的题材，两者的区别仅在于一个是科学的探索。一个是内美的探求。艺术家倘能以新独内美求之，画不贵自贵，境不高自高。

（三）中西合一的全球画五法第二法：三形合真

三形合真：实象，变象,抽象是艺术的三种不同形态，犹如物质有固态，液态，气态三种不同形态。任何一种形态都只能反映艺术真实的一部分，要全面真实地反映艺术的真实，必须用三种不同的艺术形态结合来反映。实象如固态，变象如液态，抽象如汽态。一部艺术的发展史实际上就是由实象发展成变象，抽象，再发展成综合的历史。

实象发展阶段，在中国为传统的国画意象，在西方为古典绘画具象。变象的创始人为毕加索，变象的产生在艺术史上,同科学上的爱因斯坦的相对论产生一样光辉伟大。毕加索和爱因斯坦在艺术和科学的领域实现了由古典形态向现代形态的转变，属于旷世独立的天才人物。变象进一步发展，形再进一步解放、自由，直至完全打破形的束缚，进入由内心世界主宰的抽象阶段。抽象发展阶段，绝对纯粹地表达"内心世界、理念"，进入线、形、色、材的道禅境界。艺术再进一步发展，则进入三象结合的综合发展阶段。因为任何一种艺术形态都只能反映艺术真实的一部分，要全面真实地反映艺术的真实，必须三象结合--用三种不同艺术形态结合来反映。艺术越发展到后来，越来越全方位、多角度切入、综合，全面立体地反映艺术的真实。

（四）中西合一的全球画五法第三法：线面道禅

线面道禅：线面有内美，此艺术源于有五千多年文明历史的中国。线面内美的产生，必依笔墨气韵。而笔墨气韵，以游于道禅为最高境界。道禅概括了中国传统写意画的全部内容和深层的文化美学。

书画之道有三：一曰力之道，一曰空间形态之道，一曰时间之道。笔有四笔：一曰力笔，即传统的骨法用笔，须尽一身之力以用之，但不是莽力，而是内力。笔力能杠鼎，力透纸背，如锥画沙等皆是上乘用笔。以力之道溶于线条，似楷入画，运笔应苍，苍茫雄浑的金石气为力笔的最高境界。力笔也有轻重，但用内力而非外力。一日形态笔，有方圆,中侧卧形态之变化。以碑，篆隶入画，直达刚厚，雄浑境界。世上一切事物，包括物质和精神的，以方圆两字可以了矣。倘能以生活中的方圆之道感悟溶于线面，以空间形态之道溶于线面，得其其中三味，则定知高手无凝。一曰势笔,,势笔以时间之道溶于线面，能以音乐，溶于线面，以行草书笔法溶于线面，则其必高雅脱俗无凝。一曰一笔,一笔作画，综合三道。由道生一，由一生二，由二生三，以至万物。笔走龙蛇，能方能圆，能正能侧，气韵贯之。线面内美，一画显现，一画显功底，一画溶大千，一生的学识，才力，功力，尽可一画溶之，中华艺术的博大精深，一画见端眺。故石涛云：吾道一以贯之，画道彰矣，一画了矣。

气生动从道笔出，韵生动从禅墨生。书画境界有二：一日意境，一曰禅境。禅境为最高境界。墨有五彩：焦，浓，重，淡清。以禅墨溶于线条，则干裂秋风，润含春雨。一笔下去既是笔又是墨，浓淡黑白干湿同现，道禅神化，气韵同生,为中国画运笔顶尖高手。线以气见长，韵辅之。面以韵成之，气辅之。中国传统艺术的发展，是由线至线面，再到面。先是以道入书，再是以书入画，全用中锋，后来线条发展由中锋到侧锋、卧锋，形成线面变化。明代徐渭更是把面墨韵发挥极致，浑然天成。就山水而言，至现代黄宾虹出为一大变，原因是宾虹之前的山水，皆以气胜，或唐朝王洽的泼墨山水以韵见长，同属偏胜美，而黄宾虹的山水则综其大成，气韵同生，双强大须。气足为厚，韵足为浑，浑厚华滋，道禅溶之。韵有墨韵、色韵。至张大千的泼彩山水，又有发展，能于面韵中揉和光色变幻，形成色韵。以道禅游线面，是传统中国画的最高境界。传统中国画的绘画之道，道禅游线面，五字了矣。

（五）中西合一的全球画五法第四法：色感达心

色感达心：绘画以新独内美为创造的最高准则。落实在色彩语言上，则为色感达心。色感达心即为用色彩来表达内心感受和内心探求。由于艺术和科学的发展，人类的审美观现在已进入一个内美时代，色彩已经可以脱离描摹自然的束缚，真正可以做到色从心出，用色彩来表达你的快乐，忧郁，迷茫，梦幻等等，用色彩来表达你所思，你所想，你所欲，你所创，无拘无束，直入色彩的顿悟境界。西画色彩自野兽派开始，己开始步入色彩的道禅境界。当你翻开和毕加索齐名的莫迪里阿尼的肖像画时，你会惊讶艺术的奇异巧合，它简直就是中国写意画的翻版。只不过一个是用笔墨写意，一个是用色彩写意。因此，画无中西之分，初时如此，到最高境界也是如此。

（六）中西合一的全球画五法第五法：材媒传观

材媒传观：在人类艺术发展到今天，以"新独内美"为创作指导，具体方法可以不择手段，所谓法无定法。不仅可用画笔，还可运用各种材料，各种媒体，而不局限于架上绘画。但不管你用什么材料，什么媒体，皆要表达内心的一种独到的气质，传达一种独特的观念。不管你是用传统材料、媒介，还是现代高科技媒介，无论是波普、还是行为艺术，大地艺术等等，一切后现代美术，只是材料媒介的不同，表达的气质不同，传达的观念不同，而新独内美没有变。

丁天财

手机 13575990255　E-mail：yxrdtc-28@163.com

Sino-western combination as one global painting art

Chapter 1

  On Sino-western combination as one global painting art

 Development of the global painting art is just like Chinese Supreme Ultimate, the global painting development undergoes three stages.

1. the primaeval boundless ultimate global painting:

  The primaeval preliminary early stage is boundless ultimate’s, painting doesn’t be divided into Sino-western. About the above, you can find evidences from Sino-western just such as grotto painting, the methods of painting are all that, first of all, draw the outline with line, then colour.

2. the global painting outdoes Sino-western painting:

One divides into two, one modelling function of developing line which makes a mould with line forms Sino (east art) painting that develops colourful modelling function and pursues bright and dark modelling in light colour, and forms western (west art) painting. Then alongside separate track development, Sino painting (east art) development’s direction is from line to plane, then to body, it absorbs western culture. The western culture of absorbing body thrives in 20 centry early. Western painting (west art) development’s direction is from body to plane, then to line, it absorbs east culture. The east culture of absorbing line begins from impressionist school. The course of Sino-western art history development shows: Sino-western painting’s development is just two contrary mutual complementaty course.

3. Sino-western combination as one global painting:

At present, not only art, but also economy all enter one era which is global mutual complement. Sino painting (east art) emphasize line and rhyme, western painting (west art) emphasize form, colour, material. Sino-western art can strongly-strongly combine, advantage supplements each other, double sides is very great fluent, the global painting art is formed as Sino-western combination as one.

  Chapter 2

  The global painting five methods of Sino-western combination as one

⑴. What’s the global painting five methods of Sino-western combination as one? One is new, singular, inner beauty, one is combination from outside to inside, one is combination of line and plane, one is that colour reaches your heart, one is material medium communicating your notion.

⑵. new singular inner beauty: creation is very important in the method of painting. Developing course of human being is just one of creation. No matter what science or art, are all not exceptional. The core of creation is new singular inner beauty, the new singular inner beauty is the top boundary in works. New means creation, it pursues new concept and new form. Singular means to promote creation, it has the singular notion. Theory of China painting says: If you consider it high, it just means high; if you consider it ancient, it just means ancient; if you consider it strange, it just means strange. Being as a piece of works, it will be successfully finished and have the top boundary if it has the new singular features. Value in painting exists in inner beauty. The inner beauty of China painting is concentratedly embodied in form, colour, composition. The inner beauty of western painting initiates from impressionist school, also namely modern school works. Art becomes art that you need, it should obey your inner heart call, this is just the top boundary. Evolution of human being is from low grade to high grade development, but evolution of art aesthetic conception turns from outside to inside. At the low grade stage, such as before western painting impressionist school, it emphasizes outer beauty, mimicry and nature. Owing to the golden mean in China painting, China painting just has inner and outer beauty from initiation. Therefore, before the western painting impressionist school being appeared, we should say that China painting art is higher than western painting, but modern school art since impressionist school appearance, due to development to inner beauty, China painting has not broken Xiehe’s six notions methods at all, China painting art is relative stagnant. Nowaday human being has evolved to a new era when science has been developed day and night, art has developed toward sheer inner beauty, the above has already been a historic necessity. The aesthetic conceptions of art has been converted to inner beauty and creative beauty from traditional elegant, joyful beauty. Under the most circumstances, this kind of inner beauty is “ugly” to the persons who is still stagnant at the stage with the classical traditional aesthetic conceptions. Thereby in certain grade, the modern school’s beauty takes “ugly” as beauty. Since new singular inner beauty is the top principle for painting creation, thereby it has different tunes sung with equal skill that is as same as scientific search, they all praise the human being’s creative nature. Therefore modern school artistic trend will compactly conbine with modern science. Modern scientific front will also be become the most interested theme by modern art school. Both difference is only, one is scientific search, the other is inner beauty search. If an artist can pursue new singular inner beauty, then not noble painting will naturally become noble, not high boundary will naturally become high.

⑶. Surface combines with inside: the actual painting, the transformed painting, the abstract painting are the different three states of art, just as material has the solid, liquid, gas different three states. Any a kind of state only reflects a part of artistic reality, but if you intend to overall really reflect artistic reality, there are different three artistic states which must be used. The actual painting is just as solid, the transformed painting is just as liquid, the abstract painting is just as gas. An artistic developing history is actually just as the history of from the actual painting development to the transformed painting, the abstract painting, then synthesis.

  During development stage of painting, painting is the traditional Chinese abstract painting in China, and the classical concrete painting in the west. The founder of the transformed painting is Picasso, the showed transformed painting in art history is just as brilliant and great as growth of the Einsteinian relativity theory in science. Picasso and Einstein are the exclusive geniuses in the world because they have realized to transform from the classical form to modern form in the field of art and science. The transformed painting further develops, form further liberates and is free, then complete break form tethering and enter the abstract stage mastered by soul. At the abstract development stage, express “mind world and notion” absolutely and sheerly, enter the Buddhism boundary of line, form, colour, material. Art further develops and enters composite developing stage combined with three methods of painting. Because any a kind of art form only reflects a part of art truth, if you want to overall and really reflect art truth, you must adopt the methods of three painting combination as one with different art form. The further the art develops, the more complete it will become in every direction; the more angles have, the more composite art will become. Truth of art will overall and stereoscopicly be reflected.

⑷. Line and plane in Buddhism: Line has inner beauty, this art originates in China which has 5000 years civilized history. Production of lineal inner beauty must depend on the spirit of pen and ink. But the spirit of pen and ink is dependent on art of Buddhism which is the top boundary. Art of Buddhist generalizes total content of freehand brushwork in traditional Chinese painting and cultural aesthetics from deep layer.

  There are three methods in handwriting and painting: one means force, other means space and shape, another means time. The strokes of the pen have four strokes. The first is strength of the pen, namely traditional bonelike strokes, you must do your endeavour strongly, but it is not audacious, only it is inner strength. The strength of the pen can lift heavy vessel, strength goes through paper, awllike sand paintings etc. are all excellent strokes. The method that strength is compatible to line is just as patlern enters painting, using should be forceful, the broad, remote, grand stone spirit is the top mind boundary of forceful stroke. The forceful stroke also have lightness and heaviness, you should use inner strength, not outer strength. The second is the stroke of form, it has the change of form of square, round, middle, profile, prostration. Take tablet, seal character to reach the vigorous and firm boundary. Everything including material and spirit in the world can be described by square and round. If you can comprehend line by the method of square and round in your life, and are compatible to line with the method of space form, there is no doubt, you are sure to know who is real great master. The third is the trend of the strokes, the trend of the strokes can be compatible to line with the method of time, compatible to line with music, compatible to line with the method of cursive script (in Chinese calligraphy), thus, your works must be high and elegant. The fourth is one stroke, draw a painting with one stroke of the pen, it includes three theories, namely the first is that zero produces one, the second is that one produces two, the third is that two produces three up to the ten thousand things of creation, various trends of the strokes of the pen can be not only square, but also round; not only frontal, but also profile, the spirit can be connected consecutively. A painting can show inner beauty of line, your drawing feat, the world, knowledge of all your life, talent, skill, China art has extensive knowledge and profound scholarship, it can look into the distance from a high place. So Shitao said: “I know that connection can be realized by one, a painting can be conspicuous for all people”.

  Racy mettle brings about from the pen, racy rhythm brings about from the ink. There are two boundary in calligraphy and painting: one is the spirit boundary, the other is the Buddhism boundary. The Buddhism boundary is the top one. Ink has four hues: burned, deep, dark, fresh-clear. If ink is compatible to line, it will look like the autumn wind when dry, like the spring rain when wet. One stroke is not only the pen, but also the ink, deep-slight-black-white-dry –wet will appear simultaneously, very godlike, mettle and rhythm will occur simultaneously, the person who reached the mentioned talent is just the top master in the traditional Chinese painting of applying stroke. Merit of line is main in mettle, rhythm is auxiliary. Complexion are formed by main rhythm, as well auxiliary mettle. The development of China traditional art is from line to plane. Firstly you study calligraphy from method, then you learn painting from calligraphy, with all applying the middle stroke. But later, development of line is changed from the middle stroke to profile stroke and prostrate stroke, and it forms change between line and plane, Xuwei, in Ming Dynasty, further exposes the rhythm of  ink thoroughly, concerning mountain and water, there has been a great change since modern Huang Binhong born. It is because mountain and water are more excellent than mettle previous to Huang Binhong. Wangqia, in Tang Dynasty, his landscape of splash-ink shows its merit of rhythm, identically belongs to partial beauty, but Huang Binhong landscape comprises mettle and rhythm, both are all forceful. Enough mettle means firmness, enough rhythm means simplicity, firmness and simplicity make everything magnificent, skill and method is compatible. Rhythm has the rhythm of ink and colour. Zhang Daqian’s splash-hue landscape is further being developed now, it can concoct light and colour in rhythm of plane and forms rhythm of colour. It is top boundary of the traditional China painting travelling between line and plane with skill and method. There is a piece of proverb to the method of painting from the traditional China painting, namely “skill and method travel between line and plane”.

⑸.Sensation of hue reaches your heart: The top principle of painting for creation is new, singular, inner beauty. If you put painting on the base of hue language, sensation of hue will reach your heart. That sensation of hue reaches your heart is just that hue expresses inner heart impression and inner heart pursuit. Due to the development of art and science, aesthetic conceptions of human being have now entered an era of inner beauty, hue can have gotten rid of the tie from depiction and really reaches that colour comes out from heart. By means of hue, your pleasure, melancholy, perplexity, illusion, thought, desire, creation and so on can be expressed until spirit boundary of hue. The hue of western painting commences from beast school to the boundary of skill and method. When you open Modigliani painting who is as outstanding as Picasso, you will find that artistic coincidence is so much surprisingly, it is just as a reproduction of freehand brushwork in traditional Chinese painting. It is only one that freehand brushwork in traditional Chinese painting is by pen and ink, the other is freehand brushwork in traditional Chinese painting by hue. Therefore there is no difference in painting between Sino-western. The beginning is like this, and the top boundary is like this, too.

⑹.Communication conceptions of material medium: Today, art development of human being has done, taking “new singular inner beauty” as creative guidance, skill of painting may be various. You can use not only pen, but also various materials and media, not been limited on shelf for painting. No matter what you use materials and media, should all express a kind of singular spirit from your heart, and communicate a kind of singular conception.

No matter what you use traditional materials and media, or modern hi-tech media, art of conduct, art of ground and so on, all later modern art, they are only different in materials media, spirit of expression, conception of communication, but there is no change of new singular inner beauty.

Ding Tiancai

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