Chapter 8 Question Eight: A. Tagore

Abanindranath Tagore (Abanindranath Tagore, 1871-1951) was a modern Indian painter and the leader of the so-called Bengal school of painting that pioneered modern Indian painting.He is also the nephew of the well-known poet Rabindranath Tagore, and succeeded him as the president of the international university initiated by the poet after his death.In 1915, he published an explanation of the "six branches" theory of Indian traditional painting (with English and French translations), which can be regarded as a summary of his aesthetic thoughts.Here I intend to make a little introduction and explanation mainly based on this, so that you may get a glimpse of the whole leopard.

To examine a nation or an era or an artistic school or even an artist's aesthetic thought, it is best to analyze the transition from the old to the new and the focus of contradictions and conflicts during its development.A. Tagore published his creation and theory at the critical moment of Indian cultural development from the late 19th century to the early 20th century.During this period, in addition to his own creation, he also cultivated and created a new generation of artists, and his reputation reached outside India.Obviously, works of art and artistic ideas cannot be separated from the basic model of world outlook (that is, the view of the world), and of course the changes of the world cannot be the constituent factors of the world outlook, that is, the objective existence that affects its formation and is reflected from it.India in this period was just after the British formally annexed India in 1858 and systematically and comprehensively transformed it in accordance with the long-term interests of colonialism in terms of culture and education. The fundamental requirement of nationalism is before it can be transformed.The core period between the 90 years is an important turning point.How to convert?This cannot but be the first concern of Indian intellectuals, including artists, consciously or subconsciously, directly or indirectly.I think this should be the background that must be paid attention to in understanding A. Tagore's artistic works and aesthetic thoughts.

It is also worth noting that India's response at this turning point has reached Europe.The British EB Havell said in 1908: Britain educated India in the Roman way, announced and convinced the Indians that India did not have its own art.He was sent to India for a British art education.However, after he arrived in India in the 1880s, after 24 years, he tried his best to complete this mission. As a result, he discovered the narrowness of the British island nation's thinking. India learns more than Indians learn from Europe.Hafel shifted from promoting European art to India to promoting Indian art to Europe.He pointed out to the Indians that what they held up as a model was only the third-rate art in England, while India itself was not without art.He was the first European to do so.In the introduction to the article translated by A. Tagore, the Frenchman Andree Karpeles not only quoted Hafel’s words, but also clearly pointed out that when the French translation of the poet Tagore’s poetry anthology was published in 1914, the Bengali painters in India also included their works. sent to Europe.This opened the eyes of Europeans who had been limited by Greek, Roman and Hebrew cultural upbringing.The French translator also clearly pointed out that the Indian art theory was in opposition to the prevailing European theory of emphasizing color and graphics while despising the "universal language" of emotion.

The above can be said to be a key to our understanding of A. Tagore's article. The following is an introduction and a brief explanation of the article itself. The so-called "six branches" of Indian traditional painting is a formula: A. Tagore explained the "six branches", that is, the six elements (or limbs) one by one as follows: (1) "Shape". "Form" is an image, visual and spiritual; "different" is a difference, such as the difference between an image with life and beauty and an image without life and beauty.Studying and practicing "shaping" enables us to see and draw things as they are.

We stay with the "shape" all our lives, feel it with our senses, and feel it with our hearts.An old Indian saying goes: "Light sees form." There is light from outside, and there is light from within, and light reveals various images. The meaning of "formation" is the analysis and synthesis of our five senses and various phenomena given to us by our soul or heart. If we only use our sense organs, we can only feel the difference in the shape of objects, such as round, square, big, small, black, white, etc.What I, you, and he see is not much different.If the object is a woman, what I, you, and he see is a woman; if you draw or take a picture, it is only a woman.Even if you draw from different angles, front, back, side, or draw their different behaviors, fetching water, combing hair, breastfeeding, or drawing three different women separately, the result is still a woman; unless you write it, you can’t be sure who she is Be mother, daughter, or maid.It cannot be said that it must be the mother who feeds the milk, the daughter who combs her hair, and the maid who draws water; because a nurse can also breastfeed, a mother can also comb her hair, and a daughter sometimes fetches water.Even if one is drawn in tatters and the other in fine embroidery, and the master and servant are separated, how can we draw the mother?Not even adding a child.Just like painting a pair of girls hugging each other, how can you be sure that they are sisters and not neighbors?And the one in rags doesn't necessarily have to be a servant, she can also be a poor housewife.Obviously, what you see is only the image of women, such as old and young, fat and thin, black and white, etc., but cannot show the spiritual connotation, or the soul in the image; you can never show the real mother or daughter, only play this role actor.The difference in appearance only shows transformation, not reality.

Only the knowledge of appearance gained through our inner observation can enable us to see and manifest the real difference of the image. An old Indian saying goes: "However wisdom makes the difference." "Intellect" is the sensory function of our heart, which can make the image show the real difference.The same woman is mother to me, wife to my father, sister to my uncle, daughter to my grandmother, friend or neighbor to others, and so on.If you only use the image you see, it is just a woman; if you want to draw a mother, sister, etc., you need the mind, the creator of the real difference, to process the image, change its appearance, and add the main properties of motherhood and so on.

Our mind acquires true knowledge of form ("form") through many experiences.Ignoring the feelings of the mind and relying only on seeing is just an unimportant aspect of seeing or drawing "shape".This shape is neither beautiful nor ugly.Only through the contact of the heart can they have beauty and ugliness.Each "shape" has its "flow branches" (Sanskrit "joy"). The literal meaning of "liuzhi" is a radiance of light or beauty, and the mind and everything that appears before it has a "liuzhi" nature.When the "flow branches" of our heart are consistent or harmonious with the "flow branches" of external objects, we feel that the object is beautiful and lovely, otherwise it is ugly and disgusting.When an object, animate or not, appears, our "stream" emits a light, and the object emits its light.It's good that the two are in harmony, otherwise they will leave each other and find another suitable partner in the "flow branch".The coincidence and nonconformity of these "streams" allow us to see beauty or ugliness.In fact, there is no such thing as beauty or ugliness except in our hearts.Nature shows us only images, the peacock or the crow; it is only the coincidence and discompatibility of the "branches" of our minds that make us say that this is beauty or this is ugliness.

Using the "flow branches" of the mind to illuminate all images, and accepting the illumination of the "flow branches" emitted by visible and invisible objects, this is to obtain the true knowledge of "form".The "form distinction" in the art of practice is to improve the ability of the heart to shine and receive light.It is the rule to see and paint with the light of "Liuzhi" instead of just using the eyes, that is, the meaning of "form distinction". The heart illuminated by "Liuzhi" is the best guide for observation and description.

(Note: The above is a paraphrase of A. Tagore's words. The original meaning of the word "Liuzhi" is light, and the common meaning is "joy" or "love". As a term, there is no equivalent Chinese word, so it is transliterated in ancient times. The painter's words are very Clearly, the aesthetic point of view is very clear and does not need explanation. He believes that what he feels is only the natural attribute and appearance of the object, and cannot show its social attribute and spiritual connotation. The so-called "flow branch" of the heart is not mysterious, it refers to the analysis of consciousness Comprehensive cognition function and tendency (as can be seen below). One point can be pointed out here: in the early 20th century, when he made his remarks, new painting schools and theories had emerged in Europe, paying attention to light, color and graphics and abandoning content and meaning. Law The translator pointed out that this is fashion rather than eternity, and translated this article to show the opposition. This trend has not been unaffected in India. The poet Tagore engaged in painting in his later years, and his style has a taste of the so-called "modernism" in Europe. About this point , A. Tagore once had a conversation record, which mainly clearly pointed out that the paintings of the poet Tagore are by no means cubism, because the paintings are all existing in reality, not new, not chaotic; Painting is decades of savings like a volcanic eruption. Apart from literature and music, he wants to use other art forms to express. These words of the painter are not only to explain the consistency of his thought and art for his poet uncle, but also to show his I have always disagreed with the new trend of Western art. From his own artistic path, we can understand the origin of his aesthetic thought (this will be discussed later). As for the so-called aesthetic point of view of the unity of subjectivity and objectivity of the so-called "liuzhi" combination, everyone will "different people have different opinions" "Everyone has their own understanding, so there is no need to say more.)

(2) "Quantity". "Quantity" is some law that enables us to judge whether the objects we see and draw are accurate, thus showing proportion, distance, structure and so on. For example, the waves of the sea are almost immeasurable, how can they be placed on a piece of paper that is only a certain size?It cannot be said that this is the sea even if only blue or ripples are drawn, and the paper is covered with paper, because this piece of paper is only a limited blue, which does not show the almost infinite scene of the vast sea that we see.At this time, our "measuring heart" came to help.Its function is to first limit the sky and the coast to the edge of the sea, and then determine the space occupied by the sea between the sky and the earth.Then, our "measuring mind" accurately determines the subtle color difference between the beach and the sky in the sun, and the huge difference between the shape and color of the sea, sky and earth.What it "measures" for us is not only the shape and proportion of floating clouds, waves, and sandy shores, but also the exact degree of movement and stillness inherent and manifested in the silent sky, noisy waves, and jagged coasts.It will also tell us the exact amount and quality of the various colors black, grey, red, yellow, green, etc., with which we can paint bright skies, rough waves, and shores in light or darkness.It will also indicate how far and near the object is, how far or how close it is. "Measuring the heart" is a measuring tool for the heart. Its energy is both subtle and limited, as well as vast and infinite.It gives us exact shapes, exact representations of thoughts and feelings, exact colors of objects.For example, when a child learns to sing, his "mind" about music is still not sharp at the beginning, he cannot accurately distinguish the pitch of the pitch, etc., and often makes mistakes; after repeated practice, comparison, correction, etc., this This kind of "measuring mind" will develop, and the secret of singing can be discerned and correctly grasped.Even lower animals have this "measuring mind".When a bird flies on the grass to catch insects, and when a cat catches a mouse, it is necessary to accurately measure the distance and the strength required.Rats and insects also have this kind of "measure" to guard against enemies.The builders of the Taj Mahal relied on this kind of "measurement" to make the building have a well-proportioned beauty, and the entire structure was destroyed by a little.According to ancient philosophy books, when we are in front of a thing, our "measuring mind" prompts our heart to invest in it and make it known to the heart.Thus, the heart has the quality of form, and the form also has the quality of heart.Therefore, "measuring the heart" not only measures the size of the shape, but also measures the internal and external meaning of the shape.It can be said that "quantity mind" is the bridge between the inner and outer qualities of the seen form or the felt object.We spread out a web like a spider, and from this we know the condition of what touches the web.We keep receiving telegrams and constantly using "measuring mind", from birth to death.

(Note: This paragraph is also very clear. It was said at the beginning of the century. By the end of the century, information theory has become common sense, and psychology and epistemology have both developed. It may be different. It should be pointed out that , which involves an important issue in the ancient Indian philosophical tradition. "Quantity" is a term in Buddhist Chinese translation literature, which is very precise. This word is a basic category or term in logic and epistemology. The aesthetic meaning is used here. "Xin" refers to the mind, It is also a philosophical term, not an ordinary heart word. The "shape" translated earlier was literally translated as "color" in Chinese translations of Buddhist literature. It is a generally recognized word, but it has extra meanings in Chinese, and "color" and "emptiness" have become a big problem. "Color" is confused. Here we are talking about art and aesthetics, and it is not difficult to translate it into "shape". If we read the Chinese translation of Buddhist scriptures in this way, many words may be more clear. As for mind, matter, inside and outside The statement here seems to be aimed at certain factions of the so-called "modernism" that rose at the beginning of the European century and has not declined, so there is no need to talk about it.) (3) "Love". "Qing" has many meanings, including thought, emotion, will, nature and so on.In art, we use the different states of "shape" under the action of various emotions to express. According to the aesthetics of Vishnu school, "emotion" is the change of our heart's natural nature caused by "different feelings"; know. "Emotion" is said to be the cause of changes in the three types of organs in our body.Among the three types of organs, one is the five sensory organs of eyes, ears, nose, tongue, and body (skin); the other is the five action organs of hands and feet; "I am slow", "heart". "Yin" is the organ of thinking, "feeling" is the organ of awareness, "I am slow" is the organ of the self or "for me", "heart" is the organ of perception, these are internal organs. "Emotion" is the initial excitement aroused in our originally peaceful mood.Mood is like calm water without waves, colorless and motionless, "emotion" makes it color and motion.When the weather touches the woods in spring, when the rainy season thunders in the sky, in autumn a cloud appears in the sky, when the breath of winter brushes the earth;Birds, butterflies, flowers and plants will also feel the changes, they will sing, fly, and bloom.In the fragrance of flowers, singing of birds, gurgling water, frowning, closing eyes, wiping tears, and trembling lips, "emotion" appears and becomes visible. Our eyes can see the "external change" of "shape" caused by "emotion", but the "hint" is hidden under the external expression of "emotion", which is the inner expression of "emotion" moving from "shape" Or real meaning, is the content and quality of things seen or felt; this can only be discovered by the mind.What is the meaning of birdsong, morning fog, thunder, etc.?Only the heart can tell you, not the eyes.If the heart is affected by the "love" of "compassion", the beauty of spring will also produce sorrow.If you paint landscapes at this time, you will make the joyful nature appear sad.This is the "hint" given to it by the heart, not the eye.The changing state of the image is only the visible surface of "emotion"; unless we get the "hint" underneath it with our hearts, we will not draw a perfect picture.A musical or phrasal work can only be inferior if there is no "hint".India's "solemn theory" (literary theory) believes that only works rich in "suggestion" are top grade.This is true of music, poetry, and painting. "Love" is a double-crested snake (cobra). If we only see the "shape" of one of its crowns, we can draw the same appearance; but the other crown is hidden in the "hint", and this is the The subtle "shape" of "love". How to make our works full of "suggestions"?This is the question that bothers us the most.We need to be able to express accurately while leaving a lot of uncertainty, but also to determine that uncertainty, this is the problem we want to solve. In poetry, "suggestion" is obtained by not saying what cannot be said in limited words.For example this poem: The poet here intentionally does not say what he wants to say, so that these symbols of joy suggest sadness instead.Suppose an artist wants to paint it.What to draw?What not to draw?How to choose?That's the problem.It is much easier to suggest with words than with music or pictures.For example, if you want to draw a beggar's begging bowl, just drawing a bowl must not imply a beggar, because many rich people also use such bowls; even if you draw a dirty and broken bowl, because it can also be a poor person Or lazy people, not necessarily beggars.We can add a beggar to overcome difficulties, but the painting has changed, the painting is of a beggar and the begging bowl is insignificant, the title of the painting cannot be the begging bowl but only beggars.In this case, we can only use "suggestion", instead of painting beggars, we can draw things that imply the life of beggars, such as rags or a few copper coins, or draw the bowl in front of the marble steps of the rich to show the contrast.The greater the artist, the higher his means of "suggestion". In art, the function of "emotion" is to give "shape" its true colors, while the function of "hint" is to reveal the "heart" and meaning hidden under the ever-changing "shape". (Note: This passage clearly expresses the painter A. Tagore’s own basic aesthetic viewpoint, which is also popular in modern India, and is considered to be traditional Indian aesthetics. The example he said shows that the begging bowl belongs to a beggar. It’s the same method of using a monk to walk into the mountains to express the “ancient temple hidden in the mountains”. What needs to be noted here is only: the so-called “Vishnu sect” is a sect in Hinduism, and its philosophy belongs to the Vedanta sect. One school is not only popular in India from the Middle Ages (the classics are based in ancient times, and the school is formed in the Middle Ages) to modern times, but it has now spread across the border. In fact, there are also different schools in this school, and there are also historical developments and changes. This is considered to be the origin of Hinduism. The main sect, and in fact the other sect "Shiva sect" or "Mahaziva sect" is not small, and may be more common; there is more than one sect in it, and there are also philosophy and aesthetics. It may be due to the mysticism in this sect It is thicker, and it is not in line with the tastes of people outside India (especially Westerners), and it is not easy to understand and accept; so it is generally not taken seriously, and it is not easy to distinguish the difference in philosophy between the two schools. Will Vishnu The two great gods, Shiva and Brahma merged into the "Trinity". In fact, this is the view of the Vishnu sect. In the Chinese translation of Buddhist literature, Zizaitian and Brahma may appear more than Vishnu. more. In addition, India now believes that the traditional categories of aesthetics are mainly "feeling" and "taste", and in the later period "taste" is more important than "feeling". There happens to be no "taste" in the "six branches".A. Tagore talked about "compassion", which is one of the eight or nine "flavors".He specifically mentioned "suggestion", which is the content of another aesthetic category "rhyme".Not much to say here. A. Tagore believes that poetry is easier to "suggest" than music and painting.In Indian aesthetic thought, the art of the three means of language, sound, and image is held in common; such an interjection when A. Tagore compares the three seems rare, and it is worth noting. The theory of 14 kinds of "organs" is not unique to one school.Although it comes from the "Shutheory" school, everyone admits that even Buddhism has these words, so the ancient Chinese translation is used.However, the ancient translation of "organ" is "root".Buddhism recognizes that there are six "roots" for perception, so it says "six roots are pure", referring to the eyes, ears, nose, tongue, body, and mind, and does not admit that the "internal organs" of "Synthesis" have other explanations. ) (4) "Beauty Response".This refers to injecting artistry or elegance into a work. "Quantity" restricts the amount and proportion of "shape", while "beauty" (elegance) restricts the influence of "shape" from "emotion" so that it will not be too much, and it is also to adjust the activities of "emotion" to make it in line with art. Require. When the image is excited by emotions, it will naturally lose control and lack beauty and order. At this time, "beauty" will give it a magical touch to eliminate excess and distortion. "Quantity" is like a tyrant giving orders, and "beauty" is like a mother injecting beauty with caress. According to the Vishnu school of aesthetics, "beauty" is similar to the brilliance of a pearl.If the round "shape" of a bead has no brilliance, what kind of pearl is it?In painting or poetry or music, the symmetry of shape and color has no meaning, only after the "beauty" (artistic quality) is infused with nobility, beauty and tranquility. The word "beauty" in Hindi comes from salt.Just as food has salt to taste, too much or too little will not work, and it is better not to have it than to go too far. "Beauty" is pure and restrained.It is like a golden line drawn on a touchstone, like a golden border on the edge of a veil.It's not forced, it's humble, yet it's dignified and elegant.In art it works a lot and is the least obsessive. (Note: There are not many words in this passage, but it is not very clear. The word "beauty" in "Six Branches" is a term, not the general beauty (there is another word). The "beauty" here can be translated as " "Ya", but "Ya" has another meaning in Chinese, which is opposite to "vulgar", but the Indian word is different. The artist's explanation is close to "Ya", which means not excessive, not distorted, and points out that it cannot be forced. But the original meaning of the word is not like this. How to interpret the original meaning of this "branch" is difficult to determine. There are also different interpretations of this verse. Does "corresponding" refer to "beauty" or "love"? The original text is a compound word , is as unclear as the Chinese translation, so there are two views. Here is one view. "Corresponding" adopts the ancient Chinese translation, which has the same etymology as "yoga", and its original meaning is to connect. It seems that A Tagore made a point in his explanation.His emphasis on this point in the early 20th century seems to be not only aimed at the New School of Painting in the West and its influence on India, but also in direct contrast to his poet uncle.It was also in the early 20th century that poets began to paint, which happened not to follow the "quantity".But is there any "beauty" in it?Why would the poet paint like that?The above-mentioned nephew of the painter's comment on the uncle's painting seems to be an excuse, but in fact it contains criticism, but he uses his old age as an excuse.It can be seen that the aesthetic views of the two uncles and nephews are not exactly the same. Although the theories they talk about are all Vishnu, the words are the same, but the ideas are not necessarily completely the same.Perhaps this can also be regarded as a manifestation of the different aesthetic ideas among modern and contemporary Indian artists? ) (5) "Like". "Like" refers to the approximation and equality of form and thought. The old woman sang a folk song: "The spinning wheel is my son, my grandson, it is my wealth, and its power binds an elephant in front of my door." A child can see a boat or a horse in a piece of wood, and the old woman One can also see sons and grandsons on the spinning wheel and the elephant in front of the door.Here we don't see one "shape" imitating another "shape", like painting grapes to imitate grapes, but a "shape" that arouses our thoughts or feelings is similar to that of a different "shape". cause similarities.Another example: poets often compare curly hair to snakes.This is okay in poetry, because it just means resemblance.If an artist paints hair on the ground and a snake on a woman's head, it is obviously wrong.He injures the law and order of nature; he creates no simile but only a nasty caricature, meaningless.On the other hand, if the fly-repelling yak tail is compared to the hair, it is in line with their nature and shape, and there is no hindrance to interchange them.However, there are very few things with the same shape in nature, so we have to rely more on the nature of things rather than appearance to find "similarity". As far as "like" in poetry is concerned, poets not only use metaphors to express their own feelings, but also make readers feel similar.Poetry emphasizes spiritual resemblance over form.For example, the poet said that the face of a lover is like the moon; that does not mean that the face is shaped like the moon, but that the face of the lover arouses joyful emotions like seeing the rising moon.Similarly, when an artist carves the "lotus feet" of a goddess, he must never carve the goddess's feet as lotus flowers or carve lotus flowers like feet.He can only carve out the lotus seat with feet on it.He knew that if he only sought the resemblance between the flowers and the feet, he would get nothing and fail to produce the impression he wanted to convey.Therefore, the real "si" refers to emotion rather than form.Although the shapes are not similar, the emotions they arouse must also match, expressing the feelings in our hearts together. An ancient book said: "The heart flows into the shape and becomes the shape; it is like molten copper flowing into the mold, and the imprint is taken." Reversing this sentence is the meaning of "like".The "heart" mentioned in the book has the imprint of "shape".On the other hand, the "shape" touches the "heart" and becomes one with the feeling in the heart.The "similarity" in music can only be the harmony and harmony between the sound of the piano and the music in the heart.The "similarity" in painting can only mean that the lines and colors conform to the feelings in our hearts.Mere resemblance in appearance, like taking pictures or insect mimicry to confuse the enemy, is not only useless but harmful to artistic expression. (Note: China has always said that the shape is similar to the spirit, but what is the spirit? Is it a similarity? A. Tagore here follows the Indian philosophical tradition on the relationship between mind and matter. It is not easy to explain clearly, so he quoted some Metaphor. There are many snakes in India, mistaking ropes for snakes is a common metaphor used by philosophers, and it is not surprising that poets say that beautiful women have hair like snakes. Chinese people will feel creepy; Westerners will think of Nemesis or the head of the witch. Snakes, but the feelings they arouse are different, so they are not really "similar". This can be regarded as an explanation for the similarity of gods, and it seems to have existed in ancient China. As for the philosophical view of mind and matter encounter, it is another issue, which will not be discussed here. A. Tagore often compares poetry, music, and painting with each other, and thinks that music is similar to painting, but poetry is different, which seems to be another category.As mentioned earlier, poetry is more likely to have "hints" than paintings, which is easier to say; here it is also mentioned that the "similarity" of metaphors is also different from poems and paintings, but paintings and music can be mentioned together.If painting and sculpture are space art, music and dance are time art, and literature using language as a tool is symbol art, pointing out their respective characteristics and main conditions may explain the painter's thinking.Because language, whether it is sound or text, is a symbol, pointing to a meaning that is not itself, it is inherently suggestive.Painting, sculpture, music and dance are separated from language, so they are different.The similarities and differences between poetry and plastic arts are well known in Lessing's Laocoon.Wang Wei's "There are paintings in poems, and poems in paintings" is another aspect.The similarities and differences between different types of art and their basis should probably also be a subject of aesthetics or philosophy of art. ) (6) "Brush and ink points". "Brush and ink points" refers to the depiction with brushes and colors. Dazizaitian said to the Snow Mountain Girl: "If you don't know the true meaning of colors and words, as well as the light and nature of shapes, all chanting mantras, ascetic practices, and devout belief in gods will have no effect." Can scribble. The knowledge of "shape", "quantity" and "feeling" can be obtained by seeing or knowing with the heart, but the knowledge of "pen and ink" can only be obtained by practicing the use of pen and color. Why do our fingers tremble when we write to the paper?Because when drawing or writing, it is not a piece of paper in front of us, but a mirror of our soul.An ancient book said: "A whole tree is contained in a small seed." A piece of paper contains and reflects various forms of our soul and heart.We must overcome our doubts and fears, the hand must be firm, and the pen must obey. Full control of the hand holding the pen is the hardest part of the first step in mastering the "pen-ink division".Free and confident brushwork is the main lesson, if not the only one.You must use the quickness, firmness, and delicacy of your fingers to make the strokes unmistakable, to draw steady lines, the arc of an eye, the curve of a neck, the line of a smile or a sob on the lips. The most difficult thing in swordsmanship is to split the streamers swinging in the air.A bar of iron can be easily cut with a sword, but only a master swordsman can split a silk ribbon in two with a swift, firm, and precise stroke. Make the pen run quickly on the paper, make the color condense into joy or melt into tears, this is the practice of "pen and ink division".The brush strokes are diverse, just like the rising and falling pitches in music.Try to draw the outline of a girl's face. When you draw a stroke, the weight and force of the strokes are different in different parts: the forehead is like ivory, and the strokes must be sharp, hard, and powerful; the cheeks are soft and smooth, and the strokes must be flowing and smooth; It can be done in one swoop, neither too hard nor too soft; from the forehead to the chin is a stroke, but the strength of the fingers and the thickness of the strokes are not always the same, both rigid and smooth. "Brush and ink division" does not only refer to color matching, but also requires understanding the true nature and meaning of colors, graphics, writing, etc., and correctly drawing what you feel. When we paint landscapes with brush and ink, we must feel in our hearts that the colors we paint are not just black, but various colors, which can be blue or red, hot like flames, cool like blue sky, and clear like emeralds. "Dancing Theory" has strict regulations on the use of makeup colors, as well as the nature and meaning of colors; it is believed that actors and painters can paint faces or masks only if they know their laws and uses.To consider yourself a "color artist," you must first know which colors accentuate which shapes and ideas and which others do not, which colors invigorate and which depress, and which colors reveal the shapes and ideas in a painting. thought and what color conceals it, and so on.Is the hand holding the pen and the heart directing the hand?As the saying goes, it is the cooperation of pen, ink and heart. We have light patterns and dark images in our minds, feel these with our fingers, and have seven colors of light and seven times darker colors in the paintbrush in our hands. The mind sees the true colors of things and can express all true colors.Feelings can only tell us green, blue, red, and sometimes get it wrong, but the mind has a more accurate vision and can distinguish various colors and their meanings.The eyes only see colors, but the heart sees the sounds and aromas of colors.Colors change with season, light and mood. "Brush and ink" is not only for expressing the sunny tone of flowers, but also for expressing the fragrance of flowers and the heat given by the sun in the morning, noon and evening. If you want to draw the son-in-law selection ceremony of the famous princess in the epic, you must not only draw the shapes of the princess, maids, guests, and gods, but also the fragrance of the garlands they wear and the brilliance of the sesame oil lamps.If you want to paint the rainy season, you will lose half of the beauty of the rainy season if you only draw the shape of the rain cloud and the bowed trees; Green leaves will not have the fragrance of blooming flowers, and the grass is just a piece of green without the smell of moist earth under the rain. It is not the eyes but the heart that really tones the color.The heart determines whether the color of the night sky is blue or black, the heart accurately measures its own color, and these must also be in our color box. Grasping the color changes given by different moods is to know the secret of "pen and ink points". All colors can be expressed with ink, as long as we can add the hue of our heart to the black of ink.Then the ink is not only black.Kali (Kali, Hem) is black if you are not prostrate at her feet; the sea is black if you are far away from it.Let the goddess live in your heart, go to the sea, and you will find that the blackness disappears. (Note: The original meaning of the word "brush and ink" in "Brush and Ink Fen" refers to color, and also refers to the pen, as well as the actor's mask and makeup, so it is translated as "brush and ink". The meaning of "Fen" is complicated and uncertain, so the literal meaning Translate.) This "branch" has been talked about more, no doubt it still seems to be aimed at painters who only see light, color and graphics.What he talks about is not painting method but painting theory.It is worth noting that he saw the confirmation of his theory in ink painting: one color can show multiple colors.It was around the beginning of the 20th century (1901 or the following year) that he met Japanese painters.Japanese painting and Chinese painting are related.It seems that Chinese and Japanese ink paintings have inspired him a lot, and his paintings have become Indian paintings that start with Western painting methods and integrate Chinese and Japanese paintings.When he said that one color manifests multiple colors in ink painting, he coincided with the "unity in divergence" of Indian Vedanta philosophy (it can be said that multiple colors combine into one color).He started to paint at the end of the 19th century (1890). He was trained in the tradition of Western painting. He first learned oil painting, but he gave up because he wanted to learn human anatomy and saw skulls and skeletons. He changed to watercolor painting, travel sketching, and landscape painting.His transformation came in 1895, when he saw ancient Persian-style paintings in India and found that some Western paintings were fundamentally the same as some Indian paintings, so he turned to decorate paintings and illustrations for ancient Vishnu poems in Bangladesh.He met Hafir in 1897 and saw many famous Indian paintings in the middle ages; later, because of Hafir's promotion, he became the principal of the art school.他的艺术风格和美学思想的完全成熟是在20世纪初年，在熟悉了印度传统的绘画又吸收了日本和中国的传统画法和画理以后，这时有创造性的新印度画大量出来了。因此，他的理论虽然用语和举例都是传统的，却绝不是因袭的。同时他又不是日本画和中国画的模仿者，尽管他的画明显有东方而非单纯印度的色调。他和一些画家朋友，还包括不同画派的人如他的哥哥格格能德岁纳特·泰戈尔（Gaganendranath Tagore），共同在加尔各答创出了孟加拉的新印度画。从此，“印度没有自己的艺术”这句话，对于现代也同对于古代一样成为谎言了。 有创造性的新的艺术理论和实践不会是一帆风顺的。反对的人不少，其中有画家的亲戚朋友。他的理论文章《艺术的三形一体》发表时受到许多责难。他的画也不是得到一致赞赏。他的画不合解剖学和透视法遭到批评，不合传统规范也受到指责，而称赞的人也不认为完美，甚至有出于愚昧无知轻信讹传的胡言乱语评论说，“中国画显不出画家致力于表现光和影；不能因此假定他们的老师印度画家也不注意这方面”。还可以举出两件事：他在19世纪画毗湿奴派所崇拜的黑天与其情人罗陀，为一位毗湿奴派著名宣传家看见了。那位信徒惊呼：这是罗陀吗？自己说是一见之下几乎目瞪口呆了。画家没有把这位著名的妇女、大神的情人，画得丰腴一些，而是画成了纤瘦的印度农村妇女。这同那位毗湿奴派古诗人游行乡村歌唱的颂神名义下的情诗不是更相称吗？更有印度现实情调吗？当哈菲尔主持一次印度画展览时，收了些阿·泰戈尔的作品。当时的印度总督来参观，看中了一幅。哈菲尔定的是高价。总督要讲价钱，哈菲尔坚持不让。画家泰戈尔不肯把这幅画免费献给总督，却在会后把他的展品都赠送给哈菲尔。哈菲尔将画留在画廊永久展出。一个是统治印度的殖民主义者，一个是长期在美术学校任职的艺术家，这两个英国人对待艺术和印度艺术家的态度是多么悬殊啊！画家的坚定的独立人格也由此二事可见，既不顺从宗教成见，也不对统治者屈服。 阿·泰戈尔强调所谓以“灵魂”入画。用印度传统语言，“灵魂”即古时所谓“我”；用现在一般语言，就是要全心全意注入自己的思想和感情。他曾在1909年对学生说，要画风景就去园中或河边画树木花鸟，用这样的廉价的网能捉住美吗？美不在外而在内。先读古诗人的有关诗篇，再去望自然界的云和海，见其节奏韵律，再动手画。他后来30年代在加尔各答大学发表了一系列演讲时又指出：当时印度的神像个个一样，如同玩具，只靠座骑、“手印”等等细节不同标志出什么神。但吠陀经典中的神是各有形态的；正如希腊的神彼此不同，古希腊刻家才能在石头上刻出吹动女神衣衫的风。以上这两段话也许可说是他所谓内外“流支”相应的注解。 他在失去女儿的悲痛中放弃了绘画，由于哈菲尔的鼓励又拿起了画笔。第一幅画的是“沙加汗”。沙加汗是印度莫卧儿王朝的一个皇帝，为悼念去世的皇后而修建了名闻世界的泰姬陵，在晚年因儿子篡位而遭到囚禁。画上显露出沙加汗从囚牢窗中遥望泰姬陵，这幅画展出后立即为各方人士承认是杰作。这难道是个人思念女儿吗？ 这难道不是被囚的印度遥望过去的光辉吗？无怪乎各种印度人和同情印度的人都在这幅画中看到了自己的心情的流露而起共鸣了。中国人可能更会欣赏那幅《玄奘》。画面上这位唐朝和尚背着行李和经卷，手拄一根不十分直的杖，走在从一座山石中横长出来的一株大树的两大分枝之下，目视远方。左下方画家签名也竖写如同汉字旧时习惯。构图手法是写实的却富于象征意义而色彩又极谐和：浅绿色的枝叶下是绿的中国古代长袍，而袍脚下又露出为印度人所喜爱的赭色，配合上身后巨石的深浅不同的赭色，上面是一部分苍天，下面是一部分深浅不同的草地。这幅画是画家对于中国和印度古今同命运的“灵魂”的感慨，却又不是忧伤，而是在玄奘的眼光和侧面容颜中吐露着对遥远未来的坚定的希望；同时身后的巨石和脚下的草地和顶上的苍天又给了恰好的对照。这是1921年到1922年的作品。当时正是甘地领导发动大规模反英群众运动之时，画家画了《狱中甘地》、《甘地和泰戈尔和安德鲁斯（CFAndrews英国牧师）》，又画了《玄奘》。这难道是偶然的吗？这就是画家的美学语言中的“情”和“似”，是印度传统哲学中的“我”和“梵”；画家的个人心情和印度的民族心情“合一”了。是不是可以这样揭露“上下文”，而作为对画家的美学思想和实践的解说或“诠释”呢？ 应当指出，1905年不仅是印度处在重要关口，而且这也是个世界性的关键时刻。当时英国殖民主义要分割孟加拉（当时的广大地区，不是现在的邦和国），激起了印度第一次广泛的民族主义反抗运动，这和俄国的、中国的革命运动无形中互相呼应。这次运动中的口号是“国货运动”（swadeshi），不仅是抵制英货提倡国货，而且是精神上的民族独立，要求一切都“国货”化。诗人泰戈尔和画家泰戈尔都热心地参加了这个运动。这是一个重要背景。这个要求独立自主的精神贯穿于画家的理论和实践，直到他的艺术教育。他对学生的指导是不要他们模仿和拘泥，而鼓励他们走自己的路。他认为艺术不是教得会的。他著名的大弟子后来任国际大学画院院长的难陀拉尔·博斯（NandalalBose），有一次作了幅《雪山女乌玛苦行》的画给他看。这位老师提了些修改意见，但是第二天清早就又跑去告诉他的学生不要修改。据他说是一夜不曾睡，发现了自己的错误：“我怎么能去干涉呢？他是画出了自己心目中的苦行女神，怎么能照我的意思修改呢？”他救出的这幅画后来果然是使这位弟子成名的杰作。画家这种尊重艺术家走自己独立道路的思想，正是同他自己的沿传统而创新的美学见解和本国、本民族、本时代的民族独立精神完全合拍的。 他先为古诗作装饰画，后来的画也各有标题，表面上似乎是画神话继传统，其实每幅的画题和所装饰的诗句都不仅不是（甚至根本不是）传统成见的或庸俗的，而且是有他自己的人格和他意识到与未意识到的时代精神的。无论是黑天和罗陀、雪山女、佛陀、玄奘、甘地、诗人泰戈尔，都充分显露出画家所要表现的“情”，也就是充分富有“暗示”的“味”。头戴新月颈围蛇的雪山女像（1921年），并非美人脸，而眼和嘴角流露出的深沉的表情以及全画的明亮照人的彩色，怎么是一般的女神像呢？即使没见过印度的庸俗神话画以相对照的人也可以看出这不是一般的女神像。她的面容包孕着无限的深情，也许会使人联想到达·芬奇的《蒙娜利莎》？如果知道她和头戴新月颈围蛇的大自在天的恋爱故事，并懂得一点印度传统及现代哲学思潮和政治、社会背景，这幅画就更有广泛而深刻的意义，可说是余味无穷了。还有给诗人泰戈尔的作的插图（1913年），一个小娃娃在海边，正是尺幅之中有千里之势，恰好做了画家解说“六支”中“量”的话的形象注解。不同海波、一片沙岸、小儿的神态，只用了简单的几种颜色、几个形象，就显出了的诗的主要精神。这大概就是他所说的“流支”之光吧？ 现在过了将近一个世纪了，我们看阿·泰戈尔对“六支”的解说，也许会觉得平淡无奇，不过是现实主义加上浪漫主义成分，反对形式主义，有民族主义精神却没有脱离印度传统的唯心主义哲学，如此等等。“简化”以揭本质未可厚非，但历史地看来，在20世纪初年，甚至要在英国人那里才能看到印度本国古画，要向印度人证明印度艺术有价值，要争论裸露上身的女神画像是不是秽亵，在这样的物质和精神重压下，那时印度的艺术家要抬起头来以充分自信的心情再举起脚步前进是多么不容易啊！这是不是可以说是指出了他重新解说传统“六支”的心情，又是不是他画的《玄奘》中的“流支”所在呢？ 阿·泰戈尔是20世纪初新旧交替时期的艺术家，他的创作和理论是新的开始也是旧的结束，是东西方传统画法和画理的印度现代总结。和他同一时期的诗人泰戈尔同样讲吠檀多派的哲学，但是晚年绘画却大不相同，以至还需要这位画家来辩解。这不能仅仅以画家有过传统基本训练而诗人没有来解释。我没见到诗人有晚年美学论文解说自己的画，但显然他是以创作开辟了他所预感的以后的艺术发展，而决不是趋时。这里可以提供一些资料以做本文结束。那是在1923年年初，画家侄子到国际大学小住几天，同诗人叔叔谈到艺术，各发表自己的见解。有人在日记中记下，后来发表了。大意如下： 诗人：艺术是属于直觉的、无意识的、多余的，是整体的活动，不能“肢解”，也不能讨论的。西方人问：什么是艺术？这表明他们达到了枯燥的阶段，否则就不会去做细入毫芒的分析了。 艺术是“无限”的表现。需要形，但形不是一切，形要能使人瞥见无形。例如有一幅画，画的是佛陀，形体消痩。当然这大概是表现佛修炼苦行，但这不是艺术，艺术要求暗示佛心中将要成道的乐。艺术不是仅表现苦乐或历史事实等，要通过这些来表现无限，否则只是技巧（技艺）。人在有限中是奴隶，但在美、艺术、“喜乐”（按：在孟加拉语原文应是引梵文的“阿难陀”，未必是“流支”）之中却是王，像游戏中的儿童一样。创造不是模仿。人不是禽兽。低等动物的创造中有模仿，但不在人的创造活动中。在日本时看到的日本画中的天空暗示着无限。绘画材料有内有外。积累事实不是创造，那是保险柜。人像神一样不断创造，用艺术创造出自己的乐园。生活不是像西方人说的战争而是“游戏”，通过“美”和“喜乐”表现真。小孩子在墙上写“某某是驴子”。他不是表现某某的一般形貌而是拋开了这些去表现他的对某某的怒气。这才是艺术。艺术家创造了一个“喜乐”的不朽世界。 画家：艺术家应当把所见到的一切放在自己的天才火焰中熔化。他应当使自己和他的对象保持一定距离，不让他的人格潜入他的那个对象。他的创造所传送的应当比准确情况多得多，那应当是他所画的对象的生命史的表现。艺术是线条的表演，艺术家应当充分了解其象征意义。一个伟大的艺术家把他的技巧或艺术藏在他的创造里。使人惊奇或嫌厌的是低级的艺术，因为艺术的目的是吸引观者的心。充分掌握技巧是必要的，因为只有这个才能使艺术家有把握自由用笔。 诗人随后分析了艺术家与其对象之间为什么要有“脱离”的精神。因为一切事物都有非主要方面，只有通过距离之门，事物的真实才能进人艺术家的人格的王宫。但艺术家与其对象之间还应当有深挚的同情。 这些话的记录未必准确，但仍有启发。诗人和画家叔侄好像是互相补充，其实是各有一套。诗人在这里大概真的是直接说出了心里话。“某某是驴子”这才是艺术。它不是描写客观事物而是抒写主观感情。诗人到处以艺术与科学对立，明显是出于一种思想体系。其背景就是认为科学技术产生工业，工业造成英国资本主义的殖民主义对于印度农村的大破坏。艺术生命的来源是“宁静而和谐”的印度农村，因此艺术与破坏这和谐的科学相对立。科学是冷静的分析，艺术是热情的感受，本身相互对立。要印度有艺术就要回到英国“科学”占领以前去，在哲学和美学上就是回到非科学的印度神秘主义。这恰好同20世纪初西方的非科学的标榜直觉等等的哲学思想（例如柏格森）和艺术实践（某些所谓“现代派”，但不包括承认科学分析的后来派别）合拍，其实二者的“上下文”不是一回事，不过所否定的对象却是一个——科学。诗人讲的许多关于科学等等的话应当看作同“某某是驴子”一样，是艺术语言而不是科学语言。诗人说的“人格”是哲学语言，就是主观的“我”，不过要照印度哲学了解，不是一般意义，或者毋宁说就是精神。 画家却和诗人不完全一样。出发点相同，归宿也相同，因为彼此的“上下文”相同；但是文章却不同，所以两人画的画大不相同。侄子没有叔叔那么大的愤慨，而且是东方西方兼收的。提出他的“距离”说，就是还得要承认客观并以客观为主，这也就是说“某某是驴子”不能是艺术。或者说，诗可以，画不可以，如前面所引的说头发如蛇的话那样，因此诗人接着就来说“脱离”。在孟加拉语原文中可能是引用印度哲学中常用的一个梵文词，古代汉语佛教用语的“拾”，即“无爱无嗔”，并不是画家所说的“距离”，所以乂追加上“同情”。诗人的解说仍是着重在艺术家的创造，观点并未改变，仍与画家有所不同。画家提出技巧重要，似乎也是在“纠偏”。 记录者未必看出或相信这一点，他是重其相同方面的。我们现在不知二人当时口头用的孟加拉语原话，只从英译大意推测，当然不能肯定，不过这次谈话前后诗人已经开始作画了。诗人的画的主观性之强大大超过了画家，这是明显的；画家为他的画辩解也是勉强的，所以说二人的美学思想有异也不算无理吧？而且据记录者所说，谈话次日两人去看所办艺术工厂之时，画家大讲其艺术创造中的“喜乐”（应是“阿难陀”或“流支”精神，而诗人却说手足动作都要有艺术性，说这是人兽之分。诗人并且说在日本时见到日本的“下女”连叠衣服的动作都是艺术的，使他感到处处是韵律节奏和音乐，二人似乎又合拍了。因此，就二人的美学思想说，若说诗人的是主观唯心主义而画家的是客观唯心主义，就太“简化”而不确切了。若说诗人的画是非现实主义的而画家的画基本上是现实主义的，而这与他们二人的美学思想有关，也许稍贴切些。不过这都是“简化”的说法。 阿·泰戈尔晚年喜欢用废物拼凑或略微加工使之成为艺术品，在墙上或纸上利用污迹加工成为画。有些简直是点石成金，令人惊叹。例如枯树皮和枯树枝一拼即成为巨鹰蹲在枝头，在照片中其投影更显神似；墙上的污迹加工成为大自在天像；一条条杂乱污迹中加一只半身小鸭子成为池塘小景；如此等等。这使人不能不觉得在这位画家的美学思想和眼光中、手指下，到处都是美，到处都有艺术品，需要的是艺术家的发现和加工，而这就是创造。这真是“文章本天成，妙手偶得之”了。是不是这样可以将一位艺术家的创作实践和他的美学思想结合起来，发现他用语言表达的思想不应单从语言理解，而更需要加上作品才可以更好地理解呢？哲学家和美学家的美学理论之外，艺术家的的美学思想是不是也值得注意，使我们不单是从鉴赏角度而且也从创作角度来研究美学呢？