L'Essai sur la Peinture de Wang Wei, ou de la difficulté de saisir la pensée dans la prose lettrée ancienne.

Discussion of Painting

Introduction to Painting
[From Li-tai ming-hua chi,6:5b-6b]

Dissertation sur la peinture

I was honored by a letter from the Imperial Household Grandee Yen Yen-chih [384-456], which says that drawing pictures should not stop with mere exercise of artistry, since the final product ought to correspond to the images of the I Ching [Book of Changes]. However, those who occupy themselves with the seal and clerical scripts naturally place skill in calligraphy higher. I should like both to discriminate between calligraphy and painting and to examine how they are similar.

[…]

J’ai eu l’honneur de recevoir un écrit du [Grand Officier] de la coupe Yen [Yen-tche] dans lequel il est dit que le dessin et la peinture ne s’arrêtent pas à la seule manifestation du talent artistique. Pour s’accomplir, ils doivent être de même essence que les symboles du Livre des Mutations. Ceux qui sont experts en écriture tchouan (sigillaire) et li (administrative) considéreront naturellement l’art calligraphique comme de plus haute valeur que tout autre. Il serait souhaitable d’engager simultanément la discussion sur la calligraphie et la peinture, et d’examiner avec soin ce que [ces deux arts] ont en commun.

Now those who speak of painting ultimately focus on nothing but appearances and positioning. Still, when the ancients made paintings, it was not in order to plan the boundaries of cities or differentiate the locale of provinces, to make mountains and plateaus or delineate watercourses.

People who discuss painting merely concentrate on the outward aspects and structural effects. Men of ancient times, however, when they produced paintings did not merely record the sites of cities, delineate country districts, mark out the boundaries of towns and villages, or sketch the courses of rivers.

En fait, ceux qui parlent de peinture ne recherchent finalement que l’apparence des choses. D’ailleurs, ce que les Anciens ont demandé à la peinture n’est pas d’établir le tracé des enceintes et des frontières, de délimiter les montagnes et les collines, de figurer les marais, les lacs et les cours d’eau.

What is founded in form is fused with soul, and what activates movement is the mind. If the soul cannot been seen, then that wherein it lodges will not move. If eyesight is limited, then what is seen will not be complete.

Physical appearances are based upon physical forms, but the mind is changing and ever active. But spirit is invisible, and therefore what it enters into does not move. The eye is limited in scope, and therefore what it sees does not cover all.

Ce qui est essentiel à la forme c’est le Souffle (jong, vapeur subtile) qui, par son mouvement, l’informe, et ce qui, de par son dynamisme spirituel, met en branle la mutation, c’est l’esprit (sin). L’énergie spirituelle (ling) reste invisible, aussi ce qu’elle habite paraît immobile. L’œil a ses limites, c’est pourquoi ce qu’il peut voir n’est pas omnicompréhensif.

Thus, with one reed brush I simulate the form of the Great Void ; with differentiated shapes I paint the perceptions of the inch-wide pupils. Crookedly I render the height of the Mount Sung ; speedily I create Mount Fang-chang.

Thus, by using one small brush, I draw the infinite vacuity [the universe in its undifferentiated state], and by employing the clear vision of my small pupils to the limit, I paint a large body. With a curved line I represent the Sung mountain ranges. With an interesting line I represent [the mythical mountain] Fang-chang.

Et voici qu’à l’aide du seul pinceau on peut évoquer le corps même du Grand Vide (le Tao), et dans un cadre d’un pouce carré figurer tout ce qui s’éclaire dans la prunelle de l’œil.
Un trait courbe peut rendre la hauteur du mont Song ; et un trait rapide et bref celle du Saint homme.

With tortuous lines I mark Mount T’aihua ; with curving dots I show its magnificent nose. Their brows, foreheads, chins, and jaws are as if in a peaceful smile. Their lonely cliffs, luxuriant and flourishing, seem to spit forth clouds. Through horizontal changes and vertical transformations, movement is produced.

A swift stroke will be sufficient for the T’ai-hua Mountain, ans some irregular dots will show a dragon’s nose. [In the latter], the eyebrows, forehead, and cheeks all seem to be a serene smile, and [in the former], the lonely cliff is so luxuriant and sublime that it seems to emit clouds. With changes and variations in all directions, movement is created, and by applying proportions and measure, the spirit is revealed. La falaise solitaire qui se dresse, vêtue d’une végétation foisonnante, semble exhaler des nuages. [Le pinceau] va et vient, en un mouvement alterné. Ainsi s’éveille la vie ; dans la stricte observance des principes, elle se manifeste.

Un trait tiré de haut en bas peut égaler le T’ai-chan et le Houa-chan, et un trait court et courbe figurer un nez aquilin, la ligne des sourcils, un front, des joues, des mâchoires. Tout semble alors s’animer d’un paisible sourire.

With angled front and squared back, [forms] are brought out. After this, palaces and towers, boats and carriages, each object is assembled according to its kind ; dogs and horses, birds and fish, each entity is differentiated according to its shape. This is the achievement of painting.

After this, things like the temples and shrines, and boats and carriages are grouped together according to kind, and creatures like dogs, horses, birds, and fish are distinguished according to their shape. This is the ultimate of painting.

C’est après seulement que des palais, des tours de guet, des bateaux et des voitures, [toutes sortes d’objets] pourront être rassemblés conformément à leur caractère spécifique. Des chiens, des chevaux, des oiseaux et des poissons, toutes choses pourront être réparties selon la forme qui leur est propre. Tel est le but véritable de la peinture.

At the sight of the autumn clouds, my spirit soars on high. Before the spring winds, my thoughts expand in fluidity. Though one should have the music of bell and chimes, or a treasure of ceremonial jades, how could they compare to this ?

Gazing upon the clouds of autumn, my spirit takes wings and soars. Facing the breeze of spring, my thoughts flow like great, powerful currents. Even the music of metal and stone instruments and the treasure of priceless jades cannot match [the pleasure of] this.

Dans la contemplation des nuages d’automne, l’esprit prend son vol. Que vienne le vent du printemps, et les pensées déferlent à l’infini. Disposerait-on même de la musique du métal et des pierres, comme des insignes de jade aux caractères précieux, qu’on ne parviendrait pas à suggérer semblables merveilles.

I unroll a painting and examine its inscription. It represents strange mountains and seas, verdant forests tossed by wind, white waters leaping and foaming. Ah, how could this have been accomplished easily. I must have come about through divine inspiration. This is the true feeling of painting.

I unroll pictures and examine documents, I compare and distinguish the mountains and seas. The wind rises from the green forest, and foaming water rushes in the stream. Alas ! Such painting cannot be achieved by the physical movements of the fingers and the hand, but only by the spirit entering into them. This is the nature of painting.

Je déroule des cartes, j’examine des textes y afférant, et je reproduis des montagnes et des mers extraordinaires.
Dans la forêt verdoyante, se lève le vent, l’eau blanche d’écume bondit dans les torrents encaissés. Hélas, comment [évoquer de tels prodiges] par le seul travail des doigts et de la paume. […]