Shidao, the principle of playing with stones, seems simple, but in fact it is complicated, so since Mr. Zhang Wei is a master, he should also have research in this area, Jiulong couldn't wait to ask this question.

Mr. Zhang became serious at once and highly summarized "playing with stones".

The creation of humanistic Yashi takes natural strange stones as the primary material basis, and takes pedestals, exhibition tools, light and shadow and poems and words as the conditions for expression and use, which is the "instrument" under the shape of Yashi, which is the basic condition for the existence of the "Tao" sought;

The methods, skills and rules of judging the stone concept, pedestal design and production, furnishing and lighting and naming poetry appreciation are not "instruments" or "Tao", but the "art" that connects the two, which we call "the four arts of playing with stones";

The theme or interest, thoughts, and emotions of the healthy wisdom of the work is the metaphysical "Tao" of Yashi.

It can be seen that the "stone" is the original ecological material, the "Tao" is the moral emotion, and the "art" is the bridge between the "stone" and the "Tao".

"Stone Road", healthy and wise with stone romance, taste, words and aspirations to nourish the spirit and self-cultivation of life attitude and way also.

The charm of the Tao is related to instruments and arts, and is closely linked to virtue and wisdom.

Playing with stones can integrate instruments, art and Taoism, that is, "humanistic and elegant stones".

"Mr. Zhang, what you said is so complicated, can you briefly describe how to play the best. ”

Jiulong listened to Teacher Zhang's speech, art, and speech, and was a little confused, so he asked again, he was not afraid of losing face, anyway, he was here to learn.

"To put it simply, playing with stones is 'addition and subtraction', first 'adding' and then 'subtracting', first learning to 'add' and then considering 'subtracting'.

"Because it is not the original stone, the original stone is a natural object and raw material without thoughts and emotions, and only with the addition of people's thoughts and emotions and means of expression can it have artistic expression and move closer to the work of art. ”

It turns out that this is the case, Jiulong carefully looked at Mr. Zhang's stone, it was indeed placed in a very orderly manner, and after Mr. Zhang's writing was completed, he must ponder it carefully to see if he could find something suitable for himself.

"Mr. Zhang, what kind of rough stones do you like to find for creation? ”

Kowloon feels that no matter whether it is "plus" or "subtract", if there is no good rough stone, everything is a floating cloud.

"What do you mean by that?"

Teacher Zhang took Jiulong and Little Apple to the desk, and glanced at the pile of letter paper on the desk.

Little Apple's eyes were sharp, and he immediately snatched a few pieces of stationery into his hand: "Is it a love letter written to a chick, what age is this, and stationery is still used." ”

Kowloon also finds it strange that he now uses computers to communicate with people.

"Little Apple, put it down for me, don't break it, this is my manuscript. ”

Teacher Zhang looked very nervous, afraid that the little apple would be accidentally torn.

"Why are you so stingy, can't I take a look?"

After reading it, Little Apple was sure that it was not a love letter, and threw it back with great reluctance.

Teacher Zhang hurriedly caught it, he was really afraid of it, and looked up and said to Jiulong: "I don't like to use computers, they are all handwritten, and these chapters may be able to answer your questions." ”

After speaking, he carefully handed the manuscript to Kowloon.

What is so valuable, Jiulong thought in his heart, he took it cautiously, just glanced at it, and exclaimed: "The three qi of the stone, Teacher Zhang, does the stone still smell?"

Kowloon asked, puzzled.

"Yes, you take a good look, stones with these three flavors can be created. ”

Teacher Zhang moved a stool over and asked Jiulong to sit down and take a closer look.

Kowloon was not polite and looked at it seriously.

The three gases of the stone - treasure, antiquity, and clear gas, are three different typical charms in Yashi's enjoyment, and they are three tastes that have arrived at home.

In addition to these three pure charms, what is usually seen is the intermediate taste between treasure and ancient gas, between treasure and clear gas, or between ancient and clear gas, or both, the taste is mixed and flat, and it is difficult to show personality.

Yashi's creation pursues a distinctive personality, which is by no means as simple as "hunting for curiosity", and exhausting interest is the ultimate pursuit of Yashi's artistic creation, so the "three gases of stone" naturally become the distinctive vivid charm pursued by Yashi's creation and appreciation.

So, in addition to being able to express the three qi of the stone - treasure, antiquity, and purity, in addition to being expressed by means of pedestal creativity and production, proposition and demonstration, what are the constituent factors of the original stone?

Treasure is a kind of wealth.

Its quality is crystal clear, its color is gorgeous, and its light is sharp, giving people a sense of magnificence.

As a result, treasure is basically not related to form, but more closely related to texture, color and luster.

The natural properties of the natural conditions and factors of the original stone are as follows:

Form: There is no necessary connection between treasure and form.

Regardless of whether the form of the rough stone is embodied in any expensive material form such as diamonds, ingots, copper coins, etc., it does not necessarily have a treasure.

Treasure is mainly reflected in the texture, color, and radiance of the skin.

Texture: The delicate and crystalline, jade and warm texture is one of the conditions for the performance of treasure, but it is not a necessary condition.

Because the combination of color and stone skin luster can also show treasure, and the combination of texture, color and stone skin luster may be more sufficient.

Color: Gorgeous and bright colors are conducive to the expression of treasure, and the most direct colors that give people a sense of treasure are warm colors of red, yellow, etc.

Treasure still needs to be matched with texture and stone skin, and if cold colors such as blue and green are properly matched with crystal texture and stone skin, it can also show treasure.

Therefore, even if the color is bright and the texture is rough and lacks luster, it still does not show its treasure.

Luster: The luster of a stone is determined by the skin of the stone.

Stones with no stone skin or rough stone skin generally have no luster, thinner stone skin has weaker luster, stone skin is thicker and delicate and smooth, with strong reflectivity and sharp luster.

Generally, the stone with treasure is thicker with jade, with a sense of jade transparency, and the luster is stronger, and the treasure is shining, and its luster is particularly sharp and strong. Luster is a must for the expression of treasure.

Baoqi's personality is outgoing, strong, and flamboyant, showing a gorgeous and wealthy temperament.

The treasure that Mr. Zhang wrote about made Kowloon immediately think of large fossils and some Gobi stones, and many of the Kowloon Bi in his hometown are also of this type.

These stones are indeed the same as what Mr. Zhang described, and everyone loves them.

Mr. Zhang then wrote about the ancient atmosphere.

Antiquity is a mellow charm.

Its color is ancient, its skin is heavy, its light is quiet, its lines are pale, its quality is thick or fine, and its shape or shape is not limited.

Therefore, although the ancient atmosphere has a certain relationship with texture and form, it is not necessarily the same, but it has a great relationship with the color and the luster of the stone skin.

The natural attributes of the original stone that expresses the ancient atmosphere are as follows:

Form: Generally speaking, the only forms that can express the antique atmosphere are utensils and their fragments, or similar forms of utensils, such as bottles, jars, jars, urns and other utensils or similar forms.

If this kind of form has an antique sense of skin color, it is very conducive to the expression of antiquity, and if the skin color is new and not ancient, it will also have its shape.

Therefore, the form is only an auxiliary performance factor of the ancient atmosphere, and it can more vividly express the charm of the old.

Texture: Rough or delicate textures can be antique, but the taste is different.

The loose texture of the rough stone has no stone skin, even if there is, it is relatively rough, such rough stone if there is a vessel or similar form, it has the charm of unearthed antiquities; if there is no such shape, it is difficult to have ancient charm.

The thicker this kind of ancient stone, the better, and it should only be viewed from a distance, not touched.

The dense texture of the rough stone is more delicate, and the stone skin is smooth and smooth, if it can be shaped (utensils, etc.), it is easy to have an ancient taste, if there is no other shape, it is completely dependent on the performance of skin color luster.

This kind of ancient stone, the more delicate the texture, the better, the thicker and moister the stone skin, the better, both can be viewed from a distance, but also can be touched and played, the longer the time, the thicker the pulp, the stronger the ancient flavor.