In the theory of Chinese calligraphy and painting, terms from other fields of knowledge were widely used, namely philosophy, medicine, military affairs, astronomy, feng shui, etc. The interdisciplinary universality of key terms for traditional aesthetics creates significant difficulties in translating ancient treatises on art, which are associated with understanding Chinese terms and selecting their analogues in European languages. This article attempts to understand the meaning of the shi category, which is often found in treatises on calligraphy and painting, but is still poorly studied in modern Western art criticism. It should be noted at once that the study of the genesis and historical evolution of the category of shi in the theory of Chinese art is a very distant future task. This is primarily due to the small number of treatises on painting and especially on calligraphy translated into European languages.

Keywords: shi category, energy (chi), energy flow, principles of shaping, interaction (xiang), pressure force of the brush, design of the work (i), energy channels (qimai), dynamic structures of plastic forms.

Modern Chinese art historians, following the tradition, habitually use the category of shi, leaving it without special explanations [Li Zehou, 1988; Ye Lang, 1999]. Among Western art historians, John Hay (1993) conducted a study of the shi category. In the publications of P. Shturman, the term shi is translated as configuralforce or momentum, and the category of shi itself is explained as follows: "Shi is a manifestation of both potential and kinetic energy" [Sturman, 1997, p. 16]. Special interest in the category of shi is shown mainly by Western researchers of Chinese origin, for whom understanding the difference between the cultural paradigms of China and the West is especially relevant. Gao Jianping, a specialist in Chinese aesthetics, admits that there is no exact equivalent for the term shi in English and that it would be better to leave it untranslated [Gao Jianping, 1996, p. 93-94]. Zhu Qi follows his advice throughout the entire dissertation text [Zhu Qi, 2008]. Among Russian art critics, the first and only category of shi was commented on by E. V. Zavadskaya (Shi-tao, 1978).

The shi character consists of the key li ("strength") and the phonetic shi. The graphic elements of the hieroglyph represent a spherical lump that rolls down the slope of a high earthen hill. I. M. Oshanin's dictionary gives the following Russian equivalents for the shi character:" power"," influence"," authority"," energy", etc. [Oshanin, 1984, No. 8187]. In ancient and modern Chinese dictionaries, dozens of phrases with the shi character are given, from which it follows that there are shi of time, sound, stars, water, waves, fire, wind, soil, mountains, states, tombs, troops, checkers, carpenter's yin-

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male genitalia, etc. The context of using the term shi suggests that the manifestations of the phenomenon of shi can be both creative and destructive, both natural (zizhan-zhi-shi), and artificial, both innate and acquired.

The status of the shi phenomenon in traditional ontology is formulated in paragraph 51 of the Tao te Ching ("Canon of the Way and Grace"), where it is stated that everything that exists is generated by the Tao, develops through the Te, is formed in matter, and becomes complete due to or1. Thus, the shi phenomenon is placed on a par with the global beginnings of the cosmos. It is generally accepted among modern sinologists that the Chinese model of the cosmos is defined by continualism, processualism, and correlativism. The substratum of the Chinese cosmos is the continuous, energy-dynamic substance of qi. Chi energy is a continuous medium, constantly structured by Tao, differentiated by Te, condensed in forms and evolving under the influence of shi force vectors. The phenomenon of chi can be understood as the realization of the dynamic potential of the universal energy environment of chi. This is how John Hay defines the shi category:

"Shi is one of the most frequently used terms in Chinese ontology, according to which all phenomena are temporary specific formations of certain states of energy. Shi brings phenomena from potentiality to actuality, using the energy connections that determine the identity of the phenomenon. Unlike the shell of the external form, which is only a very limited aspect of the identity of the phenomenon, shi constantly maintains contact with the processes of transformation of being, ensuring the stability of dynamic flow (water in the Chinese landscape) and the instability of static (mountains)... " [The Century..., vol. I, 1992, p. 58].

Depending on the scope of the shi phenomenon (philosophy, astronomy, medicine, sociology, aesthetics, military science, checkers, feng shui, calligraphy, painting, etc.), the term shi is translated into Russian as "positional / power force" (A. I. Kobzev) [Dukhovnaya kul'tura..., vol. 1, 2006, pp. 269, 292], " strategic strength/might "(A. G. Yurkevich) [Dukhovnaya kul'tura..., vol. 4, 2009, pp. 740, 801], "lines of Forces" (E. V. Zavadskaya) [Shi-tao, 1978, p. 108-109], "brush energy" (S. N. Sokolov-Remizov) [Sokolov-Remizov, 1985, p. 203], "figures/images/forces" (V. V. Malyavin) [Tsai Yun, 2004, p. 266], " configurations of power "(V. V. Malyavin) [Dukhovnaya kul'tura..., vol. 4, 2009, p. 842]," energopotok " (V. G. Belozerova) [Belozerova, 2007, p.99-100], etc. 2 None of the listed translations exhausts the meaning of the term shi, because all these meanings are present in it simultaneously.

In the theory of painting, the category of shi came from treatises on calligraphy, and there-from canonical texts ("Kao gong chi", III century), philosophical works ("Han Fei-tzu", "Xun-tzu", "Chuang-tzu" - all IV—III centuries BC), treatises on military affairs ("Sunzi", U1-U centuries BC), astrology and feng shui. Use of the term in ancient texts

1 Here is an incomplete selection of translations into Russian of the opening stanzas of paragraph 51 of the Tao te Ching: Yang Hing-shun: "Tao gives birth to [things], te nourishes [them]. Things are formed, forms are completed" [Ancient Chinese Philosophy, 1972]; Kang Yu: "Tao-gives birth. De is feeding. Substance-envelops. Conditions-improve" (Kang Yu, 1991); B. B. Vinogrodsky: "The path generates it. Potency accumulates it. Entities-things formalize this. Energy-force completes it" [Anthology..., 1994]; A. Kuvshinov: "Everything comes from the Tao, everything grows thanks to the power of Te, thanks to it it takes shape, becoming a thing, thanks to it it completes its path, finding its purpose" [Lao-tzu, 2001]; A. E. Lukyanov: "Tao gives birth to them, Te nurtures them, substance forms them, conditions complete them" [Lukyanov, 2001]; G. L. Tkachsnko: "Tao gives birth to them, te nourishes them, natural purpose gives them shape, natural conditions bring them to a complete form" [Liushi chunqiu, 2001] ;V. V. Malyavin: "The way gives birth to them, Perfection cultivates them, Substance gives them forms, the force of circumstances completes them "[Tao-Te ching..., 2002]; Ye.A. Torchinov: "The Tao-Path generates weight. Good Power-De weight feeds. Reality forms everything. Power brings everything to completion" (Torchinov, 2004).

2 English-speaking authors usually translate the shi character as momentum, impulse, potency, potential, power, force, authority.

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It shows that the phenomenon of shi was associated with a power advantage resulting from the individual's place in the structure of society or ritual, in a situation of military or political conflict, etc. Mastering shi allowed you to achieve maximum efficiency in any area with a minimum of effort or loss.3
The widespread use of the term shi suggests that it could have been widely used by calligraphers and painters at the oral stage of the formation of art theory in the pre-Imperial period. Preliminary observations suggest that the authors of the first treatises on calligraphy of the second and sixth centuries used the term shi more actively in their writings than their successors, while the frequency of using the term increased among painting theorists during the last dynasties. Gao Jianping notes that in treatises on art, two types of shi were used without terminological differentiation: the objective shi of nature (up to atmospheric phenomena) and the subjective shi associated with the inner state of the master. At the same time, the researcher stipulates that in essence these two species were two aspects of a single shi. It was believed that when creating a work, calligraphers and painters came into contact with global energy circulations and, passing them through themselves, expressed them in their works. According to Gao Jianping, the objective aspect of shi was more pronounced in painting, while the subjective aspect was more pronounced in calligraphy [Gao Jianping, 1996, p. 93]. It is difficult to say when and why there was a slight difference in terminology when dealing with the phenomenon of shi: in treatises on calligraphy, the expression qu shi "grasp shi" was usually used, while in treatises on painting, the term te shi "catch shi" prevailed.

Traditionally, when analyzing calligraphy, the authors of treatises proceeded from the idea of the work as a certain energy environment, the structure of which is formed by energy circulations. The term shi fixed configurations of the spatial distribution of energy (chi). It was believed that chi translates plastic themes from a potential state to an actual one and combines them into forms, in which their imaginative content is manifested. The plastic forms of points and features are a more specific aspect of this content in relation to the circulations of the entire work. It was believed that a calligraphic work is seen with the eyes, seen with the heart, and perceived through the emanations of chi energy. A professional saying goes: bi qing mo qu ("the brush feels, the ink engages"). This means that the brush feels the shea, and the ink rushes into the shea.

The first calligraphy theorists paid special attention to the category of shi, which follows from the traditional names of their treatises: Cui Yuan (c. 78-143) "Caoshu shi" ("Shi cursive writing"), Tsai Yun (132/133-192) treatises "Zhuan shi" ("Shi [handwriting] chequan" and "Jiu Shi" ("Nine shi"), Zhong Yu (c. 151-230) - " Bi shi lun "("Discourses on the shi brush"), Wei Heng (III century) - "Si tishu shi" ("Shi of the Four Calligraphic handwritings"), etc. In the treatise "Chiu shi" ("Nine shi") Tsai Yun points out the following stages of creativity::

"A husband [who wants to practice] calligraphy [should] start [by entering a state of] spontaneity; when [he] is established [in] spontaneity, [the polarities of] yin-yang will be born; [after the polarities of] yin-yang are born, the forms (xing) shi will manifest. [Using the technique] "hidden head" [and] "covered tail" 4, [technique] "force is in its (i.e. hieroglyph. - V. B.) middle" 5, [technique] "lowering the brush, use force"6 [you will achieve that such properties of calligraphic plasticity as] muscles and skin [will be] excellent. Therefore they say: [when]

3 As an example of efficiency, Shi Zhu Qi cites door hinges, which, despite their small size, control the movement of large flaps [Zhu Qi, 2008, p. 97].

4 The "hidden head" and "covered tail" techniques mean that the beginning and end of the line are reinforced by prescribing the reverse stroke of the brush.

5 The strongest part of a character's composition is its center.

Shi 6 tells the brush the force of movement for writing elements of calligraphic plastic art.

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Shi comes, [his] it cannot be stopped; [when] shi leaves, [it] cannot be stopped; although the [hair tuft] of the hand is soft, [from under it] the extraordinary [and] unsurpassed is born" [Tsai Yun, 2004(3), p. 45].

Tsai Yun's text says that in order to connect the calligrapher to the world's energy flows, he needs to adjust his consciousness and psyche to the mode of being natural through relaxation. Then it will be ready to perceive all plastic polarities, and between them, like a lightning bolt, will pass configurations of shi energy flows, which will ensure the structural unity of the calligraphic composition. Shi gives the form completeness (xing cheng). Each handwriting program was based on a certain type of Shi, so Tsai Yun in his writings separately sets out the features of the Shi of the Zhuanshu and lishu handwritings. Speaking about the basics of the composition of features in a hieroglyph, Tsai Yun uses one of the key categories for Chinese aesthetics-xiang ("interaction"), which concerns all levels of art form. The treatise says:

"When the brush is lowered [on the paper, in] the composition of the character, the upper [elements] should completely cover the lower [elements], and the lower [elements] should support the upper ones so that the shapes of their (i.e., the characters. VB) shi are aligned (xiang) with each other [in the character column] with a sparkling ribbon do not allow the Shi to diverge" [Tsai Yun, 2004 (1), p. 45].

It follows from the text that in relation to chi, the task of a calligrapher is to harmonize the divergent and convergent flows of energy (chi). Among the teachings of Cai Yong, there is also this: "[When] these illustrious nine shi are found, [then] even without the teacher's instructions, it is still possible to miraculously [connect] with the ancients" [Cai Yong, 2004, p. 45]. The task of he gu-ren ("connecting with the ancients") is central to all Chinese art. It implies not an external similarity, but the ability to express the national plastic paradigm as succinctly and deeply as the ancient authors did. To achieve this goal, it is necessary to understand the precepts of the teachers, but you can, by trusting shi, discover for yourself the same plastic laws that guided the ancients. Then there will be an act of metempsychosis, or "union with the ancients", and the individual from the one will become the one that contains the entire artistic tradition.

In total, more than three dozen types of shi are mentioned in treatises on calligraphy, which use associations with different types of movements in living and inanimate nature (Yao Gangming, 1996, p. 138). The study of these species remains an unsolvable task for Western specialists. The structure of the shi has a wave nature and includes the phase of dissipation, i.e., recoil, energy dissipation and the associated chaotic nature of its manifestations, and the cumulation phase, i.e., accumulation. The task of a calligrapher is to harmonize divergent and convergent waves of energy (chi). In a calligraphic work, shi can be stable or unstable, divided into channels, or whole. In all cases, the energy circulation should maintain its unity, not have any stiffness (baths), breaks (ce) and blockages (tse).

The complexity of analyzing chi in a particular calligraphic work is compounded by the resonances of energy circulations and the inability to distinguish between reference pulses and intervals between them. Since Western art studies is focused on the study of forms, background areas are taken as interval values, which gives the greatest number of errors when analyzing a calligraphic work, because the reference impulses of calligraphic plasticity in authorized handwritings are often set by the background environment, and dots and lines indicate the intervals between them. In cursive writing, the situation is usually reversed. However, outstanding masters were able to vary the principles of distribution of reference impulses, which allowed them to create their own individual style, without changing the general formal features of the work of the ancient master they copied. In the composition " Lun Shu "("Reflections on Calligraphy")

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its author, the powerful Tang Dynasty emperor Li Shimin (599-649), himself a talented calligrapher, tells how, copying the creation of Wang Xizhi (IV century), he was able to transmit the energy circulation of the original only after he understood how to use the force of brush pressure to create the backbone of calligraphic plastic.:

"Today I copied the calligraphy of the ancients [in particular, Wang Xizhi], but I couldn't master the form (sip) of [her] shi. As soon as the power of [her] 'backbone' was captured, the shi forms were born by themselves. I do this: first of all, I develop the idea (s), [because only] through [it] can a result be achieved" [Li Shimin, 2004, p.90].

In the treatise "Chuan shou jue" ("Secret instructions") Ouyang Xun (557-641) urged us to stop rushing and learn what needs to be done in order for the plastic of hieroglyphic characters to be properly balanced and shi to come out energetically filled:

"Every time you hold the brush, it is necessary that [its tip is held in] the correct oval; vigorously [and] strongly [the brush moves] along, [then] across, [then] with pressure, [then] easily; the mind is collected, thoughts are calm. Then you will understand [the] width of the hieroglyphs; everywhere the arrangement [of signs will be] uniform; around [all] tools are prepared; long [and] short [features] correspond to the standard; [features] thick [and] thin are halved [in size]; the heart [and] eyes are accurate [in following] norms; [correlated] rare [and] frequent, oblique [and] straight. Haste is unacceptable; [if] one hurries, one's shi will [be] lost" [Ouyang Xun, 2004, p. 49].

The greatest theorist of the eighth century was the calligrapher Zhang Huaiguan( the years of his life are not precisely determined), who wrote over a dozen fundamental works. In his treatise "Shu Duan" ("The Essence of Calligraphy"), discussing the work of the calligrapher Zhang Zhi (? -190/193?), he wrote:

"Learning the writing methods of Cui [Yao (78-142) and Du [Du (First century), Zhang Zhi] changed them, as a result [of which he] created [the handwriting] of "modern cursive writing" (jin-cao) [and achieved] perfection (miao) [in its] expressiveness (jing). The Shi of the body (ti) of the hieroglyph was created with a single stroke of the brush (and bi). Even if [some traits] were not [connected], blood flow (xuemai) it wasn't interrupted. [When the lines] are connected, [then] the energy channels (qimai) pass [through] the intervals [inside] the columns [of characters]" [Zhang Huaiguan, 2004, p. 95].

In treatises, the expression bi shi ("brush shi") is often found. Contemporary researcher Wang Donglin explains this term as a linear form of shi perceived through dynamics passing through the plasticity of points and features. Creates this circulation of bi and ("brush design"). "The Chi of the brush," writes Wang Donglin, "unfolds in the channel of the flow of energy (qi), and the idea of the brush is revealed in the type of rhythmic modulations" [Wang Donglin, 1986, p.17]. In the treatise " Bi fa ji "("Notes on brush techniques") Jing Hao (c. 855-c. 915) identified the connection of the brush shi with the traditional anatomical elements of calligraphic plasticity:

"The hand has only four shi, called sinew (jin), muscle (zhou), bone (gu), and energy (qi). The hand stops [and] stops moving - this is called the veins; rises [and] falls, completing the fullness-this is called the muscles, [the principle of] life [and] death is unshakable [and] fair - this is called the backbone; following the features (ji hua) win-win it is called energy (qi) " [Wang Dunlin, 1986, p. 17].

Theorists of the Ming and Qing dynasties continued to actively use the category of shi when discussing various aspects of the art of calligraphy. Xie Zhaozhe (1567-1624) in the encyclopedic work " Wu za-tzu "("Five Chapters on Different things") he believed that" when writing hieroglyphs, it is important, first of all, to catch shi in the structure (jiegou) of [writing a sign in a specific] handwriting " [Belozerova, 2007, p.406]. Xie Zhaozhe emphasized that when copying the calligraphy of the ancients, "you must first grasp the main idea (s) [of the work], study it from beginning to end and understand all the subtleties, consider the technique of brushwork, the origins of composition and techniques of writing.,

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shi laws and regulations. Merging with the body postures of the [ancient master], as if you can see [how he created]. Only after prolonged concentration on this can the brush be lowered [to the paper]" [Belozerova, 2007, p. 412].

Among the first painting theorists, the term shi was used by Tsung Bin (375-443) in his treatise Hua Shanshui xu ("Introduction to Landscape Painting") in connection with the presentation of the "remote reflection" method (yuan ying). The method was based on the fact that when the object is removed from the viewer's eyes, its size decreases so much that the view of even giant mountains fits on a small scroll, which, according to Zong Bing, is a manifestation of natural shi (zizhan-zhi-shi)7. Zhu Jingxuan (9th century) repeatedly used the term shi to classify masters in his treatise Tangchao minghua lu ("Notes on famous painters of the Tang Dynasty"). In particular, he reports that when Daozi (c. 700-c. 760) needed to paint a halo, he "raised his brush and described a circle with it with such force, as if a tornado had broken out..." [Zhu Jingxuan, 2004, p.387]. In the original, it is written Shi ru Fengxuan, which means that the circle of the halo was written by the brush along the path of shi, similar to a vortex. Guo Xi (c. 1020-c. 1090) in his treatise "Linquan Gaozhi" ("Notes on the high essence of forests and streams") advised painters to first study the depicted view from afar in order to determine the formsthen to embody them in painting (Guo Xi, 1965).

Tang Zhiqi (1579-1651) in his treatise "Huishi Weiyan" ("The Hidden word about the affairs of painting") (1620) polemicized with a literal understanding of the widespread view from the theory of Feng Shui that mists and clouds are carriers of qi energy. He wrote:

"The energy circulations (qi yun) that give rise to [plastic] dynamics and the foggy haze are not the same thing. Contemporaries rashly believe that the foggy haze [itself] generates dynamics, which is extremely ridiculous. For the energy of [the work includes] the presence of brush energy (qi bi), ink energy (qi mo) [and] color energy (qi se), as well as the presence of energy trajectories (qi shi), energy iconometry (qi du) [and] energy spring (qi ji). [What occurs] between all these [and] is called circulation [of energies], and the place [where] the [plastic] dynamics should appear, but there is no circulation, should be replaced" [Tang Zhiqi, 2002, p. 265].

In the treatise of Shi-tao (1642-1707)" Ku-gua heshan Hua yu-lu "("Conversations on the painting of the monk Bitter Gourd") (1642), the use of the category of shi is becoming more diverse. In chapter 3, "Metamorphoses," he writes: "Painting embodies the great Rule of transformation of the world, the essential beauty of mountains and rivers both in their external appearance and in their structure (sipshi. - inserted by V. B.) reveals the continuous activity of Nature, the winnowing and breathing of yin and yang" [Shih-tao, 1978, p. 65]. In chapter 17, "In Unity with Calligraphy," Shih-tao refers to the dominant role of the brush in the manifestation of shi: "Ink can allow all the forms of mountains and rivers to flourish. The brush can reveal their [lines of] power (shi, inserted by V. B.), while avoiding [the danger of] reducing everything to one type, particular and limited" [Shi-tao, 1978, p. 84].

A contemporary of Shi-tao, Da Zhongguang (1623-1692), in his treatise Hua Chuan (All about Painting) (1670), emphasized the importance of shi for creating good painting:

"[When] the captured shi is directed in accordance with the plan (s), [then] in every corner [of the composition] everything is located [as it should be. When] shi is lost, [then even if the artist] exhausts himself in corrections, the entire scroll will not [come out. If] shi is barely perceptible, [then there is] promotion in the work. [When] shi accumulates (ningjui) and passes through [it] corresponds to the norm" [Da Zhongguang, 1986, p. 8].

7 E. V. Zavadskaya translates this passage as "And this is quite a natural situation" [Zavadskaya, 1975, p. 303], and English-speaking authors "That is what happens in nature" [Sullivan, 1962, p. 103]; "This is a natural condition" [Bush, 1985, p. 37]; "The tendency in nature" [Gao Jianping, 1996, p. 95].

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From the above statements, it follows that artists are the creators of the shi of their works and are responsible for their quality. Individual parts of the image must have their own local widths, which together form a single width of the product.

In the treatise of Tang Dai (1673-1752) " Huishi Fawei "("The Hidden [meaning] of pictorial deeds") (1750), a separate chapter "Te shi" ("Catch Shi") is entirely devoted to identifying shi. Like the calligraphy theorists, Tang Dai proceeds from the correlation between the anatomy of the human body (ti) and the structure of shi as a system of channels for the current of energy circulations. He's writing:

"The mountains have the anatomy of (ti) shi, [and therefore] when painting a landscape, it captures the anatomy of (ti) shi. In the anatomy of mountains, stones serve as bones, forests serve as clothing, grasses serve as hair, circulatory waters, clouds serve as spiritual appearance (shen tsai), vapors and mists serve as auras (qi xiang), temples, villages, bridges serve as ornaments. For the anatomy of (ti) shi mountains is similar to that of humans: [just as] humans have forms of [postures] - walking, standing, sitting, lying down, [so] mountains [depending on the point of view on them] have [the shape of] shi sideways, frontal, tilted, inclined... Although the forms of (xing) shi [from different points of view of the mountain] are not the same, but in the anatomy (ti) of the mountain, "joining joints" (zhu xie) is necessary. The mountain has mountain legs, a mountain loin, mountain shoulders, a mountain head; the most difficult thing is the" joining of the joints " of the mountain head... [When] you draw a mountain, then in the mountain peaks, trees, stones - in everything you should catch shi" [Tan Dai, 2003, p. 331].

Tang Dai defines in the following words the connection between the incarnation of shi and the spiritual mood of the painter:

"Having laid out the fabric [for a painting scroll, they make a rough] sketch. At the moment when the brush is lowered, the main shi is immediately captured. The author first examines [the sketch] with satisfaction and feels] freedom in his chest, [after which, in his] course, the brush becomes swift, the strokes (tsun) are colored [the fabric] according to the plan; [as a result, the author] feels satisfaction. Hong Guzi (Jing Hao (855-915). VB) said: "The idea exists first and foremost... [When] the brush is lowered [for writing and] the heart is collected, [and] the spirit is harmonious, [then] the shapes of the shi mountains are spontaneously captured. If the heart is not soothed, then the spirit will not [be] complete, [and then] the plan [will be] unclear, thoughts are scanty, the brush is lowered carelessly; as a result, the main shi gor will not [be] captured"" [Tang Dai, 2003, p.332].

Shen Zongqian (1736-1820) in the treatise "Jiezhou Xuehua bian "("A collection of instructions in painting [master] Jiezhou") (1781), as well as Tang Dai, devoted a separate chapter to the problems of Shi "Te shi" ("Catch the shi"). The theorist begins by understanding the relationship of chi as dynamic structures of plastic forms with the principles of (li) composition in general. He's writing:

"With one stroke of the drawing charcoal, the general arrangement of [elements] is outlined, within which a sequence of [individual] zones is established. [It happens that] although the existing Shi is good, there are difficulties in [implementing] the principles (li), or the existing principles (li) are [implemented] without hindrance, but the shi is not captured. Then [it is necessary,] putting down the brush, carefully [all] weigh, [then] With a single brush movement, you can add many additions to the landscape, creating both depth and distance... It is necessary that the two [beginnings] of the shi composition and the principles (li) [are] captured without [any] interference" [Shen Zongqian, 1957, p. 520].

This is followed by a passage that is a paraphrase from treatises on calligraphy, which demonstrates the unity of writing techniques of the calligrapher and the painter:

"The method (tao) of mutual generation (xiang sheng) of the brush [and] ink is entirely related to shi. Shi [in this case means] only that [the brush moves] there, [then] back, [and the hair tuft is] pliable, [then] persistent. [The technique of] "round trip", "pliably persistent" contains the [principle of] "opening [and] closing" [plastic forms] (kaide) " [Shen Zongqian, 1957, p. 520].

At the end of the chapter, Shen Zongqian gives a final and extremely clear definition of the shi phenomenon:

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"Ten thousand things don't have the same appearance, ten thousand changes don't have the same state. The concentration of unifying energy (chi) reveals the [vector] of the aspiration of its unstoppable movement, this is called shi. ... Energy (chi) forms shi, and shi controls energy (chi). Chi can be seen, but energy (chi) cannot be seen. Therefore, if you want to capture chi, you must first cultivate energy (chi)" (Shen Zongqian, 1957, p. 521).

Shen Zongqian's last phrase concerns how the artist's inner energy relates to the energy flows of the surrounding world and the artistic dynamics of visual forms.

The use of the shi category allowed painting theorists to see unusual analogies for Western art studies between the art of painting, military affairs and the game of Chinese draughts Weiqi. In draughts, the term shi denoted the trend of the overall situation, and the term te shi - the possession of initiative in the game, the possession of large resources in the fight against the opponent. It was assumed that the weak player is focused on saving chips, while the strong player is focused on preserving shi (Gao Jianping, 1996, p. 101). In the treatise " Jiejuan Huazhuan "("A word about painting from a garden with a mustard seed") (the turn of the XVII-XVIII centuries.) Wang Guy wrote: "... when [the artist] lowers the brush, [the drawing of strokes] is like the techniques of [arranging] chess pieces: [everywhere it is necessary to] first grasp (te) shi. [In both painting and chess], the movement of energy symbols (sheng dong qi xiang) is equally born, and then [painting] will not [come out] deadly stiff" [Wang Gai, 1957, pp. 1104-1105]. In Zhang Shi's nineteenth-century treatise Hua Tan (Conversations on Painting) of 1840, the analogy between painting and draughts is explained in more detail:

"Creating a composition [in painting] is like placing checkers in checkers (qi). Checkers can be placed [at the intersection points of the lines] of cells, [but] you cannot randomly place checkers [between] cells. [Different] sections of paper [and] silk can be colored with ink, [but] you can't randomly paint the areas with ink. [In] draughts there are draughts [strategic] moves, [in] painting there are pictorial principles (li). [If at least] one checker is lost, [then] shi [games] are lost. [Although] the central, lower, and upper parts of the pictorial scrolls do not have the same shi [with checkers], [everywhere] there are the same principles (li)" [Zhang Shi, 1840].

These examples of the use of the term shi in treatises on calligraphy and painting convince us that the category of shi was one of the key concepts in the theory of Chinese art. The author of the article can only agree with Gao Jianping's opinion that in purely professional research it is better to leave the term shi without translation. In a wider range of publications, you will have to offer readers a conditional translation of the term, giving its Chinese name in parentheses. Given the current degree of study of the problems of the shi category, the preferred translation option proposed by V. V. Malyavin is "power configurations". For my part, I decide to offer a translation - "trajectory of force", which takes into account the fact that in the field of spatial arts, the category of chi was directly related to the rules of brush and ink work, as well as to the plastic principles of shaping and the laws of composition. It seems that subsequent generations of researchers will make further adjustments to the understanding of the category of shi and offer new options for its translation.

list of literature

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