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标题: [原创]中国画欣赏新译 [打印本页]

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作者: 顾绍骅    时间: 2011-9-15 12:34
标题: [原创]中国画欣赏新译
对中国画审美特征的理解会敏锐我们的直觉，欣赏时再结合想象，方能领略作品的文化背景和气韵、神韵、陶冶情怀。对中国画的欣赏，我认为：在笔墨色彩上、构图形式上、传统文学融入的“诗情画意”等等诸方面……。


中国画欣赏新译-------中国书画作品欣赏之我见之中国画
Chinese paintings to enjoy the new translation ------- Chinese paintings and calligraphy works, I see the appreciation of Chinese painting
顾绍骅著
Author shaohua-gu
对中国画审美特征的理解会敏锐我们的直觉，欣赏时再结合想象，方能领略作品的文化背景和气韵、神韵、陶冶情怀。中国的书法与绘画是在一种特殊而古老的文明环境中产生的。几千年来，它们曾走过了从发端、童稚、成熟到升华变化，从实用到艺术化的漫长路程。毫不夸张地说，书与画是华夏民族的聪慧与创造力最集中的表现之一，并在某种意义上标志着华夏文明在古典文化艺术领域的最高水准。
The aesthetic characteristics of Chinese paintings will be keen understanding of our intuition, when combined with the appreciation imagine, can appreciate the works of cultural backgrounds and Qiyun, charm, cultivate sentiments。 Chinese calligraphy and painting is in a unique and ancient civilization in the environment。 For thousands of years, they have gone through from the originator, Tongzhi, to mature distillation of change, from the practical to the art of the long journey。 No exaggeration to say that the painting is the Chinese nation and the intelligence and creativity of the performance of one of the most concentrated, and in a sense, marks the Chinese civilization in the field of classical culture and the arts the highest standards。
中国乃至东方世界对宇宙自然的看法，对社会人事的态度，对美与永恒性的追求，都在中国书画里得到了显化，并通过它们而获得了千百万炎黄子孙、东方朋友乃至世界各国朋友的认同。历代那些稚拙的或者雄健的或者秀美的碑帖法书，那些神秘的或灿烂的或淡雅的绘画名品，都是我们民族的精华——书画艺术家们(包括不知名姓的民间艺匠)以审美方式与主客体世界进行心灵对语的形象记录。这种对语有时达到了哲学化的高度，——在“若坐、若行、若飞、若动”的纵横笔画之间，在“有丰致、有缥缈”的笔情墨象之中，蕴含着情思，也体现着“道”，表现着人格乃至对生命宇宙的体验。
China and the Eastern world views of the universe's natural, social and personnel on the attitude of the United States and the pursuit of the eternal, all in Chinese painting, has been significant, and through them, and access to the millions of Chinese, Oriental and friends around the world Friend's identity。 Zhizhuo, or those of the previous Xiongjian or beautiful Beitie law books, those mysterious or brilliant or elegant paintings pruducts, are our nation's best - painting and calligraphy artists (including the civil Yijiang First name Last name unknown) to aesthetic way With the main object of the soul of the world to record the image of the phrase。 This kind of language sometimes reach a height of philosophy, - "Ruozuo, if the trip, Ruofei, if the dynamic" between the vertical and horizontal strokes, "by Feng, Piaomiao" T situation like in Mexico , Contains a Qingsi, but also the "Road", the performance of the personality of the universe and of life experience。
可以说，每幅字、画都凝结着民族与时代的心态，积淀着民族精神的文化层。作为艺术，作为中国人心理意识结晶的书画艺术，就更不待言了。但不是每个人都能够在较高的层次上欣赏书画艺术。它是如此的丰富而悠久，精致而又神妙！要理解与感受神秘的陶绘，狞厉的青铜纹饰，静穆的佛像，意在笔墨之外的文人画和高度抽象、流动的书法点划结构，都需要一定的知识和修养。欣赏中国书画，允许欣赏者持的某种主观态度，这需要情感与想象。需要理性、确切的知识与判断。将二者合而为一，是笔者试图向读者提供的既引导欣赏，又介绍知识的文章。
It can be said, each word, setting a national painting and have the mentality of the era, steeped in the culture of the national spirit。 As art, as the Chinese mentality of the crystallization of painting and calligraphy art, the more Budai a statement。 But not everyone is able to enjoy a higher level of painting and calligraphy art。 It is so rich and long, delicate and Shenmiao! In order to understand and feel the mysterious painted pottery, bronze ornamentation Ning Li, Jingmu the Buddha with the intention of ink from the literati paintings and a high degree of abstraction, the flow of calligraphy, is zoned structure, we need the knowledge and self-cultivation。 Appreciate Chinese paintings and calligraphy, allowing holders to enjoy some kind of subjective approach, which requires emotion and imagination。 Needs a rational, precise knowledge and judgement。 Will combine the two, is the author trying to guide readers of both shows, and on knowledge of the article。
传统中国画以毛笔、水墨、矿物质颜料、绢帛、宣纸等为工具（原料）从表现形式上分工笔画和写意画。人物画强调“传神”，通过对人物面部表情（特别是眼神的刻画）、肢体语言、环境等的表现，达到以形写神、突出人物的内心世界。山水画强调“诗情画意”表现雄壮粗犷或秀丽俊美的山式、云吞雾幕——情景交融的意境创造即：将大自然的美与文人逸趣（中国文化）紧密地糅合在一起，用高远、平远、深远（或合三远）法的结构画面，计白当黑的处理方式。花鸟画则以托物言志、借物抒怀；来赞美生命、歌颂大自然——挥洒“胸臆”。在笔墨色彩上讲究：1、笔法丰富、有力度，或浸润凝重、或枯涩快疾；或中锋、或逆锋、或侧锋、或拖笔、或散笔。2、墨法多层次的变化（五墨六彩——焦、浓、重、淡、清加上纸的颜色），或积墨、或破墨、或泼墨。3、色彩为随类赋彩等感性色彩，讲求墨气、沉着（色彩以墨骨为主，施以淡彩）并有工笔重彩。总体上追求传统文化（内在的）与以线造型的笔墨意趣（外显的）融合，即：诗情画意和“气韵”、“神韵”的表现。在造型上不拘泥于外形的肖似（逼真），而着重表现物象内在的“气韵”、“神韵”与画家“胸臆”的挥写（抒发）。在构图、透视上的处理有别于西方绘画，以多角度、多视点（移动）的“散点透视”来表现画家的主观意图自由组合空间。那幺我们究竟如何欣赏呢？笔者认为可从以下几个方面去欣赏：中国的历史、文化背景、文学艺术（诗情画意）和笔墨技巧以及中国画色彩的魅力等方面去品味（欣赏）中国画作品。
Traditional Chinese painting with a brush, ink, mineral pigments, silk silk, Xuan paper as the tools (raw materials) from the performance of the Fine Brushwork form and freehand brushwork paintings. That figure painting "vivid" and through the characters facial expressions (especially the eyes of the portrait), body language, and environmental performance, to write to-God, prominent figures of the inner world. Landscapes stressed that "poetic" magnificent performance of wild or beautiful mountain-Jun Mei, wonton fog screen - scenes that blend to create the moods: Nature's Beauty and the literati Yiqu (Chinese culture) closer together, "lofty, Ping far, far-reaching "(or a distant third) of the structure of the screen to white when the black approach. Flowers and Birds Painting of statement-while child care, by-Shuhuai; life to praise, praise of nature - Huisa "Xiong Yi." In pen and ink color on stress: 1, abundant technique, intensity, or infiltration solemn, or Kuse fast disease, or center, or the inverse front, side or front, or drag pen, or casual T. 2, multi-level Mexican law changes (5 6 ink color - Coke, thick, heavy, light, the color-plus paper), or plot Mexico, Mexico or broken, or Pomo. 3, with the color categories to give emotional color, such as color, and stress Mexican gas, calmly (ink color to the main bone and exercise Dancai) and Meticulous re-Cai. The pursuit of traditional culture in general (internal) and the line to form the ink Interest (explicit) integration, namely: poetic and "Qiyun," "charm". Modeling is not rigidly adhere to the appearance of Xiaosi (realistic), and images focused on the internal performance of "Qiyun," "charm" and the artist "Xiongyi" wrote the play (to express). In composition, perspective on the treatment is different from Western painting, a multi-angle, multi-perspective (mobile), "Scatter Focus" performance artists to the subjective intent of an ensemble of space. NA me how to appreciate what we do ? I believe that from the following aspects to appreciate: China's history, cultural background, literature and art (poetic) and Chinese ink painting techniques and color of the charm of the areas to taste (appreciate) works of Chinese painting.

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作者: 顾绍骅    时间: 2011-9-15 12:38
1 中国画史：
中国的绘画艺术，源远流长，波澜壮阔，在世界美术史上形成了最为繁盛而特具风格的绘画体系（越是民族的就越具世界性）；蔡元培倡导“美育代宗教”，美术教育始见重视；原属宫廷和权贵秘藏的历代名画，也已纷纷散至民间，继而介绍到国外，引起了世界人士的瞩目赞叹、争相研究，这情形，又反过来刺激着中国的学者，痛感我国近代对于传统艺术研究之不足。考证世界文化发源地：西方为意大利半岛，东方为中国。意大利吸收埃及与中央亚细亚古代文明之素养，启发于希腊、罗马两时代，分布于全欧洲，移植于美洲；中国则采纳美索八达米亚(古希腊人称这个地区为“美索八达米亚”，意即两河之间的土地,所谓两河，是指在亚洲西部今伊拉克境内的底格里斯河和幼发拉底河。这个地区面积不大，大体上相当于现在的伊拉克。)与印度文明之灌溉，汇成东方特殊系统之泉源；沿朝鲜及我国台湾一带流传于琉球、日本诸域，绘画上亦不外此线索。故西方绘画者，以意大利为母地，而东方绘画者，以中国为始祖矣。而中国绘画受中国传统文化（儒家、释家、道家）的影响，特别是“中庸”、“中和”思想——不偏不倚、不左不右；“含而不露”的人文精神；因此，隐涵、博义是其特点；加之其所用之工具、发展之情况等，都与西方绘画的造型、追求、情趣等不大相同。
1 Chinese Painting History:
Chinese painting art, a long history and magnificent in the world art history form the most prosperous and a special style of painting system (the more the nation will be a world-wide); Cai Yuanpei advocate "aesthetic and religious," art education only to see; Micang origin palace and the bigwigs of the art history, has also have scattered to the public, then introduced abroad has aroused world attention to the praise, compete on this situation, in turn, stimulate China's scholars, China's modern pain The traditional art research inadequate。 Birthplace of the World Cultural research: the West for the Italian peninsula, east of China。 Italy absorption of ancient Egypt and Central Asia civilized standards, inspired in Greece, Rome two times, distributed in Europe, transplanted in the Americas, China has adopted the U。S。 cable 8 Mesopotamia (ancient Greeks said the region as "the U。S。 cable 8 Damian Asia ", which means the land between two rivers, the so-called two rivers, is in Asia this western Iraq in the Tigris and Euphrates rivers。 This area of small, largely equivalent to the current Iraq。) Irrigation with the Indian civilization , Huicheng East special source of the system; along North Korea and China's Taiwan area spread in Okinawa, Japan various domains, painting, not on this trail。 Therefore, Western painting, to Italy for the mother, and Oriental paintings, with China as the ancestor of just。 Chinese painting by the Chinese traditional culture (Confucianism, Buddhism, and Taoism) the impact, in particular the "Doctrine of the Mean", "and" thinking - impartiality, not left not right, "including but not reveal" the humanistic spirit; Therefore, the hidden culvert, is characterized by Boniface; addition, the tools they use, development, and so on, all the modeling and Western painting, the pursuit of fun, and so not the same。
我国自有绘画以来，经古人专心致志的探求，四、五千年间长期的演变和进步，作手名家，人才辈出，你追我赶，且遍布华夏，各发挥一代之光彩。如顾恺之、陆探微、张僧繇、展子虔等都能以画而称为大家；到了唐代，有李思训、王维等成为南北二大派（风格）的代表。之后，继承传统作家如风云涌起，可谓数不胜数。所以说上下数千年的中国绘画史，于叙事上简便起见，大略可分为古代史，上世史，中世史，近世史，四篇，以寻求其变迁推移之痕迹。而顾恺之《女史箴图》， 亦尚留存于人间，足以供我们参考。此画曾被记录于《宣和画谱》、《米芾画史》、《陈继儒妮古录》、《朱彝尊曝书亭书画跋》、《石渠宝笈》等诸书。因清代末列强的掠夺而散失，今藏于英国博物馆。无论其为摹本，修缮本，都足以窥见顾氏（顾恺之）及当时画风都是与之相似。虽然在此之间的画风及技巧诸方面，有多次的变化，如：两汉的雄浑朴厚，六朝开始逐渐精细（工笔），隋朝就画得很精致华丽了；然而大体都是先以墨线勾轮廓（以线造型），再赋以彩色，并在此前后都是遵循这一程序（系统）来进行的；这种方法成为亚洲大陆共同的绘画式样。印度阿近他窟，我国敦煌石室，日本法隆寺金堂等之壁画，均系类似手法。
China's own paintings, as the ancients dedicated explore, four, five thousand years of long-term evolution and progress, famous for hand, talented people, Nizhuiwogan, and all over China, all play a generation of glory。 Such as Gu Kaizhi, Lu On, Mr。 Monk Yao, Qian exhibition of paintings, and so can to everyone and called up to the Tang Dynasty, Li Xun, Wang will become the major north-south camp (style) representatives。 After carrying forward the tradition writers such as the situation filled, is endless。 So, from top to bottom several thousand years of history of Chinese painting, in the narrative on the simplicity's sake, can be roughly divided into ancient history, Shangshi history, the history of the World, Modern History, 4, to find traces of their passage changes。 And Gu Kaizhi, "the history of women Zhen map", also was retained in the world, sufficient for our reference。 This painting had been recorded in the "sun and Huapu," "Mi Fu painting history", "Chen Jiru Minnie ancient recorded", "Zhu Yizun exposed Shuting painting Postscript," "Shiqu Baoji" Zhu Shu。 Because of the predatory powers at the end of the Qing Dynasty and lost, this possession in the British Museum。 Whether it was Moben, the repair, are sufficient insight into Gu (Gu Kaizhi) and then with the style are similar。 Although in this style and skills between the various aspects, there are a number of changes, such as: the powerful Puhou the Han Dynasty, began gradually refined the Six Dynasties (Meticulous), the Sui Dynasty painting on a very delicate gorgeous, but generally are first Mexican contour lines to hook (in line modeling), and then given to color, and Before and after this procedure are followed (system) to carry out; such as the Asian continent common method of painting style。 India A near his cave, China's Dunhuang sarcophagus, Japan Horyuji Jintang, such as the murals, are in a similar way。
魏晋以后，我国的书学（书法）大发展，绘画上亦开始受书法运笔之影响。到了唐代就更盛行了，大大地发挥毛笔画线上的抑、扬、顿、挫之特有的趣味，开吴道子“兰叶描”（十八描的一种）等诸新法，一变隋陈细润之习，成正大雄浑之风格。 兼以唐、宋二代，禅风与诗理学之互相因缘，大大地促进了水墨画的发展，与山水、花鸟画之流行，使玩赏绘画者得到最大益处——“赏心悦目”；这样一来顿时成为当时社会（唐、宋）的新趋势（时尚），从而开辟了我国绘画史上的新纪元。元代的画风，虽是唐、宋二世的过渡之桥梁，然而大体上承唐宋之余波，仍可划入于“中世”。明、清二代，除明初画院中的水墨苍劲派外，其画风都可以概括为以“纤、浓、轻、软”呈现其特色，而存在有向近体转变的姿态。虽然，在这期间实际上是风俗画（传统绘画）之兴起与西洋画风的输入，这两者之间相互作用、相互交融，开一时之新生面，而呈现其变革（并延续至今）。然而这些变革的均系局部中之小波澜。虽然，绘画为艺术之一种，其演进之途程，总是依随当时的政治、思想、教育及特殊之环境而异其趋向。我国四、五千年来，随思潮之起落，战争之频发，政局之更易，则变化多端，其直接或间接地影响于绘画；因此，在绘画形式、绘画内容和绘画风格上各具变化与政治是形影之相随；也就是人们常说的：“艺术当随时代变”。近一百年间特别是近二十年来随艺术流派、艺术形式的纷繁，以创新为目的画作也频频地出现在我们的视野里，真是“百花齐放、百家争鸣”。他们是：1、以传统绘画美为美的代表画家：齐白石、张大千、唐云、 溥佐、 于非闇、 黄胄、 王雪涛、 朱屺瞻、田世光、 张世简、叶浅予、姚有多、白雪石、 傅抱石、宋文治、任率英、 陈师曾等。 2、传统绘画美结合西方绘画美的代表画家：徐悲鸿、蒋兆和、 林凤眠等。
Wei-Jin (dynasty), the book of China (calligraphy) development, also started by painting on the impact of calligraphy Yunbi。 To the Tang Dynasty more prevalent, greatly gross stroke play online suppression, Yang, Dayton, down the special interests, Wu Daozi a "depiction of the Koran" (a depiction 18), all the new law, a change Chen Xi Xi Run of the Sui Dynasty, as the Zhengda powerful style。 And the Tang and Song II, Zen poem jurisprudence of the wind and each other Causes, greatly promoted the development of Chinese ink painting, and Landscape, Flowers and Birds Painting of the epidemic so that the fun of painting to receive the maximum benefit - "pleasing" This has suddenly At that time, become a social (Tang, Song) to the new trend (fashion), thus opening up a new era of the history of painting in China。 Yuan's style, although Tang, Song II, the transition of the bridge, but largely for the aftermath of the Tang and Song Dynasties can be included in the "in the world。" Ming and Qing second-generation, with the exception of the early Ming Ink Painting Studio in Cangjin camp, their style can be summed up as "fiber, dense, light, soft," showed the character, and there was to change the attitude of the past。 Although, in this period is actually folk paintings (traditional painting) and the Rise of Western style of input, interaction between the two, mutual exchanges, opened at the new face, and showed its changes (and renewal date)。 However, these changes are part of the small waves。 Although the painting as a kind of art, the evolution of the carriage, always in accordance with the prevailing political, ideological, special education and the environment vary its trend。 China 4, 5,000 years ago, with thoughts of the ups and downs, the frequency of the war, the more councils, changeable, directly or indirectly impact on the painting; Therefore, in the form of painting, drawing and painting style on the content of the various changes and Xingying of politics is accompanied; is often said: "When the arts change with the times。" Nearly 100 years in particular the last 20 years with the art schools, art forms ever to innovation for the purpose of the paintings also frequently appear in our view, is "letting a hundred flowers blossom and a hundred schools contend。" They are: 1, the traditional painting to the United States and the United States on behalf of artists: baishi-qi, daqian-zhang, yun-tang,zuo-pu,feian-yu,zhou-huang,baoshi-fu, xuetao-wan, qishan-zhu, shiguang-tian, shijian-zhang, qianyu-ye , Youduo-yao, xueshi-bai, wenzhi-song, shuaiying-ren, shiceng-chen,and so on。 2, combining traditional painting the United States and the United States and Western painting on behalf of artists: beihong-xu, zhaohe-jiang, fengmian-lin, and so on。
2

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作者: 顾绍骅    时间: 2011-9-15 14:00
2 文化背景
2 cultural background
1、 统文化的融合
1, the integration of cultural integration
古代文人大多视绘画为余事，同书法一样用来充实自己的精神家园，情感得到宣泄，心灵得到净化。如米芾的画作，水墨点点，视为戏作，是作者随意、自然、不蹈故常的心态写照。也有的画家视绘画为生命，淡泊名利，为艺术而终生求索，同样受到人们的敬重。如清代的石涛，虽出家为僧，但在绘画创作上却倾注了大量的心血和汗水，他在绘画上的标新立异，招致了周围同道们的讥讽和嘲笑。但他不受时风的左右，提倡一画之法，主张画家要借写生抒发真情实感，不要斤斤计较于一点一画的得失，要从全局着眼。因此他的山水、人物画形态恣肆，不拘绳墨。其“墨海中立定精神”的主旨被后人广为传颂。通过上述分析，可给我们以如下三点启示：其一，恰如其分地抒情表意还要以深厚的笔墨功夫和广博的学养为根基。文入画的创作虽然要摆脱纸笔的限制，创造新的意境，一切服从于抒情主题，但有一点必须明确，即扎实的技法是表达情感的基础，熟练畅快地驾驭笔墨丹青，才能卓有成效。文人画家—般都书画兼善，如苏轼、米芾，皆执宋代书坛、画坛之牛耳，是后学效法的楷模。不断地加强自身的修养，澄澈内心也是文入画家的基本功。
Most of the ancient literati painting for more than depending on, with the calligraphy used to enrich themselves as the spiritual home, get emotional venting, the spiritual purification. Such as Mi Fu's painting, ink little bit, as for drama, the author is free, of course, not dancing portrayal of the mentality of Guchang. Some artists as painting to life, indifferent to fame and fortune, and life-long search for the arts, equally respected by people. If the Qing Shi Tao, although the monk to monk, but in the creation of painting has devoted a great deal of effort and sweat, his painting on the unique innovation, incurring the ridicule of their fellow around and ridiculed. But he's not around when the wind to promote a painting of the law, that artists would like to take painting to express Zhenqingshigan not Jinjinjijiao 1. 1 painting in the gains and losses, we should focus on the overall situation. Therefore, he's landscape, figure painting patterns Zisi, informal Shengmo. Their "standing in the spirit of Mexico" was the main thrust of future generations widely famous. Through the above analysis, we can give inspiration to the following three points: First, properly lyric sheet intended to ink a profound and extensive efforts of school support for the foundation. Although picturesque, the creative pen and paper to get rid of restrictions, create new moods, all subordinated to the lyrical theme, but it should be clear that the technique is a solid basis for the expression of emotion, skilled cool to control the ink Danqing , Can be effective. Literati painters - all paintings general Jianshan, such as Su Shi and Mi Fu, they are Song of the altar, the painting of Niuer, after learning model is the model. Continue to strengthen its cultivation, Chengche heart is the text of the basic skills to the artist.
古代文人往往据于儒、依于道、欹于禅，对儒学、道家、禅宗理论浸淫颇深，进而极大地丰富了中国传统文人的文化思想，提高了文人的文化素质，对精神升华也起到了不可忽视的作用，这样他们的画作就体现了多重内涵，具有真正的艺术价值。其二，文人画家不管荣辱得失，始终痴迷于绘事。这固然和文人画特有的寄情功能有关。在—定程度上也反映了文人们对这门艺术的迷恋和热爱，毕生不辍。李苦禅先生在解放前生活困顿，还要经常面对日寇的威逼利诱，即便身陷囹圄仍念念不忘画艺。他笔下的雄鹰，气度超凡，目光炯炯，傲视苍穹，正是先生历万劫而不悔的生动写照。齐白石先生在中国画坛独树一帜，倡导新的画风，但却遭到别人的非议和围攻，但老人却以“不挨骂长不大”坦然应对，他笔下的群虾互相追逐嬉戏，逍遥自在。由画及人，我们可以得知画家内心对艺术的痴迷。其三，创作时要任心态自然流露。画家是绘画艺术王国的主宰，有了精深的笔墨功夫之后，可以暂时忘却一切，全神贯注地用艺术语言记录自己的所思所想。这样的创作过程不需要任何掩饰或是矫揉造作，不做任何名利之想，追求自然、纯真，这才是理想的创作过程：，如此才能创造美好的意境，作品才能成为寄情写志的上乘之作。研究心态与文入画的创作对我们的绘画创作具有重要意义。
According to the ancient Confucian literati often, according to the Road, Yi in Zen, Confucianism, Taoism, Zen theories steeped Poshen, thereby greatly enriched the culture of traditional Chinese literati thinking and enhance the cultural quality of the literati, also on the spirit of sublimation Played a role can not be ignored, so that they reflect the paintings on the multiple connotations, with real artistic value. Second, regardless of the literati painters honour gains and losses, always obsessed with the painting in the matter. This is, of course, and literati paintings unique Jiqing function. In - the extent, the text also reflected the people's fascination with this art and love, life Buchuo. Mr. Li Kuchan in the Predicament of life before liberation, but also often face coercion or inducement of the Japanese invaders, even Shenxianlingyu Huayi still an obsession. He works in Eagle, bearing extraordinary, Muguangjiongjiong, proud to see the sky is not Mr. Li Hui Wanjie a vivid portrayal. Qi Baishi, is unique in the Chinese art world, promoting a new style, but others were objectionable, and the siege, but the elderly are "not Aima Zhang Buda" calm response, described by the group he co-chasing shrimp play, Happy freely. And paintings by the people, we can know the painter's obsession with hearts of the art. Third, the creation of the mind when something very natural to us. Painter is the art of painting the Kingdom of the key, a sophisticated pen and ink work, you can forget all the time being, with rapt attention to his own artistic language records and think they think. This creative process does not need any disguise or artificial, will not do anything to the fame and fortune, the pursuit of natural, pure, this is the ideal creative process: that in order to create a better mood, can become works of fine Jiqing write-in for. On the picturesque, with the mentality of our creative painting creation is of great significance.
2、 诗情画意与中国画的意境：
2, poetic and artistic conception of Chinese Painting:
“无诗不能成画、无画不能为诗”（没有不能成为画的诗，也没有不能写成诗的画）。画家在画作上题以诗文，或记下创作背景，或只写一个言简意赅的画题，通过这样的题跋，—方面表达自己的思想，抒发自己的情感；另一方面，也使画的意境更加深邃，主题更加突出，布局构图更加完善，如果题跋又是精美的书法，那么观者在赏画的同时，还可得到书法的美感享受，这幅画作岂不是更加完美?
"No poetry can not be a painting, not painting can not be poetry" (without the poems can not be a painting, nor did the painting can not be written poems)。 Artists in the paintings on the title to poetry, or a note of creative background, or just write a concise and clear that the paintings, by such Tiba, - express their ideas, express their feelings on the other hand, also painted the Mood More profound, more prominent theme, layout composition more perfect, if Tiba is the exquisite calligraphy, in Shanghua guests at the same time, but also get to enjoy the beauty of calligraphy, paintings of this is not a more perfect ?
诗情画意是中国画所追求的最高“境界”；并且诗、书、画、印堪称“四绝”。这是因为诗、画都是写人绘景；诗画并举，相映生辉，形成中国画一道亮丽的风景。由此可见，它们之间的关系应是有机结合的，不能把诗文视为多余。大画家黄宾虹曾说：“中国画有三不朽”，其中就有“诗书画合一不朽也”。
Chinese paintings by the poetic is the highest pursuit of the "realm" and poetry, books, paintings, India is known as the "four no。" This is because the poetry and painting are people drawn to write King; poetry and painting simultaneously, Xiangying Shenghui, a Chinese painting a beautiful landscape。 Clearly, the relationship between them should be organically integrated, and can not be seen as superfluous to poetry。 The painter Huang Binhong once said: "Chinese paintings are San Buxiu", including the "One immortal poem painting also。"
事实上，自古以来，将诗书画结合巧妙的人大有人在。比如：徐渭在《葡萄》上的题诗：“半生落魄已成翁，独立书斋啸晚风，笔底明珠无处卖，闲抛闲掷野藤中。”如果抛开这首诗，只是—串葡萄而已，还有何意义。郑板桥一生爱竹、画竹他在《竹石》诗中写道：“咬定青山不放松，立根原在破岩中；千磨万击还坚劲，任尔东西南北风。”他以竹自喻、刚直不阿。可见，好的题画诗可以使画的意境更加深邃，主题更加突出有意义，甚至达到点石成金、化腐朽为神奇的作用。画友在一幅山水画中题跋道：“乱石堆中水一泓，草舍置于野林中，远离尘器听鸟语，管他春夏与秋冬。”在《农家之秋》中题曰：“谁说秋天气萧森，经霜红叶更精神，农夫收禾不在家，寻亲访故莫敲门。”在一幅《瀑布图》中题道：“清泉出山不停息，人生苦短自奋蹄。”在另一幅山水中题曰：“岸边房舍绿荫浓，船泊碧水一江中。静看云起云又落，闲坐船头作渔翁。”这是画家思想情感的自然流露，写景抒情朴实宛如“绿色食品”一样。
In fact, since ancient times, the ingenious combination of poetry paintings of many people。 For example: wei-xu artists in the "grape" on the Tishi: "Lapo is a half-Weng, independent Den Xiao Wan Feng, have nowhere to sell T at the end of Pearl, left idle in the leisure throwing Ye Teng。" Cast aside if this poem , The only - only string of grape, what significance。 Painter banqiao-zheng life love bamboo, Huazhu his "Zhu Dan," the poem says: "Castle Peak Yaoding not relax, rooted in the rock-breaking; grinding 000-1000 Kennedy also strong, Seoul, the South and the North East and West Wind。" He Bamboo self-evident, Gangzhi integrity。 Clearly, good poetry can make paintings that draw the mood even more profound, more prominent themes meaningful, even to Diandanchengjin, decadent to the magic of the role。 Friends in a painting landscapes in Tiba: "stoning pile water Yihong, Cao She placed wild forest, away from dust-listen Niaoyu, of his spring and summer and autumn and winter。" "Autumn farmers" in the title Said: "Who says Xiaosen autumn weather, the more the spirit of cream colored leaves, do not at home at Wo, Xunqin visit so-knock on the door。" In a "waterfall map" in the title: "Chingchuankang Chushan kept interest rates, short life hard Since Fenti。 "In another in a landscape that said:" shore premises dense shade, Chuan Bo Jiang in a clear water。 Static view from the clouds and cloud-to sit bow to Fisherman。 "This is the artist thinking of emotion Of something very natural to us, Xie Jing lyric like a simple "green food"。
（例如：顾绍骅创作的中国山水诗意画——《送僧游山》 Chinese landscape poetry painting-《send to a monk to swim mountain 》
【原诗（词）】：云身自在山山去，何处灵山不是归。——唐朝·熊孺登明《送僧游山》诗意【Original poem translation 】the white cloud at liberty flies around in the top of hill, where beautiful mountain again isn't "Buddhism" to practice moral teachings the best dwelling place?
【赏析】：诗意深富禅趣——禅心如云，自自在在的向着一山又一山飞去，又有何处的灵山不可归去呢？
【Analyze 】:The poetry deeply enriches a Chan interest-the Chan heart be like cloud, from comfortable at of facing one mountain another mountain fly to, and then have work properly of place mountain can't return?
规格：100×68cm 纸本设色 2006年创作）

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作者: 顾绍骅    时间: 2011-9-15 14:03
笔者也在“自画像”中这样题道：“儒世家门坠一瓜，阎罗殿上险遭杀。翰林府第三敬履，蟾桂宫前四献花。”{笔者本人路遇车祸、险丧性命；康复后，又就读于中国书协书培中心之高级书法班时写的一首《感遇》诗。释义：书香世家生了一个男孩，阎王殿上险些被杀害。（在）翰林学府（书法培训中心）里，要象韩信当年求学时①（注①：韩信当年求学时，其师试他的诚心与决心，过桥时有意将鞋子失落于桥下，韩信当即将老师鞋子拾回，并双手敬奉给老师；如此三次，皆如此。其师为之所动，遂授兵书三卷，并予以指点，终使韩信能成大业。这就是“一桥三敬履”的历史故事），有诚心与决心刻苦学习；学成后一定以优异的成绩报效祖国。}。一幅画画得再好它所反映的物象、表现的空间是有限的，只有诗画并举，才能表现时空、寓意深刻。
The author (shaohua-gu) is "self-portraits" in this title: "Confucian family door catch a melon, Yan Luodian on Xianzao killing。 Hanlin House Third Lu Jing, Gui Palace toad first four victims。" I (author Lu Yu Accident, and risk the lives of mourning; after rehabilitation, and education in China Shuxie training centre on the High calligraphy class, written by a "flu case of" poetry。 Interpretation: Shuxiang family of a boy of Health, Yan Wangdian on nearly been killed。 (In) Hallym University (Calligraphy Training Centre), as the Hanshin year to study at ① (Note ①: Hanshin school year, the division test his sincerity and determination, when the bridge will be interested in the shoes lost underneath, Hanshin to be teachers when Shihui shoes and hands Jingfeng to teachers so three times, all this。 The division moved by it, then granted Bingshu three volumes, and to guide, National Cheng Kung University to end the Hanshin industry。 This is "a bridge 3 King fit the shoes "of the historical story), a sincere and determined to study hard; Xuecheng Hou some outstanding achievements to serve the motherland。 )。 A painting in it no matter how good the images reflect the performance space is limited, only poetry and painting simultaneously, to performance time and space, Yuyishenke。
白石老人一幅条幅，画的下方只画了三只小鸡。其余全是空白，只是在右上方题了长款，计白当黑，虚实结合，诗画互补，相映生辉，别有一番趣味。题画诗，还可以使画家爱、憎、悲、愁、褒、贬、扬、弃等多种情感更加强烈地倾注于画面。再如在画作《不倒翁》上题道：“乌纱白扇俨然官，不倒原来泥半团，将汝忽然来打破，通身何处有心肝。”这样的题跋使一幅简单的不倒翁画变得意境深远，意义不凡。如果不是这首诗，画中的不倒翁就显得毫无意义。
Painter baishi-qi a banner, painted just below the painting of the three chicks。 All the rest is blank, just in the upper right, that the long, black or white when, with actual situation, Poetry and complement each other, Xiangying Shenghui, do not have some fun。 Painting poetry, so that artists can also love, loathe, grief, worry about, pao, derogatory, Yang, disposable, and other emotions more strongly into the picture。 Another example is in the works, "Bu Daoweng" that: "The fans like white yarn Ukrainian officials, not the original mud inverted half-Mission, RU to break all of a sudden, Tongshen where a heart and liver。" Tiba make such a simple painting changed Bu Daoweng Mood in the far-reaching significance extraordinary。 If not this poem, painting in the Bu Daoweng it is meaningless。
白石老人《不倒翁》的题画诗对那种道貌岸然、久居高位，却无任何修养，只会欺压百姓的饭桶草包官给予了有力的鞭笞。画家爱什么，恨什么，旗帜非常鲜明，感受常强烈。如徐渭的题葡萄诗，郑板桥的题竹诗都倾注着画家强烈的思想感情。画家融情于画，更借诗直抒胸臆。看着画，读着诗，使观画者受到强烈的感染。画因诗而更具情感魅力；诗因画而更加意义不凡。诗画相得益彰，类似这样好的题画诗在当今画坛也并不鲜见。因而构成了中国画独有的艺术特色，达到一个高层次的美学水平，这是其它任何艺术所不能比拟的。有诗言：又如有山不宜平。”作画亦然。
Painter baishi-qi "Bu Daoweng" the poetry of that painting that Daomaoanran, Hisai high, the lack of any self-cultivation, it will only oppress the people of Fantongcaobao official to give a strong lashes。 What artists love, hate what the banner is very clear, strong feelings often。 Xu Wei that grapes such as the poetry, Zheng Banqiao's poems that are at the painter strongly into the thoughts and feelings。 Painter financial situation in painting, poetry speak by Xiong Yi。 See the paintings, Duzhe poetry, painting to be strongly of the infection。 Painting and poetry for a more emotional appeal; painting and poetry for more extraordinary significance。 Poetry and complement each other, similar paintings that good poetry in the contemporary art world is also not uncommon。 Chinese painting thus constitutes a unique artistic features, to a high-level aesthetic level, this is not by any other comparable to the art。 There are poems: and if it is not appropriate-Hill。 "Chinese painting is the theory of the case。
中国园林讲究以“曲径通幽”式的廊回路转、流水小桥分割空间，制造出一种视觉上的隐蔽迷离之美。中国画亦常在笔墨境象的模糊中追求亦此亦彼、非此非彼，超以象外、得其环中的艺术效果。其魅力之所在，正是借助于形式与精神的诗意化气质，引发人们对有限物象的联想，使画中最难表达的意态与神采转化为弦外之音的回响，使欣赏者能够在瞬间获得一个整体的对绘画时空观的认知与把握。这种认知通常是一个关于审美对象模糊的整体图景的显现，并不拘泥于某一细节。而却更多地关注着诸如委婉、含蓄、一波三折的情境语言的运用；关注虚空、澄明、言外之意、象外之声的经营构思谋略；张彦远在《历代名画记》中所讲“意在笔先，画尽意在”，写意自古就是民族艺术观，也是中国绘画艺术的美学原则所谓“一枝一叶总关情”，我们所画的植物，它既无感情，也无思想，而画家们往往赋予它们某种含义，即画家立意的主观作用自然美的特征触动了画家的某种情感，从而“借景抒情，以物言志”画家们正是以自己独特的视角及感觉确定自已的“立意”，以表达自己的感情，“立意”不是纯主观的臆造，它是画家体验认识生活的结果它是一种美的理解和认识，它还包括了人的思想、感情、理想、修养在里面。通过“外师造化，中得心源”，也就是通过向客观事物要感觉之后形成和发现不同一般的认识,这才是----“意”也可以说“意”足一切艺术作品的灵魂：只有在感情和认识的基础上半场提炼、概括、升华而形成的“立意”，才是绘画作品所需的应该说“意”足情的升华情是“意”的基础。
Chinese garden stress "Qujingtongyou" type of circuit to the gallery, the water bridge division of space, creating a visual blur the hidden beauty。 Chinese ink painting in Yichang, as the habitat in pursuit of fuzzy He also vital, non-Feibi this, as the super-to, the artistic Deqi ring in effect。 Its charm lies precisely with the help of the spirit of the form of poetic temperament, triggered images of people on limited Lenovo, the most difficult painting to express the Italian state into overtones and look good response, so that appreciation can in an instant access to a Drawing on the overall understanding and grasp of Space and Time。 Such awareness is usually a fuzzy object on aesthetic of the overall picture of the show, not rigidly adhere to certain details。 And is more concerned about, such as tactful, subtle and were plagued with setbacks context of the use of language; concern and joy, clarity, meaning, as the voice of the business concept of strategy; Zhang Yan Yuan "art history in mind" in stresses "the intention of T first , The painting was intended to do, "freehand brushwork is the ancient concept of national art, Chinese painting art is the aesthetic principles of the so-called" one leaf of customs intelligence, "we are paintings of plants, it no feelings, no ideology, and artists often Give them some kind of meaning, that is, the artist shows the characteristics of natural beauty subjective role of the painter's touch some emotion, "by King lyric, of words-" the painter who is in their own unique perspective and determine their own sense of "purposive "To express their feelings," conception "is not a purely subjective minds, it is the painter's life experience understand it is a result of the understanding and awareness of the United States, it also includes the people's thinking, feelings, ideals, cultivation inside 。 Through the "division of good fortune, in the heart of the source," that is passed to the objective things to feel different after the formation and found that the general awareness of this is intended ----" "can also say" Italy "full of all works of art Soul: Only in the feelings and understanding of the basis for refining the first half, summed up, and a distillation of the "conception", is the paintings should be said that the "intention" into the full intelligence situation is "intended" basis。
《罗丹艺术论》中曾说过“艺术就是感情”，没有感情基础的艺术，也就是说连自己都不感动的东西史无法打动别人的我们欣赏画时，时为其内含的艺术魅力所吸引，画有十分意趣、主观思想相互交融；为画外之意，弦外之情所打动、所陶冶、所感染，这就是“意境”作用…：“意境”是艺术的灵魂，是客观事物精华部分的集中，加上人的思想感情的陶铸，经过高度艺术加工达到情景交融，借景抒情，从而表现出来的艺术境地是鲜活的、生动的。
"Art of Rodin" said "Art is emotional," not based on feelings of the art, that is not touched by their own history can not be moved by the things we appreciate other people's paintings, when the artistic charm of its implicit Attracted by painting a very Interest, subjective thinking of mutual exchanges; painting, for the meaning of string, moved by feelings, the mould, by infection, which is the "mood" in…: "Mood" is the soul of art, is an objective Part of the concentrated essence of things, coupled with people's thoughts and feelings of the Tao Zhu, after processing to achieve a high degree of artistic integration scenario, lyric by King, demonstrated by the state of the art is fresh and vivid。
白居易认为学无常师，故其指一意状一物，往往运思中与神会”。他在《画竹歌》中写道：“不根而生从意生，不笋而成由笔成……举头忽看不似画，低手静听疑有声。”似乎早已悟出了中国画“妙在似与不似之间”的真帝。中国画家与诗人“游心之所在”，就是自身对造化自然独特感悟的美境，创造的意象。这电决定了中国画自始至终的浪漫主义情结和诗性的内质。董其昌说得好：“诗以山川为境，山川亦以诗为境。”艺术家禀赋的诗心，映像着天地万物的诗心，山川大地是宇宙诗心的影现；画家诗人的心灵活跃，本身就是宇宙的创化，它的卷舒取舍，好似太虚片云、寒塘雁迹，空灵而自然。中国画家诗人“迹化自然，因心造境，曲尽蹈虚揖影之妙”(宗白华语)，可以说是中国诗画的基本特征。也是崇尚“虚空”之美的写意型的中国画与以“实”为本(巴门尼德的Being)的西方古典绘画在创作观念上的最大区别。
The great ancient poet juyi-bai that the division of impermanence, it refers to its one-one of Italy, are often transported in and God will think。 "In his" Huazhu Song "wrote:" The roots from the Italian Health and Health, bamboo shoots Formed by the T-…… Mandrax do not give it the first painting, low listened suspect hands with sound。 "China seems to have already realize the painting," Miao-like and not like in between "the real Dili。 Chinese painters and poets" You heart lies ", that is its own unique sentiment of the good fortune of U。S。 natural habitats, to create the image。 This decision, Chinese painting throughout the complex and the Romantic poetry of the ER。 Dong Qichang was right when he said: "Poetry for Habitat to the mountains and rivers, mountains and rivers also poems for Habitat。 "Artist Endowment heart of the poem, the image of all things poetry heart, mountains and the earth is the universe is the impact of heart poetry, poet, painter of the soul active, is itself the founding of the universe, its volume Shu choice, Taixu-like clouds, Han Tang Yan tracks, Kong Ling and natural。 Poet, painter China "traces of natural habitats due to heart-made, to dance song wonders of virtual Yi Ying" (Zong Baihua language), can be said to be the basic features of Chinese poetry and painting。 Is also advocating " And joy, "the beauty of the freehand brushwork of the Chinese paintings and a" solid "-(Parmenides of Being) of the Western classical painting in the creative concept of the biggest difference。
在美术史上，自古以来就有两种完全不同的表现方式：一种是以再现客观世界为主的写实型艺术，它以西方古典油画为代表；一种是以表现主观心绪与情感为主的浪漫、表现型艺术。中国画就是以后者为其基本特征的。浪漫、表现性绘画，早在战国时代的楚墓帛画《人物夔凤图》及西汉马王堆幡画中就已初露端倪。自唐朝文人画初创以来，中国绘画则更加注重托物抒情、以画寄乐的表达方式的运用。而“绘画以形似，见与儿童邻”也正是苏轼对先贤们艺术实践的理论总结。它之所以能够存在，并且，具有旺盛的生命力，一直被文人们捧为绘画的至理，原因是离不开在中国哲学虚空的宇宙观(老子“万物生于有，有生于无”)影响下艺术家对诗化的精神内质与诗意的形式外观的永恒追求。的确，中国绘画的这种观念也正是把握了中国艺术的精神实质，把握了中国艺术诗性的品质特点，才经受住了时间风雨的考验，并一直影响至今。宋代哲学家程伊川说过：“冲漠无朕，而万象昭然已具。”昭然万象以冲漠无朕为基础，使实中有虚、虚中生实，空外余波，袅袅不绝，“无画处皆成妙境”(笪重光语)，这便是中国画在对意境美的追求中最不可言传的精神所在。
In art history, since ancient times are two completely different performance: a reproduction of the objective world of art consisting mainly of realism, which to Western classical paintings as representatives; performance is a subjective and emotional-based Xinxu Romantic, performance-based art。 Chinese painting is the latter its basic characteristics of the。 Romantic, performance of the painting, as early as the Warring States Period, Chu Tomb of the Bohua "People Kui-feng map" and the banner painted in Mawangdui Han Dynasty have been emerging。 Since the start of the Tang dynasty literati paintings, Chinese painting is more emphasis on care of lyric and music to painting send the use of means of expression。 "Painting to the shape, see neighbors and children," Su Shi is also the sages who practice the art of summing up。 It has been able to exist and has strong vitality, the text has been painting for the people want to arguments, the reasons for the Chinese philosophy is inseparable from the joy of the universe (Laozi, "all things are born, not born") impact The artists of the spirit of poetry, in the form of poetic quality and appearance of the eternal pursuit。 Indeed, Chinese painting of this concept is exactly grasped the essence of Chinese art, poetry grasp of the Chinese art of the quality characteristics, it has withstood the test of time wind and rain, and have been affected so far。 Song Dynasty philosopher Cheng Yichuan, said: "No-I Jammu, and has a Zhaoran Vientiane。" Zhaoran Vientiane to desert no-I-based, so that it is in a virtual, it is false in health, air, the aftermath, not absolutely Niaoniao , "The paintings are not as Miaojing" (Qing Dynasty literary critics chongguang-da (1623-1692) the phrase), this is the Chinese paintings in the United States and the mood in the pursuit of the spirit of the non-Yan Zhuan。

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作者: 顾绍骅    时间: 2011-9-15 14:06
3、 传说、典故、神话
3, legend, story, myth
1 考画院的传说
An examination of the Painting Studio legend
中国画十分讲究“藏”与“露”的关系，特别讲究如何“藏”的韵味。宋代的皇帝赵佶（徽宗）虽不善治国以至“靖康之耻”，他却能书善画，诗词功夫也非同一般；他自创“瘦金体”的书法和形象细腻的画鸟画流传至今，堪称一代大师。据说宋代的考宫廷画师时出了这样的几道题：“踏花归去马蹄香”、“深山藏古寺”、“万绿丛中一点红”。
平庸的画师们将“踏花归去马蹄香”的画面表现为：一匹飞驰的骏马，跑过花园……；将“深山藏古寺” 的画面表现为：残锈班驳的佛堂被高耸云天、粗壮的古榕树所“半遮半现” ……将“万绿丛中一点红” 的画面表现为：一片绿茵茵的杂树林里，一枝紫红色的美人蕉在一枝独绣地绽放……。
Chinese painting is very particular about the "possession" and "disclosure" of relations, especially stress how "possession" of flavor. The Song Dynasty Emperor Zhao Ji (Huizong) have in the country and the poor "Jingkang the shame," he able to book good painting, poetry is extraordinary effort he created "the skinny body," the image of delicate calligraphy and painting bird painting Spread so far, be called generation master. It is said that during the Song Dynasty test Gongtinghuashi a few, such that: "Flower Guiqu horseshoe-riding", "Tibetan mountain temple" and "point-green leaves."
Mediocre portrait masters will "spend Guiqu horseshoe-riding" for the screen performance: a speeding of the Horse, running across Garden…. . . "Temple of the mountains" for the screen performance: residual rust Banbo the hall was high Yun Tian, Stout by the ancient banyan tree "is a half-shelter"…… "little green leaves red" for the screen performance: a Lvyin Yin miscellaneous woods, the Canna in a purple embroidered in a single bloom…….
应考画师夏珪将“踏花归去马蹄香”画为：初雨天晴，林间小道上，由远及近、稀稀地零落一行马蹄印；在最近的马蹄印上有三只蜜蜂，两只在蹄印上盘旋准备采蜜，而另一只沿着“香路”一直向前飞去……；在“深山藏古寺”中，他将画面画成：在飞岩绝壁、蜿蜒的石矶小道上两名步履蹒跚的老和尚，正吃力地抬着一桶水向山上走去，一旁是云雾缭绕的林海……；而在“万绿丛中一点红”的画面是：在一望无垠的绿色丛林与稻田间，一位紫衣少女双手分别拎着给亲人送午餐的饭篮与陶瓦罐；那迎面拂面而来的山风，吹动着紫衣显现少女婀娜的身影，吹开少女的乌发露出美丽的脸庞——蛾眉凤眼、粉腮朱唇，透出春的气息……。夏珪终因很好地处理了“藏”与“露”的关系而考上了画师。即：“踏花归去马蹄香”、“深山藏古寺”分别隐藏了 “马”与“古寺”；第一：用“马蹄印”来表现马，用蜜蜂来反映画面的主题——香；第二：用了“两名步履蹒跚的老和尚”来表现这个藏着的“古寺”，达到了“含而不露、回味无穷”之目的。而在“万绿丛中一点红”中通过“绿色丛林”与“紫衣少女”刻画，露出了大自然和人间两种“春意”。
Kim will sit for the portrait master summer "spent Guiqu horseshoe-riding" for the painting: the early rainy weather was fine, Lin Jianxiao Road, from near and far, Xi Xi and scattered Mati Yin and his party in recent Mati Yin bees have three, two in Tiyin circled on the preparations for Caimi, and another along the "road-" has been exiting…. . . forward in the "mountains of temple," he will be painted screen: the flying rock cliffs, winding the breakwater Two small over the faltering of the old monk, is struggling to carrying a bucket of water going to the mountains, the clouds wind around the side of the Linhai…. . . In the "green leaves that red" is the screen: an oasis in a Green rice fields and jungles, a hands Ziyi girls were carrying their loved ones to send the rice basket lunch and Tao Waguan; Fumian from the face of the Shanfeng, a Ziyi Chuidong the shadow show girls Ena, blowing open the girls UFA reveal the beautiful face - Emeifengyan, Fensaizhuchun, disclosed the spring atmosphere……. Summer-kyu due to end well with the "possession" and "open" and admitted to the relationship between a portrait master. Namely: "Flower Guiqu horseshoe-riding", "possession of the Temple of the mountains" were hiding "Ma" and "temple" First: "Mati Yin" to performance of a horse, using bees to reflect the theme of the screen -- Hong Kong; Second: the "two old monk's faltering" to the performance of this hidden "temple", to "contain not reveal, implication Wonderland" purposes. In the "green leaves little red" adopted "green jungle" and "Ziyi girls" portrait of human nature and exposed the two, "Chun Yi."
2 人们喜爱的“吉祥画”
2 people's favorite "lucky draw"
如：《三羊开泰》、《福寿图》、《前程万里》、《大吉大利》、《上山虎》等。
⑴《三羊开泰》：癸未年已至，又是一个羊年。羊通“祥”，又与“阳”谐音，故羊儿历来被人们视为吉祥的象征。三只羊在—起寓意“三阳开泰”，取冬去春来，阴消阳长之意。故每逢羊年，画家中以此为题材作画者甚多。
⑵《福寿图》：画面上都是吉祥的象征——长寿的绶带鸟（绶：与寿谐音，即：长寿的意思。）、寿桃、仙果（佛手）等。
⑶《前程万里》：古钱、拂尘、万年青、李子（一种水果），摆在“乳臭未干”的孩子身边；以示“前程万里”。（钱：“前” 的谐音字、尘“程” 的谐音字、李“里” 的谐音字。）
⑷《大吉大利》：画面是雄赳赳、气昂昂的大雄鸡带着“家人”——妻子和一群蹒跚学步的孩子，在结满硕果的荔枝树下……。鸡：“吉”的谐音字；荔：“利” 的谐音字。鸡与荔枝，合起来就是“吉利”的意思。
（5）《上山虎》：上山虎寓意做任何都是“上升、吉利、威猛”等；故，做官、做生意（特别是做股票）的都要“讨个吉利”，因此，“上山虎”（如：本文介绍的《雪谷传啸声》）就是中国百姓所喜爱的。
Such as: "Sanyangkaitai", "Fushoushan map", "Mileage Plus", "Taijidali。"
⑴ "Sanyangkaitai": Guiwei, have to, but also a Year of the Goat。 Sheep-"Xiang", and "yang" homonym, the Yanger has always been regarded as auspicious symbol。 Three sheep - implication from the "San-Yang Kai Tai", from winter to Spring, Yin Xiao Yang of meaning。 Therefore, during the Year of the Goat, as a painter in the painting are many topics。
⑵ "Fushoushan map": on the screen are a symbol of good fortune - longevity Shoudai birds (Shou: TING homonym, namely: the meaning of longevity), Shou Tao, fruit cents (bergamot)。
⑶ "Mileage Plus": Guqian, Fu Chen, Wan Nianqing, plums (a fruit), placed in the "Ruxiuweigan" children who, to show "Mileage Plus。" (Money: "before" the homonym characters, dust, "Cheng" homonym characters, Lee "," homonym。)
⑷ "Dajitaili": the screen is Xiong Jiujiu, gas Angang of the rooster with a "family" - his wife and a group of children stumble toddlers, the full fruits of the end of litchi trees……。 Chicken: "Kat" homonym of the word; Lai: "benefits" of homophonic word。 Chicken and lychee, together is the "auspicious" means.
(5) "uphill Tiger": the mountains are any implication tiger "up, Geely, awe-inspiring ferocity" Therefore, government officials, business (especially the stock market is doing) to "seek auspicious", and "uphill tiger "(Such as: This article introduces the" Yukigaya Chuan Xiao Sheng ") is the favorite of Chinese people.

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作者: 顾绍骅    时间: 2011-9-15 14:08
3 典故
⑴刘奎龄的《忠孝节义》
以典故入画的代表性——《忠孝节义》中，刘奎龄仍旧采取自己最熟悉的动物题材来表现中华民族的四种传统美德-犬在我们的传统中—一向是“忠”的代表；而羊与“孝”也有着紧密的联系，《增广贤文》中有“羊有跪乳之恩，鸦有反哺之义”的句子，羊是吉祥的动物，吃奶时又都是跪着，因此被古人视为感恩、孝顺的象征；牛吃苦耐劳，在古人心目中地位很高，至今很多地方仍流传着各种“义牛传”的故事，因而用牛来作“义”的代名词也很贴切；至于刘奎龄用马来表现“节”则源于鸦片战争中的一个故事。1841年1月，英军攻占了虎门海口的沙角炮台，守将陈连升牺牲，他的战马被英军掳至香港。这匹马性情刚烈，英人喂之不食，骑之则摔，近之则踢，惟独华人手捧食料喂它，它才肯吃，只要一提到陈连升的名字它就流泪不止。有人说要把它送回虎门，它便摇尾相随，但它最终还是未能回去。后来它日夜在高岗上不吃不眠，望北而嘶，最终饿死在香港，被誉为“节马”。当时很多人都作了“节马诗”、“节马图”来纪念它。（刘奎龄(1885—1967)，现代画家。字耀辰，天津人。曾任中国美术家协会天津分会副主席。他善画动物、花鸟，尤以狮虎见长，此外也能作山水人物。《忠孝节义》四屏条的名字很容易让人认为是人物画。）
3 story
⑴ kuiling-liu of the "One-Day"
Allusions to the picturesque representation - "One-Day", LIU Kui TSE still take their animals are most familiar with the performance of the Chinese nation subject to the four traditional virtues - dogs in our tradition - has always been a "loyalty" of representatives; Sheep and "filial piety" and have close links, "Zengguangxianwen" in the "milk of the sheep have to kneel TU, A is nurturing the meaning of" sentence, the sheep is auspicious animals, when Chinai are Guizhao , Was the ancients regarded as Thanksgiving, the symbol of filial piety; cattle Chikunailao, high status in the eyes of the ancients, has many places are still spread all kinds of "cattle-justice," the story, thus cattle to "justice" a synonym for Is also appropriate; kuiling-liu As for the performance of Malays by "Day" is derived from the Opium War in a story。 January 1841, British troops captured Fort Humen Haikou, the Sha Kok, Shouqiang liansheng-chen the expense of his war horses were forced to the British garrison in Hong Kong。 This horse temperament Ganglie, Yingren not feed the food, while riding a lost past of the kick, only Chinese hands食料Weita, it Caiken eat, as long as the one mentioned liansheng-chen's name more than it tears 。 Some say it should be sent back to the Humen, it will be accompanied Yao Wei, but it ultimately failed to go back。 Later in the evening it did not take on Mian Gao Gang, Wang and North Sima, eventually starve to death in Hong Kong, known as "Ma Day。" At that time, many people have made a "Poetry Festival Ma," "Day-map" to commemorate it。 (Kuiling-liu (1885-1967), modern painter。 Characters Yiu-chen, Tianjin Ren。 Served as the Chinese Artists Association, vice chairman of the Tianjin Branch。 His good painting animals, birds and flowers, especially Shihu Kyo, in addition to mountains and rivers can also figures 。 "One Day" to the names of the four screen people think it is very easy to figure painting。)
⑵《八骏图》与陈英泉
以画明志的代表性——《八骏图》。1945年暮春，“甲午同庚会”中的著名画家郑午昌、汪亚尘、吴湖帆、杨清磬，戏剧家梅兰芳、周信芳、洪警铃，文学家范烟桥等八人按“周穆王有八骏”的故事，约请当时海上画坛八位画马高手合作《八骏图》，由“甲午同庚会”八位同仁在图上签署，以表心迹。参与创作此图的画家为：熊松泉、赵敬予、戈湘岚、殷梓湘、谢之光、谢碧月、陈英泉、徐韶九。他们各绘一骏，以象征“甲午同庚会”中八位志士。此图由书法家马公愚题签。题跋者尚有书画家王福庵、张大干、冯超然、沈尹默、张谷年、潘勤孟及吴稚晖、李石曾等一大批名流。此图是—幅“图存八骏，志励千秋”的艺术珍品。
这件《八骏图》，曾在1985年《西泠艺报》创刊号上刊载过，这件事遂在当代艺苑引为美谈。然而，郑午昌等八位名士俱已作占，画马高手熊松泉、赵敬予、戈湘岚、殷梓湘、谢之光五位也已相继去世，其中的谢碧月、徐韶九两位现在的情况不明，倘若健在的话，当也均是耄耋老人了。所幸其中的陈英泉先生至今仍活跃在姑苏艺苑。
⑵ "Chun Figure 8" and yingquan-chen
Ming-chi to the representation of paintings - "eight Chun map。" 1945 late spring, "with the 1894 G" in the famous painter wuchang-zheng, yachen-wang, hufang-wu, qingxin-yang, dramatist lanfang-mei, xinfang-zhou, jingling-hong, writer yanqiao-fan, etc。 Eight persons by "eight weeks Mu Wang Chun," the story, invited eight paintings at the time the sea horse painting master cooperation, "Chun Figure 8", "G 1894 with the" eight colleagues on the signing of the plan to show what his intention。 Plans to participate in the creation of this artist as: songquan-xiong, jingyu-zhao, xianglang-ge, zhixiang-yin, zhiguang-xie, biyue-xie, yingquan-chen, shaojiu-xu。 They were each painted Yi-chun, for a symbolic "with the 1894 G" in the eight Chester。 This map by the calligrapher gongyu-ma that sign。 Tiba, there are paintings-fu `an-wang, daqian-zhang, chaoran-feng, yunmo-shen, gunian-zhang, qinmeng-pan and zhihui-wu, shizeng-li, such as a large number of celebrities。 This map is - pieces of "survival 8 Jun, Li Zhi-ages" of art treasures。
This "eight Chun map", in 1985, "Xiling Arts" published on the first issue, the matter then in contemporary Yiyuan Reply to Meitan。 However, wuchang-zheng, and so on for eight Fellows of the Juyi, painting master Ma songquan-xiong, jingyu-zhao, xianglang-ge, zhixiang-yin, zhiguang-xie, five have died one after another, one of biyue-xie, shaojiu-xu two unidentified present situation, if still alive, then when the elderly also are the oldest old。 Fortunately, one of yingquan-chen, is still active in the Gusuyiyuan。

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作者: 顾绍骅    时间: 2011-9-15 14:10
三、 笔墨特点
Third, the characteristics of ink
我国素有“书画同源”之说；不管书与画，所用的工具是相同的。行笔、运笔等技巧相同，中国书法是“以线造字”，而中国画历来是“以线造型”（以线条为主要造型手段）。尽管中国画的革新以色彩为突破口，并出现了大量的以色彩为主的现代作品，但是线条仍然起着重要的作用，传统绘画线条高超的表现技巧以及优秀的文化内涵，已经被继承下来并有所创新。因此，研究中国画线条的历史发展轨迹，使我们对中国画线条的继承与创新有一个更清醒的认识是十分重要的。中国画线条的突出特点是富有表现性，它是至今多数国家绘画艺术中的线条所难以企及的。
China is known as "painting identity," said; regardless of books and paintings, using the tools are the same。 T Bank, Yunbi skills such as the same, Chinese calligraphy is "line-defined" and Chinese painting has always been a "line modeling" (lines as the main means of modeling)。 Despite the innovation of Chinese painting in color as a breakthrough point, and a lot of color mainly to the modern works, but the line still plays an important role in traditional painting lines superb performance skills and excellent cultural connotations, has been inherited and By innovation。 Therefore, the study of Chinese painting lines of historical development trajectory, so that we Chinese painting lines on the inheritance and innovation of a more sober understanding is very important。 Chinese painting lines is a prominent characteristic of the rich performance, it is so far the majority of countries in the art of painting the lines and by the level of difficulty。
善于“牵着线条去散步”的德国现代主义大师克利说：“笔迹最关键的是表现而不是工整。请考虑—下中国人的做法。”中国画线条表现性技法的成熟虽然远远早于西方，但它不是一步到位的，而是经历了漫长的发展。不动的线到飞动的线。人类在原始社会所创造的线条，主要是直线、横线和圆线。由于使用这些线，人们就可以在画面上画出对象的结构，传达出所要传递的信息。此后随着文明的发展，人们又感到直线、横线和圆线比较呆板、僵硬和缺少动感和生命力，于是创造了一些波状的、粗细不匀的、富有张力的线条。我们从周代青铜器《饕餮簋》、汉代画像石《骑术》中可以看出，中国画线条从公元前十世纪开始就有了巨大的发展：从平实的线逐渐变为富有生命力的飞动的线条。这种变化是怎样表现出来的呢?
Be good at "holding line to walk," the German modernist master Klee said: "The handwriting is the most crucial performance rather than Gongzheng。 Please consider - the practice of the Chinese people。" Performance lines of Chinese painting techniques while the maturity far earlier than the West However, it is not a one-step, but through a long development。 Fixed-line to move the line。 In primitive society created by human lines, is a straight line, horizontal line and the Circle Line。 As the use of these lines, people can object on the screen to draw the structure, to convey the message。 With the development of civilization since then, people also feel a straight line, horizontal line and the Circle Line relatively inflexible, rigid and lack of dynamism and vitality, thus creating a number of wavy, uneven thickness, full of tension lines。 We from the Zhou Dynasty bronze "Tantalizing GUI", the Han Dynasty stone portraits of "Riding" can be seen in Chinese painting lines from the 10th century BC, there will be a huge development: from the line-is full of vitality into the gradually-moving Lines。 This change is reflected in how it ?
这要从线条的位置、运动方向、张力等方面来研究。首先，这两件作品中出现了波状线(亦称蛇形线)。这种线条的位置与方向不像直线那样固定，它好象是在摆动而且活动的方向不确定，这样在视觉上就给人以动感。其次，这两件作品中的线条不像以往直线那样平直均匀，而是有粗有细，由此可知，作者在运笔时所用的力度和速度是不均匀的。这种力度与速度的不同，就表现出线条在空间与时间上的运动，因而给人以动感；再次，我们从饕餮头部的向相反方向夸张性运动的线条中，从马的四条腿最大限度地向不同方向伸展的姿态中可以看出，作者企图通过线条的巨大张力来表现饕餮、马的奋进，使青铜器、石头上的动物给人视觉上强烈的运动感。正是通过这种运动感，才使作品表现出极强的生命活力。从轮廓线到表现结构、空间、亮度的条。有些人常用“单线平涂”来概括中国画的特点，这是不确切的。单线平涂是人类早期绘画的共同特点。自汉末后，中国画的特点就难以用单线平涂来说明了。轮廓线尉旨所画物象的周边线。它面对的是所画物象与它所处空间的关系，因此它只是把某一物象从大的背景中分离出来，而无法显现这一物象的内部结构和光分布。自从中国画家创造了独特的皴法、描法以及擦染之后，对物象内部结构与光分布的处理，就不是借助透视法、明暗法，而是以本民族独特的表现形式描绘出来。从五代时董源的《潇湘图》中，我们可以看到中国画线条的发展变化：
五代时董源的《潇湘图》（934～960)

(934 to 960) during the painter yuan-dong "Xiaoxiang" Chinese Painting
This line from the location, direction of movement, tension, and other areas to study。 First of all, these two works in a wavy line (also known as snake-like line)。 The location of such lines and not a straight line as fixed direction, it seems to be swinging in the direction of uncertainty and activities, so that people with visual on the dynamic。 Secondly, the two entries in the past, not straight lines as straight uniform, but there are a small rough, So, the author Yunbi used by the intensity and speed is uneven。 Such intensity and speed of different lines on the show in space and time on the campaign, which gives a dynamic; again, we Tantalizing head in the opposite direction of exaggerated movement of lines, from the largest four-legged horse Limits to the extension of the different directions can be seen in the gesture, the author attempting to use the enormous tension lines to performance Tantalizing, Ma rousing, bronze, stone on the animal gives a strong visual sense of movement。 It is through this sense of movement, so that it works shown strong vitality。 From the contour of the performance, space, the brightness of。 Some people used "single-Ping Tu," to summarize the characteristics of Chinese painting, this is incorrect。 Single-Ping Tu is a common human characteristic of the early paintings。 Since the Late Han Dynasty, the characteristics of Chinese paintings will be difficult to use a single, clear-coated。 Contour Wei purpose by painting images of the surrounding line。 It is the face of the painting and its images in which the relationship between space, it is only a background of images from the separated, and can not show the images of the internal structure and light distribution。 Since the Chinese artists to create a unique Cunfa, depiction and rub into law, the internal structure and optical images of the treatment, not with perspective, shading, but to this nation unique form of expression painted out。 From the Five Dynasties period, Dong Yuan "Xiaoxiang map", we can see the development of Chinese painting lines changes:
此画用轮廓线界定了山的空间位置和整体走势后，对山体内的各个组成部分，均以长披麻皴线条加点来表现。众多披麻皴线条与点的有序排列，一方面刻画出山岭在一定光线照耀下的皴纹，另一方面表现出山体内各个部分的有机组合，从而有效地描绘了山体的结构。这些表现结构的皴线、点与轮廓线融合后，山的雄姿秀态就尽眼底了。
This painting used to define the contours of the space-location and the overall trend, Duishan the various components of the body, are in long lines Phi Ma Cun points to increase performance。 Phi Ma Cun many points of the lines and orderly, on the one hand sculpts the mountain in a certain light shining under the Cun Wen, on the other hand Chushan performance in various parts of the organic combination, effectively depicts the structure of the mountain。 Cun performance of these lines, points and contour integration, Hill Xiongzi show on the state to the eyes。
此画没有用透视法照样画出物象的空间和距离，是由于画家灵活运用了皴线和点。画面的远景部分，画家用的是较短、较小、较淡的皴线与点；近景部分，则用较长、较浓的皴点；山体背阴的部分，用较浓的短线与点；各个山头用重迭法画出，画家用这些方法表现出山体的纵深感。有人认为这种方法没有透视法科学准确。当然，按透视法画出的物象显很逼真。但是，格式塔心理学家指出：透视法的准确是建立在透视缩短与透视变形基础上的，它仅仅是在二维空间表现三维幻觉，是对眼睛的“欺骗”。因此，我们不必用透视法来苛求用皴、点与重迭法来表现物象空间距离——“深度”的中国画。
This painting does not use the same perspective to draw images of space and distance, is due to the painter flexibility in the use of the Cun lines and points。 Screen the vision of the artist using a shorter, smaller, lighter and Cun-point close-range part, with longer, the Jiaonong Cun; Beiyin part of the mountain, with the short-term and Jiaonong points; Overlap with the various sects of paint, the artists use these methods Chushan performance of the Zongshen Gan。 Some people think that this method does not accurately scientific perspective。 Of course, the perspective of the images painted in very realistic。 However, the Gestalt psychologists pointed out: Perspective is built on the exact perspective and the perspective reduced on the basis of the deformation, it is only two-dimensional space in the performance of three-dimensional illusion, the eyes of "deception。" Therefore, we do not have to use perspective to expect with Cun, the points of overlap and show images from space - the "depth" of Chinese painting。
此画没有用明暗法也画出了物象的光分布。这是因为画家利用皴线有疏有密的排列与部分留自来描绘山体的明部与暗部。显然，这幅画似乎没有固定光源和合乎比例的明暗层次(亮度梯度)，但这样的作品并不像有人说的只强调线条韵律不要光，而是采用垂直光分布、正面光(正面留白)来表现光亮，背面、侧面用密集的短皴与点来表现。这种特殊的正面光与明暗分布法，源于道家哲学“万物负阴而抱阳”的观点。董源之后，画家们又把皴与擦融为一体， 进一步表现了物象的明暗层次，色彩的渲染对用皴擦表现光分布也起了辅助作用。这样在表现光的过程中，各种线条一直起着主导作用。董源作品中的线条组合，不仅表现了物象的光分布，而且表现了空气的湿度——南方群山的华滋湿润、苍茫葱郁。这是在西洋画中难以见到的。
This painting is of no use to draw the shades of images of light distribution。 This is because the artists use Cun lines are infrequent and are of the order to remain part of the mountain of unsolicited depict the dark and the Department of the Ministry。 It is clear that the painting did not seem to be a fixed proportion of light and shades (brightness gradient), but this does not work like some people say that the rhythm of lines that will not only light, but use of the vertical distribution of light, a positive light (positive blank ) To performance Bright, back, side with the short-Cun and point performance。 This special positive light and dark distribution method, derived from Taoist philosophy of "all things which have negative yin-yang" point of view。 Dong Yuan, painters and wipe again Cun integration, further demonstrated the shades images, the color rendering of using performance-Cun wiping distribution also played a supporting role。 This performance in light of the process, the various lines has played a leading role。 Dong Yuan works in the combination of lines, not only the distribution of images of light, but also the humidity of the air - the southern mountains, mayonnaise and humid, lush Cangmang。 This is in Western painting it is difficult to see。
从”存形”的线条到抒情的线条。在唐代以前，中国画以反映社会生活，描绘明君、忠臣、烈士、贞女等人物为主。在留下历史人物真容方面，绘画优于其它著作，所以陆机说：“存形莫善于画。”习附的绘画线条功能主要在服务于“存形”，即真实描绘客观对象。
From the "shape of" the lyric lines to the lines。 Before the Tang Dynasty, Chinese painting to reflect the social life, depicting Mingjun, loyal, martyrs, Zhennv such as the main characters。 The capacity to stay true historical figures, the painting is superior to other works, Lu Ji said: "The shape of good at-painting。" Habit of painting lines in service at the main function "of shape," painted an objective that is the real target。

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作者: 顾绍骅    时间: 2011-9-15 14:14
自从宋（960—1279年）、元（1271年—1368年）以后，中国画由以人物为主，逐步转为以山水、花鸟为主，由反映社会生活、描绘历史与现实人物为主，转向以描绘自然景物来折射社会生活，抒发画家感情为主。为了服从这一目的，画家们对线条作了大胆的革新，创造了具有独立审美价值的抒情线条。这种抒情线条与写实性线条的主要差别在以下两个方面。第一、抒情线条特别重视线条的自身张力。所谓张力，简而言之，就是一种相反相成的力。线条张力可分组合张力与自身张力两种。顾恺之仅用横线条与倾斜卷曲的线条组合，就刻画出了人物的形貌与动态。然而他用的这种线条均匀细长，自身并无明显张力。
Since the Song Dynasty (960-1279), Yuan Dynasty (1271 -1368), the Chinese paintings from the main characters, and gradually into the landscape, birds and flowers mainly from the social life, depicting historical figures and reality-based, to To Refractive to depict nature of social life, to express feelings of the main artists。 To submit to this end, the painter who made the bold lines of innovation, creation of the independent aesthetic value of the lyric lines。 This lyrical lines and realism of the main differences between lines in the following two aspects。 First, the lyrical lines attached particular importance to the self-tension lines。 The so-called tension, in a nutshell, is a contrast Xiang-cheng of the force。 Tension combination of tension lines can be divided into two with its own tension。 Gu Kaizhi only horizontal lines and tilt curly lines portfolio, depicts a figure on the morphology and dynamics。 However, he used the uniform of this slender lines, there was no apparent tension itself。
梁楷的《六祖斫竹图》、倪云林的《紫芝山房图》、 华岩的《金谷园图》等，就与顾恺之的线条不同了，其线条借鉴了书法线条的特点，自身具有明显的张力。画家在画线条时，不仅像书法家那“欲左先右”、“欲上先下”，而且要使线条有虚有实、有曲有直、有浓有淡、有轻有重、有粗有细、有断有续、有行有留等等。把以前平直、均匀、细韧的线条变得曲折顿挫、千姿百态，极富情致。画家复杂多变的情感，借助这种多姿多变的线条得到了充分的宣泄。这正是中国画线条发展到高级阶段所呈现的奥秘与难以企及之处，它是几十个画家共同创造的成果。
kai-liang's "Liu Zuzhuo bamboo map", yunlin-ni "Zizhi Shan Fang Shi map", yan-hua "Jingu park map", with kaizhi-gu different lines, the lines drawn calligraphy lines The characteristics of their own obvious tension。 Painter painting in the lines, not only calligraphers like that "to the left to right," "For the first", but if there is virtual lines are, a song straight, thick with short, light a weight, Rough is fine, there have continued off and will stay there, and so on。 Of the previous straight, uniform, fine lines become tough Duncuo twists and turns, Qianzibaitai, very Qingzhi。 Painter complex and changeable emotions, by changing the lines of this scene was fully venting。 This is precisely the development of Chinese painting lines presented by the advanced stage of the mystery and difficult to reach in, it is dozens of artists work together to create results。
第二、抒情线条并不是自然状态的线条，而是有笔法的线条。中国画笔法主要是指用笔方法。它是中国画的另一个重要奥秘。中国画笔法，除了大家熟知的不同于西洋画的执笔法之外，最值得重视的是运笔法，而且不同类型的线条有不同的运笔法。运笔法也就是笔锋接触纸面时怎样运行的方法，它有多种形式，大体上可分为空间运动形式与时间运动形式。不同的轮廓线，不同的皴法、描法，其线条的空间与时间运动形式是不相同的。空间运动形式有几十种，主要是提按、旋转(绞转)、平动、摆动、从容流行等。时间运动形式也有多种，主要是疾迟(包括快速、中速、慢速)、行留、节奏、涩行与跳动等。中国画家自从掌握了这种笔法后，不仅能“牵着线条去散步”，而且能凭借它翱翔于艺术的王国，刻画各种物象，抒发复杂情感，表现不同个性。这种笔法正被现代画家继承、发展，具有很强的生命力。
Second, the lyric line is not the natural state lines, but a technique of the lines。 China brushes law mainly refers to a pen method。 It is another important Chinese paintings mystery。 China brushes, in addition to the familiar Western painting is different from the written law, the most worthy of attention is Yunbi law, but also different types of lines have different Yunbi law。 Yunbi law is Bifeng contact paper, how to run the method, it takes many forms, in general, can be divided into space and time form of sports movement forms。 The outline of different lines, different Cunfa, the depiction of its lines of space and time form of movement is not the same。 Space the form of dozens of sports, mainly to the rotation (able to), translation, swing, pop, and so calmly。 Time has a variety of movement forms, mainly late disease (including fast, medium speed, slow), to stay the pace, such as Shibuya Bank and the beating。 Chinese artists since the master the technique, not only can "lead line to walk," but also by virtue of its flying in the Kingdom of Art, depicts the various images, to express complex emotions and performance of different personality。 This technique is being modern painter inheritance, development, and has strong vitality。
现代中国画中的线条。中国画线条经过宋、元、明、清众多画家的创造，达到新的高度。然而艺无止境，随着时代的前进，人们审美能力的提高，中国画线条仍在发展。最近几十年，特别是最近十几年，不少现代中国画家在继承前人技法的基础上，创造了许多前无古人的新线条。
Modern Chinese Painting in the lines。 Chinese painting lines in the Song, Yuan, Ming and Qing dynasties, such as after a large number of artists to create, to reach a new height。 However arts indefinitely, with the progress of the times, people's ability to improve the aesthetic, Chinese painting lines are still developing。 In recent decades, especially in the last 10 years, many modern Chinese painters in succession on the basis of previous techniques, has created many unprecedented new lines。
例如，李可染创造了深邃含蓄的“金错刀式”的线条；朱屺瞻创造厂老辣雄健的“铁干银钩式”的线条；刘文西创造了长于描绘北方人物古朴刚劲的线条；黄永玉创造了曲折多姿的“不连贯”线条；吴冠中创造了极富韵律美的与点分离的长线条；黄胄创造了具有力度美的近似面的宽线条；周韶华创造了线与面、线与色混融一体的具有面的效果的线条；富中奇创造了具有装饰美的表现乡土情结的线条；邱笑秋、宋雨桂等创造了以色彩笔触与水墨线条相融合的新线条等等。这些线条的创造，丰富了中国画的表现力与抒情功能。关注绘画艺术本体中点、线、面、笔墨等抽象的艺术形式；关注绘画空间上的模糊性所引发的观众的想象与再创造。因而，中国传统绘画艺术具有象征、写意、表现的基本特征。以想象真实代替视觉真实是它有别于西方古典写实性艺术的特征，也是中国画诗意化的体现方式。在观察与表现手法上，中国画“外师造化，中得心源”(张躁语)。并不是完全照抄模仿自然的客观物象，而是加入了创造者很强的主观色彩，即在造化自然的基础上，有所思想，有所寄意。 当前，中国画家正在越来越多地使用墨彩与色彩，全色彩“没骨画”得到了长足的发展。但是，线条并没有被削弱，更不会消失，而是在不断创新中形成新的形态、获得新的生命力，显现出更有时代特点的东方绘画韵味。
For example, keran-li created a profound implication of "the wrong knife-style" lines; qizhan-zhu plant Laola Xiongjian create the "Iron stem Yingou" lines; wenxi-liu longer than that depicted the North created a figure of the ancient lines Gangjin ; Yongyu-huang created a variety of twists and turns "not coherent" lines; guanzhong-wu created a very rhythm of the separation points and the long lines; zhou-huang has created the intensity of the United States has the approximate width of the lines; shaohua - zhou created a line and face, one Hunrong color and line with the results of the line; rich in creating a singular performance of the United States decorated with native complex lines; xiaoqiu-qiu, yugui-song, and so create a color strokes and Ink lines of the integration of new lines, and so on。 The creation of these lines, enriching the performance of Chinese painting and lyric function。 Concerned about the midpoint of body painting art, line, flour, ink, and other abstract art form; drawing attention on the fuzzy space triggered by the audience's imagination and the re-creation。 As a result, traditional Chinese painting art symbolic, Freehand, the performance of the basic characteristics。 To replace the vision to imagine the real truth is it different from Western classical realism of the characteristics of art, Chinese painting is the embodiment of poetic way。 In the observation and performance practices, the Chinese painting "division of good fortune, in the heart of the source" (zao-zhang language)。 Mechanically imitate nature is not entirely the objective images, but joined the creators of the highly subjective, that is natural on the basis of good fortune, some thought, to send Italy。 At present, the Chinese artists are more and more use of color ink and color, full-color "no bone painting" has been developed by leaps and bounds。 However, the lines have not been weakened, will not disappear, but in the constant innovation in a new shape, with new vitality, showing more characteristics of the times Oriental painting flavor。

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作者: 顾绍骅    时间: 2011-9-15 14:17
四、 中国画色彩的魅力
Fourth, the charm of Chinese painting color
我国古代绘画从来就重视色彩的运用，历代画论对色彩的研究达到很高的水平，古代画家很早就总结了季节、气候不同所引起的物象色彩的变化，并谈到冷热色彩的运用。
Ancient Chinese painting has never been to the use of color, history painting of the color of the study achieved a high level of the ancient artists have long summed up the season, different climate caused by changes in color images, and hot and cold on the use of color 。
[唐]王维在《山水论》中论道：“有雨不分天地，不辨东西，……雨霁则云收天碧，薄雾菲微，山添翠润，日近斜晖。早景则千山欲睡，雾霭微微，朦胧残月，气色昏迷。晚景则山衔红日，帆卷江渚，……春景则雾锁烟笼，长烟引素，水如蓝染，山色渐青。夏景则古木蔽天，绿水无波。……秋景则天如水色，簇簇幽林，……冬景则借地为雪，樵者负薪，渔舟倚岸，水浅沙平。”说明这时我国山水画家对气候、朝夕、季节色彩的变化有了更细致深入的分析，并运用到绘画创作中去。
[Ancient Tang dynasty] wei-wang (701-761) in "Landscape" said: (Chinese painting paintings), "regardless of world weather, things did not identify,…… Yu Ting-yun is up to the sky blue, the fog is Thin, Cui Tian Shan of China and Japan in recent ramp-hui。 Qianshan as early as the King Yushui, little fog, clouds obscured the moon is about to dawn, his luster has been dark。 Wanjing is the title of Red Hill, Vol Fan Jiang Houzhu,… … Chunjing lock Yanlong, fog, smoke Reply-long, with water as blue, green Shanse gradually。 Xia Jing, Gumubitian, no-green water。…… Qiujing, such as water color days, Cucuyoulin,…… Dongjing, Jiedi for snow, Qiao who paid negative, Yuzhou rely upon the shore, shallow sand-ping。 "Landscapes of China's family at this time that the climate, overnight, seasonal changes in color have a more in-depth and meticulous analysis and creative use of painting He said。
[宋]郭熙在《林泉高致》中指出：“水色：春绿，夏碧，秋青、冬黑。天色：春晃，夏碧，秋净，冬黯。”郭熙是中国古代大画家，又是杰出的绘画理论家，他概括地总结了水色和天色的季节变化。 [清]唐岱在《绘事发微》中说道：“山有四时之色，风雨晦明，变更不一，非着色以像其貌。所谓春山艳冶而如笑，夏山苍翠而如滴，秋山明净而如淡，冬山惨淡而如睡，此四时之气也。” [清]沈宗骞在《芥舟学画编》中也生动而具体地介绍四季风景的色彩画法：“春景欲其明媚，凡草坡树梢，须极鲜研，而他处尤黯淡欲以显之。故作春景，不可多施嫩绿之色。-……夏景欲其葱翠，山顶石颠，须绿面加青，青面加草绿。…秋景欲其明净，疏林衰草，白雾苍葭，……冬景欲其黯淡，一切景物，惟松柏竹及老树者，可用老绿，余惟淡赭和黑而已。”形象地描述四季色彩的特点，说明中国画也必须用色彩表现季节和气候的变化。
[Song] Guo Xi "Linquan to high" (Chinese painting paintings) pointed out: "Color: Spring Green, Xia Bi, Autumn Green, black winter。 The weather: Haruaki, Xia Bi, a net fall and winter An。 "Guo Xi is the ancient Chinese painters, painting is an outstanding theorist, he summed up the general water color of the weather and seasonal changes。 [-] Tangdai in the "micro-painted the incident," said: "The mountains are 4 color, wind and rain Huiming, change varies as to its non-colored old。 Yanye the so-called spring-like and laugh, but as summer-green drops, Akiyama and reduces noise reduction resulting such as desalination, Dongshan and gloomy as sleeping, and 4 of this gas also。 "[Qing] Zong Qian in" mustard of the boat for painting "vivid and concrete also introduced the four seasons of color landscape painting:" For Chunjing Its beautiful, all grassland Shushao to be a fresh inquiry, and he was at a particularly bleak Yuyi。 Guzuochunjing, not more Shi Nenlv of color。 -…… Xiajing to its Congcui, the Peak-Britain, to be Green-and blue, green face and Caolv。… Qiujing to its reduces noise reduction resulting in Woodland Shuaicao, Bai Wu Chang Jia,…… Dongjing to its bleak, all the features, but pine and cypress trees and bamboo, use the old Green, Ms However, desalination Zhe and black only。 "Color image to describe the characteristics of the four seasons, shows that the Chinese must also be painted with color performance of the season and climate change。
沈宗骞还谈到人体的色彩画法：“人之颜色，由少及老随时而易，婴孩之时，肌嫩理细，色彩晶莹，当略现粉光，少施墨晕，要如花朵初放之色。盛年之际，气足血旺，骨骼隆起，当墨主内拓，色由外提，要有光华发越之象。若中年以后，气就衰而欲敛。色虽润而带苍，棱角折痕，俱属全显，当以墨植骨，色以融神，要使肥泽者浑厚而不磨棱，瘦削者清峻而不晓刻。若在老年，则皮绉血衰，折痕深嵌，气日衰而渐近苍茫，色纵腴而少憔悴，甚或垢若冻梨，或绉如枯木，当全向墨求，以合其形。屡用色渍，以呈其色。要极其斑剥而不类于尘滓，极其巉岩而自得其融和。凡此尚特言其大概耳。至于灵变之处，非可概视，如人皆以凸处色宜淡，而不知头面之上其突出处动冲风日，则其色必深。其洼处风日少到，则其色必浅。……又人皆以妇人及少年之色宜嫩白嫩红，而不知少年及妇人亦有极苍色者。中年往及老年之人亦有极嫩色者，然少而色苍，究是少年之神色，而不与老年类，老而色嫩，究是老年之气色，而不与少年同。“对人体肤色因性别、年龄、健康情况而有不同的特点说得细致深入。尤其能辩证地分析遍规律和特殊现象的联系，真是一篇精辟的色彩学的论述，值得我们去欣赏与学习。
Zong Qian also talked about the human body color painting: "People of color, from the old and less susceptible at any time, the baby, muscular young justifications small, color crystal, when the powder-like now, less Shih Mexico halo, such as flowers early Release of color。 Prime time, the blood-foot-wang, bone uplift, when the ink in the main extension, from the color of mention that the Vietnamese have our signs。 If the middle-aged, the gas on the decline in order Convergence。 Although the color Run-and with Cang, angular creases, are both full-significant, when bone graft to ink and color to melting of God, to make fertilizer-taek, who not let the grinding edge, thin-Jun, rather than deliberately。 If in old age, the skin Crepe bad blood, embedded deep creases, gas, bad and asymptotic Cangmang, color vertical Low and less haggard, or even if the scale freeze pears, such as crepe or dead wood, and when all seeking to Mexico, with its shape。 Repeated use colored stains , Was its color。 Banbo not be very kind to dust Zi, extremely Chan Yan and get its own integration。 All this is still special statement about their ears。 As for the change of Hope, a non-Almost as if people are to Convex color to the light, and I do not know Toumian on its outstanding on the fixed-wind, its color will be deep。 Their depression, the less wind to, its color will be shallow。…… And people are women and juveniles The color should welcome the Nenhong, and I do not know juveniles and women who are extremely Cang color。 Middle-aged and older persons to have a very soft colors, but less and color Cang, the study of juvenile looks, but not with the elderly Categories, old and soft colors。 This is the gas-aged, not the same with Junior。 "Colour on the human body because of gender, age, health conditions and have different characteristics put it in depth and meticulous。 In particular, to the dialectical analysis of the law and special phenomenon all over the link, is a brilliant exposition of color, it is worth us to appreciate and learning。
所谓生动就是十分的节奏，物象变化运动的节奏，现代社会已进入数码时代，韵律是高速运动的，画家的思想无法逃避现实，要把对当今的思想感情融进画中借助绘画浯言表达自己的情感-所以写意即写今时代之意，写现实生活之感；之所以称；为色彩写意，也正是当今绚丽斑斓的多彩世界需要感官刺激，绘画已走入国际化，是在继承传统基础上跟上时代潮流。正如石涛说的“笔墨当随时代”色彩的层次具有精致的特征，能在心灵甲唤起；‘辞不能表达的微妙感情，然而表像的第一层刺激并不会因人们只追求本质而消亡。
The so-called is a very lively rhythm, the rhythm of images in sports, modern society has entered the digital era, the rhythm is the high-speed movement, the painter can not be thinking of escapism, to the thoughts and feelings of today's assimilation into a painting by painting Wu statement to express their Feelings - so that the freehand brushwork write this era of Italy, wrote a sense of real life; has said; color for the freehand brushwork and gorgeous Banlan today is the need for sensory stimulation and colorful world, has entered the international painting, in carrying forward the tradition On the basis of catch up with the trend of the times。 As Shi Tao said: "When the ink with the times" with the level of exquisite color characteristics, can arouse a soul; 'speech can not express the feelings of delicate, but the table as the first layer to stimulate people and not only because of the nature and the pursuit of extinction 。
色对人的感官刺激仍时时存在，唤醒人们不要完个忽视它，并与此产生了墨对色彩世界的表现足与不足的论：光色事实的空间中的确有无法为水墨所完全复合进的自然客体；“日照香炉生紫烟”的紫是多幺细腻观察的心得。“朝辞白帝彩云间”的彩云，“千里莺啼绿映红”的富丽，“窗含西岭千秋雪”的明媚，“苍山如海残阳如血”的豪壮、其强烈的色彩视觉刺激也不能不逆反而浮现出光彩照人的影像，流露于艺术家的心底、笔间；那些超凡脱俗的文人，也要思考以色彩补水墨之不足了，尤其是花鸟画中“黄家富贤”（牡丹）、“徐熙野逸”（兰竹）各领风骚：这从文人心理上或许讲是补水豢之不足，但事实上：是平分秋色，色彩本身即具有时空的自然归赋与心知的随意流露，花开花落几乎年年如血；朝朝暮暮天天重演，高原草地则天壮地雄，锦绣江南则山清水秀，时空的自然归什重迭也白成类相，花色、云露、黄土、青草、绿水等等无不如此，这是更为丰富多彩的绘画艺术天地。所以，巧意色彩足顺应时代的发而产牛的，艺术家的任务是如何找到自己的时代语言去表达那份真挚的情感。
Color of the sensory stimulation is always there, awakening people not to ignore it End months, and this produced a color ink on the performance of the world and the lack of adequate theory: Light and Color in the fact that there is indeed a space for the ink can not be totally into the compound The natural objects; "sunshine incense burners produce purple clouds" Purple is 11 more delicate observation of the experience。 "Choi Wan in the morning surrounded by Cibie Baidicheng" Choi Wan, "Trinidad Yingti Green Yinghong" Wealthy "window of the ages of Xiling Snow" beautiful, "green mountains as spectacular as the sea, the evening as the sun Like the bright red blood, "the Haozhuang, the color of their strong visual stimulation can not but come to Guangcaizhaoren Converse and the images revealed in the hearts of artists, among T; Step beyond those of the literati, but also thought-ink color to the lack of , In particular, Flowers and Birds Painting in the story: "Huang Fu-yin" (Peony), "XU Xi Ye Yi" (Lanzhu) a leading position: This is perhaps the literati psychological stresses Water Warning is inadequate, but the fact is: the average distribution Autumn scenery, the color itself is the natural time and space to the heart that give the free show, flowers Whispering almost every year as blood; Chaozhaomumu repeat every day, while the plateau grass-to-day strong, beautiful Gangnam is a beautiful time In the even of natural overlap of the type also BAI Cheng, color, Lu Yun, loess, grass, green water, and so on all of this, it is more colorful painting art world。 Therefore, Qiao Yi comply with the full color and the middle of cattle, the artist's task is how to find their own language to express the times That sincere emotion。

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作者: 顾绍骅    时间: 2011-9-15 14:22
5 中国画的用光
5 Chinese paintings of light
一位大画家曾说过，一位美术家的重要性，是由他引入美术语言中创新符号数量的多寡决定的。中国古典绘画中的光，大都是表现明暗分布的。现代中国画中的光，不仅表现明暗分布，而且成为刻画形象、突出主题、表现画家情感的新艺术语言。现代中国画家的这种创造，对中国画的革新与发展功不可没。对此我们必须给予足够的重视。
A great artist once said, the importance of an artists, he is by the introduction of innovation in the language of art the size of the number of symbols of the decision。 Chinese classical painting in the light, most of the distribution of brightness performance。 Modern Chinese Painting in the light, not only brightness distribution, and a portrait image, prominent theme, emotional performance artists of the new artistic language。 The modern Chinese painters such creation, the innovation of Chinese Painting and development achievements can not be ignored。 We must give them adequate attention。
王履《华山图画》 Wang Li, "Huashan picture。"
明初画家元履以自然为师，所作<华山图》册页四十幅，皆由写生观察得来，光感甚强，故山石明亮坚实，气势雄伟；而冷谦的《白岳图》纯用下：笔焦墨擦出的山石。明暗分明，光感显著，尢其画幅中部树林的顶稍留出光亮部位，与山石白云亮部协调统一,深得自然光影之妙 浙派画家继承南宋水墨苍劲的画法，全以大斧劈及拖泥带水皴勾斫，多近块的造型，放山头每出现明显的光感。试看张平山的《山雨欲来图》上部的山峰， 竟有类似逆光的感觉，更属奇特。吴派画家唐寅十分注重画的明度，如《深山伴侣》中的山石，明部过渡自然、暗部对比强烈、调子准确，显得整幅画面明媚动人，非对光的明度有深入观察不能表现至此。清代力倡革新的石涛，所作山水极有创意，并且“搜尽奇峰打草稿”，努力表现对自然景物的真切感受、其画山石每留出空白面，而在山顶和山脚用浓墨衬托，显得光洁明净，水墨淋漓，画面中山水更得光影微妙之趣。他的《搜尽奇峰图卷》 和《双清阁图卷》中，对树林的光影表现更是奇妙之至、在中国画“用光”史上值得大笔一书的是金陵八家之首的龚贤—其作品墨韵深厚、层次丰富，在乌黑亮泽中迫出强烈的—)亡感。
Early Ming painter yuan to Li for the natural division, made by the <Huashan picture "of the 40-page booklet, in the observation of them paint, very strong sense of light, the bright solid rocks, the magnificent momentum, while the" Baiyue picture "with pure Under: Stroke at a depth of the shades together to make Mose to the rocks。 Shading clear, light feeling significantly, particularly in Central Picture woods just to stay top of the site to light, bright white clouds and rocks Department of harmonization, won the wonders of the natural lighting of Zhejiang painter inherited the ancient "Southern Song Dynasty," during the Cangjin ink paintings Law, and all the big Fupi Tuonidaishui Cun hook Zhuo, and more recent pieces of modeling, every hill-a clear sense of light。 Let us look at Zhang Ping Shan "when it rains in the mountains to the picture" of the upper peaks, the total of similar backlight feeling, even more peculiar。 Miss Tang Yin painter painting a lot of importance on the lightness, such as "deep partnership" in the mountains and rocks, that the transitional nature of the dark contrast of the strong, accurate tone, it is moving whole screen was bright, non-brightness light of the observation can not have an in-depth performance this。 Shi Tao Li Chang Qing Dynasty innovation, the landscape is very creative, and "search all the strange peaks to the outline of a painting," to the nature of the performance of real feelings, every painting rocks remain a blank face, and on the Peak And the foot with Nongmo background, it is bright and clean reduces noise reduction resulting in ink Lin Li, the screen in landscape lighting in the more delicate of Fun。 His "search all the strange peaks plans volumes" and "double-Club plans volumes", the lighting performance of the woods is wonderful all due, in Chinese Painting "used up" worthy of the history of the book is huge, "the Tombs of eight "summit - Gong Xian - his works ink flavor deep, rich levels, in black Liangze in forcing strong -) dead feeling。
对林木及点景物的渲染也常显出光的神秘，对后人颇多启迪；需要指出的是，晚清随西方教会进来的所谓传教土画家，如郎世宁、艾启蒙等，他们基本上是用中国画的工具和题材形式画西洋画，画面全按西洋透视明暗关系刻刨，所作无论花鸟动物或人物风景，都是典型的“素描加勾线”式的画法，因其缺少笔墨气韵和情趣，缺乏中国画的传统气质，故亦与本文试图建立之“用光”系统无涉。综上所述，传统中国绘画中，历代都不乏对光有所观察和表现的画家或作品，尽管这些表现大都是无意识的，而臣程度上与我们现代人对光的观察和理解差别甚大，但也可证明“光”作为绘画上二不可或缺的一种因素，在我国千百年来的绘画实践中确已普遍地存在着，并对我国绘画的发展进步有着不容忽视的作用。
Forest and the point of rendering features often demonstrate the mysterious light, a lot of inspiration for future generations; needs to be pointed out that the late Qing Dynasty with the Western Church entered the so-called missionary territories artists, such as Lang Shining, the Enlightenment, such as Viagra, they basically Chinese painting is the subject of painting tools and Western painting, Western perspective on the whole screen brightness relations carved shaver, animals or birds and flowers made by both figures landscapes, are a typical "hook and line drawings" type of painting, because of their lack of ink Qiyun And interest, the lack of traditional Chinese painting temperament, Guyi with this attempt to create "light" system-free。 In sum, traditional Chinese painting in the past have had no lack of light observation and performance artists or works, although these are mostly unconscious performance, and Robinson extent with our modern light of observation and understanding vary widely, But can also prove that the "light" on the painting as an indispensable factor in China for thousands of years the painting is indeed universal practice exists, and the development and progress of China's paintings have the effect can not be ignored。
中国画以线条为主要造型手段，特别是自宋元以来，文入画家一直“以水墨为上”，把光色放在次要位置，而且光与色又处于分离状态，所以有人误认为：“中国画却是线的韵律。光不要了，影也不要了。”其实，画面上如果没有光，便一片漆黑，那叫什幺画呢?所以宋代的韩拙说：“笔以立其形质，墨以分其阴阳。”清代沈宗骞进一步指出：“画之色，非丹铅青绛之谓，乃在浓淡明晦之间。”“阴阳”、“明晦”中的“阳”、“明”指的就是光，只是中国画家对光色的认识是哲学的、经验的罢了。因此，中国画家没有原生影、派生影、全明暗、全色彩等概念，而是把画面上的光分成正面光、固定光、平面光等。现代中国画家受到现代哲学、现代科学与现代人审美要求的影响，其画面上对于光的处理发生了巨大的变化，在保留部分中国人审美习惯的同时，又大胆突破正面光、固定光、平面光的束缚，创造了新的光色语言。用强光、顶光、开光取代正面光。所谓正面光，就是光线从正面平射到物象上。正面是阳，是受光面；背面是阴，是背光面。正面光的表现源于道家思想。
Chinese paintings to form lines as the main means, especially since the Song and Yuan Dynasties, the text of the painter had been "to ink for" the light color on a secondary position, but also light and color in a state of separation, so some people mistakenly believe that: " Chinese painting is of the rhythm。 Do not light, the shadow will not。 "In fact, if there is no light on the painting, then a dark, be called a picture of how it? Therefore, Song Han Zhuo said: "brush to stand up Campaign-based, the depth of color ink used to distinguish between East and West and North-South backlit by the smooth surface, and so on。 "Zong Qing Qian further said:" The color paintings, non-lead Dan Jiang Qing of that is in the shades between the Hui "he said。" Yin and Yang "," Ming Hui "in the" Yang "and" Ming "refers to the light, only light colored Chinese painters is the philosophy of knowledge, the experience only。 Therefore, the Chinese Health and video artists do not have the original, derivative video, full brightness, color, and so the whole concept, but the light on the screen is divided into positive light, light fixed, flat light, and so on。 By modern Chinese painters of modern philosophy, modern science and modern aesthetic requirements of the affected, the light on the screen for the treatment has undergone enormous changes, while retaining some of the habits of the Chinese aesthetic, and bold breakthrough in positive light, fixed-plane The shackles of light, creating a new light-color language。 With bright lights, roof light, to replace Kai-positive light。 The so-called positive light, is light images from the front-Shedao on。 Yang is positive, is subject to smooth; back of the Yam, is backlit face。 Positive light from the performance of Taoism。

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作者: 顾绍骅    时间: 2011-9-15 15:01
《老子·四十二章》中说：“道生一，一生二，二生三，三生万物，万物负阴而抱阳，冲气以为和。”“负阴抱阳”(即背面阴正面阳)是中国画光分布的一般法则。现代中国画家受现代光学、色彩学的影响，认识到以阳光为主的光源是多向的，光可以从正面来，也可以从上面、侧面、背面来，物象的受光面与画家对受光面的处理，也是多种多样的。在现代中国画中，有很多人使用强光。强烈的光线集中在画面的中部而不一定是正面。它的作用不仅在强调画面光的分布，也在强调某种意义，因而成为一种新的造型语言。以全景式构图，多空间的重迭组合去表现自然的“无限”。画面上的近景、远景均为弱光与暗部。画中的云水由强光表示。画面比较抽象，有巨然《秋山问道图》的意蕴，体现出入居于云水之间对人生、宇宙作形而上的思考与超越。这是美学上的思考与哲学上的思考的互融。此强光虽仍然是哲学的、经验的，但已完全不是道家的“道”，而是融合了相对论、现代哲学与科学的“道”。
Ancient "Taoist" founder - Lao-tzu in the article said: "Health, a life of two, three of Health, tertiary things, things which have negative yin-yang, salt air and that" he said。 "Negative yin-yang hold" (that is, the back Yam-positive) is the distribution of Chinese painting light of the general rule。 By modern Chinese painters of modern optics, the impact of color, to recognize that the sun is more oriented to the light source, light can be positive, but also from above, side, back, the images of the artists on the smooth and smooth The treatment is varied。 In modern Chinese painting, a lot of people use such lights。 Strong light on the central screen and not necessarily positive。 It stressed that the role not only in the light of the screen, also stressed a sense, has become a new modeling language。 A panoramic image, and more space to the portfolio performance of the natural overlap of "unlimited。" The on-screen close-range, low light and dark vision of both the Department。 The painting of cloud water from the glare said。 Comparison of abstract images, a giant Ran "Akiyama asked map" the implication, of living in cloud water access between life and the universe for the metaphysical thinking and beyond。 This is the aesthetic of thought and philosophical thinking of Hu Rong。 Although this is still light philosophy, experience, but has not completely Taoist the "Road", but the convergence of the theory of relativity, modern philosophy and science of "Road。"
用跳动光、飘浮光取代固定光。古典画家按“负阴抱阳”的观念处理光，不考虑不同光源的光色和不同环境的光色对所画物象的影响，也不重视空气和画家视点与物象的距离对物象的影响，在表现正面光的同时，采用固定的垂直光分布。固定光使物象明暗分明、浮雕感强，但光的多样性、动态性与主观性却被隐没了。
Beat with light, replace the fixed-floating light。 Classical artists on "negative yin-yang have" dealt with the concept of light, do not consider different sources of light and color of different colors of light environment by painting images of the impact, and not to air the images and artists from the perspective of the impact of images, In light of the positive performance at the same time, fixed the vertical distribution of light。 Fixed-brightness so that images clear, strong sense of relief, but the light of the diversity, dynamic and subjectivity has been hidden。
现代中国画家受到现代审美动力学和欧洲印象派绘画的影响，开始打破固定光的束缚。程十发的《喂羊》、 杨延文的《村妞》等作品中的光， 都是不规则的、跳跃的。《改革之年》的画面上部有几道闪电般的光，从顶部早斜线射向中部。这种跳动的光，使整个画面受到震动，暗示改革势头锐不可挡，似乎讲述着改革之年人们奋发向上的冲劲。这种光不是依附于物象之上的，在独立发挥自身的功能。《村妞》使我们联想到蒙德里安的某些作品， 但又与它不同。此画是用水墨染成的大都市朦胧夜景。朦胧的夜色中，各种灯光的闪烁、跳动，表现出大都市的喧器、繁荣和彻夜的骚动。画面上的白光、红光、黄光、蓝光以及长光、短光跳跃着，互相映照，把大都市夜生活渲染得淋漓尽致。这种对光的处理，既有民族“基因”，又有现代性，因此它必然能与世界美术接轨。画家们突破了传统固定光的观念，可能得益于现代科学的影响。固定光的基本功能在描绘物象的明暗分布上，主要是客观的。现代中国画中许多飘浮之光，则带有很大的主观性。张民生的《山光》中没有固定的光。强光分散在几个部位互不联系，没有统一的光源与光亮梯度，强光笼罩在某些物象之上。它主要不是说明物象之上真实的光分布，而是体现画家的主观意图——强调新时期山民新的生活。张海东的《红花图》，光分布更显得极不规则，随意飘浮。强光既不遵守透视规则也不囿于光分布的固定要求，有的落在人物的上身，有的落在人物的胳膊或脚上，有的落在飞鸟的头部或背景上。白色的强光与偏冷的红花形成对比，突出表现红花园中奏笛的三女于优雅的神态。飘忽的强光使清晰的画面变得有些朦陇，呈现一种含蓄的诗意美。张广俊的《竹乡初雪》画面： 一轮皓月照亮一片被茂密竹林遮住，又时隐时现的在小山村上；这里船儿歇了，村庄“睡了”，雪儿在静静地下……；一切是多么的恬静。画家用“顶光”处理：被撒上朦胧月光的山村、小河与大地，竹林时隐时现，画中散落着白雪。这是自然美与心灵美的和谐融合。这种美的现代感很强，又在似与不似之间表现对象，抒发了画家的情思，表现出东方艺术的韵昧。
By modern Chinese painters of modern aesthetic dynamics and the impact of the European Impressionist paintings, began to break the shackles of fixed-kwong. - 10 of the "Hey sheep," Yang Yanwen "Niu Village" and other works in the light, are irregular, the jumping. "Year of reform" You Jidao upper part of the screen lightning light, from the top as early as slash exposure to the Central. This beat the light, the entire screen by the vibration, suggesting that the momentum of reform Ruibukedang seems to be on the reform of the people to make progress in the drive. This light is not dependent on the images above, the independent play to its own function. "Village Niu" We think that some of Mondrian works, but with its different . This painting is stained with ink metropolis hazy night. Obscurity in the darkness, all the lights flashing, beating, showing the city Xuan, prosperity and the riots throughout the night. On the screen of white, red, yellow, blue and long - and short-jumping with each other reflects the city nightlife rendering most vividly. This light treatment, both national "gene", another modern, so it is bound to convergence with the world of art. Artists had to overcome the traditional fixed-concept, might benefit from the impact of modern science. The basic function of fixed-painted in the brightness of images, mainly objective. Many of the modern Chinese paintings floating in the light, with a lot of subjectivity. Of the people's livelihood, "Hill - "There is no fixed in the light. Light scattered in several parts are not linked, there is no uniform gradient of light and bright, bright lights shrouded in some images on. It is not the main note on real images of light distribution, but the subjective intent of the painter - that the new era mountain people a new life. Hai-Dong Zhang's "saffron map", a more even distribution of light is very irregular, free floating. Glare does not comply with the rules of perspective is not limited to a fixed-distribution requirements, and some people fall on the upper body, and some people fall on the arms or feet, and some of the birds landed on his head or background. And the white glare of saffron Pianleng contrast, outstanding performance in the Red Garden played in the 2007's and three women elegant expression. Piaohu the glare of the screen has become clear that some Meng Long, showing a subtle poetry of the United States. Zhang Guangjun "Zhu Xiang First Snow" screen: a Haoyue lit up by a dense bamboo forest cover, and when the time is now hidden a small mountain village; Chuaner hysteria here, the village "to sleep," Cher quietly in the underground……; Everything is very quiet. Painters "top light" treatment : Sprinkle with dim moonlight by the village, river and land, when bamboo is implicit when, paintings scattered in the snow. This is the natural beauty and soul of a harmonious integration of the United States. The contemporary United States such a strong, and in between it and do not like performance targets, to express the artist's Qingsi, showing the Oriental Art Yun Mei.
三、 用点光、变调光取代平面光。我国除了一部分花鸟画外，大部分山水画、工笔人物画的色彩都是平面的。平面色彩之上的光缺少层次、冷暖、明暗变化，因此是平面光。现代中国画家从我国舞台美术、民间美术和西方现代主义绘画中吸取有益的因素，采用点光、色彩变调所呈现的有层次、有变化的光，来突破传统的平面光，并使这种光成为画面灵动活泼的语言。点光，就是把强光分解成许许多多的“点”，使之散落在画面的各个部分、各个角落，使画面的动力性增强，并呈现丰富多彩的光分布。姚卫国的《希望的早晨》，整个画面是偏冷灰调子。在一片暗灰色建筑物中，到处可见白色的亮点，把一所希望小学照亮。大大小小的亮点，似乎汇成了优美的旋律，奏响希望小学新一天的晨曲。闪烁的众多亮点，使画面富有动感，表现出早晨生机勃勃的景象。作者用被大大小小亮点包围的、饱和度不相同的偏灰紫小色块来构成画面，打破了传统重彩画的平面光画法，使画面显现出强烈的节奏感。这种节奏感的高潮在画面的远景——小学生举行升国旗仪式部分，红旗与众多白色亮点互相呼应，让人看到画面上不同形状光点的组合，都是为主题服务的。另外，我们在晁海的《晨曦》、孙玉香的《悠悠岁月》、牛锡珠的《护林人家》等作品中，都看到了作者使用点光来取代平面光，取得了良好的表现效果。 突破平面光的另一个有效方法是采用色彩转调光。色彩转调通常是由某种色相所呈现的冷暖、明暗变化体现的。朱建平的《世纪森林之春》中的群山是微微发红的绿色，森林是蓝绿色。作者用同一色调描绘同一类型的物象(群山与森林)而使不同树木与山峦区别开来，依靠的是色调的冷暖、明暗变化。作者不用线条勾勒，完全突破平面光，使画面的光在同一色调的冷暖、明暗对比中显现出来，使画面既保留了装饰性也显得很美，洋溢着诗情。
3, with point-kwong, pitch shifter replace the light-plane. In addition to our part of Flowers and Birds Painting, most landscape painting, figure painting Meticulous colors are flat. Light plane on the lack of color levels, and well-being, the brightness changes, it is light plane. Modern Chinese artists from China's stage arts, folk art and modern Western painting and drawing useful, a point-kwong, presented by the color tone sandhi a level, the changes in light, to break through the traditional flat light, and that this light A screen Smart lively language. Point light, the light is broken down into so many "points" so that it scattered in various parts of the screen, every corner, so that the momentum of strengthening the screen and showed colorful light distribution. Yao Weiguo of the "hope that the Morning", the entire screen is Pianleng gray tone. In a dark grey buildings, the bright spot of white seen everywhere, a hope that the primary lit up. The bright lights of all sizes, it seems Huicheng a beautiful melody, played the hope that the new primary school day morning song. Flashes of the many highlights, so that the screen full of dynamism and vitality of the morning show scene. The author used was surrounded by large and small, bright spot, not the same degree of saturation partial gray color purple to a small screen, breaking the traditional Zhongcai Hua-painting the plane, the screen showed a strong sense of rhythm. This sense of rhythm in the climax of the vision of the screen - part of primary school students held flag-raising ceremony, the red flag with white highlights many echo each other, people see different shapes on the screen, a combination of light, are the theme of the service. In addition, we Chaohai in the "Operation Dawn", Sun Yuxiang the "long time", cattle-Chu's "forest people" and other works, the authors have seen the use of point-to replace the light plane made a good performance results . Another breakthrough flat-effective way is to use color-transfer. Color is usually transferred from a certain hue presented by the well-being, reflected in changes in brightness. Zhu Jianping of the "century of forest Spring" in the mountains is slightly redness of the green, the forest is blue and green. The author used the same color images depicting the same type of (mountains and forests) and makes different distinguish between trees and mountains, relying on the well-being is the color, brightness changes. Authors do not have to draw lines, totally breakthrough plane light, so that the screen in the light of the well-being of the same hue, brightness contrast in the show, so that the screen is to retain the decorative looks beautiful, filled with a poetic.

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作者: 顾绍骅    时间: 2011-9-15 15:05
六、 中国画的“品位”
6, the Chinese Painting "grade"
绘画是有层次和品位的。中国古代画论把画品分为许多层次，一般而言，妙品比能品为高，而神品又比妙品为高，高水平的画家当然应该追求最高层次一一神品。而神品又必须以能品和妙品为基础，连能品都达不到，怎么能成为妙品呢?同理，连妙品都达不到，又怎么能成为神品呢?可见。神品离不开能品和妙品，能品和妙品是神品的必要准备和必要条件，而神品是能品和妙品的最高归宿：
Painting is the level and quality。 Ancient Chinese paintings on the painting materials divided into many levels, in general, the wonderful work than the usual works, and works magic than wonderful works of high-and high-level artists should pursue the highest levels of course - the magic works 。 The magic works also need to work normally and wonderful works for the foundation, even the works are usually can not, how to become a wonderful works? ?The same token, even the beauty of the works are not, how can we become It works magic ?visible。 The magic of goods to and inseparable from the works of wonderful works, usually works and wonderful work is the magic works and the necessary preparations for the necessary conditions, and the magic works is usually works and the wonderful works of the highest results:
凡是艺术作品，都由三个层次组成。第一个层次是艺术语言。它是艺术作品的形式层面，主要包括艺术语言和形式结构。也就是各门艺术独特的表现方式和手段。在绘画中主要指线条、笔墨、色彩、构图。
All works of art, are composed of three levels。 The first level is the artistic language。 It is works of art in the form of levels, including the structure and form of artistic language。 Is the unique performance art methods and means。 In the main means of painting lines, a brush with Mose's "Kung Fu", color, structure, and so on。
这些艺术语言，不但是创造艺术形象的表现方式和手段，而且本身就具有独立的审美价值；艺术语言的运用高低，对创造艺术形象起着直接的作用，艺术家正是通过艺术语言，塑造出各种各样的艺术形象、并表达出艺术家对生活和自然的独特体验和感受。
These artistic language is not only the image of performance art to create ways and means, but in itself is independent of the aesthetic value of the use of high and low language arts, the creation of artistic image plays a direct role, artists, it is through language arts, to shape the The image of various kinds of art and artists to express their natural life and the unique experience and feelings。
由于艺术语言在艺术作品中有着极其重要的作用，所以各门艺术都十分重视对艺术语言的研完和运用，也都十分重视艺术语言的创新和探索。艺术作品的第二个层次是艺术形象，它是艺术作品的内容美。美术作品主要塑造视觉形象、它直接付诸欣赏者的视觉感官、因而特别富有直观性、生动性、具体性。
As artistic language in works of art have a vital role, so the art attached great importance to the art of language study and use End, also attached great importance to innovation and artistic language of exploration。 Works of art to the second level is the artistic image, it is the content of works of art the United States。 The major works of visual art shaping the image, put it directly to enjoy the visual senses, especially with so intuitive, vivid and concrete。
在艺术作品中，艺术形象是艺术作品的核心和关键。在绘画中。不能为笔墨而笔墨，也不能为艺术语言而艺术语言，艺术语言最终是为了塑造艺术形象，而艺术意蕴也是蕴藏在艺术形象之中的，从这个意义上讲有艺术形象就没有艺术作品。艺术形象越鲜明、越典型，艺术作品就越有生命力；艺术家的使命之一，就是要塑造典型、鲜明、生动、优美的艺术形象。艺术形象不仅具有具体可感的形象性，而且要具有典型性和概括性，它把无比丰富的生活用典型化的手法概括到形象之中。
In works of art, the art works of art image is the core and key。 In Painting。 Not for the ink and pen and ink, we can not search for the arts and language arts, language arts is to create the ultimate image of the arts, and the Meaning of Art also contains the image of the arts, in this sense there will be no image of art works of art。 The distinctive artistic image, the more typical, works of art the more vitality; one of the artist's mission is to create a typical, clear, vivid and beautiful image of the art。 Art not only has the image of concrete sense of the image, but also a typical and all-embracing, the very rich life with the typical image of the way to summarize。
艺术形象又具有情感性和思想性。在艺术形象中，必须融进艺术家的喜怒爱憎，渗透进艺术家对生活的思考和评价。艺术形象还具有审美意丈，它凝聚着艺术家审美理想和审美情趣，闪耀着艺术创造的光辉，能给欣赏者以美的享受。作为美术家不但要追求以艺术语言为主的形式美，还要进一步追求以艺术形象为主的内容美，从艺术层次来讲，内容美比形式美更高更难。当然，内容美又脱离不开形式美，世上没有无形式的内容，一定的内容总是要通过一定的形式才能表现出来，形式美是内容美的必要条件和必要准备，而内容美又是形式美的目的和归宿。
Art image but also has emotion and thought。 In the artistic image, to be incorporated into the artist's happy, angry, loved, hated the feeling of living artists infiltration into the thinking and evaluation。 Artistic image of Zhang Yi also has aesthetic, it embodied artists aesthetic ideal and aesthetic appeal, which radiates with the brilliant artistic creation, who can appreciate the enjoyment to the United States。 As the artists not only to the pursuit of artistic language mainly to the formal beauty, but also to further the pursuit of artistic image of the United States-based content, from the level of art terms, as the United States and higher than the formal beauty even more difficult。 Of course, inseparable from the content from the United States and formal beauty, there is no such form without content, content is always certain to pass some form of order shown, the content of formal beauty is a necessary condition for the United States and the necessary preparations, but the content is the form of the United States The purpose of the United States and the end result。

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作者: 顾绍骅    时间: 2011-9-15 15:07
艺术作品的第三个层次是艺术意蕴，这是艺术作品的最高层次，也是一个艺术家终生为之奋斗的目标：艺术意蕴是指艺术作品中蕴含着的深层的人生哲理、诗情画意或精神内涵。它是艺术家对艺术形象、艺术典型或意境的深刻领悟和创造的结果。
Works of art the third level is the Meaning of Art, which is the highest level of works of art, the artist is also a lifelong struggle goals: Implications of art is in the works of art contains a deep philosophy of life, poetic or spiritual connotation。 It is the artistic image of artists, art or typical mood of profound understanding and create the results。
黑格尔在《美学》中认为：“意蕴总是比直接显现的形象更为深远的一种东西。艺术作品应该具有意蕴”(见《美学》第一卷25页)。艺术意蕴也就是唐代诗论家司空图提出的“象外之象、”“景外之景”、“韵外之致”、“味外之旨”，也就是比艺术形象本身更加深广隽永的精神内涵，这种内涵蕴藏在艺术形象之内，只有凭借欣赏者的细心体察、玩味、感悟、领会，才能真正认识知押解例如：徐悲鸿在抗日战争期间画的《风雨鸡鸣》除了娴熟的笔墨和生动、准确、优美的艺术形象外，还有着深刻的艺术意蕴， 当时正值日寇铁蹄践踏神州大地、中华民族处在水深火热之中，徐悲鸿画了一个挺胸昂首，站在石头上引吭高鸣的大公呜。来激发人们奋起抗日、还我江山的勇气和决心，表现了徐悲鸿强烈的爱国主丈情怀和民族的自信心。艺术意蕴要求艺术家在有限中体现出无限，在偶然中蕴藏必然，在个别中包含普遍，艺术意蕴可以看作是内容与形式的统一、感性与理性的统一、客观与主观的统一、再现与表现的统一、具象与抽象的统一、形象与哲理的统一。
Hegel in the "aesthetic": "The implication is always direct than the image appear even more far-reaching thing. Implication of works of art should be" (see "aesthetic" vol 25). Meaning of Art is the Tang Dynasty Poems home Sikong Tu's "image, the image," "scenic landscape," and "flavor of the spirits" and "fun to be outside the meaning of the expression", that is, than the artistic image of itself more deeply Meaningful The spiritual connotation, which contains the artistic content of the image, only to enjoy by virtue of the carefully observe, pondering, sentiment and understanding, can we truly understand that Escort, for example: beihong-xu painting during the War of Resistance Against Japan in the "wind and rain chicken is" in addition Skilful pen and ink and vivid, accurate and beautiful image of the art, there is a profound implication of art, at the time when the Japanese invaders cruel trampling on China , The Chinese nation is in dire straits, beihong-xu painting a chest raised his head station The rocks on the rise sing the Emirates Ming. To stimulate the people rose up against Japanese aggression, I Jiangshan the courage and determination shown beihong-xu main Zhang strong patriotic sentiments and national self-confidence. Meaning of Art artists in the limited requirements embodied in the unlimited, natural reserves in the accident, in individual included in general, art Implication of the content and can be seen as a form of unity, the unity of emotional and rational, objective and subjective reunification, reproduction and performance The unity of the abstract and as a unity, the unity of image and philosophy.
艺术意蕴具有多义性和模糊性的特点，既是具体的确定的，又是不确定的。艺术意蕴可以看作不完全是由艺术形象体现出来的主题思想，它比主题思想更宽泛更深刻，它是一种更加形而上的东西，它是一种哲理和诗情，常常是只可意会，难以言传，只可接近它，无法穷尽它，即“此中有真意，欲辩已忘言”。艺术意蕴需要欣赏者用自己的全部心灵和才智去探究和领悟，是艺术作个层次的完美结合，才形成了传世名作。品具有不朽的艺术魅力的根本原因。具有远见卓识的艺术家，不能满足于艺术语言和艺术形象的探求和创造，还应更上一层楼，追求和创造具有深刻艺术意蕴的作品。
Meaning of Art has more meaning and ambiguity of the characteristics of both the identification of specific, is also uncertain。 Meaning of art can be regarded as not entirely reflected by the artistic image of the theme of thinking, thinking of it than the more general theme of even more profound, it is a more metaphysical things, it is a philosophical and poetic, often can only Tacit , Yan Zhuan difficult, it only accessible, it can not come to an end, that is, "herein are Zhenyi, to have been forgotten were made by the defence。" Implications of the need to appreciate the arts with all its soul and intellect to explore and understand, is art for the perfect combination of level, it formed a works handed down。 Goods with the enduring charm of the root causes of the arts。 The visionary artist, can not be satisfied with language arts and the arts explore and create the image, but also a higher level, and the pursuit of artistic creation has a profound implication of the works。
著名的美术史家郑午昌说过：“综观中西绘画，而寻其演进之次序，可分为四程，第一程漫涂，第二程形似，第三程工巧，第四程神化。”有一点需要指出：在艺术作品的层次构成中，任何一个作品都必须具有前两个层次，但又不能停留在前二个层次上(即艺术语言和艺术形象)，而应该尽可能地追求第三个层次，即艺术意蕴。作为最高层次的艺术意蕴，并不是每一件艺术作品都必须具有的，某些偏重于娱乐性、功利性或纪念性的作品，常常不存在这一层次，或者说，难以达到第三个层次，但是，从总体而言，正是这些艺术作品中的这三个层次具有相对独立的意义，其中，每一层次都有自身的审美价值，有的艺术作品或许只有其中某一层次比较突出，或者有独创的艺术语言，或者有感人的艺术形象，或者有而十人寻味的艺术意蕴。但是，真正优秀的艺术作品，总是在这三个方面都卓有成就，并且将这三个层次完美融合为一个整体，只有这样的作品，才能成为传世不朽的艺术精品。（凡高的画为什么开创了世界独幅绘画的最高售价?凡高为什么成为后期印象派的三大巨匠之一? 后期印象派摒弃了自然的形，摆脱了“正常”、“有逻辑”的羁缚，发展成张扬个性的现代艺术。凡高艺术作品的最大特色是对炽热情感的表现，他作品中的情感像“火山的爆发”一样，无比热烈奔放、震撼心灵，在这一点上，以前的画家，没有一个画家可以和他相比，正因为如此，他才永载史册，成为一代风范，也正因为如此，他的作品才开创了世界之最高售价。从许多成功画家的成功奥秘中不难得出一个结论：画画，不能只画真实，也不能停留在再现上，一定要画出自己的情感，这是画家成功的秘诀之一。）
Well-known art historian Kenneth Cheng-chang said: "Looking at the Central and Western painting, and found the order of their evolution, can be divided into four-way, the first Tu-Man, the shape of second-and third-Gongqiao, the fourth-deification。" One thing It must be pointed out: the level of works of art in the form of, any works must have the first two levels, but can not remain at two levels (that is, language arts and artistic image), but should try to seek a third Level, that is, Meaning of Art。 As the highest level of artistic implication, not every one works of art must have a certain emphasis on entertainment, utilitarian or commemorative works, often non-existent this level, or that difficult to achieve the third Level, but, generally speaking, it is these works of art in these three levels are relatively independent significance, which, each level has its own aesthetic value, and some works of art which may be only a certain level of outstanding , Or a unique artistic language, or a moving image of the art, or a 10 Xunwei and the Meaning of Art。 However, the truly outstanding works of art, always in these three areas are renowned for their achievements, and a perfect fusion of these three levels as a whole, the only way the works, in order to become immortal handed down the fine arts。 (Van Gogh's painting Why create the world alone paintings at the highest ?Van Gogh post-impressionist Why become one of the great masters of the three? late Impressionist abandon the natural shape, emerging from a "normal" and "logical" Ji Lashing, into the modern art publicized personality。 Van Gogh's greatest works of art with the intense emotion of the performance, he works like the emotional "The outbreak of the volcano", very warm unrestrained, shocked souls, on this point, before The painter, not a painter, and he can be compared, and that is why he is forever in the annals of history, a generation demeanor, is precisely because of this, his works before creating the world's highest price。 Painter from the success of many successful mystery It is not difficult to draw a conclusion in: drawing, painting not only true, we can not stay in reproduction, must draw their own feelings, this is one of the secrets of successful artists。)

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作者: 顾绍骅    时间: 2011-9-15 15:08
七、 一点（今后的）思考
7, thought for the future
中国画艺术是东方文化宝库中的一颗璀灿明珠，古往今来，它一直在向前发展，犹如一条长河，虽有时狂暴湍急，有时滞流平缓，但从没发生断流，它一直在发展中 向前、向前，终于汇成今天这样一条浩浩荡荡的艺术大河，中国画的发展中凝聚了多少代画人探索奋斗的结晶，这需要每一位有志于中国画中求索的学人珍视的。
Chinese painting is the art treasure-house of Oriental culture in a very bright pearl, ages, it has been in development, like a long river, although, as stormy weather and floods fast, and sometimes stagnation addition to the gentle flowing rivers, but Did not occur stop (no development), which has been in development forward, forward, and finally pooled into today a mighty river of art, Chinese painting rally in the development of painting and the number of people to explore the crystallization of struggle, which requires Every one interested in Chinese paintings of people in search of treasure.
中国画，无论什么时代，什么内容，山水，花鸟，人物，都离不开传统。因为离开传统就是“无根之花、无源之水”。
Chinese paintings, no matter what age, what, landscapes, flowers and birds, figures, we can not do without the traditional. Because the traditional left is the "rootless flowers, passive water."
但是，中国画在“洋为中用，古为今用”过程中，越来越丧失民族特色。几年前，曾发生某画家的布幕国画被归类到油画展的事情，震惊了国画界……于是产生诸如“中国画末路穷途”、“笔墨等于零”等悲观论调。一位爱好中国画的以色列画家说，中国画应该是让我们喜欢中国画的人看起来还是中国画。
However, the Chinese paintings in the "foreign used by the Chinese, ancient by today's" process of increasing loss of national characteristics. A few years ago, had a painter's "Bumu Chinese painting" Oil Painting Exhibition to be classified matter, shocked the Chinese painting circles…… therefore produce such as "dead-end Chinese Painting" and "zero ink" and other pessimistic view. A Chinese painting of the Israel-loving painter said that China should be painted so that we like Chinese paintings of people look or Chinese painting.
传统的中国画以写意为主，擅长表现情感和意境，但在表现具体物象上较抽象。“把西方的造型观念融入到中国画中，提高中国画的表现范围和能力，是今天从事国画艺术的人所努力追求的。”中国美术协会中国画艺委会主任、花鸟画家郭怡宗认为，取长补短有利于中国画适应时代发展。但在发展过程中要防止中、西画界限越来越模糊。不少中国画与油画在构图、手法等方面有着惊人的相似，如果不被告知这是中国画，仅从模糊的幻灯片中判断，很自然地认为是油画。“这就是现今中国画面临的最大问题。”
Traditional Chinese painting to freehand brushwork mainly good at feelings and moods performance, but in the performance of specific than abstract images. "The Western concept of modeling into the Chinese paintings, Chinese paintings enhance the performance of the scope and capacity, is today engaged in the art of Chinese painting by the pursuit of efforts." Chinese Artists Association of China, director of the Hua Yi, Flowers and Birds Painting Jia Guo Yizong that is conducive to learning from Chinese paintings to the development of the times. However, in the development process to prevent Chinese and Western painting boundaries increasingly blurred. Many Chinese paintings and oil paintings in the composition, methods, and so has a surprisingly similar, if not been told this is the Chinese paintings, only vague slide in the judgement, it is natural that is painting. "This is the modern Chinese paintings of the greatest problems."
美术评论家刘曦林不无忧虑地说。以中国画为代表的东方绘画和以油画为代表的西方绘画，都在各自的发展道路上创造了无数辉煌：但由于东西方在思维模式、哲学基础以及美学观念等方面的差异。 在绘画上的不同十分明显。例如，尽管在绘画之初，东西方都是用线条来描绘物象的，但在以后的发展中，西画的“块面”和中国画在线条的观念和使用上，有了巨大的差别： 西方绘画逐渐走上了科学写实的道路，而中国绘画则走上了写意的道路：线条在两个绘画体系内的地位和作用也有了显著的分野。著名学者彭吉象先生曾对中西绘画的差异作了如下的概括：“如果中国绘画尚意，那么西方绘画尚形；中国 画重表现、重情感，西方绘画则重再现、重理性；中国绘画以线条作为主要造型手段，西方绘画则主要是由光和色来表现物象；中国绘画不受空间和时间的局限，西方绘画则严格遵守空间和时间的界限。总之，西方绘画注重再现与写实，同中国绘画注重表现与写意，形成鲜明差异”。
Art critic Liu Xi Lin said with concern. Chinese painting as the representative of the Oriental paintings and oil paintings as the representative of Western painting, all in their path of development has created countless brilliant: But because the East and the West in mode of thinking, philosophy and aesthetic concepts, and so on the basis of the difference. In a different painting is very clear. For example, although in the beginning of painting, East-West lines are used to describe the images, but in the future development of Western painting of the "block face" in Chinese painting and the concept of lines and use, a huge difference: Western painting Gradually embarked on the path of scientific realism, and then embarked on a Chinese painting freehand brushwork of the road: two lines in the drawing system, the status and role of a significant distinction. Mr. Peng Jixiang a noted scholar of Chinese and Western painting have made the difference summed up as follows: "If China is still Italian painting, Western painting is still shape; Chinese painting-performance, heavy emotion, the weight of Western painting reproduction, re-rational; Chinese painting to Modeling lines as the main means of Western painting was mainly to performance by the light and color images; Chinese painting from the limitations of space and time, Western painting, strictly abide by the limits of space and time. In short, Western-oriented representation and realist painting, with the Chinese painting freehand brushwork and focus on performance, a sharp difference. "
中国画主要的特点是追求“诗情画意”——状物抒情与写实主义绘画的结合为基本创作风格，也是广大民众内心的审美追求，作者有感而发，受众由景入情，生动传神的细节刻画成为双方情感交流的信息载体。
The main characteristics of Chinese painting is the pursuit of "poetic" - bar lyric realism painting and the combination of the basic creative style, but also the vast number of people seeking heart of the aesthetic, emotional and revealed by the author in the works, received many scenes from entering a "story" Plot, vivid portrait as vivid details of the two sides (the author and readers) emotional exchange of information carrier.
（例如：顾绍骅创作的中国山水诗意画——《高士赴任图》
For example: shaohua-gu poetic creativity of the Chinese landscape painting - "Goldsmith appointment map"
【赏析】高山仰止，瀑布飞泻；顶天立地，壁立千仞；初春时分，树木返青；朋友赴任，临别依依；……峻巍的山势造成动人心魄的效果，又仿佛从画面上“传出”飞瀑直下的轰鸣与寒风的掠过，交织在一起，使人感到自然造物之伟大。具有强烈的艺术感染力。
【Analyze 】high mountain's being the tallest be such of, water of the waterfalls flies from the air;That mountain is very big, top elephant connect day, underneath immediately after, the on the side of mountain is many elephant knifes to chop down to onely stand;In spring just inchoate time, the tree starts the color which changes into green;My good friend will go to original place an official, our preparation separate of time, all feel in a bad humor, mutually loathe to give up leave the other party;……That is very high big, dangerous of in plant and thick tree, weed...etc. in Tashan, the good elephant is obstructing my friendly friend right away.Imitate Fo to"spread" waterfalls to fly to flow to keep next huge voice and the sweep of bise from the appearance, the intertexture together makes the person feel natural build the greatness of thing.Have a strong art atmosphere.
有诗为证：俯仰不能去，如逢旧友同。曾因春雪散，见在华山中。何处有明月，访君听远风。相将归未得，各占石岩东。（唐朝·于邺的《友人亭松》诗意）
Poetry has to prove: stand up in the mountains, none can not go to see downward, as old friends met the same can not be separated. Because once the spring, melting snow, with friends in the "Mountain" in each other. There are bright moonlight, to ask you to the news from afar. Each other to be returned are uncertain what our respective occupation "Shiyan East."
此画采用以墨为主（墨分五色——焦、浓重、淡、清），“浅绛设色”、背面衬染的画法，因此有“不伤笔墨”古朴、高雅的等特点。
This painting used to ink the color of the main (five-ink color - Coke, thick, short, the Qing), "Qianjiang colors," lining into the back of the painting, it is "not injured ink" simple, The elegant and so on.
136×34cm 纸本设色 2007年作）

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作者: 顾绍骅    时间: 2011-9-15 15:09
“状物妙在似与不似之间；太似则媚俗，不似则欺世。”这是一代宗师白石老人的感悟，也是中华民族的审美意趣所在。
"Painting the best way to objects in between like and do not like; too much like the readers to think too ordinary, boring, not as it is to deceive the people of the world (readers)." This is the generation of master baishi-qi elderly sentiment , But also the aesthetic Interest of the Chinese nation.
中国画和油画的区别主要有以下几点；
（1）中国画出现的时间早于油画，仅就成型的绘画作品来说，中国画是在东晋时期（约公元304-589年）成型的，油画的成型至少要到中世纪的文艺复兴时期。
（2）中国画历史遥追数千年,为中华传统艺术之瑰宝。中国画最大的特点是诗、书、画、印的作品构成以及画作本身含就的中华文化底蕴是别于西方绘画艺术的最大特点；中国画是集文学、艺术为一体的结晶、瑰宝。因此，油画是没得比的。
（3）中国画采取的是散点透视法，油画采取的是焦点透视法，所以中国画可以画出大范围的人物风景画（如清明上河图）而油画不能，油画能画出物体强烈的质感效果而中国画不能。
（4）中国画一般不采用重彩，颜色的种类较少，油画的色彩程度很重，使用的颜色也很多。
（5）中国画很重视装裱，油画对此基本忽略。
（6）中国画一般都结合私人的书法衿章与题字，而油画基本没有。
（7）中国画发展过程中，流派相对固定且分化不大，油画发展过程中流派众多且分歧也大。
Chinese paintings and oil paintings are the main difference between the following points;
(1) Chinese painting as early as the time painting, forming the only paintings, Chinese paintings in the Eastern Jin Dynasty period (304-589 AD), molding, painting the molding at least the Middle Ages to the Renaissance.
(2) Chinese painting history of remote recovery for thousands of years, traditional Chinese art treasures. Chinese painting is the biggest characteristic of poetry, books, paintings, seal the works, and a painting on their own with the Chinese cultural heritage in Western painting is not the most important feature of the arts; Chinese painting is set literature, the arts as one of the crystallization of gems. Therefore, the painting is better than no.
(3) Chinese painting is taken by the casual point perspective, the painting is taken by the Focus Lens, so Chinese painting can draw a wide range of landscape painting figures (such as the "Riverside Scene of Pure Brightness") and not painting, oil painting can draw the object strongly Chinese painting and texture effects can not.
(4) Chinese paintings do not normally re-used color, color, the type less, the color degree of heavy oil painting, the use of the color of a lot.
(5) attaches great importance to mounting Chinese paintings, oil paintings were largely ignored this.
(6) Chinese paintings are generally a combination of private and Zhang Jin calligraphy inscriptions, and basically no oil painting.
(7) in the development of Chinese painting and schools relatively fixed and not divide, in the development of oil painting and many schools have big differences.
本应是东西方并行的两大画派——西方的油画、东方的中国画并驾齐驱；但如今的结果是：一个是“营养过剩”（油画），而另一个是严重的“营养缺乏”。这些是因为东西方所存在的文化背景、人文习惯、经济发达与否等诸多因素的影响所至；所以造成了国际社会对西方绘画——油画的宠爱倍致，对东方绘画——中国画的很大的漠视。而这种“漠视”会将导致一个我们十分不愿意看到的结果——“适者生存”。也许现在或不久的将来中国画会“变异”；它将“变异”为艺术价值低廉、没有笔墨、没有诗情画意、没有“三远”（没有中国画特性）的，在外界的压力下所派生出来的“畸形儿”——只有怪异的色彩、块面和特殊技法（材料）所表现的肌理效果；即所谓“创新的中国画”。
因此，我在此恳请：发达国家爱好艺术（特别是爱好东方艺术）的团体或朋友们，请你们为保护世界艺术宝库中的一棵绚丽夺目的奇葩——中国画，而进自己的一份力吧！
另外：要想让中国画真正能受到世界各国人民的喜爱，就必须把中国书画“学习、培训”班办到世界各国去；而今，随着中国文化的国际交流，中国文化体制的改革，中国文化艺术的瑰宝——中国书画将越来越受到世界各国人民的了解与喜爱，中国书画“学习、培训”班办到世界各国去的梦想即将成为现实；也只有当世界各国喜爱艺术的人们通过学习、了解并懂得欣赏中国书画作品艺术的“真谛”才能去喜爱、保护中国书画的健康发展；相信到那时中、西方绘画价格的差距才能有所改善。我们期盼那一天能早日到来！
This should be the two major East-West parallel School - Western oil paintings, Chinese paintings keep pace with the east, but today's result: a "nutritional excess" (painting), while the other is a serious "lack of nutrition。" These are the things that exist because of cultural background, cultural habits, economic development or not, and many other factors caused by the impact; As a result of the international community to Western painting - painting the times of love, the Oriental Painting - Chinese Painting Great indifference。 This "ignore" We will lead to a very reluctant to see the results - "survival of the fittest。" Perhaps now or in the near future Chinese Painting "variation" it will "skin" for the artistic value is low, no ink, no poetic, not the "three far" (without the characteristics of Chinese painting), in the outside world under the pressure of the derived " Deformed children "- only strange colors, block-and special techniques (material) by the performance of the texture effect the so-called" innovation of Chinese Painting。 "
Therefore, I urge this: the developed countries-loving art (especially Oriental art-loving) groups or friends and ask you to protect the world's treasure house of art in a magnificent display of wonderful work - Chinese painting, into a force of its own !
In addition: to get the Chinese paintings can really be the peoples of the world's favorite, Chinese paintings and calligraphy on the need to "study and training" classes around the world to do so; Now, as China's international cultural exchanges, the Chinese cultural system reform, Chinese culture Art gems - will become more and more Chinese paintings and calligraphy by the peoples of the world's understanding and love of Chinese painting "study and training" classes around the world to do the dream will soon become a reality only when all countries in the world people love the arts through study , Understand and know how to appreciate Chinese paintings and calligraphy works of art "true meaning" in order to love and protect the healthy development of Chinese painting; believe that by that time, the gap between the prices of Western painting can be improved。 We look forward to an early arrival of that day!
注·本文参考的文献：1、《中国绘画史》潘天寿著 ；2、《中国书画鉴赏辞典》；3、《中国画色彩学》；4、《中国书画报》；5、《国画家》；6、《翰园书画报》；7、《中国书画艺术报》香港版。8、《中国画往何处去?许群 》；9、《论当代中国画的发展方向与画家的自我追求》等
Note · paper reference literature: 1, "the history of Chinese painting," a Pan Tianshou, 2, "Dictionary of Chinese painting Appreciation"; 3, "Chinese paintings of color"; 4, "Chinese Painting and Calligraphy", 5, "the painter"; 6, "John Park painting", 7, "Chinese painting and calligraphy art" Hong Kong version. 8, "Chinese paintings to where to Xu Qun ?" 9, "On the development of contemporary Chinese art direction and the painter's self-seeking."
本文作于2003年10月（08年8月修改）
shaohua-gu
In this paper, as in October 2003 (August 08 reorganization)

有完整图片的地址：http://bbs.zjdart.com/viewthread.php?tid=16110&extra=&page=1

作者简介：顾绍骅、武汉教育学院中文系毕业、湖北省书画研究会理事、中国文化艺术发展促进会会员、中国书法国画研究会中国书画导师、“中国书画学会副主席、中国民族艺术家协会副会长、中国兰亭书画院副院长、世界教科文卫组织专家成员、“中国书画艺术百杰”。 其书画作品做到了“诗情画意，师古而不泥古；在笔墨及用色上有自己的特色，曾得到中国美术家协会主席刘大为、中国书法家协会主席沈鹏、旅美画家史国良等老师的赞评。（顾绍骅中国书画作品选：http://v.ku6.com/special/index_3590944.html ）
联系住址：武汉市江岸区堤角小区3-1-202 邮编：430011
电话：086-13308635298 E—minl: gushaohua2@sina.com,QQ:1072494751
About the author: Gu Shaoyuan Hua, M, May 22, 1963 Health, country of origin: Pakistan County in Sichuan Province (born in Wuhan), Wuhan Institute of Education Department of Chinese graduate teaching and research of Fine Arts in Wuhan City Council members, teachers, the backbone of Fine Arts in Wuhan City, Hubei Province Research director of painting and calligraphy, Chinese Culture and Arts Development Association members, Chinese calligraphy and Chinese painting for the study of Chinese painting and calligraphy instructor, "Chinese Painting and Calligraphy Institute, vice chairman of the Chinese Artists Association, vice president of the nation, the Chinese Painting and Calligraphy Institute, vice president of the Orchid Pavilion, the World Methodist Education, Science, Culture Organization Members of the expert.
Contact Address: District of Wuhan City Jiangan embankment Kok District City Star Park opened 3-1-202 Zip code: 430011
Phone :086-13308635298 E-minl: gushaohua2@sina.com qq:1072494751

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