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詩情畫意再探 Discussed again poetic Chinese painting ------淺談中國山水畫中的詩情畫意 On the poetic Chinese landscape painting 中國書畫作為中國文化精髓，給予中華民族以極其高尚的精神享受，筆精墨妙是人生一樂。在中國文化史上，繪畫是一個(gè)重要組成部分，如西晉時(shí)期的文學(xué)家、書法家陸機(jī)所言： “宣物莫大于言，存形莫善于畫”（ 介紹事物沒有比語言更好的方法了，介紹形狀沒有比畫畫更好的方法了）。 As the essence of Chinese culture, Chinese calligraphy and painting, to give the Chinese people to enjoy the most noble spirit, pens, ink magic essence is a happy life. In Chinese culture, history, painting is an important part, such as the Western Jin Dynasty writer, calligrapher Lu said: "propaganda material is greater than words, keep good form Mo Painting" (description of things no better way than words , describes the shape of no better way than painting). 中國民族繪畫著重達(dá)意暢神與線條造型，以結(jié)構(gòu)組織為主，色彩明暗輔，詩、書、印、款識與畫相結(jié)合為藝術(shù)特征——“詩情畫意”，中國書畫在滿足人們視覺享受的同時(shí)，更能啟人智蕊，怡人心神。中國畫強(qiáng)調(diào)“外師造化，中得心源”（ “外師造化，中得心源”這句話，出自唐朝的畫家張璪，是中國繪畫史上的不朽名句。 Chinese National Painting Praising God with emphasis on expressive line shape, structural organization mainly auxiliary light and dark colors, poetry, books, printing, inscription and painting combination of features for the arts - "poetic Chinese painting," the Chinese painting and calligraphy to meet the visual enjoyment the same time, more inspired wisdom, nice mind. Chinese painting emphasizes "nature outside, in the heart of source" (in "Nature" as a teacher, summed up his approach) these words, from the Tang Dynasty painter Zhang Zao, is the story of the history of Chinese painting. 簡單的說，“造化”是指大自然，“心源”指的是內(nèi)心的感悟。意指畫家應(yīng)以大自然為師，再結(jié)合內(nèi)心的感悟，然后才可創(chuàng)作出好的作品。）也就是說藝術(shù)家通過對天地的熱愛、觀察、感悟，用“筆墨紙硯”作為載體，謳歌、抒發(fā)或宣泄自己的情懷。古往今來，無論是“士大夫”或今天的普通百姓，在面對美景時(shí)，總是想通過自己的畫筆或相機(jī)，將其“美景”保留下來，再題上“四言八句”（ 言簡意賅的文字）——詩情畫意。這是中國文化的表現(xiàn)形式之一，也是中國人民的文化追求。 Put simply, "zhao hua" is natural, "mind the source" refers to the inner perception. Means the artist should be natural for the teacher, combined with inner perception, and can create good work. ) Means that the artist's love through the world, observing, understanding, and using "pen and ink, paper and ink," as the carrier, Acura, express or express their feelings. Throughout the ages, whether it is "elite" or today's ordinary people, in the face of beauty, you always want your brush or camera, to its "beauty" be retained, and another question on the "four words 8" (concise text ) - poetic. This is one of the manifestations of Chinese culture, the pursuit of the Chinese people's culture. 我國的書畫藝術(shù)在長期的歷史發(fā)展中形成了在世界上獨(dú)樹一幟的民族藝術(shù)，具有鮮明的特色和深厚的傳統(tǒng)，這與我國的社會發(fā)展、民族欣賞習(xí)慣，以及傳統(tǒng)的學(xué)術(shù)思想，有著密切關(guān)系。中國山水畫是中國人所特有的一個(gè)文化概念。中國人的中國山水畫不同于外國人的風(fēng)景畫，它不是再現(xiàn)自然景觀，而是通過自然景觀的表現(xiàn)，賦予自然以文化的內(nèi)涵和審美的 觀照。天人合一——人與自然的親和，是中國山水畫的基礎(chǔ)。春夏秋冬，朝暮白晝，風(fēng)霜雨雪，山水表現(xiàn)出了不同的面貌，體現(xiàn)了生命的意義。 The painting and calligraphy in China's historical development in the long formed the world's unique folk art, with distinct characteristics and a strong tradition, that with China's social development, Minzu Appreciation Convention as well as traditional academic thinking, closely related. Chinese landscape painting is a unique Chinese cultural concept. Chinese landscape painting Chinese landscape painting is different from the foreigners, it is not a reproduction of the natural landscape, but through the natural landscape of the performance, given the natural meaning of culture and aesthetic contemplation. Heaven - the affinity between man and nature is the basis of Chinese landscape painting. Seasons Zhaomu day, wind, frost, rain, snow, mountains and rivers showed a different face, reflects the meaning of life. 山水和人一樣具有內(nèi)在的生命運(yùn)動和精神力量。中國人關(guān)于山水的觀念，源于原始的宗教。對山靈的崇拜，對水神的敬畏，人們在這種崇拜和敬畏之中經(jīng)歷了漫長的歷史過程。在神統(tǒng)治的社會里。一切神靈無不隱匿于山水之中。山水是神靈之母。山之高，水之深；山之廣，水之渺，蘊(yùn)涵了天體宇宙的無限奧妙。 Landscape and human life as inherently movement and spiritual strength. Chinese concept of landscape, from the original religion. The mountain spirit of worship of God and of the water, people in worship and awe of this experience of a long historical process. God rule in society. All the gods are all hidden in the midst of the landscapes. Landscape is the mother of the gods. High mountains, deep water; mountain wide, water vague, implies the celestial wonders of the universe's infinite. 為了表示對山水神靈的崇拜和敬畏，人們刻畫山水神靈的形象，用于祭?；蛘把?。神話或神畫啟發(fā)了中國山水畫的獨(dú)立成形。中國山水畫是畫家對祖國大好河山無比崇敬、無限熱愛的一種激情，將這種激情表現(xiàn)出來（記錄下來），這種表現(xiàn)出來的作品是“源于生活而高于生活”的，是畫家“心畫”——對美好生活的提煉，用筆墨、色彩等繪畫語言來描述“理想中的”青山綠水、小橋人家等等；若再題上詩句就是典型的“詩情畫意”了。 In order to express the worship of mountain gods and fear, it depicts the image of mountain gods, I wish to sacrifice or pay their last respects. Myth or God inspired the Chinese landscape painting independent shape. Chinese landscape painting is the painter of the immense respect the motherland's great rivers and mountains, boundless love as a passion, this passion will be shown (recorded), this show works out "from life than life", a painter " pictures of the heart "- refining the good life, with ink and color painting language to describe the" ideal "mountains, bridges and people and so on; Ruozai title on the line is a typical" poetic Chinese painting "the. 而西方的風(fēng)景畫是“某一時(shí)段”——條件色彩下的某處照片式的真實(shí)描繪。因此，筆者認(rèn)為：中國中國山水畫是理想的、浪漫的，是畫家集中把大自然的美，通過藝術(shù)“提純”的“反映結(jié)果”；而“詩情畫意”更是突破了時(shí)空上的束縛，將視覺藝術(shù)轉(zhuǎn)變?yōu)榫褡非?，開啟了人們對真、善、美（理想世界）——“世外桃源”（和諧社會）的向往與追求；從某種意義上說：詩情畫意是靈動的、是“有生命的”和不朽的；他根至于每個(gè)喜愛中國文化的人們思想之中。而風(fēng)景畫是客觀現(xiàn)實(shí)的反映，他是相對靜止的（猶如風(fēng)景照片一般），物質(zhì)的。 The Western landscape is "a time" - somewhere under the conditions of color photographs depict the true style. Therefore, I believe: China Chinese landscape painting is an ideal, romantic, a painter focused on the beauty of nature through the art of "purification" and "reflects the results"; and "poetic Chinese Painting" has broken through the shackles of time and space, the visual arts into a spiritual pursuit, opening people's truth, goodness and beauty (ideal world) - "Xanadu" (harmonious society) desire and pursuit; sense: "poetic Chinese Painting" is Smart is "living" and the immortal; his roots As each loved Chinese culture into people's thinking. The landscape is a reflection of objective reality, he is relatively static (like landscape photos General), substances. 刻畫中的“日月山”，表現(xiàn)的既是一個(gè)自然的觀念，又是一個(gè)歷史的時(shí)期。人們能夠?qū)⑺鼈兒蠟橐惑w，就已經(jīng)表明了對自然的獨(dú)特的認(rèn)識方式。中國藝術(shù)中關(guān)于自然的觀念可以說是先天的，這種先天的因素是精神高于物質(zhì)、思維高于存在。 Portray the "Riyue" performance is a natural idea, it is a historical period. People to them as one, had already demonstrated a unique understanding of the natural way. Chinese art in the concept of nature can be said to be innate, inherent factors such spirit than substance, more than thinking there. 哲學(xué)方式?jīng)Q定了中國人關(guān)于自然的定義，宗教則為哲學(xué)方式增添了生命和精神。天地與我并生，天地與我合一，莊子打開了人與自然之間的屏障，人開始與天地精神往來。“仁者樂山，智者樂水”。 Determined by the Chinese philosophy on the nature of the definition of philosophy of religion was a way to add life and spirit. World and I, and Health, World and I one, Chuang open the barriers between man and nature, people started to contact the spirit world. "Others Mountain, the wise man happy water." 山水“質(zhì)有而趣靈”（ 質(zhì)有，形質(zhì)是有。趣靈，其趣向，趣味，則是靈。與道相通之謂靈。），因此，圣人、賢者、高士必有山川之游，軒猿、堯、孔無不如此。而崆峒、具茨、藐姑、箕首、大蒙等名山又演繹了千古佳話。“優(yōu)游”是生活也是文化，他體現(xiàn)了中國人對自然的愛好，也表現(xiàn)了中國人特有的聯(lián)結(jié)自然與文化的方式。眷念廬衡，契闊荊巫，山水的價(jià)值得到了歷史的確認(rèn)。 Landscape, "the quality of the spirit and interest" (the quality of the, form of quality is. Interesting spirit, its help one to fulfill, interesting, it is spiritual. And that the spirit of Taoism.), So people must have learned the action around mountains , good ancient emperor, Confucius, just a few. The Kongtong, with Heights Hill, despise Gushan, Kei first mountain, mountains and other large Mengshan another interpretation of the eternal stories. "A good tour great mountains and rivers" is also a culture of life, he embodied the Chinese people's love of nature, but also demonstrated the unique Chinese way of linking nature and culture. Miss Mountain, Hengshan, Jingshan, Wushan, so the value of the landscape has been confirmed by history. 含道應(yīng)物，澄懷味象。在以精神為第一性的山水里，人們并不關(guān)注所顯之象，而是重視所含之道。形而上的道彌補(bǔ)了生活中的諸多缺陷和不足，故“以形媚通”成了中國人的一種生活哲學(xué)。 To the corresponding changes in the nature of things, the truth of things is clear. First in the spirit of the landscape with, people do not pay attention to the signs of obvious, but attention to the truth contained. Metaphysical truth, make up the life of the many defects and deficiencies, so "in order to explain the shape of things" has become a kind of Chinese philosophy of life. 莊子對老子提出的“滌除玄鑒”的美學(xué)命題作了極豐富的發(fā)揮。老子指出：“滌除玄鑒”是把握“道”的根本途徑。也就是說，觀照“道”必須有一個(gè)虛靜空明的心境，即主體必須有一個(gè)審美心胸。 Laozi Zhuangzi's "eliminate Yuen Kam," made a very rich aesthetic proposition to play. I said: "eliminate Yuen Kam," to grasp the "Tao" a fundamental way. In other words, contemplation of "Tao" must have a clear state of mind xujing empty, that there must be a subject of aesthetic mind. 莊子對此的發(fā)揮是提出了“坐忘”，“心齋”等一系列的美學(xué)命題。誠然，這種虛靜空明的心境對后世人們欣賞自然山水時(shí)審美意 象得以產(chǎn)生，其影響是極至深遠(yuǎn)的。而“滌除玄鑒”、“心齋”、“坐忘”——即建立審美心胸，這一核心范疇被引入繪畫領(lǐng)域并且有重大貢獻(xiàn)的美學(xué)家始于魏晉南北朝時(shí)期的宗炳。誠然，這與魏晉玄學(xué)之興起有極密的聯(lián)系。 Zhuangzi this play is to propose a "sitting forgotten," "inner world" and a series of aesthetic propositions. Indeed, this Xujing air out of mind on the future generations to appreciate the natural landscape can be generated when the aesthetic image, the impact is extreme far-reaching. And "eliminate Yuen Kam," "sitting forgotten," "inner world" - that is to establish aesthetic mind, the core category was introduced and there is a significant contribution to painting in the field of aestheticians began Wei, called Bing's people. Admittedly, this is Wei "divination, astrology," the rise of a very close contact. 藝術(shù)無疑是以表現(xiàn)人生，表現(xiàn)人之心靈世界，表現(xiàn)宇宙萬象作為對象和目的的。至魏晉南北 朝，老、莊之學(xué)大興，不管是在詩歌領(lǐng)域，還是在書畫領(lǐng)域都紛紛地傾向于“師法自然”，“表現(xiàn)性情”，以通向?qū)?#8220;道”的觀照和把握這一特點(diǎn)。從而把自然當(dāng)作至美，至真的對象來如以描述和表現(xiàn)。莊子云：“天地有大美而不言，四時(shí)有明法而不議，萬物有成理而不說。 Art is no doubt that life, showing people the spiritual world, the entire universe as the object and purpose of Vientiane. To the Wei and Jin, old science of Tai Hing Chuang, whether in the field of poetry, or in the fields of painting and calligraphy have to tend to "Nature as Teacher," "performance temperament" to lead to the "Road" in contemplation and understanding this a feature. To the natural as to the United States, to really object to such descriptive and performance. Zhuangzi Yun: "Heaven and earth have made great beauty, four seasons have clear without proposed, does not talk contribution has everything. 魏晉玄學(xué)推演了山水觀念的轉(zhuǎn)換，遷想妙得使山水獲得了新的美學(xué)意義。莊老告退，山水方滋。神超形越之外，玄對山水，自然的山水成為山水的自然。 Metaphysics deduction of the landscape transformation of concepts Fruitful Imagination to get a new landscape aesthetic significance. Chuang old retire and live a better place in Yishanbangshui life. God, the more ultra-shaped, the fortune-telling, science on the landscape, natural landscape into the natural landscape. 人們關(guān)注山水，寄希望于山水的表現(xiàn)，擴(kuò)展自己的生活空間——“嵩華之秀，玄牝之靈，皆可得之于一圖”。為了實(shí)現(xiàn)這時(shí)代的理想，時(shí)尚澄懷清談的魏晉圣賢又發(fā)明了“臥游”的方式。這種具有理想色彩和積極意義的方式，促進(jìn)了中國山水畫的獨(dú)立和發(fā)展。 People concerned about the landscape, landscape performance hopes to expand their living space - "Song of China the show, mysterious female spirits may apply purest a map." To achieve this the ideal time, when the talk Shangcheng Huai Wei Jinsheng Xian has invented a "spiritual travel" approach. This is the ideal color and positive way, promoting independence and development of Chinese landscape painting. 宗炳發(fā)前人所未言，給中國山水畫的成因以一個(gè)合乎實(shí)際的詮釋：“夫昆侖山之大，瞳子之?。黄饶恳源?，則其形莫睹；迥以數(shù)里，則可圍于寸眸。誠由丟之稍闊，則其見彌小。今張素以遠(yuǎn)映，則昆侖之形，可圍于方寸之內(nèi)。” zong-bing predecessors did not tell the truth to say to the reasons for the formation of Chinese landscape painting, with a realistic interpretation: "The great Kunlun Mountains, the small pupil; forced to look to look down upon the large, its shape is to look at incomplete; is walking a few years, we can only see a small area. It is true that because he discarded (not refined) in the "big", but it can see the exquisite "little." (then) Su-use "Three Perspectives," the painting to draw the shape of the Kunlun Mountains, you can draw a very small range. " 宗炳的思想建立在中國山水畫發(fā)展的過程中，他把以往過于精神化的山水理念，引向到視覺的理念之中，從而為山水成“形”作出了前所未有的貢獻(xiàn)。宗炳還提出了“應(yīng)目會心”、“ 應(yīng)目感神”、“神超理得”，這是他對中國山水畫作出的具有本質(zhì)意義的界定。千年以后，畫家百代，然中國山水畫的準(zhǔn)則卻千古不移。 zong-bing ideas based on the process of development of Chinese landscape painting, he has the spirit of the landscape over the past concept leads to the idea of being visual and thus landscape into a "form" made an unprecedented contribution. zong-bing also proposed "to see the experience in the heart", "will see a reflection of the spirit", "will this spirit into a theory", which he made on the Chinese landscape painting with the definition of essential meaning. Years later, EMI artists, however the criteria for Chinese landscape painting is eternal. 山水脫離了宗教的神，中國山水畫引入了人的神，自然在神會之中體現(xiàn)了文化的意義，這是歷史的飛躍。“神飛揚(yáng)”，“思浩蕩”，山水激發(fā)了人的精神，中國山水畫實(shí)現(xiàn)了人的生活理想、擴(kuò)展了人的生活空間——“披圖幽對，坐究四荒”。 God from the religious landscape, the Chinese landscape painting into a people of God, God will naturally is reflected in the meaning of culture, this is a historical leap. "God flying", "thinking graciousness", landscape inspire the human spirit, the Chinese landscape painting to achieve the ideal of human life extends the life space - "Phi Figure quiet right, sitting four study shortage." 唐代始于吳道子，成于李思訓(xùn)、李昭道的“山水之變”，其本質(zhì)是由山水精神的追求轉(zhuǎn)向山水意境的表現(xiàn)。王維以詩人的學(xué)養(yǎng)發(fā)揮畫家的氣質(zhì)，在文學(xué)和繪畫領(lǐng)域揭示了詩與畫的關(guān)系，從而提出了中國山水畫意境表現(xiàn)中的一個(gè)準(zhǔn)則——畫中有詩（詩情畫意）。由精神而意境，不是垂直的歷史線索的過渡，而是一個(gè)線索的分枝，是美學(xué)上的平行關(guān)系。中國山水畫中意境問題的提出，是中國山水畫在發(fā)展過程中側(cè)重點(diǎn)的轉(zhuǎn)變，是在美學(xué)上的完善。 Tang began Wu Daozi, as in Li Xun, Li Zhao Tao's "Landscape Change", its essence is the spirit of pursuit by the landscape turned to landscape Artistic Conception. Educated poet Wang Wei to play the artist's temperament, in the field of literature and painting reveals the relationship between poetry and painting, which made the performance of Chinese Landscape Paintings in a guideline - painting in poetry (poetic Chinese painting). Conception by the spirit, not the historical clues vertical transition, but a clue to the branch, is the aesthetic parallel relationship. Chinese Landscape Painting in the conception of the problem is that the Chinese landscape painting in the development process focused on the changes in the aesthetic perfection. 北宋時(shí)期的郭熙說道：“君子之所以愛夫山水者，其旨安在？丘園，養(yǎng)素所常處也；泉石，嘯傲所常樂也；漁樵，隱逸所常適也；猿、鶴，飛鳴所常親也。塵囂韁鎖，此人情所常厭也．．．煙霞仙圣，此人情所常愿而不得見也。然則林泉之志，煙霞之侶，夢寐在焉，耳目斷絕，今得妙手郁然出之，不下堂筵，坐窮泉壑，猿聲鳥啼依約在耳，山光水色晃漾奪目，此豈不快人意，實(shí)獲我心哉，此世之所以貴夫畫山之本意也。”（解釋為：北宋時(shí)期的郭熙說道：“君子之所以非常喜愛山水，是因?yàn)槭裁茨兀壳饒@，是我因?yàn)樾奚眇B(yǎng)性的好地方，我常常來此；泉石（泉石：指山水、泉石名勝之處），山泉飛瀉、風(fēng)嘯森林的聲音是很美妙的，所以我常常感到快樂呀；漁夫、樵夫他們自由自在的隱居在此，很快樂呀；猿猴、飛鶴它們與人們和諧地生活在一起，自由自在地飛翔、鳴叫，是人們感到親密呀。塵世間的喧囂和韁死的關(guān)系，象鎖一樣禁錮著我們的心靈，這是人們所非常討厭的呀．．．云煙環(huán)繞、彩霞升起的仙境、圣地，是人們非常想去的地方，但是，卻是看不見的呀。然而，人們向往山林、泉石的志向，追求與云煙環(huán)繞、霞光萬道的仙境相伴，是夢寐以求的，這些是耳聽不到，眼看不到的呀；現(xiàn)在幸虧有繪畫高手，（他們）經(jīng)過非常艱苦的訓(xùn)練才能畫出中國山水畫，（他們）沒有時(shí)間去休息，甚至吃飯都是很簡單，（他們）一天到晚坐在那里努力地畫著泉石與溝壑，（他們畫得非常形象）猿聲鳥啼好像是在耳邊響起，山光水色晃漾奪目，看了這些畫怎么不讓人賞心悅目、非常快樂呢？這些畫讓我稱心如意呀，是世上非常難得的，因此，這才是畫中國山水畫的本意呀。”） Guo Xi Northern Song Dynasty said: "The reason why a gentleman was very fond of landscape, because it? Kew Gardens, is my self-cultivation as a good place, I always come here; Tanzanite (Tanzanite: refers to landscapes, Tanzanite spot it), spring plunging, Feng Xiao forest is very beautiful sound, so I often feel how happy; fisherman, woodcutter who lived in this carefree, happy Yes; apes, flying crane with the people they are living together in harmony, free free to fly, tweet, is that people feel close ah. earthly death of the relationship between noise and bridle, the same as the lock confined to our minds, this is very annoying that people ah ... clouds around, Choi Ha rising paradise , Holy Land, where people are in want, but it is invisible Yeah. However, there is longing for the mountains, Tanzanite's aspirations to pursue with clouds around, accompanied by Xiaguang 10,000 wonderland is dream, these are the ears less and watch less than the ah; now thanks to a painting master, (they) been training very hard to draw the Chinese landscape painting, (they) do not have time to rest, and even food are very simple, (they) spend all day sit hard painted Tanzanite and ravines, (they paint a very vivid) monkeys sound like robins in the ears, Hongya Huang Yang brilliant, saw how these paintings are not looking, very happy it ? These paintings make me agreeable Yeah, the world is very rare, so this is the intention of Chinese landscape painting ah. " 五代宋初的荊浩、關(guān)仝、董源、巨然、李成、范寬，完善了中國山水畫的藝術(shù)表現(xiàn)，并把中國繪畫中的中國山水畫推向了一個(gè)歷史的高峰。中國山水畫在這一時(shí)期成為時(shí)代的主流 藝術(shù)。被稱為“百代標(biāo)程”的五代宋初中國山水畫，在表現(xiàn)領(lǐng)域中將山水的物理和技巧結(jié)合起來，又提出了一個(gè)新的歷史話題，傳統(tǒng)中國山水畫對精神和意境方面的關(guān)注經(jīng)此而轉(zhuǎn)向于技術(shù)層面——形式（詩情畫意）。 Five Dynasties and Song of Jing Hao, Guan Tong, Dong Yuan, Ju Ran, Li Cheng, Fan Kuan, perfected the art of Chinese landscape painting performance, and to Chinese painting in the history of Chinese landscape painting into a peak. Chinese landscape painting during this period to become the mainstream art of the times. Known as the "100 generation of standard process" of the Five Dynasties Song Dynasty Chinese landscape painting, landscape painting in the performance area will combine the physical and skill, but also proposed a new historical subject, the traditional Chinese landscape painting on the spirit and the mood of concerns but by this Turn on the technical level - form (poetic Chinese painting). “元四家”不僅完善了中國山水畫的水墨技法，而且因?yàn)闀r(shí)代的特點(diǎn)，為中國山水畫在審美范疇內(nèi)增添了“逸”的概念。這種具有明顯時(shí)代特點(diǎn)的審美時(shí)尚，雖然有審美之外的社會原因，但卻因?yàn)檫@一契機(jī)在中國山水畫意境的領(lǐng)域內(nèi)創(chuàng)造了一個(gè)新的標(biāo)準(zhǔn)——“詩情畫意”，后世則將此推為最高的準(zhǔn)則。 "Element 4" is not only perfected the technique of Chinese ink painting, but also because the characteristics of the times, as in the aesthetic context of Chinese landscape painting to add a "leisurely, more than a general" concept. This has the obvious characteristics of the times of aesthetic fashion, although there are social reasons other than aesthetic, but because of the opportunity in the field of Landscape Painting in the creation of a new standard - "poetic Chinese painting", while later this to promote the highest standards. 盡管文人畫鄙薄技藝，但文人畫在山水領(lǐng)域所提出的依附于“筆墨”的審美準(zhǔn)則，卻不能脫離一定技術(shù)的規(guī)范。繪畫的形式與山水的程式，都建立在一定的技術(shù)基礎(chǔ)上，所以在南北分宗時(shí)，人們對它的劃分與解釋，也是以技術(shù)的標(biāo)準(zhǔn)來樹立南宗的美學(xué)規(guī)范。 Although the skills paintings scorn, but the landscape paintings in the area of the proposed attached "pen", the aesthetic criteria, but not out of certain technical specifications. And landscape painting in the form of programs that are built on the basis of a certain technology, so in North and South sub-cases, people explained it, is to establish technical standards to the aesthetic norms Southern Sect. 中國山水畫發(fā)展過程中的南北分宗，是一定歷史時(shí)期的必然，也是中國山水畫發(fā)展史上的重要事件。以新的技術(shù)標(biāo)準(zhǔn)和美學(xué)規(guī)范來疏導(dǎo)發(fā)展過程中的無序狀況，回歸歷史的傳統(tǒng)，實(shí)際上已經(jīng)表現(xiàn)了中國山水畫的衰落。董其昌對現(xiàn)世的感嘆，說明了其中的許多道理。 Chinese Landscape Painting in the development of North-South sub-cases, is bound to a certain historical period, China is an important event in the history of landscape painting. With new technical standards and aesthetic norms to ease in the development of disordered state, return to the historical tradition of landscape painting in China has actually shown a decline. Dong Qichang on secular laments, illustrates many of the reasons. 明清兩代在山水的精神和意境方面已無能為力，在宋元的峰巔面前人們只有景仰和贊嘆。為了挽回歷史的頹勢，董其昌打出了“復(fù)古”的旗幟。在一個(gè)過于強(qiáng)調(diào)筆墨和程式的時(shí)尚中，畫家們只有窮畢生的精力“血戰(zhàn)宋元”，人們只有通過“臨”、“仿”、“撫”、“摹”來標(biāo)識自己的傳統(tǒng)淵源，確立自己的藝術(shù)價(jià)值。“四王”在中國古代繪畫史上為中國山水畫創(chuàng)造的最后的輝煌，最終消失在晚清的暮色中；只有“詩情畫意”這樣最能體現(xiàn)中國文化精髓的藝術(shù)形式能夠流芳百世。 Ming and Qing dynasties in the landscape of the spirit and mood has been powerless in front of people in the Song of the hilltops only admire and praise. In order to restore the historical decline, Dong Qichang hit the "retro" banner. In a pen and programs too much emphasis on fashion, the artists only spending a lifetime of effort "bloody Song", it is only through "temporary", "imitation", "ask", "copy" to identify their traditional sources, to establish their artistic value. "Four Wangs" in the history of ancient Chinese painting Chinese landscape painting to create the final glory, finally disappeared in the late Qing Dynasty in the twilight; only "poetic Chinese Painting" This can best embody the essence of Chinese culture and art form to remain immortal. 然而，“藝術(shù)當(dāng)隨時(shí)代走”、“與時(shí)俱進(jìn)”和創(chuàng)新是永恒的話題，沒有創(chuàng)新和發(fā)展，就沒有生命。但需要把握的是：一定要取于傳統(tǒng)，因?yàn)殡x開傳統(tǒng)就是“無根之花、無源之水”。 However, "When the arts go with the times", "Times" and innovation is the eternal subject, no innovation and development, there is no life. But needs to grasp is this: we must take on the tradition, because tradition is to leave "no roots, flowers, water without a source." 下面是筆者探索“詩情畫意”的拙作，懇請大家批評指正： Here I explore the "poetic" of an apology, I implore you criticize correction: 一、 依畫題詩（自作詩） 1, according to Chinese painting poetry (write your own poems) 1、中國山水詩意畫——《峽江秋色》 1、 Chinese landscape painting poetic - "Autumn Xiajiang"
【原詩 （顧紹驊自作詩）】絕壁現(xiàn)帆影，紅葉盛崖頂。峽江滿秋色，閑翁五言吟。 【欣賞】在陡峭的山峽絕壁中，遠(yuǎn)處顯現(xiàn)帆船的影象；茂盛的紅葉樹生長在山崖 的頂部，將畫面“染紅”，好一片秋天豐收的景色充滿整個(gè)山峽的江山。我看到這樣的美麗風(fēng)光，忍不住把“五言”詩詞作。 規(guī)格：68×68㎝ 紙本設(shè)色 2008年10月創(chuàng)作 【Appreciate】Steep gorge in the steep cliffs, the distance of the boat\'s image; lush red long Ye Shusheng top of the cliff, will screen "red" and a good harvest in the autumn landscape is full of the whole of the gorge. I saw this beautiful scenery, could not resist the "Wu Yan" for poetry. Specification: 67 × 65 cm paper colors created in October 2008 2、中國山水詩意畫——《自作詩•畫山水》 2、Poetic Chinese landscape painting - "Since poetry • Landscape Painting"
【原詩】 不守成法任激趣，五墨六彩①筆情寄；只因②《再探》③少素材，續(xù)上七言自愜意。 【釋義】沒有嚴(yán)格遵照山水畫的“勾、皴、點(diǎn)、染”等“程序”來，而 是依照自己“成竹在胸”來抒發(fā)激情，追求筆墨意趣；用“五墨六彩”（焦?jié)庵氐澹┑裙P墨效果來在宣紙上“游戲”。 （這些）是因?yàn)椤对娗楫嬕庠偬健啡鄙偎夭模ㄗ约海┰倮^續(xù)題上七言詩，完成后是多么的愜意??！ 【Appreciate】Not strictly follow the landscape of the "hook, cracked, point, dye" and "procedures" to, but according to his "enlightened approach" to express the passion, the pursuit of ink Interest; with "five-color ink 6" (Jiao Qing strong light) and other words effect to the rice paper on the "game." (These) as "poetic Revisited" lack of material, (their own) and then continue to question the Piece, how comfortable after ah! 【注】①“五 墨六彩” 五墨：焦墨、濃墨、重墨、淡墨、清墨——水墨畫的色彩層次；六彩：黑、白、干、濕、濃、淡。 ②“只因”二字取與“只因誤識林和靖，惹得 詩人說道今”； ③《再探》：《再探》即為本文。 【Note】 ① "five-color ink 6" Five Mexican: Mexican coke, the edges of heavy ink, light ink, clear ink - the color ink level; six-color: black, white, dry, wet, thick, pale. ② "just because" taking the word of "false consciousness because Linhe Jing, prompting the poet said this"; ③ "Revisited": is this article. 規(guī)格：136×68㎝ 紙本設(shè)色 創(chuàng)作年代：2010年5月 Size: 136 × 68 cm paper\'s color creation: May 2010 3、中國山水詩意畫——《自作詩•峽山情》 3、Poetic Chinese landscape painting - "Since poetry • Xiashan Love"
【原詩】 云蒸霞蔚寫峽山，荊州①江水景泰瀾；昔聞太白言孤帆②，時(shí)逢盛世作三船③。 【釋義】（筆者）懷著對祖國美麗江山的熱愛，繪出“心中的壯景” ——象云霞升騰聚集起來。景物燦爛絢麗的峽山；風(fēng)景如畫的母親河與如斧劈溝壑一般的峽江，浮云環(huán)繞，波瀾壯闊的江山，景色怡人、美麗激昂、國泰民安；太白 詩仙曾經(jīng)詠道：“孤帆遠(yuǎn)影碧空盡，…。”是何等的傷感；如今隨著祖國的強(qiáng)大，真是翻天覆地的變化，那些“孤寂、窮困”的朝代已經(jīng)一去不復(fù)返，一片繁榮、和 諧的景色已經(jīng)“闖入”我們的視野。 【Appreciate】 With beautiful rivers and mountains of the motherland, love, draw the "King Zhuang heart" - like the rosy clouds gathered Ascension. Xiashan brilliant magnificent scenery; picturesque Mother River and Three Gorges, such as ax gully general, clouds, surrounded by magnificent rivers and mountains, scenic, beautiful and passionate, peace and prosperity; Bai Shixian who chant: "The Gu Fan Yuan shadow blue sky to make, .... "What a sad; now with the Motherland, is really earth-shaking changes, those" lonely, poor, "the dynasty has been gone, a prosperous and harmonious scenery has" entered " our vision. 【注】①蘇軾詩《荊州十首》有“游人出三峽，楚地盡平川。”句；荊州：古"九州"之一。在荊山﹑衡山之間。漢為十三刺史 部之一。轄境約相當(dāng)于今湘鄂二省及豫桂黔粵的一部分;漢末以后轄境漸小。東晉定治江陵(現(xiàn)屬湖北)，為當(dāng)時(shí)及南朝長江中游重鎮(zhèn)。明清置府，后廢。 2.唐韓朝宗曾任荊州長史，為時(shí)人所推重，稱韓荊州。見唐李白《與韓荊州書》。后因以"荊州"稱己所推重之士。 ②“孤帆”：李白詩句有：“孤帆遠(yuǎn) 影碧空盡，唯見長江天際流。” ③“三船”： 古代的“三、六、九”是吉利數(shù)字，“三生有幸、三人為眾、三綱五常、三人行，必有我?guī)熝?#8221;也是多指數(shù)。 【Note】 ① Jingzhou: ancient, "Kyushu" one. Hengshan in between Jingshan ﹑. Department of Chinese and one for the 13 provincial governor. Jurisdiction over this territory equivalent to about two provinces of Hunan, Hubei and Henan part of Guangxi, Guizhou and Guangdong; Han Dynasty after the territory under its jurisdiction gradually smaller. Eastern Sadaharu Gangneung (now part of Hubei Province), for the time and the Southern city of the Yangtze River. Chi Ming and Qing government, after the waste. 2. Tang Han Chaozong former Jingzhou Nagao, too people hold in esteem, Jingzhou Han said. See Don Li Bai "and Han Jingzhou." Later, because of the "Jingzhou", said the thrust-weight people in already. ② "a boat": Li Bai\'s poem are: "a boat to walk very far, just to see the Yangtze River\'s water, all flow of the" horizon "." ③ "Mifune": the ancient "three, six, nine" is a lucky number, "\'ve been looking forward, three for the public, three cardinal guides and the five permanent members, three rows, must be my teacher Yan" is also a multi-index. 規(guī)格 68×136cm 紙本設(shè)色 創(chuàng)作年代：2010年5月 Size 68 × 136cm paper, ink\'s creation: May 2010 4、中國山水詩意畫——《峽江仲春綠映紅》 4、Poetic Chinese landscape painting - "Three Gorges of the spring is very beautiful, the spots of green in the red"
【賞析】 ?。禾?#8226;杜牧的《江南春》 “千里鶯啼綠映紅”和唐•韋莊的《幽居春思》“綠映紅藏江上村” 之意境；以歌頌祖國錦繡河山之壯麗、秀美，大自然的一切，是多么和諧美好??！ 【Appreciate】Take: Don • Du Mu\'s "Jason Jiang", "Journal of Dalian GreenYing-thousand miles," and Don • Wei Zhuang\'s "house arrest two poems,""Green Ying-possession of the river village" mood; "Three Gorges of thespring is very beautiful, green the spots in the red "as a tribute tothe motherland and beautiful land of magnificent, beautiful, all ofnature and how beautiful harmony ah! 規(guī) 格： 67.8cm×69cm 紙本設(shè)色 創(chuàng)作年代：2008年11月 Size: 67.8cm × 69cm paper, ink Creation\'s: November 2008 二、 依詩作畫： Second, according to Chinese landscape poetry of content creation: 5、中國山水詩意畫《金秋紅葉》 5、 Poetic Chinese landscape painting "beautiful golden autumn leaves"
流水何太 急，深宮盡日閑。殷勤謝紅葉，好去到人間?！咎啤啃趯m人詩意 【賞析】本詩寫的是一個(gè)失去自由、失去幸福的人對自由、對幸福的向往。詩的前兩 句「流水何太急，深宮盡日閑」，妙在只責(zé)問流水太急，訴說深宮太閑，并不明寫怨情，而怨情自見。詩的后兩句「殷勤謝紅葉，好去到人間」，運(yùn)筆更委婉含蓄。 它妙在曲折傳意，托物寄情，不從正面寫自己的處境和心情，不直說自己久與人間隔離和渴望回到人間，而用折射手法，從側(cè)面下筆，只對一片隨波而去的紅葉致以 殷勤的祝告。這里，題詩人對身受幽囚的憤懣、對自由生活的憧憬以及她的沖破樊籠的強(qiáng)烈意愿，盡在不言之中，可以不言而喻了。本作品取反義：一艘乘風(fēng)破浪的 帆船，遠(yuǎn)行在紅葉青山間；它滿載著主人對美好生活憧憬，劃過“溝溝坎坎、濁浪重重”一直奔向和諧的光明。 【Appreciate】The poem describes a loss of freedom and happiness ofpeople lost their freedom, the yearning for happiness. The first twopoems, "What water too fast, do palace on idle", wonderful in the watertoo fast just scolded, telling palace too busy, not out to write acomplaint, but a complaint from view. After the two poems, "graciousthank leaves, good to go to the earth", the pen moves more euphemistic.It is wonderful twists and turns communication, child care, alwaysfocussed on, not from the front to write their own situation andfeelings, not always say that their long isolation and the desire toreturn with the human world, but with refraction methods, from the sidewrite, but only one with wave extend hospitality to the leaves of ZhuGao. Here, people are seriously humor poem prisoners of resentment,longing to live in freedom and break through the confinement of herstrong will, do not words into, can be self-evident. I created the painting in the opposite sense: the sailing ship the windand waves, travels between Castle Peak in the leaves; its owner for abetter life filled with longing, across the "Gully sill, heavy turbidwaves" has been toward a bright and harmonious. 規(guī) 格：136×68cm 紙本設(shè)色 2010年4月創(chuàng)作 Size: 136 × 68cm paper colors created in April 2010 本文參考文獻(xiàn)：1、中國古典山水畫美學(xué)側(cè)記，2、三談破體書法，3、中國書畫 This article References: 1, Chinese classical landscape Sidelights, 2, 3 on nicely, 3, Chinese calligraphy and painting 顧紹驊(QQ:1072494751 歡迎加入)作于2010年5月4日 Shao-Hua Gu for the May 4, 2010 |
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