中國寫意繪畫的再思考

韓 璐

Rethinking Chinese Xie Yi Painting

Han Lu

提及“寫意”一詞，在以普遍慣性思維為主導(dǎo)的藝術(shù)概念認(rèn)知范疇內(nèi)，其含義并不難理解，往往更多的使人聯(lián)想到中國傳統(tǒng)繪畫中的一種繪畫風(fēng)格樣式，也就是常說的“寫意繪畫”。關(guān)于寫意的概念是什么，不能以與寫實(shí)相對(duì)應(yīng)的簡單邏輯思維來詮釋，寫意應(yīng)該有更深邃的內(nèi)涵。然而即便在《辭?！贰掇o源》中，也將寫意一詞在詮釋的條目中理解為中國繪畫的一種表現(xiàn)方法，或以中國繪畫中與工筆相對(duì)應(yīng)的粗筆一路加以理解。這種理解有一定的普遍性，但就“寫意”這一稱謂，抑或叫作繪畫名詞，從其內(nèi)涵指向而言，更契合一種源于文明演進(jìn)的文化自覺和審美崇尚，并通過各種寫意的展現(xiàn)形式反映在社會(huì)生活的方方面面，這在中國繪畫藝術(shù)中尤為凸顯，需要進(jìn)一步深入思考和探討。當(dāng)然，關(guān)于寫意的感性和理性反思，并不會(huì)直接影響到具體的繪畫實(shí)踐，只是換個(gè)角度和維度，去再認(rèn)識(shí)中國寫意繪畫的人文內(nèi)涵、審美訴求和精神實(shí)質(zhì)。

When it comes to the term “Xie Yi”[1], it is not difficult to understand in the context of the commonly tradition-driven conception of Chinese art, and is often more associated with a traditional Chinese painting style, which is often referred to as “Xie Yi painting”.The concept of Xie Yi cannot be.The literal translation of the term is to write down the meaning. As Chinese painting uses the same brush and techniques for writing, painting is often referred as writing. In the context of Chinese painting, it refers to the freehand and impressionistic painting style.interpreted in the simple logical way that corresponds to realistic; it should have a deeper connotation.Yet even in the Dictionaries, the term is still interpreted as a method of expression in Chinese painting, with rough brushstrokes that are the counterpart of Fine-line paintings.There is a certain logic in this understanding, but in terms of Xie Yi as painting genre, its connotation is more in line with a cultural consciousness and aesthetic reverence that originates from the evolution and is reflected in all aspects of social life through various forms of expression. It is particularly prominent in Chinese painting and requires further reflection and exploration.Of course, the perceptual and rational reflections on Xie Yi do not directly affect any specific painting practice, but only on how to re-understand the humanistic connotation from different perspectives of aesthetic and spiritual essence of Chinese painting.

在當(dāng)代中國繪畫中，往往將“寫意”與“工筆”相對(duì)應(yīng)，這種理解，基本已經(jīng)成為一種約定俗成的固化概念，甚至有些深諳中國繪畫的專業(yè)人士也直接就將寫意或工筆作為自身從業(yè)的技藝代名詞，由此還出現(xiàn)了對(duì)應(yīng)的畫家及展覽。當(dāng)然，基于當(dāng)代中國的大眾文化認(rèn)知和藝術(shù)人文背景狀況，這也是無可厚非的，畢竟如果從發(fā)展的眼光來看待一切事物，為某一名詞注入和擴(kuò)容新的時(shí)代內(nèi)涵，也不失為一種合理的解釋。但問題出來了，寫意是不是真的就可以用如此顯而易見的概念輕而易舉地從我們的認(rèn)知中一筆帶過，不需要再去深層次的反思了？依我看，當(dāng)然不是，關(guān)于寫意大有文章可做。甚至可以說，在一定程度上，我們都或多或少基于某種繪畫語言的審美直覺和主觀經(jīng)驗(yàn)，被集體引入了一個(gè)臆斷的概念誤區(qū)，以致越來越偏離寫意的本質(zhì)內(nèi)涵，從而導(dǎo)致對(duì)一些基本的繪畫問題，出現(xiàn)了理解上的偏頗與誤解，其結(jié)果就是出現(xiàn)針對(duì)中國繪畫發(fā)展問題上的取向迷茫和硬性嫁接。就寫意問題所連帶出來的學(xué)術(shù)問題，也是當(dāng)今學(xué)術(shù)界爭論和探討的主要問題。這里借此機(jī)會(huì)，也談?wù)勛约宏P(guān)于寫意的一些想法和認(rèn)識(shí)，語出卮言，信筆隨思，絕無所指。

In contemporary Chinese painting, the terms Xie Yi and Fine-line are often used in opposition to each other. This proposition has basically become an established concept, with some professionals who are well versed in Chinese painting even directly using Xie Yi or Fine-line as a synonym for their own practices, and further led to the emergence of corresponding names of the painters and exhibitions.Of course, given the state of popular awareness and background in contemporary China, this is no problem. But, if one looks with the lens of the times, it is only reasonable to inject and expand a term with new connotations for its development. But the question arises, is it really possible to use such a concept to pass down the perception without further reflection? In my opinion, of course not. There is much to be said about Xie Yi.It can even be said that, to a certain extent, we have all been led collectively into a conceptual misunderstanding based more or less on our aesthetic intuition and subjective experience of a certain painting language. It has led to an increasing deviation from the essential connotation of Xie Yi, resulting in a biased and misunderstanding of some basic painting issues such as the confused or rigid grafting of ideas in the development of Chinese painting.The problems associated with Xie Yi are also major issues of debate and discussion in academic circles today. I would like to take this opportunity to share with you some of my thoughts and understandings on the subject of painting.The words come out of the goblet and are written as they come to mind. There is no intention to criticize on any specific person.

作為一名從事中國繪畫的教育工作者和實(shí)踐者，曾在很長一段時(shí)間里，都在思考寫意和工筆作為對(duì)應(yīng)風(fēng)格稱謂的合理性問題。寫意和工筆這種稱謂在人物畫和花鳥畫中最為普遍，在山水畫中幾乎沒有這樣的稱謂或叫法，當(dāng)然可能也有人喜歡和愿意這樣稱呼，但皆為個(gè)例，不具有普遍性。寫意和工筆，這種稱謂如果是從表現(xiàn)方法和技藝風(fēng)格上來區(qū)分，本人覺得用粗獷法和精細(xì)法來區(qū)別或許更為貼切。寫與工不是對(duì)應(yīng)的關(guān)系，而是互補(bǔ)的關(guān)系。這種互補(bǔ)關(guān)系用書法中的“行草如楷，行楷如草”來形容或許比較便于理解。如果用圖像來闡釋，也可從北宋崔白《雙喜圖》(圖1)中草木的勾勒方法上獲得些啟迪。大凡從事繪畫的人都有這樣的體會(huì)，行筆運(yùn)墨，既要奔放還要收得住，勾勒設(shè)色既要平穩(wěn)還要甩得開，點(diǎn)厾揮寫，既不肆意妄為，也不謹(jǐn)小慎微，而是要張弛有度，這個(gè)張弛有度，就是“寫”。中國繪畫追求以寫為上，并且是在“寫”的基礎(chǔ)上進(jìn)行精度制作，這個(gè)制作也是一種寫的過程，是基于畫面虛實(shí)和主次的深入點(diǎn)染刻畫，而不是思維停滯的勾描和涂抹，更不是磨洋工。因此，對(duì)勾皴點(diǎn)染而言，都應(yīng)是寫的過程，雖不必筆筆有出處，但要處處見法度。再說一下“意”，意是個(gè)大問題，可以做大文章，但這就先不展開了。僅對(duì)中國繪畫而言，意可以暫且通過字面的意思來加以判斷，從意的詞組中，可以先梳理出幾個(gè)關(guān)鍵詞，譬如意趣、意境、意念、意圖等，或者再簡單直接說，意即內(nèi)心的想法、情感、思緒、感受等。那么寫意的意，和工筆要傳達(dá)的意本身是不是一樣的？我的回答是肯定的，工筆也是一種意的表達(dá)方式。由此可見，粗獷的“寫意”和精細(xì)的“工筆”只是繪畫表現(xiàn)方法上和所呈現(xiàn)出來的視覺感受上有所不同，但就繪畫過程的“寫”和最終要獲得的“意”其實(shí)是一樣的。從法度上講，沒有誰高誰低。那么既然是一樣的，用寫意的稱呼和工筆來對(duì)應(yīng)，顯然是不貼切的。我們甚至可以說，工筆畫本身也是寫意畫，僅僅是表現(xiàn)技法上有所不同而已。如果用粗筆與細(xì)筆來區(qū)分，字面上似乎對(duì)仗了，但似乎又不是這個(gè)筆粗和筆細(xì)的意思，更不是線條粗細(xì)的概念。如果用抽象和具象來表述，也是不合理的，因?yàn)樵谛蔚膯栴}上，粗獷和精細(xì)兩種表現(xiàn)手法最終的繪畫目的也是一樣的，即“傳神阿睹”。寫意不是放任隨意，工筆不是結(jié)板刻意，而同是抒發(fā)情感的不同繪畫方式。這個(gè)的確有點(diǎn)糾結(jié)，那到底怎樣的稱謂才算合理，或許暫且將粗獷法稱為意筆，將精細(xì)法稱為工筆，可能比較合適，在當(dāng)下也比較容易被接受。但意筆也好，工筆也好，都應(yīng)該統(tǒng)稱為中國寫意畫，只是描寫畫面意象的方法有所不同罷了。這一觀點(diǎn)似乎有點(diǎn)逆天，那我們?cè)賮砝^續(xù)分析一下中國寫意繪畫的內(nèi)涵，或許會(huì)有新的意味浮現(xiàn)出來。

As an educator and practitioner of Chinese painting, I have for a long time pondered the question of the rationality of the terms Xie Yi and Fine-line as corresponding styles. The term, Xie Yi or Fine-line, is most commonly used in figure painting as well as bird-and-flower painting, but hardly ever in landscape painting. Although there may be people who prefer and are willing to call them that, they are eceptional cases and not common.I think it would be more appropriate to distinguish between the rough and fine methods of expressions in painting techniques. Xie Yi and Fine-line are not exclusive to, but in complementary with each other. This complementary relationship is perhaps better described by the saying in calligraphy “Running cursive script is as regular, running regular script is as cursive)”.Interpreted in pictorial terms, some inspiration can be drawn from the way the grass and trees are outlined in Cui Bai's Magpies and Hare (Illustration 1) from Northern Song Dynasty.Anyone who has ever been involved in painting has the experience that the brushwork must be unrestrained, the outline and colouring must be smooth and open. Painting must not be reckless or cautious, but rather relaxed. Chinese painting pursues expressiveness as its top priority, and is done with precision on the basis of “Xie”, which is also a process of writing, based on the depth of dabbing and colouring of the picture, rather than stagnant sketching and coloring, let alone repetition. Therefore, the process of painting should be a process of writing. Although it is not necessary to have a referential for each brushstroke, the intention should be seen clearly. The Yi (意meaning, intention) is a big issue and can be the subject of a great deal of discussion, but I will not expand on this. In the case of Chinese painting alone, Yi can be interpreted by its meaning in the phrases: several key words can be sorted out, such as interest, mood, idea and intention . Yi is the inner thoughts, emotions, thoughts and feelings. So is it the same as the Yi imbedded in Fine-line paintings? My answer is yes, Fine-line is also a form of expression. It can be seen that the difference between rough Xie Yi and delicate Fine-line is only in the method of expression and the presented visual experience. The painting process of Xie and the Yi of the painting are in fact the same. In terms of technique, there is no superiority or inferiority.Since they are the same, then, it is clearly inappropriate to use the terms to differentiate the two. We might even say that Fine-line painting itself is also in essentially Xie Yi , merely differing in the expression techniques. If we only use the distinction between thick and thin strokes, it may seem to be literally correct. But it actually does not seem to be of the idea about the lines. It would be unreasonable to use abstract and figurative expressions, because in terms of form, the ultimate aim of painting is the same for both, i.e. to “convey the spirit”. Xie Yi is not arbitrary, while Fine-line is not overly deliberate, they are but different ways of expressing emotion. This indeed is a tricky problem. Perhaps it would be more appropriate to refer to the rougher method as Xie Yi and the finer method as Fine-line. It would be more acceptable for now. No matter Xie Yi or Fine-line, they should be collectively referred as Chinese painting, with only the method of depicting being different. This view seems a little counterintuitive, so let us continue to analyse the connotations of Chinese painting in the sense that new meanings may emerge.

圖1 ［北宋］崔白，《雙喜圖》，絹本，設(shè)色，縱193.7厘米，橫103.4厘米，臺(tái)北故宮博物院

Cui Bai, Magpies and Hare, 193.7×103.4cm, Northern Song Dynasty,Taipei Palace Museum

中國繪畫當(dāng)代被稱為中國畫，就中國畫這個(gè)稱謂而言，也有些牽強(qiáng)，具體就不多言了，因?yàn)椴皇沁@里要探討的問題，就暫且用“中國畫”這一詞來特指中國繪畫。首先劃定一個(gè)地域空間，就是以當(dāng)代的中國疆域包括特別區(qū)域?yàn)榛鶞?zhǔn)，凡現(xiàn)存的一切平面繪畫樣式，無論古今或是否延續(xù)和消亡的人工繪畫藝術(shù)樣式，都可稱為中國繪畫。那么這樣就不難理解了，中國繪畫的范圍非常大，有些以題材樣式劃分，有些以地域民族劃分，有些以材料質(zhì)地劃分，有些以功能目的劃分，等等，可謂包羅萬象，但這些繪畫都具有一個(gè)比較明顯的共性特征，就是寫意性。這個(gè)論斷是不是合理，接下來可以嘗試深入探討。

As far as the term Chinese painting is concerned, it is somewhat compromised.I will not say too much about it, as it is not the issue to be discussed here. I will use the term “Chinese painting” to refer specifically to the more general painting in Chinese for the time being.First of all, a geographical space is defined, that is, the contemporary territory of China including some special regions. All existing graphic painting styles in this region, whether ancient or modern, whether still in continuation or extinct, can be called Chinese painting.It is easy to understand, then, that the range of Chinese painting is very large, in its subject matters and styles. The categorization could be done based on their regions and ethnicity, or by the materials and textures used, or by the functional purposes. One of the more obvious common characteristics of all these paintings is Xie Yi. Whether or not this assertion is justified? I’ll try to explore in depth.

這里要說明一點(diǎn)，由于中國所處的特殊地理位置和所具有的世界文化身份，中國繪畫自然也就有了絕對(duì)的東方繪畫代表性地位。這種代表東方的寫意性繪畫與西方以寫實(shí)性為發(fā)展基礎(chǔ)的繪畫樣式形成頡頏并峙的關(guān)系，逐漸成為一道東方視覺文化的風(fēng)景線，散布在東方大地，也影響著東方各個(gè)區(qū)域的繪畫藝術(shù)發(fā)展，并扮演重要角色。

It is important to note here that because of China's special geographical location and its global cultural identity, Chinese painting naturally has an absolute representative status in Oriental paintings.This representational style of painting has formed a parallel relationship with the Western style of painting based on realism, and has gradually forged an oriental visual cultural that is influencing and playing important roles in the development of painting throughout the East.

這種與西方寫實(shí)性繪畫相對(duì)應(yīng)的寫意性繪畫，伴隨中國文化的不間斷性被延續(xù)至今。從時(shí)間上看，中國的這種寫意性繪畫遠(yuǎn)遠(yuǎn)要早于西方寫實(shí)性繪畫。眾所周知，西方寫實(shí)性繪畫的發(fā)軔和成熟期是在文藝復(fù)興時(shí)期，而中國繪畫的成熟期是在唐宋，如果從發(fā)端，可上溯到兩漢時(shí)期，可參見馬王堆帛畫，從帛畫的表現(xiàn)技藝和形式內(nèi)容上看，都呈現(xiàn)了明顯的意象特征。而且在兩晉時(shí)期，繪畫理論已經(jīng)達(dá)到相當(dāng)?shù)母叨?，如顧愷之的著作《魏晉勝流畫贊》《論畫》，南朝宋宗炳的《畫山水序》，南齊謝赫的《古畫品錄》，南北朝時(shí)期姚最的《續(xù)畫品》，若按照有些文獻(xiàn)著述中的人物記述品評(píng)，時(shí)間還要更早。從這些重要的繪畫文獻(xiàn)中，我們不難感受到一點(diǎn)，就是先賢對(duì)于繪畫的理論已經(jīng)有了極高的造詣，且見解獨(dú)到，論述精辟，耐人尋味。在文獻(xiàn)表述中，也可以體味到先賢對(duì)繪畫意象問題的真知灼見，以及對(duì)繪畫“形神”問題的闡幽抉微。由此我們可以得出這樣一個(gè)結(jié)論，中國繪畫就是基于中國傳統(tǒng)文化思想發(fā)展脈絡(luò)上的，針對(duì)寫形和造境問題的寫意性繪畫，這與我們現(xiàn)如今理解的寫意指向性概念有些大相徑庭，寫意的內(nèi)涵遠(yuǎn)比我們的理解要廣博深邃得多。寫意繪畫抑或可以成為東方繪畫的統(tǒng)稱和代名詞，遺憾的是，如今我們把寫意這樣一個(gè)宏闊而高級(jí)的名詞內(nèi)涵范圍大大縮小了，這的確有些可惜。中國繪畫或者說是中國畫，其真正合理的名詞稱謂應(yīng)該是中國寫意畫，再大些，亦可稱之為東方寫意畫。我相信這樣的提法和對(duì)中國寫意繪畫的詮釋，會(huì)得到一些人的贊同，當(dāng)然這需要相當(dāng)長的時(shí)間來適應(yīng)。

This kind of painting, comparing to Western realistic painting, has been perpetuated to this day along with the uninterrupted Chinese culture. In terms of history, Chinese painting predates Western realistic painting. It is well known that the genesis and maturity of Western realistic painting was during the Renaissance, whereas the maturity of Chinese painting was during the Tang and Song dynasties. If we look at the early origin, we can trace it back to the two Han dynasties, such as the Mawangdui silk paintings, which, in terms of their expressive techniques and formal content, show a distinctly Xie Yi character. The theory of painting had already reached considerable heights during the Jin dynasty, for example, in Gu Kaizhi's Introduction to the Famous Wei and Jin Painting, On Painting, Zong Bing's (from the southern dynasty Song )A Preface to Painting Landscapes, Xie He's(from the southern dynasty QiClassified Record of Painters of Former Times, and Yao Zui's(from the southern dynasty Chen) A Sequel to the Criticism of Painting. If one traces the accounts of some writings in the literatures, the history is even longer. From these important archives, it is easy to see that the literati had already achieved a high level of attainment in painting theories with unique insights that are incisive and intriguing. In the literature, we can also appreciate the literati’s insightful views on the Yi in painting, as well as their interpretation of the “form and spirit” of painting. From this, we can conclude that Chinese painting is based on the traditional Chinese thoughts, and its development addresses the issue of Xie Yi through context. This is somewhat different from our understanding of the concept today. It has a much broader and deeper connotation. Xie Yi painting may as well become a generic term synonym to Oriental painting. Unfortunately, we have now narrowed the scope of such a broad and advanced term. Chinese painting should really be called Chinese Xie Yi painting, or, to put it more generously, Oriental Xie Yi painting. I am sure that such a term and interpretation of Chinese painting will meet with the approval of some, although it will of course take quite some time to get used to.

接下來再來說一下水墨畫。按照上面的結(jié)論，這種繪畫自然也就毋庸置疑地可以冠之以中國寫意水墨畫的稱謂。為什么要談水墨畫，理由很簡單。西方基于寫實(shí)繪畫基礎(chǔ)上的最有代表性的繪畫是油畫，這是從繪畫材料上講的。那么基于東方寫意畫基礎(chǔ)上的，最具代表性的繪畫自然就是水墨畫，這也是從繪畫材料上講的。另外，這里也要再講一下，西方的油畫在發(fā)展過程中也存在從具象到意象的轉(zhuǎn)捩，這在19世紀(jì)出現(xiàn)的歐洲印象主義繪畫中可以得到驗(yàn)證；而中國的寫意水墨畫也存在不同程度的發(fā)展變遷。特別是在20世紀(jì)，在西學(xué)東漸和舶來文化的影響下，中國寫意繪畫也在發(fā)生著形式表現(xiàn)語言的裂變，在寫意造型和造境問題上，也發(fā)生著表現(xiàn)技藝和審美視覺的轉(zhuǎn)捩。西方寫實(shí)繪畫和東方寫意繪畫都在向著對(duì)方的方向進(jìn)行著潛移默化的融合與滲透，出現(xiàn)東方寫意繪畫的寫實(shí)化和西方寫實(shí)繪畫的寫意化，這種情況在當(dāng)代頻繁的美術(shù)交流展示活動(dòng)中并不難窺見一斑。這已是很正常的現(xiàn)象，因?yàn)闁|西方文化各自在謀求發(fā)展的過程中，伴隨著交往的日益頻繁，相互影響是正常的。但再怎么滲透和影響，由文化積淀所形成的文化基因最終還是要顯現(xiàn)出來的。繪畫藝術(shù)個(gè)體探索經(jīng)驗(yàn)的可變性較之整個(gè)民族文化氣質(zhì)的穩(wěn)定性而言，永遠(yuǎn)是弱小的。風(fēng)格樣式的階段性變化并不能代表繪畫藝術(shù)最終的趨勢(shì)和取向，這就像我們平時(shí)偶爾也喜歡吃西餐，也去買些西方人的東西來用，但并不是說吃了西餐，用了西方的東西就變成西方人了。同樣，西方人也一樣。所以，中國的寫意畫，最終還是具有中國地域和文化性征的寫意繪畫。因?yàn)楣亲永锷畈氐纳罘绞胶退季S習(xí)慣，不可能因?yàn)榻梃b而被徹底刪除，即便是淡遠(yuǎn)了，最終也還會(huì)被召回，這就是中國人的自我修復(fù)能力。體現(xiàn)在繪畫藝術(shù)上，就是揮之不去的民族寫意精神——一種自覺的文化本體回歸意識(shí)。

Next, about ink painting. In accordance with the above conclusions, it can naturally and unquestionably be labelled as Chinese Xie Yi ink painting. The reason why we should talk about ink painting is simple. The most representative Western painting based on realism is oil painting, and this is in terms of the material with which it is painted. The most representative painting in Oriental paintings is, based on the material used, ink painting.In addition, it should be noted that Western oil painting also underwent a transition from figurative to abstract, as evidenced by the emergence of European Impressionist painting in the nineteenth century. Chinese ink painting also underwent different degrees of development. In the twentieth century in particular, under the influence of the imported Western culture, Chinese ink painting underwent a shift in the formal languages, the techniques and aesthetic vision.Western realism painting and Eastern Xie Yi painting were subtly integrating and penetrating with each other, see in the realism trend in Eastern Xie Yi painting and the Xie Yi in Western realism painting. It is normal for Eastern and Western cultures to influence each other in the process of development, along with the increasing interaction. However, no matter how much the influence, the inherited genes would eventually emerge from the cultural accumulation. The variability of individual experiences in painting will always be weak comparing to the stability of the entire national cultural temperament. Stages of stylistic changes do not represent the ultimate orientation of painting. We like to eat Western food and buy Western things occasionally, but it does not mean we had become Westerners. Likewise, so do Westerners. Chinese painting is an art form with Chinese regional cultural characteristics. This is because the way of life and habits of thought are deeply embedded in the blood and cannot be completely replaced by borrowing. Even if they faded away, they will still be recalled eventually, such is the self-healing ability of the Chinese culture. Reflected in painting, it is the lingering national spirit of Xie Yi, a consciousness of returning to cultural ontology.

魯迅先生講：“中國繪畫，自宋以來就盛行寫意。”其實(shí)中華民族豈止是從宋開始，寫意觀念一直就在人們的精神世界里涌動(dòng)，而且延綿不斷。莊子的《逍遙游》，其實(shí)就是寫意精神的文字化表述。儒家思想的“仁者樂山，智者樂水”以及繪事后素的美學(xué)思想；道家文化中的“上善若水”“乘物以游心”也帶有明顯的寫意意蘊(yùn)。還有一些經(jīng)典著述諸如《周易》《道德經(jīng)》《文心雕龍》等，都能感受到東方寫意文化的大氣磅礴與玄妙至美。中國膾炙人口的四大名著，都是經(jīng)典上乘的寫意之作。若說繪畫作品，具有代表性的寫意作品信手拈來，《八十七神仙卷》(圖2)是寫意還是寫實(shí)的作品？無須言表；即便是北宋張擇端的《清明上河圖》(圖3)，也是基于現(xiàn)實(shí)生活的一卷記錄性寫意作品；范寬的《溪山行旅圖》(圖4)，揚(yáng)無咎的《四梅圖》(圖5)，黃公望的《富春山居圖》(圖6)，王冕的《墨梅圖》(插圖7)，還有明代徐渭的《墨葡萄圖》(圖8)，都是典型的中國寫意水墨畫作品，都用不同的題材和繪畫風(fēng)格抒發(fā)著作者心中的美好意象和高格意蘊(yùn)。

Lu Xun said, "Chinese Xie Yi painting has been prevalent since the Song Dynasty." In fact, the concept of Xie Yi has been surging in the spiritual world of the people much earlier and it continues to do so.Zhuangzi'sHappy Excursionis in fact a literal expression of the spirit of Xie Yi. In Confucianism, "A benevolent man delights in mountains, a wise man delights in water" and the reductive aesthetic idea of painting; the Taoist culture's “the supreme goodness is like water”and “grasp the order of things so that one’s heart can be free ” also have obvious connotations of Xie Yi. Other classical writings such as the Book of Changes, Tao Te Chingand Dragon-Carving and the Literary Mindare also known for their majestic atmosphere and subtle beauty.The four great classic Chinese novels are all Xie Yi works of the highest quality. When it comes to paintings, representative works of Xie Yi are all available; is The Scroll of the Eighty-Seven Immortals (Illustration 2) a work of realism or a Xie Yi one? Even Zhang Zeduan'sAlong the River During the Qingming Festival(Illustration 3), from the Northern Song Dynasty, is a Xie Yi work based on real life. Fan Kuan'sTravellers among Mountains and Streams(Illustration 4); Yang Wujiu'sFour Stages of the Blossoming Plum Trees (Illustration 5); Huang Gongwang'sDwelling in the Fuchun Mountains(Illustration 6); Wang Mian’sPlum Blossoms(Illustration 7); and Xu Wei'sGrapes(Illustration 8), from the Ming Dynasty, are all typical Chinese Xie Yi ink paintings. They use different subjects and styles of painting to express the beautiful imagery and high meaning in the author's mind.

圖2 ［唐］吳道子（傳），《八十七神仙卷》，絹本，墨筆，縱30厘米，橫292厘米，徐悲鴻紀(jì)念館

Wu Daozi,The Scroll of the Eighty-Seven Immortals, 30×292cm, Tang Dynasty，Xu Beihong Memorial Museum

《八十七神仙卷》（局部之一）

The Scroll of the Eighty-Seven Immortals(detail No.1)

《八十七神仙卷》（局部之二）

The Scroll of the Eighty-Seven Immortals(detail No.2)

圖3 ［北宋］張擇端，《清明上河圖》（局部之一），絹本，墨筆，淡設(shè)色，縱24.8厘米，

橫528.7厘米，故宮博物院

Zhang Zeduan, Along the River During the Qingming Festival（detail No.1）, colored ink on silk, 24.8×528cm , Northern Song Dynasty, the Palace Museum

《清明上河圖》（局部之二）

Along the River During the Qingming Festival（detail No.2）

《清明上河圖》（局部之三）

Along the River During the Qingming Festival（detail No.3）

圖4 ［北宋］范寬，《溪山行旅圖》，絹本，墨筆，縱206.3厘米，橫103.3厘米 ，臺(tái)北故宮博物院

Fan Kuan ,Travellers among Mountains and Streams,ink on silk,206.3×103.3cm , Northern Song Dynasty, Taipei Palace Museum

圖5 ［南宋］揚(yáng)無咎，《四梅圖》（局部之一），紙本，墨筆，縱37.2厘米，橫358.8厘米，故宮博物院

Yan Wujiu, Four Stages of the Blossoming Plum Trees（detailNo.1）,ink on paper 37.2×358.8cm , the Southern Song Dynasty , the Palace Museum

《四梅圖》（局部之二）

Four Stages of the Blossoming Plum Trees（detail No.2）

《四梅圖》（局部之三）

Four Stages of the Blossoming Plum Trees（detail No.3）

《四梅圖》（局部之四）

Four Stages of the Blossoming Plum Trees（detail No.4）

圖6 ［元］黃公望，《富春山居圖》（局部之一），紙本 ，墨筆，縱33厘米，橫636.9厘米，浙江省博物館

Huang Gongwang,Dwelling in the Fuchun Mountains（detailNo.1）,ink on paper,33×636.9cm, Yuan Dynasty ,Zhejiang Provincial Museum

《富春山居圖》（局部之二）

Dwelling in the Fuchun Mountains（detail No.2）

《富春山居圖》（局部之三）

Dwelling in the Fuchun Mountains（detail No.3）

《富春山居圖》（局部之四）

Dwelling in the Fuchun Mountains（detail No.4）

圖7 ［元］王冕 ，《墨梅圖》，紙本，墨筆， 縱68厘米，橫26厘米 ，上海博物館

Wang Mian,Plum Blossoms,ink on paper, ink on paper,68×26cm ,Yuan Dynasty,Shanghai Museum

圖8 ［明］徐渭 ，《墨葡萄圖》軸，紙本，墨筆，縱165.4厘米，橫64.5厘米，故宮博物院

Xu Wei,Ink Painting of Grapes,ink on paper,165.4×64.5cm,Ming Dynasty ,the Palace Museum

中國文人畫家對(duì)于境界的追求，絕非是一種對(duì)景觀和物象的真實(shí)描摹，而是一種感物道情的格物致知和澄懷味象的人生感悟。他們通過水與墨的交融與幻化，用手中的筆，書寫大寫的人生希冀，描繪世間的美善之境。他們用心中的詩句，抒發(fā)胸中的志向，紓解懷中的塊壘。他們用中國繪畫獨(dú)特的寫意方式，在精神世界和現(xiàn)實(shí)世界中進(jìn)行著意象切換，最終呈現(xiàn)出一種對(duì)高貴人格的篤守和高雅性情的操守。這不能不說是源自對(duì)東方寫意精神的深邃解讀，對(duì)天下蒼生，對(duì)世間百態(tài)，對(duì)天地道德的真心感悟和智慧升華。

The pursuit of the Chinese literati painters was never a realistic depiction of landscapes and objects, but rather a sense of life that clarifies the mind reflected in the image. Through the interplay and illusion of water and ink, they used the brush in their hands to write down the hopes of life, the ultimate beauty and goodness in the world.They use the poetry of their hearts to express their aspirations and relieve the struggles in their mind. They use Chinese painting's unique way of writing to switch in-between the spiritual and the real world, presenting the sense of commitment to the noble and elegant personality. This is the profound interpretation of the spirit of oriental Xie Yi painting, a sincere perception and sublimation of the wisdom of the world.

對(duì)寫意問題的思考和詮釋，其實(shí)一直都未曾間斷。宋代韓拙說：“用筆有簡易而意全者，有巧密而精細(xì)者，前者乃指寫意?！痹奈膹┰凇秷D畫寶鑒》卷三中講：“仲仁以墨暈作梅，如花影然，別成一家，所謂寫意者也?！鼻宕鷲翂燮秸f：“宋人謂能到古人不用心處，又曰寫意畫。兩語最微，而又最能誤人，不知如何用心，方到古人不用心處；不知如何用意，乃為寫意?！苯F(xiàn)代中國畫四大家吳昌碩、齊白石、黃賓虹、潘天壽，他們用他們的畫作，向我們呈現(xiàn)了具有東方神韻和中國氣派的寫意繪畫作品，值得后人敬仰和深入探討。

The thinking and interpretation on Xie Yi has, in fact, never ceased. Han Zhuo,from the Song dynasty, said, "There are those who use the brush with simplicity but full of content, and those who use the brush with delicacy and density, the former refers to Xie Yi ."Xia Wenyan from the Yuan dynasty said in Volume 3 of his Precious Mirror of Painting,: "Zhongren paint plum with ink halo, like the shadow of a flower. His unique approach can be seen as Xie Yi .” Yun Shouping from the Qing dynasty says: "The Song people said that they were able to reach the place where the ancients did not put their hearts. They also said this is Xie Yi. The two sayings are the most subtle and misleading, for if one does not know how to heart, one can reach the place where the ancients did unconsciously; if one forget to use the mind, one can Xie Yi ." The four great masters of modern Chinese painting, Wu Changshuo, Qi Baishi, Huang Binhong and Pan Tianshou all have in their paintings to presented us with oriental charm and Chinese style, which deserve to be admired and discussed in depth by future generations.

華夏民族是一個(gè)崇尚寫意精神的民族，這種寫意精神，不僅僅存留在中國繪畫中，而是一種融入血脈中的氣質(zhì)。這種氣質(zhì)使我們具有寬容、樂觀、堅(jiān)韌、勤勉的秉性，也具有淡然、從容、灑脫、豪邁的性情。這些寶貴的稟賦，被一代代傳承，形成一種至尊無上的大寫意精神。或許，這也是中國文化自古迄今延綿不斷的真正原因。

Chinese people admires the spirit of Xie Yi, a spirit that is not only present in painting, but also is embedded in the bloodline.This quality gives us the tolerant, optimistic, resilient and diligent nature, as well as breezy, relaxed, spontaneous and bold character. These valuable endowments have been passed down from generation to generation, forming a supreme spirit of Xie Yi. Perhaps this is the real reason for the continuity of Chinese culture from ancient times to the present day.

總之，寫意對(duì)中國人而言，既是一種藝術(shù)樣式，也是一種生活方式和思維方式。同時(shí)，寫意也是一種基于大千世界林林總總物象存在的意象化詮釋與升華，是用一種“易”的不確定性對(duì)事物變化發(fā)展的訓(xùn)詁，這種思維詮釋具有鮮明的個(gè)性化和傾向性特征。幾千年來，華夏先民在生產(chǎn)和生活中逐漸形成了具有東方格調(diào)和審美意蘊(yùn)的寫意文化，這種寫意文化漸而轉(zhuǎn)變?yōu)橐环N文化基因，直接或間接地影響著中國繪畫的生成和走向。最終，寫意繪畫成為華夏民族在藝術(shù)領(lǐng)域中一道獨(dú)特的風(fēng)景線，并被一代一代傳承和推廣開去。

In short, Xie Yi is not only an art style, but also a way of life and thinking. It is also an interpretation and sublimation of imagery based on the existence of a wide range of objects in the world, an exegesis of the changing development of things with the “uncertainty”. It is a way of thinking that is distinctly individual and tendentious.In thousands of years, Chinese ancestors have gradually developed an oriental aesthetic culture from their life, which has gradually transformed into a cultural gene, directly or indirectly influencing the creation and direction of Chinese painting. Ultimately, this painting style has become a unique landscape in Chinese art, and has been passed on and promoted from generation to generation.

以上皆為個(gè)人見地，聊以卮言，一蹴而就，為期嚶其鳴矣，求其友聲，僅此擱筆，與君共勉旃！

All of the above are personal opinions, finished in one go. For the time, I want to use this voice to seek acquaintances’ voice. I’ll stop here and looking forward to your interactions!

戊戌仲春谷旦于西子湖畔

By West Lake, Spring of 2019

[1] The literal translation of the term is to write down the meaning. As Chinese painting uses the same brush and techniques for writing, painting is often referred as writing. In the context of Chinese painting, it refers to the freehand and impressionistic painting style.