二    文化背景

Two 　　　　　cultural background

1、 傳統(tǒng)文化的融合

古代文人大多視繪畫為余事，同書法一樣用來充實自己的精神家園，情感得到宣泄，心靈得到凈化。如米芾的畫作，水墨點點，視為戲作，是作者隨意、自然、不蹈故常的心態(tài)寫照。也有的畫家視繪畫為生命，淡泊名利，為藝術而終生求索，同樣受到人們的敬重。如清代的石濤，雖出家為僧，但在繪畫創(chuàng)作上卻傾注了大量的心血和汗水，他在繪畫上的標新立異，招致了周圍同道們的譏諷和嘲笑。但他不受時風的左右，提倡一畫之法，主張畫家要借寫生抒發(fā)真情實感，不要斤斤計較于一點一畫的得失，要從全局著眼。因此他的山水、人物畫形態(tài)恣肆，不拘繩墨。其“墨海中立定精神”的主旨被后人廣為傳頌。通過上述分析，可給我們以如下三點啟示：其一，恰如其分地抒情表意還要以深厚的筆墨功夫和廣博的學養(yǎng)為根基。文入畫的創(chuàng)作雖然要擺脫紙筆的限制，創(chuàng)造新的意境，一切服從于抒情主題，但有一點必須明確，即扎實的技法是表達情感的基礎，熟練暢快地駕馭筆墨丹青，才能卓有成效。文人畫家—般都書畫兼善，如蘇軾、米芾，皆執(zhí)宋代書壇、畫壇之牛耳，是后學效法的楷模。不斷地加強自身的修養(yǎng)，澄澈內(nèi)心也是文入畫家的基本功。

1, the integration of traditional culture

Most of the ancient literati painting as a matter of fact, with the same as calligraphy to enrich their spiritual home, emotional catharsis, mind purification. Like Mi Fei's paintings, ink dots, as a joke for the author is free, natural, Too observant of conventional standards don't mind. Some artists as painting to life, indifferent to fame and wealth, and life-long search for the arts, equally respected by people. Such as Tao Shi in the Qing Dynasty, although the monk, but in the creation of painting has devoted a lot of effort and sweat, his painting on the start sth. new in order to be different, made friends ridiculed and laughed at. Free from the prevailing style but he left, promote a painting of the law, that artists to express real feelings through painting, do not Jinjinjijiao one point one gains and losses, we should focus on the overall situation. Therefore, his landscape painting patterns Zisi, shengmo. The theme of "Pen culture The spirit of standing" was later praised. Through the above analysis, we can give inspiration to the following three points: first, to a proper extent to the lyric sheet intended to deep Pen culture and extensive efforts of school support for the foundation. The picturesque, although the creation of pen and paper to get rid of restrictions, create new artistic conception, subject to all the lyrical theme, but it should be clear that the technique is a solid basis for the of emotion, skilled Chinese brush Mo Danqing cool to control can be very fruitful. Literati painters - all paintings general Jianshan, such as Su Shi, Mi Fei, all with Great song of the altar, the painting of artist learning model is the model. Continue to strengthen its cultivation of basic skills, Chengche heart is the text of the painter.

古代文人往往據(jù)于儒、依于道、欹于禪，對儒學、道家、禪宗理論浸淫頗深，進而極大地豐富了中國傳統(tǒng)文人的文化思想，提高了文人的文化素質(zhì)，對精神升華也起到了不可忽視的作用，這樣他們的畫作就體現(xiàn)了多重內(nèi)涵，具有真正的藝術價值。其二，文人畫家不管榮辱得失，始終癡迷于繪事。這固然和文人畫特有的寄情功能有關。在—定程度上也反映了文人們對這門藝術的迷戀和熱愛，畢生不輟。李苦禪先生在解放前生活困頓，還要經(jīng)常面對日寇的威逼利誘，即便身陷囹圄仍念念不忘畫藝。他筆下的雄鷹，氣度超凡，目光炯炯，傲視蒼穹，正是先生歷萬劫而不悔的生動寫照。齊白石先生在中國畫壇獨樹一幟，倡導新的畫風，但卻遭到別人的非議和圍攻，但老人卻以“不挨罵長不大”坦然應對，他筆下的群蝦互相追逐嬉戲，逍遙自在。由畫及人，我們可以得知畫家內(nèi)心對藝術的癡迷。其三，創(chuàng)作時要任心態(tài)自然流露。畫家是繪畫藝術王國的主宰，有了精深的筆墨功夫之后，可以暫時忘卻一切，全神貫注地用藝術語言記錄自己的所思所想。這樣的創(chuàng)作過程不需要任何掩飾或是矯揉造作，不做任何名利之想，追求自然、純真，這才是理想的創(chuàng)作過程：，如此才能創(chuàng)造美好的意境，作品才能成為寄情寫志的上乘之作。研究心態(tài)與文入畫的創(chuàng)作對我們的繪畫創(chuàng)作具有重要意義。

The ancient literati often According to Confucianism、According to Taoism、According to the Buddhist, Confucianism, Taoism, Zen theory of Profound research, which has greatly enriched the China traditional literati culture, improve 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, the literati painters regardless of the pros and cons of honor, always obsessed with painting. This is of course and literati paintings unique Jiqing function. To a certain extent, also reflects the people's fascination with this art and love, Life Buchuo. Li Ku Chan in the predicament of life before liberation, but also often face the coercion, even shenxianlingyu Huayi still an obsession. He's an eagle, Bearing extraordinary, One's eyes flashed like lightning, Proud look The overarching sky, Mr. Li is eternal and not regret a vivid portrayal. Mr. Qi Baishi in the Chinese painting advocate new style, become an independent school, but others were objectionable, and the siege, but the elderly are "not scolded, not long" calm response, group of shrimp under his pen and chased each other, leisurely and carefree. By painting and people, we can learn that the artist's inner obsession with art. Third, the creation of any natural state of mind. The painter is a master of the art of painting the Kingdom, a sophisticated Pen and ink culture Kungfu, can forget everything, to be absorbed in his own artistic language records and thinking. This creative process does not need any disguise or Try to deceive by covering up one's real purpose, do not do anything to the fame and fortune, the pursuit of natural, pure, this is the ideal creative process, so as to create a better mood, work can become fine Jiqing write in for. The research mentality and the picturesque creation is of great significance to our painting creation.

2、  詩情畫意與中國畫的意境：

“無詩不能成畫、無畫不能為詩”（沒有不能成為畫的詩，也沒有不能寫成詩的畫）。畫家在畫作上題以詩文，或記下創(chuàng)作背景，或只寫一個言簡意賅的畫題，通過這樣的題跋，—方面表達自己的思想，抒發(fā)自己的情感；另一方面，也使畫的意境更加深邃，主題更加突出，布局構圖更加完善，如果題跋又是精美的書法，那么觀者在賞畫的同時，還可得到書法的美感享受，這幅畫作豈不是更加完美？詩情畫意是中國畫所追求的最高“境界”；并且詩、書、畫、印堪稱“四絕”。這是因為詩、畫都是寫人繪景；詩畫并舉，相映生輝，形成中國畫一道亮麗的風景。由此可見，它們之間的關系應是有機結合的，不能把詩文視為多余。大畫家黃賓虹曾說：“中國畫有三不朽”，其中就有“詩書畫合一不朽也”。

2，poetic Chinese painting the artistic conception of Chinese painting:

"There is no poem can not be a painting, no painting can not be a poem" (there is no poem can not be painted, there is no poem can not be written). In the paintings of the artist on the title to poetry, or a note of creative background, or just write a concise and comprehensive painting, through such inscriptions, and express their ideas, express their feelings; on the other hand, also make the painting more profound, more prominent theme, layout composition more perfect, if comments is the exquisite calligraphy, so the viewer in a picture at the same time, can enjoy the beauty of calligraphy, this painting is not a more perfect? Poetic Chinese painting is the highest pursuit of the "realm" China painting; and poetry, calligraphy, painting, seal Chinese called "four". This is because the poetry, painting is to write people painting king; poetry, Chinese painting simultaneously, Mutual confrontation glorify, the formation of a beautiful landscape of Chinese painting. Thus, the relationship between them should be an organic combination of poetry can not be considered redundant. Huang Binhong, a great painter, once said, "there are three immortals in Chinese painting"".

事實上，自古以來，將詩書畫結合巧妙的人大有人在。比如：徐渭在《葡萄》上的題詩：“半生落魄已成翁，獨立書齋嘯晚風，筆底明珠無處賣，閑拋閑擲野藤中。”如果拋開這首詩，只是—串葡萄而已，還有何意義。 

 鄭板橋一生愛竹、畫竹他在《竹石》詩中寫道：“咬定青山不放松，立根原在破巖中；千磨萬擊還堅勁，任爾東西南北風。”他以竹自喻、剛直不阿?？梢?，好的題畫詩可以使畫的意境更加深邃，主題更加突出有意義，甚至達到點石成金、化腐朽為神奇的作用。畫友在一幅山水畫中題跋道：“亂石堆中水一泓，草舍置于野林中，遠離塵器聽鳥語，管他春夏與秋冬?！痹凇掇r(nóng)家之秋》中題曰：“誰說秋天氣蕭森，經(jīng)霜紅葉更精神，農(nóng)夫收禾不在家，尋親訪故莫敲門?！痹谝环镀俨紙D》中題道：“清泉出山不停息，人生苦短自奮蹄?！痹诹硪环剿蓄}曰：“岸邊房舍綠蔭濃，船泊碧水一江中。靜看云起云又落，閑坐船頭作漁翁。”這是畫家思想情感的自然流露，寫景抒情樸實宛如“綠色食品”一樣。

In fact, since ancient times, poetry, calligraphy, Chinese painting has a lot of clever people. For example: Xu Wei in "Grape" on the Half my life is Tishi: "not successful, has now become the old man Standing in, the study, at night and the wind chanting poetry, The grapes under the Chinese brush are nowhere to sell, Leisurely throwing wild vine." If you put aside the poem, just a bunch of grapes, what's the point?. Zheng Banqiao life love bamboo, the bamboo he wrote in "bamboo and stone" in the poem: "Insist not relax Castle Peak, The root of standing in the broken rock; Nature's millions of blows, he is strong, At the four corners of the world wind crazy." He is bamboo self, Upright and a outspoken. Therefore, a good poems inscribed on paintings can make the painting more profound, more prominent themes meaningful, even to able to perform wonders, turn bad into good effect. Friends in a painting landscape painting Inscriptions: "The rubble a fountain, The thatched house in the jungle, Listen to the birds away from dust Regardless of, his spring, summer autumn, and winter." The title said "autumn farmers": "Who says autumn weather Xiao Sen, After cold air Red autumnal leaves more spirit, cut the corn The farmer is not at home, Looking for relatives visit friends don't knock at the door." In a waterfall diagram in question: Clear spring out the mountains Won't Stop, Life is short, you have to struggle flows." In another landscape, said: The houses Green dense shore, The ship at the blue green water Jiang Zhong in stopped. Static view the clouds and cloud, Sit bow fisherman from." This is a painter 's spontaneous emotion and scenery Lyric like a simple "green food".

 例如：顧紹驊創(chuàng)作的中國山水詩意畫——《送僧游山》

For example: Gu Shaohua's poetic Chinese painting -- "Send monks visit the mountains"

【原詩（詞）】：云身自在山山去，何處靈山不是歸。日暮寒林投古寺，雪花飛滿水田衣?！瞥ば苋娴?《送僧游山》詩意

【賞析】：詩意深富禪趣——禪心如云，自自在在的向著一山又一山飛去，又有何處的靈山不可歸去呢？ 我去古寺“進香”，在風雪之中的傍晚穿越寒林；凜冽的寒風夾雜著雪花，狠狠地拍打在我的臉上、身體上，同時也鉆進了我的領口、袖口，并且，那冰晶的雪花沾滿了我的“水田”衣；這么的天寒地凍，我是“心誠則靈啊”！

規(guī)格：100×68cm    紙本設色  2006年創(chuàng)作）

[poetry]: The wandering body freely in the mountains to visit the mountains, And everywhere is their holy places, why can't return? The evening went to the temple to the cold forest, Snow filled the paddy field. - Tang - Xiong Rudeng "Send monks visit the mountains to"

[Appreciate]: The poems of deep of rich Buddhist Charm The Buddhist thoughts like clouds, From the freedom of a mountain and a mountain to fly, And everywhere is their holy places why can't return?? I went to the temple "pilgrimage", in the snow in the evening through the cold forest; cold wind mixed with snow, mercilessly slapping me in the face and body, but also got into my collar and cuffs, and the ice snow covered with my "paddy" clothes; so very cold. I am only when one believes "work in it sincerely"!

Specification: 100 * 68cm paper colors created in 2006)

筆者也在“自畫像”中這樣題道：“儒世家門墜一瓜，閻羅殿上險遭殺。翰林府第三敬履，蟾桂宮前四獻花?！眥筆者本人路遇車禍、險喪性命；康復后，又就讀于中國書協(xié)書培中心之高級書法班時寫的一首《感遇》詩。釋義：書香世家生了一個男孩，閻王殿上險些被殺害。（在）翰林學府（書法培訓中心）里，要象張良當年求學時①（注①：韓信當年求學時，其師試他的誠心與決心，過橋時有意將鞋子失落于橋下，張良當即將老師鞋子拾回，并雙手敬奉給老師；如此三次，皆如此。其師為之所動，遂授兵書三卷，并予以指點，終使張良能成大業(yè)。這就是“遺橋三敬履”的歷史故事），有誠心與決心刻苦學習；學成后一定以優(yōu)異的成績報效祖國。}。一幅畫畫得再好它所反映的物象、表現(xiàn)的空間是有限的，只有詩畫并舉，才能表現(xiàn)時空、寓意深刻。

The author is "self portraits" in this title: "A child born in Confucian family, Yanwangdian almost killed. The highest institution of Chinese Calligraphy Study carefully, After studying some excellent results to repay the state and society."{The author in the College Road, was hit by a car, Almost lost life; after rehabilitation, and attended Chinese Shuxie training centre on the high calligraphy class to write a song "Ganyu poem". Interpretation: the literary family gave birth to a boy, Yanwangdian almost killed. (in) Hallym University (calligraphy training center), like Zhang Liang in the year to study at (Note: Han Xin was in school, the teacher tries his sincerity and determination to put shoes lost in the bridge under the bridge, when the teacher Zhang Liang will pick up shoes, hands and worship for the teacher; so three times so, all. The division by the move, and grant three volumes, and to guide, so that Zhang Liang can end the big industry. This is the "On the bridge three times to help the teachers wear shoes allusions"), historical stories are sincere and determined to study hard; some after graduation with honors to serve the motherland. }. A picture of a good image, it reflects the space is limited, only poetry and painting simultaneously, to display the time, entertain a thought deeply.

白石老人一幅條幅，畫的下方只畫了三只小雞。其余全是空白，只是在右上方題了長款，計白當黑，虛實結合，詩畫互補，相映生輝，別有一番趣味。題畫詩，還可以使畫家愛、憎、悲、愁、褒、貶、揚、棄等多種情感更加強烈地傾注于畫面。再如在畫作《不倒翁》上題道：“烏紗白扇儼然官，不倒原來泥半團，將汝忽然來打破，通身何處有心肝?！边@樣的題跋使一幅簡單的不倒翁畫變得意境深遠，意義不凡。如果不是這首詩，畫中的不倒翁就顯得毫無意義。

A Qi Baishi painting scroll, painted just below the painting of the three chicks. The rest is blank, just in the upper right of the long paragraph, reckon blank as inked, selective focus, Poetry painting each other, Complement each other, do not have some fun. Poems Inscribed on paintings, so that artists can also love, hate, sadness, sorrow, derogatory and commendatory, Yang, abandoned and other emotions more strongly into the picture. Another example is in the works of "Tumbler" on the title: "Black gauze cap, white fan is very much like the official, The reason for not falling is Half sludge Hereunder Will you, suddenly break, The upper and lower body where there is a heart?." This preface and postscript; make a simple painting changed Bu Daoweng mood in the far-reaching significance. If it weren't for the poem, the Tumbler in the painting would be meaningless.

白石老人《不倒翁》的題畫詩對那種道貌岸然、久居高位，卻無任何修養(yǎng)，只會欺壓百姓的飯桶草包官給予了有力的鞭笞。畫家愛什么，恨什么，旗幟非常鮮明，感受常強烈。如徐渭的題葡萄詩，鄭板橋的題竹詩都傾注著畫家強烈的思想感情。畫家融情于畫，更借詩直抒胸臆?？粗?，讀著詩，使觀畫者受到強烈的感染。畫因詩而更具情感魅力；詩因畫而更加意義不凡。詩畫相得益彰，類似這樣好的題畫詩在當今畫壇也并不鮮見。因而構成了中國畫獨有的藝術特色，達到一個高層次的美學水平，這是其它任何藝術所不能比擬的。有詩言：又如有山不宜平?！弊鳟嬕嗳?。

Qi Baishi's "tumbler" poems inscribed on paintings, that pose as a person of high morals, without any training, only the oppressed people of Idiot Officer to give a powerful Lash. What artists love, hate what, the flag is very bright, often strong feelings. Such as Xu Wei's question Grape poetry,'s bamboo poems are devoted to the artist's strong feelings. The artist emotion in painting, by expressing thoughts or feelings deep in poem one's heart. Look at the picture, read the poem, so that the painter was a strong infection. The painting is more emotional because of poetry; poetry is more meaningful than painting. Poetry and Chinese painting complement each other complement each other, Poems Inscribed on like this good paintings in today's art world is also not uncommon. Thus constitute the unique artistic features of Chinese painting, to achieve a high level of aesthetics, which is any other art, can not be compared. There is a poem: And if mountain is not the flat." Painting is also.

中國園林講究以“曲徑通幽”式的廊回路轉(zhuǎn)、流水小橋分割空間，制造出一種視覺上的隱蔽迷離之美。中國畫亦常在筆墨境象的模糊中追求亦此亦彼、非此非彼，超以象外、得其環(huán)中的藝術效果。其魅力之所在，正是借助于形式與精神的詩意化氣質(zhì)，引發(fā)人們對有限物象的聯(lián)想，使畫中最難表達的意態(tài)與神采轉(zhuǎn)化為弦外之音的回響，使欣賞者能夠在瞬間獲得一個整體的對繪畫時空觀的認知與把握。這種認知通常是一個關于審美對象模糊的整體圖景的顯現(xiàn)，并不拘泥于某一細節(jié)。

China landscape "The winding path leads to a secluded quiet place" type, water bridge division space, creating a visual blur the hidden beauty. China painting is often in The cultural environment of Writing brush and ink fuzzy pursuit in both this and that, this is not out of the ordinary, the ring, artistic effect. The charm of poetic temperament, it is with the help of form and spirit, lead people to think of the limited object, and will look to the most difficult to express into overtones response, so that the participants can in an instant access to a drawing on the overall understanding and grasp of space and time. This kind of cognition is usually a manifestation of the overall picture of the vague aesthetic object, and is not restricted to a particular detail.

而卻更多地關注著諸如委婉、含蓄、一波三折的情境語言的運用；關注虛空、澄明、言外之意、象外之聲的經(jīng)營構思謀略；張彥遠在《歷代名畫記》中所講“意在筆先，畫盡意在”，寫意自古就是民族藝術觀，也是中國繪畫藝術的美學原則所謂“一枝一葉總關情”，我們所畫的植物，它既無感情，也無思想，而畫家們往往賦予它們某種含義，即畫家立意的主觀作用自然美的特征觸動了畫家的某種情感，從而“借景抒情，以物言志”畫家們正是以自己獨特的視角及感覺確定自已的“立意”，以表達自己的感情，“立意”不是純主觀的臆造，它是畫家體驗認識生活的結果它是一種美的理解和認識，它還包括了人的思想、感情、理想、修養(yǎng)在里面。通過“外師造化，中得心源”，也就是通過向客觀事物要感覺之后形成和發(fā)現(xiàn)不同一般的認識,這才是----“意”也可以說“意”足一切藝術作品的靈魂：只有在感情和認識的基礎上半場提煉、概括、升華而形成的“立意”，才是繪畫作品所需的應該說“意”足情的升華情是“意”的基礎。

And is more concerned about the use of situational language such as tactful and reserved, the void, striking one snag after another; focus on clarity, implication, as the voice of the business concept of strategy; Zhang Yanyuan in "The famous paintings through the ages" mentioned in the "work out the plot before putting pen to paper, Chinese painting finished Significance in" that is the ancient folk art freehand concept is China painting art aesthetic principles of the so-called "A branch, a leaf is always related to affectionate expression", we are painting plants, it has no feelings, no thoughts, and artists often give them a meaning, namely the characteristics of subjective conception of the natural beauty of the artist role touch a painter's emotion, thus "lyric by King, to express" artists are in their own unique perspective and feel it Set their own "conception", to express their feelings, "make up one's mind" is not a purely subjective conjecture, it is the artist experience life and it is a kind of beauty and understanding, it also includes people's thoughts, feelings, ideals, culture inside. Through the "The study of nature Get your own knowledge", that is, through to the objective things to feel, formed and found different understanding in general, this is the "meaning", also can say "meaning" all the soul of Art: only based on emotion and recognition in the first half, refining summary and sublimation and the formation of "make up one's mind", is the painting required should be said that the "meaning" foot the sublimation of love love is "meaning" basis.

《羅丹藝術論》中曾說過“藝術就是感情”，沒有感情基礎的藝術，也就是說連自己都不感動的東西史無法打動別人的我們欣賞畫時，時為其內(nèi)含的藝術魅力所吸引，畫有十分意趣、主觀思想相互交融；為畫外之意，弦外之情所打動、所陶冶、所感染，這就是“意境”作用…：“意境”是藝術的靈魂，是客觀事物精華部分的集中，加上人的思想感情的陶鑄，經(jīng)過高度藝術加工達到情景交融，借景抒情，從而表現(xiàn)出來的藝術境地是鮮活的、生動的。

"Luo Dan art theory" said "art is emotional," not based on feelings of the art, that is to say if you don't move things to impress others and we appreciate the history of painting, attracted by the artistic charm of its implicit, painting a very interest, subjective thinking of mutual exchanges; Beyond painting Significance String, outside friendship, moved by the mould, the infection, this is the "artistic conception"... "Artistic conception" is the soul of art, is part of the essence of things, coupled with people's thoughts and feelings of the Tao Zhu, after the height reached Is a fusion of art feelings with the natural setting, take advantage of a scene to express one's emotion, which showed the state of the art is fresh and vivid.

白居易認為學無常師，故其指一意狀一物，往往運思中與神會”。他在《畫竹歌》中寫道：“不根而生從意生，不筍而成由筆成（不是根而生出與根相同的意義的生命，不是竹筍而制成的筆成為很好的筆…）……舉頭忽看不似畫，低手靜聽疑有聲。”似乎早已悟出了中國畫“妙在似與不似之間”的真諦。中國畫家與詩人“游心之所在”（ 游離、創(chuàng)新的思想之所在），就是自身對造化自然獨特感悟的美境，創(chuàng)造的意象。這電決定了中國畫自始至終的浪漫主義情結和詩性的內(nèi)質(zhì)。董其昌說得好：“詩以山川為境，山川亦以詩為境。（詩情是以山川為境界，山川也是以詩意為境界?！保彼囆g家稟賦的詩心，映像著天地萬物的詩心，山川大地是宇宙詩心的影現(xiàn)（藝術家充滿詩意的情懷，表現(xiàn)著喜愛大自然萬物的詩意，山川大地是宇宙詩心的影現(xiàn)）；畫家詩人的心靈活躍，本身就是宇宙的創(chuàng)化，它的卷舒取舍，好似太虛片云、寒塘雁跡，空靈而自然。中國畫家詩人“跡化自然，因心造境，曲盡蹈虛揖影之妙”(“一切痕跡的表現(xiàn)，都是來源于自然，因為藝術家的心境而造出畫境來，這一切音樂、舞蹈都是空的、虛的，只是藝術家發(fā)揮自己想象而表現(xiàn)出的漂亮的畫”宗白華語)，可以說是中國詩畫的基本特征。也是崇尚“虛空”之美的寫意型的中國畫與以“實”為本(巴門尼德的Being)的西方古典繪畫在創(chuàng)作觀念上的最大區(qū)別。

Bai Juyi thinks that A learner has no need of a constant teacher So one idea Describe an object, thought with God". He wrote in "Bamboo song": "Not from the roots and from the meaning of life, Not grown from bamboo shoots, is formed by Writing brush (not the root and root and give birth to the same meaning of life, not the bamboo shoots and made a good pen pen...)...... Raise the head look like painting, Listen to sound of suspected the me Suddenly no." It seems to have realized the true meaning of Chinese painting "Be Subtle Artistically to be Both Real and Unreal" in Depicted. Chinese painter and poet "Wandering thoughts Where" (free, innovative ideas, where) is its own unique insight on the nature of natural beauty, to create the image. This power determines the romantic complex and poetic nature of Chinese painting from beginning to end. Dong Qichang said: "poetry in the mountains and rivers for the environment, the mountains and rivers are also poetry for the environment. (poetry in the mountains and mountains with poetic realm, but also for the realm. ")" Artist endowment heart of the poem, the image of all things of the heart, mountains and the earth is the universe is the impact of heart Poetry (artist full of poetic expression, poetic nature of things, like mountains and the earth is the universe is the impact of heart Poetry); the painter poet's mind active, is the founding of the universe, it the Roll up and unfold, Admission and renunciation, A cloud in the universe, like Cold pond, The wild goose footprint, ethereal and natural. Chinese painter and poet "traces of natural Thought, creating environment, Best song and dance, seize the wonderful virtual shadow" ("all traces of the performance are derived from nature, because the mood of the artists to create painting, music and dance are all empty, empty, only artists play their own imagination show the beautiful picture in Chinese), white can be said to be the basic characteristics of China poem. It is also the biggest difference between the freehand brushwork of Chinese painting and the western painting of "reality" (Ba Mened's Being).

在美術史上，自古以來就有兩種完全不同的表現(xiàn)方式：一種是以再現(xiàn)客觀世界為主的寫實型藝術，它以西方古典油畫為代表；一種是以表現(xiàn)主觀心緒與情感為主的浪漫、表現(xiàn)型藝術。中國畫就是以后者為其基本特征的。浪漫、表現(xiàn)性繪畫，早在戰(zhàn)國時代的楚墓帛畫《人物夔鳳圖》 

 及西漢馬王堆幡畫中就已初露端倪。 

 自唐朝文人畫初創(chuàng)以來，中國繪畫則更加注重托物抒情、以畫寄樂的表達方式的運用。而“繪畫以形似，見與兒童鄰（繪畫如果以畫得“形似”而判定好與壞，他的見識與兒童一樣）”也正是蘇軾對先賢們藝術實踐的理論總結。它之所以能夠存在，并且，具有旺盛的生命力，一直被文人們捧為繪畫的至理，原因是離不開在中國哲學虛空的宇宙觀(老子“萬物生于有，有生于無”)影響下藝術家對詩化的精神內(nèi)質(zhì)與詩意的形式外觀的永恒追求。的確，中國繪畫的這種觀念也正是把握了中國藝術的精神實質(zhì)，把握了中國藝術詩性的品質(zhì)特點，才經(jīng)受住了時間風雨的考驗，并一直影響至今。宋代哲學家程伊川說過：“沖漠無朕（天地未判時的宇宙原始狀態(tài)），而萬象昭然已具?！闭讶蝗f象以沖漠無朕（天地未判時的宇宙原始狀態(tài)）為基礎，使實中有虛、虛中生實，空外余波，裊裊不絕，“無畫處皆成妙境”(笪重光語)，這便是中國畫在對意境美的追求中最不可言傳的精神所在。

In art history, since ancient times are two completely different performance: a realistic reproduction of the objective world of art mainly, it to Western classical paintings as representatives; performance is a subjective mood and emotion as romantic, expressive art. Chinese painting is the basic feature of the later. Romantic, expressive painting, as early as the Kingdoms Period (475-221 B.C.) Chu tomb paintings (People Kui picture) and the Western Han Dynasty Mawangdui banner drawing has been show the initial symptoms Warring. Since the beginning of the Tang dynasty literati painting, Chinese painting is more emphasis on Use images emotion Express, the use of painting to express the expression of music. "Painting to the shape, see neighbors and children (if the painting painted" shape "and whether good or bad, his insight, and like other children)" Su Shi is also summed up the sages who practice the art of. It can exist, and has strong vitality, the text has been praised for painting. The reason is, cannot do without in the void China philosophy of the universe (Lao Tzu "was born in all things, from nothing") under the influence of the eternal pursuit of poetic spirit and artist of poetic form appearance. Indeed, the concept of Chinese painting is to grasp the spirit of Chinese art, grasp the quality of Chinese art poetry characteristics, only to withstand the test of time and wind, and has been affected so far. The Song Dynasty philosopher Cheng Yichuan said: "Primitive universe (world is not sentenced the original state, and has been Zhaoran Vientiane)." Zhaoran Vientiane Primitive universe (world is not sentenced the original state) based the virtual and virtual reality in the air, Yu Bo, "No painting all Niaoniao. Into Wonderland (Da Zhongguang), which is the most Chinese painting in the pursuit of artistic beauty can only be sensed. Spirit.

3、  傳說、典故、神話

3,    legends, allusions, myths

①  考畫院的傳說

中國畫十分講究“藏”與“露”的關系，特別講究如何“藏”的韻味。宋代的皇帝趙佶（徽宗）雖不善治國以至“靖康之恥”，他卻能書善畫，詩詞功夫也非同一般；他自創(chuàng)“瘦金體”的書法和形象細膩的畫鳥畫流傳至今，堪稱一代大師。據(jù)說宋代的考宮廷畫師時出了這樣的幾道題：“踏花歸去馬蹄香”、“深山藏古寺”、“萬綠叢中一點紅”。

平庸的畫師們將“踏花歸去馬蹄香”的畫面表現(xiàn)為：一匹飛馳的駿馬，跑過花園……；將“深山藏古寺” 的畫面表現(xiàn)為：殘銹班駁的佛堂被高聳云天、粗壯的古榕樹所“半遮半現(xiàn)” ……將“萬綠叢中一點紅” 的畫面表現(xiàn)為：一片綠茵茵的雜樹林里，一枝紫紅色的美人蕉在一枝獨繡地綻放……。

應考畫師夏珪將“踏花歸去馬蹄香”畫為：初雨天晴，林間小道上，由遠及近、稀稀地零落一行馬蹄??；在最近的馬蹄印上有三只蜜蜂，兩只在蹄印上盤旋準備采蜜，而另一只沿著“香路”一直向前飛去……；在“深山藏古寺”中，他將畫面畫成：在飛巖絕壁、蜿蜒的石磯小道上兩名步履蹣跚的老和尚，正吃力地抬著一桶水向山上走去，一旁是云霧繚繞的林?！欢凇叭f綠叢中一點紅”的畫面是：在一望無垠的綠色叢林與稻田間，一位紫衣少女雙手分別拎著給親人送午餐的飯籃與陶瓦罐；那迎面拂面而來的山風，吹動著紫衣顯現(xiàn)少女婀娜的身影，吹開少女的烏發(fā)露出美麗的臉龐——蛾眉鳳眼、粉腮朱唇，透出春的氣息……。夏珪終因很好地處理了“藏”與“露”的關系而考上了畫師。即：“踏花歸去馬蹄香”、“深山藏古寺”分別隱藏了 “馬”與“古寺”；第一：用“馬蹄印”來表現(xiàn)馬，用蜜蜂來反映畫面的主題——香；第二：用了“兩名步履蹣跚的老和尚”來表現(xiàn)這個藏著的“古寺”，達到了“含而不露、回味無窮”之目的。而在“萬綠叢中一點紅”中通過“綠色叢林”與“紫衣少女”刻畫，露出了大自然和人間兩種“春意”。

①   The academy examination legend

Chinese painting is very particular about the "hidden" and "dew" of the relationship, especially pay attention to how the "xizangan" charm. The Song Dynasty emperor Zhao Ji (Huizong) although the country and the poor "Jingkang the shame", he was able to book good painting, poetry is extraordinary effort; he created "style of Chinese calligraphy originated by Emperor Huizong of the Song Dynasty (Zhao Ji), characterized by slim yet sturdy strokes" the image of delicate calligraphy and painting bird painting spread so far, may be called a generation of master. It is said that the Song Dynasty court painter made a few test questions like: "Flower guiqu horseshoe riding", "the Old Temple The mountains hide" and "a single red flower in the midst of thick foliage".

Mediocre portrait masters will "Flower guiqu horseshoe riding" for the screen performance: a speeding horse, running across the garden...... "The Old Temple; The mountains hide" for the screen performance: Residual rust Banbo Towering into the sky, the temple was thick ancient banyan tree "Half cover Half now"...... "A single red flower in the midst of thick foliage" for the screen performance: a mixed forest green, a purple red canna bloom in a single embroidery.......

An artist Xia GUI will Flower guiqu horseshoe riding "for the painting: the early rain, forest trails, from far and near, thin to scattered line marks; there are three bees in the recent marks, two in the hoof circling for Caimi, and another along the" fragrant Lu always fly forward...... In "the Old Temple; The mountains hide", he painted pictures: the old monk in two teeter flying rocks cliffs, winding the rocky path, trying to carry a bucket of water to go to the mountain, one side is the misty forest...... In "a single; red flower in the midst of thick foliage" the picture is: in the green forest and paddy boundless between a purple dress young girl hands were carrying to relatives to send lunch lunch baskets and pottery jar; the face feels to mountain breeze, blowing purple show girl graceful figure the girl's hair, blowing open a beautiful face, Crescent crassipes, Pink gills, with the breath of spring....... Xia GUI the end result well with the "xizang" and "open" and admitted the artist. Namely: "Flower guiqu horseshoe riding", "the Old Temple The mountains hide" hidden "horse" and "Temple"; first use "Hoof print" to show horses, bees to reflect the subject of the picture - incense; second: the "two Teeter of the old monk" to the performance of this hidden "Temple", to "contain but not exposed, to lead a person to endless aftertastes". In the "a single red flower in the midst of thick foliage" in the "green forest" and "purple girl" depiction of human nature and exposed the two spring".

②  人們喜愛的“吉祥畫”

如：《三羊開泰》、《福壽圖》、《前程萬里》、《吉利全家》、《上山虎》等。

⑴《三羊開泰》：癸未年已至，又是一個羊年。羊通“祥”，又與“陽”諧音，故羊兒歷來被人們視為吉祥的象征。三只羊在—起寓意“三陽開泰”，取冬去春來，陰消陽長之意。故每逢羊年，畫家中以此為題材作畫者甚多。 （寓意：喜則升陽古人說，喜則陽氣生。只生歡喜不生愁的人，在古代就被稱為神仙。喜是人生的一種大境界，能夠保持一顆歡喜心，對身體的滋養(yǎng)是比吃什么靈丹妙藥都管用的。）

⑵《福壽圖》：畫面上都是吉祥的象征——長壽的綬帶鳥（綬：與壽諧音，即：長壽的意思。）、壽桃、仙果（佛手）等。

⑶《前程萬里》：古錢、拂塵、萬年青、李子（一種水果），擺在“乳臭未干”的孩子身邊；以示“前程萬里”。（錢：“前” 的諧音字、塵“程” 的諧音字、李“里” 的諧音字。）

②   The lucky painting"

Such as: "Three Rams Bliss", "Blessing Longevity", "His future will be great", "Geely family", "Geely tiger" and so on, "Bring".

⑴    The "Three Rams Bring Bliss": ram has to, but also a year of the goat. Sheep - "Xiang", and "Yang" homophonic, Yanger has always been regarded as a symbol of good luck. Three sheep in the meaning of "Three Rams Bliss", take the winter to spring, Yin deficiency Yang growth meaning and. Therefore, during the year of the sheep, the painter takes this as the theme of painting a lot. (meaning: joyful, Sun Microsystems, this is the ancients said, joyful Yang of health. Only those who are born without joy or sorrow are called gods in ancient times. Joyful is a kind of realm of life, to keep a happy heart, is effective than what to eat for the body to nourish a ready-made panacea.)

⑵  The "Blessing Longevity": the screen is emblem, of good fortune Paradise Flycatcher (Shou: longevity and Sau euphony, namely: the meaning of longevity.) , Peach-Shaped Mantou, Ambrosia (fingered citron), etc..

⑶  The "His future career will be great": old coins, whisk, evergreen, plum (a fruit), placed in the "young and ignorant" children who show a promising future "". (money: "before" homophonic words, "Cheng dust" homophonic words, "Li" homophonic words.)

⑷中國山水詩意畫——《吉利全家》

【原詩】小雞竦而待，貴似荔枝來。利爪削黃金，云林謝家宅。   規(guī)格：68×136 ㎝  紙本設色    2012年10月創(chuàng)作

【欣賞】小雞在父母的呵護下，茁壯成長；這一天，小雞們“畢恭畢敬”地等待著父母喂食。不一會，父母把小雞們帶到荔枝樹下，那些珍貴的荔枝好像知道它們要來，稀疏的散落在地上；父母用大而有力的利爪削開那些黃金般珍貴的荔枝，給小雞們品嘗……；在云林深處，“舊時王謝”家宅里，小雞一家無憂無慮地生活著。

⑸《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（特別是做股票）的都要“討個吉利”，因此，“上山虎”（如：本文介紹的《雪谷傳嘯聲》）就是中國百姓所喜愛的。

⑷  The Chinese poetic landscape painting - "auspicious family"

The chick to wait her, Waiting for parents to feed under the lychee tree the (neck). The chicken claws open gold litchi the chickens, The clouds, trees are with ordinary but happy Feed home covered cut parents. Specification: 68 * 136 cm of paper colors created in October 2012

[appreciation] chicken in the care of their parents, to thrive; this day, the chicks "waiting for parents to feed reverent and respectful.". After a while, the chicks with parents to lychee trees, those precious lychee seems to know they are coming, sparsely scattered on the ground; the parents with large and powerful claws cut those golden lychee, to taste the chicks...... ; in the depths of Yunlin, "old Wang Xie" home chicken, a light of heart from care to live.

⑸  The "Geely tiger": the meaning of any tiger is "rising, Geely, the mighty"; therefore, an official, to do business (especially the stock) are "luck", therefore, "Tiger Mountain" (such as: the "Snow Valley Tiger roar") is in people in love.

③  典故

⑴劉奎齡的《忠孝節(jié)義》

以典故入畫的代表性——《忠孝節(jié)義》中，劉奎齡仍舊采取自己最熟悉的動物題材來表現(xiàn)中華民族的四種傳統(tǒng)美德-犬在我們的傳統(tǒng)中—一向是“忠”的代表；而羊與“孝”也有著緊密的聯(lián)系，《增廣賢文》中有“羊有跪乳之恩，鴉有反哺之義”的句子，羊是吉祥的動物，吃奶時又都是跪著，因此被古人視為感恩、孝順的象征；牛吃苦耐勞，在古人心目中地位很高，至今很多地方仍流傳著各種“義牛傳”的故事，因而用牛來作“義”的代名詞也很貼切；至于劉奎齡用馬來表現(xiàn)“節(jié)”則源于鴉片戰(zhàn)爭中的一個故事。1841年1月，英軍攻占了虎門海口的沙角炮臺，守將陳連升犧牲，他的戰(zhàn)馬被英軍擄至香港。這匹馬性情剛烈，英人喂之不食，騎之則摔，近之則踢，惟獨華人手捧食料喂它，它才肯吃，只要一提到陳連升的名字它就流淚不止。有人說要把它送回虎門，它便搖尾相隨，但它最終還是未能回去。后來它日夜在高崗上不吃不眠，望北而嘶，最終餓死在香港，被譽為“節(jié)馬”。當時很多人都作了“節(jié)馬詩”、“節(jié)馬圖”來紀念它。（劉奎齡(1885—1967)，現(xiàn)代畫家。字耀辰，天津人。曾任中國美術家協(xié)會天津分會副主席。他善畫動物、花鳥，尤以獅虎見長，此外也能作山水人物。《忠孝節(jié)義》四屏條的名字很容易讓人認為是人物畫。）

③     literary quotation

⑴  "Liu Kuiling's" Loyalty, filial piety, chastity and righteousness "

On behalf of: "Loyalty, filial piety chastity and righteousness story painting," Liu Kuiling, still take their most familiar animal theme to represent four traditional virtues of the Chinese nation - dogs in our tradition, has always been "loyalty"; sheep and "filial piety" is closely "To the general, public Behave oneself Canonical essay" in the "Sheep have the grace to kneel, crow has feedback of righteousness" in the sentence, the sheep is an auspicious animal, when infants are kneeling, it was viewed as a symbol of gratitude and filial piety; Endure hardships and be capable of cattle hard work, very high status in the eyes of the ancients, has many places are still spread all kinds of "cattle justice" story, synonymous and cattle to "justice" is also appropriate for Liu Kuiling; The "performance" of the Malay age is derived from a story in the Opium war. In January 1841, the British captured Humen Haikou Shajiao fortress, Chen Liansheng will keep his sacrifice, the horse was taken to the British Hongkong. This horse temperament staunch, British people do not eat feed, Mount a horse and fall off, Approaching horse Kicking, but with Chinese food to feed it, it will eat, as long as the mention of Chen Liansheng's name it tears. Some people say that to send it back to Humen, it will shake tail, but it still can not go back. Later in the evening it did not take on Mian Gao Gang, Wang North Sima, eventually starve to death in Hongkong, known as "Ma day". At that time many people have made a "Poetry Festival Ma," "day map" to commemorate it. Liu Kuiling (1885 - 1967), modern painter. Word Yao Chen, Tianjin people. Former vice chairman of Tianjin branch of Chinese artists association. He is good at painting animal, flowers and birds, especially Shihu Kyo, in addition to landscape character. "Loyalty, filial piety, chastity and righteousness four" the name of a set of hanging scrolls people think it is very easy to figure painting).

⑵《八駿圖》與陳英泉

以畫明志的代表性——《八駿圖》。1945年暮春，“甲午同庚會”中的著名畫家鄭午昌、汪亞塵、吳湖帆、楊清磬，戲劇家梅蘭芳、周信芳、洪警鈴，文學家范煙橋等八人按“周穆王有八駿”的故事，約請當時海上畫壇八位畫馬高手合作《八駿圖》，由“甲午同庚會”八位同仁在圖上簽署，以表心跡。參與創(chuàng)作此圖的畫家為：熊松泉、趙敬予、戈湘嵐、殷梓湘、謝之光、謝碧月、陳英泉、徐韶九。他們各繪一駿，以象征“甲午同庚會”中八位志士。此圖由書法家馬公愚題簽。題跋者尚有書畫家王福庵、張大干、馮超然、沈尹默、張谷年、潘勤孟及吳稚暉、李石曾等一大批名流。此圖是—幅“圖存八駿，志勵千秋”的藝術珍品。

這件《八駿圖》，曾在1985年《西泠藝報》創(chuàng)刊號上刊載過，這件事遂在當代藝苑引為美談。然而，鄭午昌等八位名士俱已作占，畫馬高手熊松泉、趙敬予、戈湘嵐、殷梓湘、謝之光五位也已相繼去世，其中的謝碧月、徐韶九兩位現(xiàn)在的情況不明，倘若健在的話，當也均是耄耋老人了。所幸其中的陳英泉先生至今仍活躍在姑蘇藝苑。

⑵  The "Eight fine horses" and Chen Yingquan

On behalf of Eight fine horses -- "Ming" painting. In the late spring of 1945, "the 1894 g" of the famous painter Zheng Wuchang, Wang Yachen, Wu Hufan, Yang Qingqing, Mei Lanfang, Zhou Xinfang, Hong dramatists bell, literary van Bridge eight people to smoke "Mu Wang Bajun" story, then invite eight horses in the high sea painting "Eight fine horses" in military cooperation, signed by "the 1894 g" eight colleagues on the map, in their minds. Participate in the creation of this figure painter: Xiong Songquan, Zhao Jingyu, Ge Xianglan, Yin Zixiang, Xie Zhiguang, Xie Biyue, Xu Shaojiu, Chen Yingquan. They painted a horse, with a symbol of "the 1894 g" in the eight person. This picture is composed of calligrapher Ma Gongyu name. Were the painter Wang Fuan, and Zhang Dagan, Feng Chaoran, Shen Yinmo, Zhang Gunian, Pan Qinmeng and Wu Zhihui, Li Shi had a large number of celebrities. This figure is a "Picture eight horse, Ambition inspired Millennium" art treasures.

This "Eight fine horses", was published in 1985 on the first issue "Xiling arts newspaper", it was cited as well in contemporary art. However, Zheng Wuchang and other eight celebrities have made for Xiong Songquan, Zhao Jingyu, Ma painting master, Ge Xianglan, Yin Zixiang, Xie Zhiguang five have died, including Xie Biyue and Xu Shaojiu two are unknown, if alive, when are old. Fortunately, one of Mr. Chen Yingquan is still active in Suzhou yiyuan.

待續(xù)

To be continued