切换至摄影模板
博文
中国画欣赏新译 1
热度 2 |||
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.
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 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.
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.
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 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.
免责声明：本文中使用的图片均由博主自行发布，与本网无关，如有侵权，请联系博主进行删除。
上一篇:
中国画欣赏新译 2
