http://www.zorpia.cn/gushaohua Tue, 07 Feb 2012 01:07 EST Tue, 07 Feb 2012 01:07 EST Zorpia.com http://www.zorpia.cn/gushaohua/journal/2056268 陆俨少作品赏析：<br />Lu Yanshao&nbsp; Art Works:<br />诗书画三位一体是中国传统文人的身份识别符码，诗书画三绝也就成为评定文人画的标准。陆俨少以其丰厚的学识、修养和造诣，集诗、书、画三绝于一身，成为现代唯一被美国纳尔逊博物馆定位的中国最后一个文人画大家。<br /><img hspace="0" vspace="0" border="0" align="baseline" src="http://blogfile.ifeng.com/uploadfiles/blog_attachment/1106/15/376315_3b64d39c96d50eac38ea719bec6e8454.jpg" /><br /><br /><img hspace="0" vspace="0" border="0" align="baseline" src="http://blogfile.ifeng.com/uploadfiles/blog_attachment/1106/15/376315_0b25d50da102bdb243afe057c8dd5669.jpg" /><br />Poetry is a traditional Chinese literati painting Trinity identification codes, and poetry painting Ruin has become the standard assessment of literati painting. Lu Yanshao its rich knowledge, training and accomplishments, set poetry, calligraphy and painting Ruin in one, becoming the only United States Nelson Museum of Modern locate the last paintings of Chinese people.<br />大约在1926年，苏州人王同愈（胜之）搬到南翔当寓公，陆俨少有幸与此翁结为“忘年交”。王同老是前清翰林，在湖北、江西做过学台提学使等官，也曾在吴大幕下做过事。学富五车，***通西学，颇有书名。陆俨少每日登门向老翰林学诗作文，学习了《史记》、《韩昌黎文集》、《世说新语》等古文，大长学识。王同愈说：“你应该在年轻时多读些书，好好做学问，前途无量。”自此，陆俨少每晚读古典诗句。他最喜爱杜甫的诗，通体读了一遍，对其他唐宋诗词亦读选集。后来，陆俨少每有佳作，均在画上题诗，抒发感情。他说：“当年我得到王同愈先生的指导，一面读书，一面写字，和画分头并重，互相促进，大有收益。<br /><img hspace="0" vspace="0" border="0" align="baseline" src="http://blogfile.ifeng.com/uploadfiles/blog_attachment/1106/15/376315_54ec6f2a43e0bc7ba5137a12980b7d72.jpg" /><br />About 1926, moved to Suzhou Wang Tongyu Nanxiang When Yu Gong, Lu Yanshao had the pleasure of the Lions became &quot;friendship between generations. &quot; Wang Tongyu culture of the Qing dynasty officials, very knowledgeable, both ancient and modern knowledge. Lu Yanshao daily door to the Wang Tongyu study poetry writing, learning the ancient literary classics such as: &quot;Historical Records&quot;and other classical, big long learning. Wang Tongyu said: &quot;You should read more books at a young age, good scholarship, promising. &quot; Since then, Lu Yanshao night reading classical verse. Du Fu's poems he most loved, quintana read it, also read the other poems in Tang and Song Selection. Later, Lu Yanshao for every masterpiece, both in painting a poem, to express feelings. He said: &quot;I'd gotten the guidance of Mr. Wang Tongyu, one side reading, hand writing, and painting both separately and promote each other, much to gain.<br />陆俨少研习山水画居多，又加读《水经注》、《洛阳伽蓝记》，更多看柳宗元《山水记》、《苏黄题跋》等，注意字不妄下，取其简要清通，明洁隽永。一画才成，辄题数行，二者互相发明，寄托遥深，成为有血有肉的组成部分，使览者心驰画外，同时又增加画面的形式美。每有画友来访，谈及绘画与读书的关系，陆俨少侃侃而谈：“窃以为学画而不读书，完全缺少营养，流于贫瘠，而且意境不高，匪特不能撰文题画，见其寒俭已也。”<br />&nbsp;陆俨少诗书画“三绝”俱佳，与黄宾虹、李可染齐名，并称“当代三位杰出的山水画大师”。 后人读陆俨少的画，宛如读一篇好文章，一位报社总编辑观赏了陆氏题跋的山水画，感叹地说：“与陆翁的文采相比，吾辈文章差远了。”<br /><img hspace="0" vspace="0" border="0" align="baseline" src="http://blogfile.ifeng.com/uploadfiles/blog_attachment/1106/15/376315_e27b2fb5e219a25e9172f65291df419b.jpg" /><br />Lu Yanshao learning landscapes mostly, but also added read ancient tours, travel literature, so that his painting and poetry, and so are clear, concise and lively, but also wrote poetry of a painting done a few lines, both with each other Off to play very good results, but also to express their feelings through the screen, so that people who look at the paintings, his thoughts in his painting &quot;outside&quot; take-off, and increase the formal beauty of the picture. Every time there visiting my friends, talking about the relationship between painting and reading, Lu Yanshao fervor: &quot;I studied painting and not read that, like people, like the lack of nutrition, stay in very poor condition, and mood did not High, especially not the author painting, you can see he's learning too little, ah. &quot;<br />&nbsp; Lu Yanshao Poetry, Calligraphy, &quot;Ruin&quot; is superb, and Huang, Li Keran par, and that &quot;three outstanding landscape of contemporary master. &quot; Lu Yanshao descendants painting read, like reading a good article, a newspaper editor Lu Yanshao watch the inscription of the landscape, exclaimed: &quot;Compared with Lu Yanshao's literary talent, a far cry from our articles . &quot;<br />李可染作品欣赏：<br />Li keran&nbsp; Art Works:<br />李可染的水墨画一扫逸笔优雅的文人积习，尤其是那以悲沉的黑色形成的基本色调，深深地捉住人们的感觉，而在这悲怆旋律的制约下，画中即使偶有淡淡的幽雅，也会被这“黑色世界”造成凄迷的基调。1954年后他以造化为师，屡下江南，探索“光”与墨的变幻，形成独特的风格，可以以“黑”、“满”、“崛”、“涩”来概括其艺术内涵，无疑地，李可染为水墨画世界开创出新的格局。他的画面结构，更让人感受到一种屹立千年的中国山水。一种范宽式的饱满构图，山势迎面而来，瀑布浓缩为一条白色的裂隙，用沉涩的笔调一寸一寸地刻划出来，绵绵密密地深入到画面的每一个角落，在一张纸上，表现出最大最丰富的内容。<br />　　评论家一致认为李可染山水画的价值主要是他创造性地探索出新图式，并表现出浑厚博大的精神力量。<br /><img hspace="0" vspace="0" border="0" align="baseline" src="http://blogfile.ifeng.com/uploadfiles/blog_attachment/1106/15/376315_0e0a4b427c351e4d4c62916904547d79.jpg" /><br /><br /><img hspace="0" vspace="0" border="0" align="baseline" src="http://blogfile.ifeng.com/uploadfiles/blog_attachment/1106/15/376315_c04806a2271f0017ab9ba055aad6d48e.jpg" /><br />Li Keran's ink swept away the elegant Chinese literati painting techniques used, and especially the formation of the Sad Journal of the basic colors of black, deep to catch people's feelings, and in this sorrowful melody constraints, even if the occasional touch of the painting Elegant, it might be the &quot;black world &quot; caused by the sorrowful tone. In 1954, his luck as a teacher, repeated under the Yangtze River, explore the &quot;light&quot;and ink changes, form a unique style, can be &quot;black&quot;, &quot;full&quot;,&quot;Horie, &quot;&quot;astringent&quot;to summarize its artistic content, Undoubtedly, Li Keran as ink to create a new world pattern. His screen structure, the more people feel a thousand years of Chinese landscape stands. A full range of width-style composition, oncoming mountains, waterfalls and condensed into a white crack, astringent tone with a sink carved out inch by inch, rain, thick deep into every corner of the screen, in a Paper, showing the largest and most extensive content.<br />Critics agreed that the landscape of the value Li Keran he creatively explore new pattern, and show deep and broad spiritual strength.<br />傅抱石作品欣赏<br />Fu baoshi&nbsp; Art Works:<br />傅抱石(1904～1965),原名瑞麟,江西新余人。傅抱石艺术修养全面,精通东方美术史,擅山水、人物、书法、篆刻。他的山水画据于传统,源于生活,独创足以睥睨（眼睛斜着看,形容高傲的样子）古今的“抱石皴”。所作山水章法结构不落常套,从“动”入手改造传统文人画技,这成为他山水画风有别于古今之处。傅抱石在艺术上崇尚革新，他的艺术创作以山水画成就最大。在日本期间研究日本绘画，在继承传统的同时，融会日本画技法，受蜀中山水气象磅礴的启发，进行艺术变革，以皮纸破笔绘山水，创独特皴法-----抱石皴。用笔洗练，注重气韵，达到了出神入化的效果。人物以形求神，刻意表现人物的内在气质，虽乱头粗服，却矜持恬静。傅抱石先生人物画的线条极为凝练，勾勒中强调速度、压力和面积三要素的变化，不同于传统沿袭画谱的画法。他还把山水画的技法融合到自己的人物画之中，一改清代以来的人物画画风，显示出独特的个性。傅抱石是开宗立派的一代艺术大师。 <br /><img hspace="0" vspace="0" border="0" align="baseline" src="http://blogfile.ifeng.com/uploadfiles/blog_attachment/1106/15/376315_6a8470b08d5ab2da636c27e293bc6ce3.jpg" /><br /><br /><img hspace="0" vspace="0" border="0" align="baseline" src="http://blogfile.ifeng.com/uploadfiles/blog_attachment/1106/15/376315_a27fd924392a480dab06e90f097c2883.jpg" /><br />Fu (1904 ~ 1965), Jiangxi Xinyu people. Fu artistic accomplishments comprehensive, proficient Oriental art history, good landscapes, figures, calligraphy, seal cutting. His landscape painting, according to the tradition, from life, creative enough to the eye at an angle to see the ancient and modern Chinese painting techniques, and create their own &quot;bouldering cracked, &quot;the Chinese painting techniques. Landscape organization of writing does not fall by the regular sets, from the &quot;action&quot; to start the transformation of traditional literati painting techniques, which became his landscape painting style is different from the ancient and modern place. Fu Chong Shangge new in art, his artistic achievements in painting the most. During the study of Japanese painting in Japan, while inheriting the tradition, Harmony Japanese painting techniques, by the Sichuan Provincial Meteorological majestic scenery inspired the area, the art of change, broken pen to parchment painting landscapes, creating a unique texture strokes -----&quot; bouldering Wrinkle &quot;technique. Pen succinct, focusing artistically, to the superb results. Pray for people to form, the intrinsic qualities deliberately performance figures, although the chaotic first rough clothes, but quiet and sweet image. Mr. Fu is very concise figure lines, outlined in the emphasis on speed, pressure and area of the three elements of change, different from the traditional follow Huapu painting. He also integrated into the landscape of the techniques into their own figure, the figure has changed since the Qing Dynasty style, showing a unique personality. Fu is an open case Leekpai generation artist.<br />齐白石作品欣赏<br />Qi Baishi&nbsp; Art Works:<br />齐白石，湖南湘潭人，二十世纪十大画家之一，世界文化名人。是我国20世纪著名画家和书法篆刻家。曾任北京国立艺专教授、中央美术学院名誉教授、北京画院名誉院长、中国美术家协会主席等职。<br /><img hspace="0" vspace="0" border="0" align="baseline" src="http://blogfile.ifeng.com/uploadfiles/blog_attachment/1106/15/376315_d80e9bb3c16950bfcde056072aeb4967.jpg" /><br />Qi, Xiangtan people, ten artists of the twentieth century, the world cultural celebrities. Is a famous painter of the 20th century, and calligraphy and seal. Beijing served as professor of art school, Central Academy of Fine Arts Honorary Professor, Honorary President of Beijing Art Academy, Chairman of the Chinese Artists Association and other staff.<br />植根传统，师法造化的国画大师。他把前人&quot;妙在似与不似之间&quot;的道理体会得很深刻，其画以文人画为根基，开掘民间传统，探讨雅俗结合，为传统花鸟画注入了蓬勃生机，风格刚健鲜活、诙谐幽默。且诗书画印***能，被授予&quot;人民艺术家&quot;的称号。 齐白石作画用笔雄浑健拔,用墨滋润淋漓，用色浓艳泼辣。其章法多是信手拈来，随意而成，极为简括大气。反映在造型方面，有时脱略形迹，离形而以神会求似，有时则模写物象纤毫毕现。尤喜将阔笔大写的花卉与工细草虫合于一图，以求相反相成之韵趣。以其画风发展来看，早年笔墨较清新整饬，中年以后渐趋雄肆，晚年则炉火纯青，真率自然，不假修饰。<br /><img hspace="0" vspace="0" border="0" align="baseline" src="http://blogfile.ifeng.com/uploadfiles/blog_attachment/1106/15/376315_fe7f215ffe9ecbe2d9977e523e3c6558.jpg" /><br />Rooted in tradition, learning from nature's painting masters. He predecessors &quot;Miao like and not like in between &quot; the truth is very profound experience, the painting to literati painting for the foundation, dig folk traditions, of Refined combination of the traditional bird injected vitality, fresh energetic style , Humor. Painting and poetry and can be printed, was awarded the &quot;People's Artist&quot;in the title. Jian Qi forceful pull paint pen, with ink dripping moisture, rich and gaudy colors, bold and vigorous. The tricks are mostly handy, free from, the atmosphere is very nutshell. Reflected in the modeling, the acting is sometimes a little off, from the shape and to seek God would like, and sometimes crystal-clear images of Writing is completed. Hi particular, the width of pen and uppercase Flower Insect works fine together in a graph, in order to rhyme interest opposite and complementary. Perspective of the development of its style, early ink cleaner straighten out, middle age, becoming male IV is reached a pinnacle in his later years, straightforward nature, not in the modification.<br />黄宾虹作品欣赏<br />Huang Binghong&nbsp; Art Works:<br />黄宾虹（1865年-1955年），现代杰出国画大师。在我国近现代绘画史上，有“南黄北齐”之说，“北齐”指的是居住在北京的花鸟画巨匠齐白石，而“南黄”说的就是安徽的山水画大师黄宾虹。他擅长山水、花卉，并注重写生，但成名相对较晚。<br /><img hspace="0" vspace="0" border="0" align="baseline" src="http://blogfile.ifeng.com/uploadfiles/blog_attachment/1106/15/376315_1360d0bbc4498b875691274eab37cb09.jpg" /><br />Huang Bin (1865 -1955), the outstanding paintings of modern masters. In the history of modern painting, the &quot;Southern yellow Qi&quot;, which &quot;Qi&quot;is the living master of Qi in Beijing bird, and &quot;South yellow &quot; said Huang Bin is a master of landscape painting in Anhui. He specializes in landscapes, flowers, and focus on painting, but the fame relatively late.<br />他绘画的技法，早年行力于李流芳，程邃，以及髡残，弘仁等，但也***法元、明各家。所作重视章法上的虚实、繁简、疏密的统一；用笔如作篆籀，遒劲有力，在行笔谨严处，有纵横奇峭之趣。新安画派疏淡清逸的画风对黄宾虹的影响是终生的，六十岁以前是典型的“白宾虹”。<br /><img hspace="0" vspace="0" border="0" align="baseline" src="http://blogfile.ifeng.com/uploadfiles/blog_attachment/1106/15/376315_07c855c901e069b8d00023385691df26.jpg" /><br />　　His painting technique, the line force in the early years, &quot;Li Liufang, Cheng mysterious, and Kum disability, Hong Ren&quot;, but also learn the Yuan Dynasty, Ming Dynasty, various Chinese painting techniques. By attention to the actual situation on the art of composition, display Traditional and Simplified, uniform density; pen, such as for Zhuanzhou, Qiu Jin and powerful at the line pen careful and precise, with vertical and horizontal Qiqiao of Fun. Painting Shudan Seiitsu the style Xin Huang Binhong impact on life-long, six-year-old former is a typical &quot;white Binhong. &quot;<br /><br /><br /><br /><br /><br /><br />其他诗情画意作品欣赏<br />Other poetic taste like a beautiful painting, Chinese Painting Works<br />赖少其&nbsp;&nbsp; 《夜雾》<br />Lai Shaoqi, &quot;God is&quot;<br /><img hspace="0" vspace="0" border="0" align="baseline" src="http://bbs.ce.cn/bbs/attachments/month_1106/20110604_a4c8252b2586aeb6423egBTWtWGew4gq.jpg" /><br />赖少其&nbsp;&nbsp; 《山水画》<br />Lai Shaoqi &quot;Landscape&quot;<br /><img hspace="0" vspace="0" border="0" align="baseline" src="http://blogfile.ifeng.com/uploadfiles/blog_attachment/1106/15/376315_ab2ba36224ee820980bb8861d207b553.jpg" /><br /><br /><br />蒋兆和&nbsp;&nbsp; 《人物画》<br />JIANG Zhaohe&nbsp; &quot;Portrait&quot;<br /><img hspace="0" vspace="0" border="0" align="baseline" src="http://blogfile.ifeng.com/uploadfiles/blog_attachment/1106/15/376315_303f687ca0c8844784a8d9079517ca56.jpg" /><br /><br /><br />江寒汀 《花鸟图》<br />JIANG Hanting &quot;bird map &quot;<br /><img hspace="0" vspace="0" border="0" align="baseline" src="http://blogfile.ifeng.com/uploadfiles/blog_attachment/1106/15/376315_09db59334e805540399ba53e55e1edaa.jpg" /><br /><br />潘天寿&nbsp; 《江山美》<br />Pan Tianshou &quot;landscape beauty &quot;<br /><img hspace="0" vspace="0" border="0" align="baseline" src="http://blogfile.ifeng.com/uploadfiles/blog_attachment/1106/15/376315_821201b9921c812835c551fe969b3cb1.jpg" /><br /><br />潘天寿&nbsp; 《露水（荷花）》<br />Pan Tianshou &quot;Lotus&quot;<br /><img hspace="0" vspace="0" border="0" align="baseline" src="http://blogfile.ifeng.com/uploadfiles/blog_attachment/1106/15/376315_659ff780209093fa74abcd1292ed3855.jpg" /><br /><br />顾绍骅（qq：1072494751 欢迎交流！）作于2011年6月1日<br />ShaoHua Gu for the June 1, 2011<br /><br />本文参考文献：1、《中国画的特例发展》2、《中国画笔墨语言创新不能脱离民族文化母体· 张葆冬》，3、《“文化要有创造力，不能全球化”·许平）》4、《中国画究竟会向何处发展·李景安》5、《中国画文化——守住中国画的底线》6、《近百年中国画发展的现状与弊端》7、《画境与修身》8、《中国绘画简史·薄松年》<br /><br />　　This article References:<br />1, &quot;Chinese painting a special case of development &quot; 2, &quot;Chinese Painting language innovation can not be divorced from cultural matrix ? Zhang Bao Winter &quot;, 3, &quot;&quot;culture to be creative, not globalization &quot;? Xu Ping) &quot; 4, &quot;Chinese painting what will Where development ? Li Jingan &quot;5, &quot; Culture of Chinese painting - Chinese painting to hold the bottom line, &quot;6, &quot; nearly a hundred years the status of the development of Chinese painting and disadvantages of &quot;7,&quot; Habitat and Cultivation painting &quot;8, &quot; A Brief History of Chinese Painting ? Song of thin &quot;<br /><br /><br /> Miscellaneous http://www.zorpia.cn/gushaohua/journal/2056268 Sun, 26 Jun 2011 23:45 EST http://www.zorpia.cn/gushaohua/journal/2056267 附历代诗情画意欣赏图片：<br />Poetic appreciation of history attached picture:<br />马远作品欣赏：<br />Ma Yuan Art Works:<br />马远：宋代杰出画家。字遥父，号钦山。原籍河中（今山西永济县附近），侨寓钱塘（今浙江 杭州）。南宋画院待诏。父世荣、伯父公显，兄逵，都是画院画家。初师李唐，能独辟蹊径，自成一家。<br />　马远艺术上克承家学而超过了他的先辈，他继承并发展了李唐的画风，以拖技的多姿形态画梅树，尤善于在章法大胆取舍剪裁，描绘山之一角水之一涯的局部，画面上留出大幅空白以突出景观。这种&quot;边角之景&quot;其特点正如前人所指出的&quot;全境不多，其小幅或峭峰直上而不见其顶，或绝壁直下而不见其脚，或近山参天而远山则低，或孤舟泛月而一人独坐&quot;，予人以玩味不尽的意趣。<br />Ma Yuan: Outstanding Song Dynasty painter. Originally from Shanxi Yongji this county, in Hangzhou, Zhejiang work. During the Southern Song academy painters. His father, uncle, brother, all academy painter. Li Tang began to learn painting techniques, to create new methods alone, stands apart.<br />Ma Yuan inherited the art of traditional painting methods than his predecessors, he inherited and developed the Li Tang's style, in order to drag the scene in form of painting technology plum, especially good cut in the tricks of a bold choice, depicting the corner of Mountain Ya one of the local water, leaving a substantial gap on the screen to highlight the landscape. This &quot;corner of the King, &quot; which is characterized, as noted in previous &quot;throughout the small, steep peak of its small or not directly reflected on the top, or straight down and not reflected in its foot cliffs, towering mountains and near the mountains are low, Or a boat while a man sitting alone on the Pan &quot;effete pondering endless charm.<br />风格独特，富有诗意。画水能表现出在不同环境气候下的种种形态。其花鸟作品善于在自然环境中描绘花鸟的神情野趣。<br />《踏歌图轴》以风格特点表现在或峭蜂直上而不见顶；或绝壁直下而不见脚，或近山参天，远山则低，或四面全空，仅画一垂孤舟，使画面达到了强烈的空间感，突出近景的艺术效果。<br /><img hspace="0" vspace="0" border="0" align="baseline" src="http://blogfile.ifeng.com/uploadfiles/blog_attachment/1106/15/376315_730a52247bbb066830636ecc671129ef.jpg" /><br />Style, poetic taste like painting beautiful Chinese paintings. Draw water in different environments show various climate patterns. The good works of flowers and birds painted flowers and birds in the natural environment, wild look.<br />Now select the &quot;Stomping map &quot; style characterized by steep bee straight in or not peaked; or straight down and not see the foot cliffs, towering mountains, or near, the mountains are low, or four completely empty, only to draw a vertical boat, so that the screen To achieve a strong sense of space, highlighting the art of close-range effect.<br />唐寅作品欣赏：<br />Tang Yin Art Works:<br /><br />　唐寅，明朝苏州人。　擅山水、人物、花鸟，其山水早年随周臣学画，后师法李唐、刘松年，加以变化，画中山重岭复，以小斧劈皴为之，雄伟险峻，而笔墨细秀，布局疏朗，风格秀逸清俊。人物画多为仕女及历史故事，师承唐代传，线条清细，色彩艳丽清雅，体态优美，造型准确；亦工写意人物，笔简意赅，饶有意趣。<br />　唐寅文学上亦富有成就。工诗文，其诗多纪游、题画、感怀之作，以表达狂放和孤傲的心境，以及对世态炎凉的感慨，以俚语、俗语入诗，通俗易懂，语浅意隽。著有《六如居士集》，清人辑有《六如居士全集》。<br />Yin, Ming Dynasty, Suzhou. Good at landscapes, figures, flowers and birds, the landscape along with Zhou Chen studied painting early, after learning Li Tang, Liu Song year, to change, magnificent paintings and beautiful landscape, the &quot;small ax wrinkle&quot; to this technique, the majestic steep, and painting Show details techniques, layout Lichtung, style Hideitsu Kiyotoshi. Painting mostly ladies and historical stories, learn traditional Chinese painting techniques of the Tang Dynasty, fine lines, clear, colorful elegant, graceful posture, model is accurate; also working decent people, pen concise Gai, interesting charm.<br />Tang Yinwen study also accomplished. Learning poetry, his poems are recorded tour of the article, painting and feelings to make, to express the wild and arrogant state of mind, and the feeling of hot and cold on the earth, to slang and colloquial poems, easy to understand , language was very good. With a &quot;set of six such as the lay. &quot;<br />《落霞孤鹜》<br />&quot;Luo Xia lonely duck&quot;<br />　　唐寅四十六岁自南昌归故里，此期绘画已惭趋成熟，得自我面貌，笔法虽不离挺拔峻峭，已能力求院画与文沈面目之融合。落霞孤骛一词因膝王阁而知名，可能即归来后写此。<br />Forty-year-old Tang Yin return from the hometown of Nanchang, the maturing of the paintings have been ashamed, too self-face, though not from the tall steep brush has ability to find homes Shen face painting and the integration of the text. Term due to falling clouds greedy solitary knee Wang Ge is known, may be written after the return of this.<br />　高柳四株，岩顶者凌风而立，起于岩侧者偃而复起。树根极为夸张，老干也明暗互异，用笔已极端主观，率意为之。山岩如奔炘，亮面用笔微微着绢即皴，有李唐万壑松风遗意。洼处均衬以夹叶，或点或勾，变化甚多。膝王阁屋舍极为精到，且用界笔，一高士坐而远眺，远处云雾现处，但见孤骛轻翔。桌上见鼎彝书卷，一童侍立，更有一童操舟于阁下滨水边。一岩自柳梢贲起，山顶作密林，画法与“山路松声”水际林法全相类似，并以苔点攒簇，以示苍茫。除人面外，仅使醒目之部份略以粉施染，林木中略以草绿醒出，不损原画水墨精神。<br /><img hspace="0" vspace="0" border="0" align="baseline" src="http://blogfile.ifeng.com/uploadfiles/blog_attachment/1106/15/376315_37f63aaed5b8f70a97f87ea756bd3afa.jpg" />　<br />　题画诗：画栋朱帘烟水中，落霞孤骛渺无踪，千年想见王南海，曾借龙王一阵风。<br />　【appreciate】<br />Takayanagi four, Yan Ding Ling-feng were standing side by Yan Yan from the undone at the beginning. Roots greatly exaggerated, veteran cadres also differ shading, pen is extremely subjective, Lvyi whom. Rock, such as Ben-yun, surfaces with silk that is cracked a little pen, there are myriad Li family of wind in the pines left Italy. Depression at the folder are lined with leaves, or points, or hook, change a lot. Great subtlety knee Wang Ge houses, and with the community pen, a Goldsmith sit and distance, clouds are at a distance, but see greedy solitary light Xiang. Ding Yi, see table book, a Tongshi Li, even a child steer a boat on the waterfront side of you. A rock from Liu Shao Ben, the peak for the jungle, painting and the &quot;mountain pine sound &quot; full of water similar to the international forest law, and to save the cluster moss point, to show vast. In addition to human face, the only visible part of the little powder applied to dyed grass green trees in order to wake up a little, does not harm the spirit of the original ink and wash painting.<br />《春山伴侣》<br />&quot;Spring Hill partner &quot;<br />　　此图已尽去模拟法则，将宋人山石的老硬和元人笔法的渗软溶于一炉，应属晚年风格。<br />　　二高士坐溪岸边上，相对作诗。中作老树二株，枝叶不多，方是初春新绿始放时节。左侧坡上，杂树前四后三，胡椒点者浓郁，夹叶者清疏，间以枯树，错落有致。有磴道可通山后，林头远山黯处，一道清泉缓行后往下直落，汇成溪流。另一瀑布自右侧岩洞中飞溅而出，尽入渊中。主山屏立如幛，顶作枯树六七株，山腰烘出云气，颇有自然真意。石虽仍为巨岩，方笔已减少到绝顶的程度，且线多于面，得披麻皴法之要诀。设色略用浅赭及螺青，仅人物作朱衣，以显墨趣。<br /><img hspace="0" vspace="0" border="0" align="baseline" src="http://blogfile.ifeng.com/uploadfiles/blog_attachment/1106/15/376315_07bc09720614ce934fc522c056ce0b81.jpg" /><br />题画诗为：春山伴侣两三人，担酒寻花不厌频，好是泉头池上石，软莎堪坐静无尘。<br />【appreciate】<br />Second, Goldsmith sat next to Riverbank, and the relative poetry. For trees in two, leaves small, green square is the beginning of a new release in early spring season. The left side of the slope, after the first four Zashu three points are rich pepper, leaf folder were dredging, among the dead trees, patchwork. There Dengdao can pass mountain, forest dark at the first mountains, springs put on hold after a straight sets down, merged into streams. Another waterfall splashing out from the right side of the cave, make into the deep of. Legislation such as the main mountain screen hanging scroll, the top for the dead trees sixty-seven, drying out of the hillside and clouds, quite naturally explain the meaning. Stone, though still as rock, side pen has been reduced to the extent in excellent shape, and the line more than the surface texture strokes of the tips may Phi Ma. Coloured light reddish brown, and screw with a little blue, just as Zhu Yi people to Mexican interest significantly.<br /><br />徐渭作品赏析：<br />Xu Wei Art Works:<br />中国明代文学家、书画家、军事家。徐渭自认为&quot;书第一，诗次之，文次之，画又次之&quot;的明代著名书法家、文学家***画家徐渭，曾广泛涉猎文学艺术的各个领域，无论是诗文、书画，还是戏曲，都不拘一格、独树一帜，具有相当的造诣。他的作品&quot;奇恣纵肆，戛戛独造，每有逸出礼法处。&quot;其作品之奇特来自于他身世的奇特。一生坎坷，怀才不遇，理想与现实的矛盾，个性与社会的冲突，使他的胸中积郁着一股牢骚不平之气，发而为诗文、书画、戏曲，从而形成了他文学艺术创作中奇崛狂怪的鲜明性格。<br />Chinese Ming Dynasty writer, art, military strategist. Xu Wei from that, &quot;the book first, second verse, followed by the text, picture and second, &quot;the Ming Dynasty, a famous calligrapher, writer and painter Xu Wei, has been widely involved in various fields of literature and art, whether poetry, painting, or Opera, are eclectic, unique, with a considerable accomplishment. His work &quot;very strange and out of bounds seems good. &quot; The work of the strange from his peculiar life experience. Had a rough life, underappreciated, the contradiction between ideal and reality, personality and social conflicts, so that his chest suppressed with an air of grievance complaints, hair and as poetry, painting, drama, creating literary and artistic creation of his very strange And cross-border look good distinctive character.<br />明代（公元1368—公元1644年）时期的中国，美术正处在学习古人与创新两种意识碰撞的特殊 阶段。水墨写意画迅速发展，以徐渭为代表的泼墨大写意画非常流行，名家出现很多，技法也不断更新，徐渭凭借自己特有的才华，成为当时最有成就的写意画大师。徐渭生性狂放，性格恣肆，但他在书画、诗文、戏曲等方面均获得较大成功。他的写意水墨花鸟画，气势纵横奔放，不拘小节，笔简意赅，用墨多用泼墨，很少着色，层次分明，虚实相生，水墨淋漓，生动无比。他又融劲健的笔法于画中，书与画相得益彰，给人以丰富的想象。<br /><img hspace="0" vspace="0" border="0" align="baseline" src="http://blogfile.ifeng.com/uploadfiles/blog_attachment/1106/15/376315_0b61c01408e5e21ad1522c0cd40da8f5.jpg" /><br />Ming Dynasty (AD 1368 - AD 1644) period in China, learning the ancient art and innovation is in the sense of the collision of two special stages. Ink Drawings by rapid development, Xu Wei, represented &quot;a large freehand ink&quot;painting technique is very popular, a lot of artists, techniques are constantly updated, Xu Wei and by virtue of their unique talents, became the most accomplished master of freehand painting. Xu Wei ordinary people of different nature, but his painting, poetry, drama and other aspects for a larger success. His freehand ink bird, the momentum is large and unrestrained, sloppy, painting lines drawn picture of a small but more multi-purpose ink with ink, very few colored, structured, virtual and real, painting effect, very vivid. He fusion Jinjian brushwork in paintings, books and paintings complement each other even better results, giving a rich imagination.<br />徐渭的泼墨写意花鸟画，别开生面自成一家。其花鸟画，***收各家之长而不为所限，大胆变革，极具创造力。其写意画，无论是花卉还是花鸟，皆一挥而就，一切尽在似与不似之间，对笔下的四时花木，画家运用勾、点、泼、皴等多种笔墨形态，将牡丹之雍容 、紫薇之隽秀、竹子之萧疏、霜菊之孤傲、寒梅之挺洁的神韵刻画的入木三分，分别舒展九尺与五尺的梧桐和芭蕉，直冲画外，不见首尾，与密如骤雨的葡萄、虬如蟠龙的藤蔓构成了巨大的张力，充溢在画面中的纵横之气和豪放境界更是前所未有。他的水墨葡萄，串串果实倒挂枝头，水鲜嫩欲滴，形象生动，茂盛的叶子以大块水墨点成，风格疏放，不求形似，代表了徐渭的大写意花卉的风格。<br />Xu Wei's &quot;freehand ink&quot;painting techniques for the bird, spectacular dreams of. The bird, but not for long integrated various constraints, bold change, very creative. The painting, whether it is flowers or birds, are one go, all in the like and not like, between the four o'clock flowers on the pen, the painter use of hooks, points, poured, cracked and other forms of Chinese painting techniques will be Peony wealth, the handsome crape myrtle, bamboo Xiao Shu, chrysanthemum cream alone and proud, very clean Samuume charm of penetrating portrait of, respectively, nine feet and five feet in the Indus stretch and plantains, straight draw, he's Ink grapes , clusters of fruits hanging upside down tree branches, water dripping fresh, vivid, lush foliage to point into the bulk ink, style dewatering, no shape, representing Xu Wei's &quot;great impressionistic &quot; style of flower painting techniques.<br /><img hspace="0" vspace="0" border="0" align="baseline" src="http://blogfile.ifeng.com/uploadfiles/blog_attachment/1106/15/376315_b77772a2eebbba699f49d1b1205f690a.jpg" /><br />刘海粟作品欣赏：<br />Liu Hai Su Art Works:<br />原名簄，字季芳，生于江苏省武进县（今常州市）。著名美术家、美术教育家。以西融中，以西兴中，使刘海粟历练成一代中西融合派大师。他的绘画，早年以西画为主，他专喜欢描写外光，他的艺术纯是直观自然而来，忠实的把对于自然界的情感描写出来，很深刻地把个性表现出来，所以他画面上的线条里，结构里，都充满着自然的情感。他的个性是十分强烈，在他的作品里处处可以看得出。他对于色彩和线条都有强烈的表现，色彩上常用极反照的两种调子相互结构起来，线条也是很单纯很生动的样子，和那些细纤女性的技巧主义，是完全不同。他总是绝不修饰，绝不夸张，拿他的作品分析起来，处处可以看出他总是自己走自己的路，自己抒发自己要抒发的情感。就可知道他的制作，不是受预定的拘束的。所以他的艺术得来的成功，或者就是在此。”<br /><img hspace="0" vspace="0" border="0" align="baseline" src="http://blogfile.ifeng.com/uploadfiles/blog_attachment/1106/15/376315_677f50e6034f924a77595e5cbff307a2.jpg" /><br />Liu Hai Su, born in Changzhou City, Jiangsu Province. Famous artists, art educator. West of the melt, the west Xing, so that his life experiences into a generation of Western integration were masters. His paintings, mainly early Western painting, his description of post like the outside light, his art is intuitive comes naturally pure, faithful description of the emotion out of the nature, it is profoundly demonstrated the character, so his on-screen Lines, the structure, the are full of natural emotion. His personality is very strong, in his works everywhere can see. He has a strong color and line for the performance of most commonly used color tone between the two reflective structures together is very simple lines, very vivid way, and those thin-fiber women's skills in doctrine, is completely different. He was always no modification, no exaggeration, take of his works together, everywhere we can see that he was always his own way, express their own feelings to express. Then know that the production is not intended to be bound by the. So he had to the success of art, or is in here. &quot;<br />画中，他以苍劲泼辣的笔墨，大刀阔斧的表现手法给观者展示了既富东方审美情致又具清新笔墨境界的崭新意象。艺术大师吴昌硕见后欣为题词：“吴中文学传千古，海色天光释墓门。云水高寒，天风瑟瑟。海粟画此，有神助耶。”②蔡元培题道：“风光殊不似初春，老树槎牙欲搏人。想是秋声催栗感，不教怀旧转怀新。”对刘海粟在笔墨中的推陈出新作了肯定。《玉涧流泉》这幅作品的成功是他反复尝试、不断推敲后取得的，他先画了油画写生，后在油画的基础上作生活的回忆联想，最后才画出了这幅意境深邃、不同凡响的国画新力作。在激越忘情中铺纸挥毫，瞬间就挥写出烟树迷离、峥嵘奇谲、飞泉奔涌、清溪潺潺的绝妙境界。郭沫若先生见后连声叫好并即兴赋诗以题：“艺术叛徒胆量大，别开蹊径作奇画。落笔如翻扬子江，兴来往往欺造化。郭沫若在诗中高度赞扬了他“师法造化”、“笔墨当随时代”的现实主义创作态度与矢志创新的精神。《重彩荷花》图，可说是彩和墨的巧妙结合：色彩运用大胆、大方，以浓丽的大红、粉红描绘荷花，荷叶先以墨色泼洒，继用粉绿渗透，质感十分凝重。<br /><img hspace="0" vspace="0" border="0" align="baseline" src="http://blogfile.ifeng.com/uploadfiles/blog_attachment/1106/15/376315_8dec16270422aa55541a0b00d85f4aa9.jpg" /><br /><br /><img hspace="0" vspace="0" border="0" align="baseline" src="http://blogfile.ifeng.com/uploadfiles/blog_attachment/1106/15/376315_f7809fb5bbe658b321f9f2799d393473.jpg" /><br /><br /><img hspace="0" vspace="0" border="0" align="baseline" src="http://blogfile.ifeng.com/uploadfiles/blog_attachment/1106/15/376315_5201adf3cc0f7f29e11049ceafea500e.jpg" /><br />Painting, he forceful vigorous Chinese painting method, a radical approach to the viewer shows the performance of both rich and fresh oriental fantastic and the new realm of Chinese painting images method. Artist Yan Wu Changshuo see below for the inscription: &quot;spread of Chinese literature through the ages, is the art of traditional Chinese culture, Liu Hai Su, and so the successor effort ah. &quot; Cai said: &quot;Unlike the special scenery of spring, new shoots like dry trees Career. I think the voice urging Liu Haisu autumn, there is a sense of urgency. &quot;law of Liu Hai Su painting in China's innovation in the affirmative. &quot;Jade Stream Flowing&quot; The success of this painting is his repeated attempts to continuously refine made after he first drew a sketch from nature, after the painting on the basis of associative memories for life, and finally draw a piece of profound mood , extraordinary new masterpiece painting. Immersed in laying out the paper in the agitation brush, and instantly play written Yan Shu blurred, towering odd deceitful, rushing waterfalls, gurgling stream the wonderful realm. Guo Moruo see below repeatedly applauded and improvised poetry in question: &quot;Art traitor great courage, distinction between the paths which make odd painting. put pen to paper, such as turning the Yangtze River, Hsing to often bully good fortune. Guo highly praised in the poem he was &quot; learning from nature &quot;, &quot;Chinese painting methods with the Era&quot; realistic attitude and committed to innovation and creative spirit. &quot;re-color lotus&quot;map, can be said that the unique combination of color and ink: the use of bold colors, generous, to Nong Li's red, pink paint Lotus, the leaves first to ink spill, following infiltration with a light green color, shape texture is very dignified.<br /><br />张大千作品欣赏：<br />Chang daqian Art Works:<br />张大千是具有世界影响的中国画大师。他在创作上的卓越成就，与他的渊博的学术修养，深厚的生活积累以及他广结师友，裁长补短密不可分。除绘画外，他对诗词，古文，戏剧，音乐以及书法，篆刻，无不涉猎。并先后与齐白石，徐悲鸿，黄宾虹，溥儒，于非厂等国内各名家及外国大师毕加索交游切磋，功力自不一般。&nbsp; &nbsp;<br /><img hspace="0" vspace="0" border="0" align="baseline" src="http://blogfile.ifeng.com/uploadfiles/blog_attachment/1106/15/376315_3c3c89e93bd78fb3abbc9ce0f1582ef7.jpg" /><br />Chang is a master of Chinese painting world influence. His outstanding achievement in the creation and cultivation of his profound learning, life experience and his profound mentorship forming, cutting, complementarity problems are inseparable. In addition to painting, but his poetry, classical, theater, music and calligraphy, seal cutting, are all covered. And met with Qi, Xu, Huang Bin, Pu Ru, plants and other non-famous domestic and foreign exchanges and mutual learning masters Picasso, explore, from the unusual skill.<br />张大千是天才型画家，其创作达&quot;包众体之长，***南北二宗之富丽&quot;，集文人画，作家画，宫廷画和民间艺术为一体。于中国画人物，山水，花鸟，鱼虫，走兽，工笔，无所不能，无一不精。诗文真率豪放，书法劲拔飘逸，外柔内刚，独具风采。 &nbsp;<br /><img hspace="0" vspace="0" border="0" align="baseline" src="http://blogfile.ifeng.com/uploadfiles/blog_attachment/1106/15/376315_b6e61d90503119e9116ff6119a91cd07.jpg" /><br />Chang is a genius artist, whose creation of &quot;a large number of objects that contains the best place, and his techniques of Chinese painting is to absorb the top, the most beautiful&quot;, set of paintings, writers, paintings, palace paintings and folk art as a whole. In Chinese painting figures, landscapes, flowers, birds, fish and insects, animals, fine brushwork, he will not draw nothing, nothing bad is his painting. Poetry straightforward, uninhibited, elegant calligraphy, drawing fresh, soft on the outside inside, unique style.<br />张大千的画风，先后曾经数度改变，晚年时历经探索，在57岁时自创泼彩画法，是在继承唐代王洽的泼墨画法的基础上，揉入西欧绘画的色光关系，而发展出来的一种山水画笔墨技法。可贵之处，是技法的变化始终能保持中国画的传统特色，创造出一种半抽象墨彩交辉的意境。写意两个字，依我看来，写是用笔，意是造境，不是狂涂乱抹的。也不是所谓文人遣兴，在书房用笔头写写的意思。作画自然是书卷气为重，但是根基还是最要紧的。若不从临摹和写生入手，那么用笔结构都不了解，岂不六大错误。所以非下一番死工夫不可。临摹古人，要学他用笔用墨，懂得他苦心构思。写生要认识事物的情怀。画时先用粗笔淡墨，勾出心里面要吐出来的境界。 &nbsp;<br />Chang's style, has made several changes in later years through exploration, the age of 57 own &quot;splash of color&quot; painting is the king of the Tang Dynasty in the succession of contact of the &quot;ink&quot;method, based on the rubbing Ruxi Ou Shade between painting, and developed a pen and ink landscape painting techniques. Valuable point, is always changing techniques to maintain the traditional characteristics of Chinese painting to create a semi-abstract ink and color effects together produce a beautiful mood. Freehand word, in my opinion, writing is a pen, Italy is made of environment, not the mad chaos coated wipe. Nor is the so-called scholars Qianxing, write in the study by written means. As the most important painting is of pedantic, but the foundation is still the most important thing. If copying and painting from the start, then the pen does not know the structure, would not six errors. Therefore, under some non-work is not dead. Copying the ancients, ink pen with him to learn, to understand the idea of his pains. Painting feelings to understand things. Painting with a thick pen when the first light ink, paint my heart tick to spit out the state.<br />徐悲鸿作品欣赏；<br />Xu beihong&nbsp; Art Works:<br />徐悲鸿取法西方古典写实绘画，力倡用&quot;写实主义&quot;改造中国画，强调&quot;尽精微、致辞广大&quot;、&quot;惟妙惟肖&quot;、&quot;直接师法造化&quot;，”继承我国绘画优秀传统，吸取西画之长，创造自己独特风格。他的写实主张和从苏联引进的&quot;社会主义现实主义&quot;并为一体，成为本世纪最大的主流画派。徐悲鸿在绘画创作上，提倡“尽精微，致广大”；他对中国画，主张“古法之佳者守之，垂绝者继之，不佳者改之，未足者增之，西方绘画之可采者融之”。他的画能融古今中外技法于一炉而又有其独特风格。他不但擅长中国画，素描、油画都有很高的造诣和成就。人物注重写实，传达精神；所画花鸟、山水、走兽，简练明快，富有生气。 <br /><img hspace="0" vspace="0" border="0" align="baseline" src="http://blogfile.ifeng.com/uploadfiles/blog_attachment/1106/15/376315_b333b9982c7a9b9bbfe43a9b769b3b7b.jpg" /><br /><br /><img hspace="0" vspace="0" border="0" align="baseline" src="http://blogfile.ifeng.com/uploadfiles/blog_attachment/1106/15/376315_75f457ffbcac50a88d2b4a599815c5ff.jpg" /><br />Xu emulated Western classical realist painting, he promoted the idea of &quot;realism&quot;reform of Chinese painting, emphasizing the &quot;best place to start from the subtle, the most extensive publicity to do so, &quot;&quot;vivid, &quot;&quot;learn directly from nature, &quot;&quot;Inheritance Fine tradition of painting, drawing on the length of Western painting to create their own unique style. His introduction of realistic ideas and from the Soviet Union &quot;socialist realism &quot; and as one, to become the mainstream of the largest school of painting in this century. Xu in the painting, the promotion of &quot;Best place to start from the subtle, widely publicized&quot;; his Chinese painting, that &quot;stick to the ancient Chinese painting techniques to learn, a good place to inherit, not the place to improve, there is no place to increase involving Western painting can Adoption and integration. &quot;His paintings are ancient and modern techniques to melt in a furnace and have a unique style. He is not only good at Chinese painting, drawing, oil painting has a very high attainments and achievements. People pay attention to realism to convey the spirit; the painting birds and flowers , Landscapes, animals, concise and lively, full of anger.<br /><br /> Miscellaneous http://www.zorpia.cn/gushaohua/journal/2056267 Sun, 26 Jun 2011 23:37 EST http://www.zorpia.cn/gushaohua/journal/2056249 众所周知，文人画（中国画的标志）是清代以前中国画最高的高峰，诗书画印的完美己的民族血脉，这需要向真正有民族责任感和民族文化危机感的人谈论，绘画得力于文化的内涵，他的艺术魅力就被大大的扩充了。远不是昔日师徒相传的工笔重彩所能比拟。单纯地把中国画当成一种技术来评价，从而使中国画丧失了它的丰厚的文化底蕴。<br />As we all know， literati painting (Chinese painting the sign) is before the Qing Dynasty Chinese painting highest peak， Poetry， Calligraphy and India the perfect has been the national blood， which requires the real sense of national responsibility and national culture a sense of crisis people talk about， drawing thanks to the cultural connotation His charm was greatly expanded。 According to legend， far from the meticulous former apprentice heavy color can not match。 Chinese painting as simply a technique to be evaluated， so that Chinese painting lost its rich cultural heritage。<br />中国画之所以是中国画，是因为它的高端不是工匠手中的技术，从事中国画的领军人物都是知名的学者，都是文化人。绘画技术只是他们手中最一般的陶冶性情的工具。他们的主业往往并非绘画，而是政治、诗文词话、文物考证等文化专家。诗文书画，画排在最后。琴棋书画，画也排在最后。<br />Chinese painting Chinese painting is the reason why is because it is not a craftsman in the hands of high-end technology leader in the Chinese paintings are well-known scholars， are intellectuals。 Painting technique is the most common mold in their hands the tools temperament。 Their main business is often not the painting， but political， poetry Words， research， and other cultural heritage experts。 Poetry calligraphy， painting the bottom。 Poetry and painting， painting also came in last。<br />自从宋代末期文人画成了中国画的主流以后，最著名的文人画家都是文人，中国画是文化人的事情，不是任何会画画的中国人都能成为中国画画家的。宋朝的苏黄米蔡四大家都不是靠卖艺吃饭的艺术家，而是朝廷官员，是当代最著名的学者，大文豪大才子。虽然不以画名世，单凭他们的文学声望就已经是天下无人不识君了。<br />Since the end of the Song literati painting became the mainstream of Chinese painting since the most famous literary artists are writers， intellectuals Chinese painting is the thing， not anything that would paint the Chinese people in China can become a painting home。 Song Su， Huang， Mi Fu and Cai Xiang four people are not eating by selling art to the artist， but the government officials， is the most famous contemporary scholar， great writer great wit。 Although it is not to become famous paintings alone their literary honor to have a world without people do not recognize them。<br />就像现代文人郭沫若，丰富的学养使他名满天下，他的书法自然不同凡响，其风流潇洒，活泼灵动，沉稳丰厚，神采奕奕的书法品味，具有时代的不可替代性。但他的职业并不是书法家。而是考古学家，社会学家，人类学家，诗词大家……。<br />As modern scholars Guo moruo， rich school support to his name over the world， extraordinary nature of his calligraphy， and its romantic chic， lively and agile， calm rich， radiant taste of calligraphy， with the times is not irreplaceable。 But his career is not a calligrapher。 But the archaeologists， sociologists， anthropologists， POETRY 。。。 。。。。<br />文人的丰富学养和广博的学识是他们从构思上远远胜过职业的画家，职业的画家古时就叫做画匠。传世的文人画家都是业余的，他们的从不以绘画技巧为念，也从不把自己的作品当成了不得的巨额财富，他们绝妙的构思，依靠他们对笔墨性质的熟知得以实现，使他们的画面不再依靠对旁枝末节的精细刻画取胜，而是以自己深厚的书法功底为底气，对整幅画的磅礴大气的掌握，对画面意境的深度开发使他们的作品大气而耐看。<br />Studies support the author's rich and extensive knowledge of their ideas is far better than from the professional painter， professional painter painting called ancient craftsmen。 Amateur literati painters were handed down， and they never to drawing skills as a goal， and never his own paintings as a not wealth， they are wonderful ideas， relying on the nature of their well-known Chinese painting can be achieved So that they no longer rely on the screen offshoot characterize the fine distal to win， but deep in their own skills for the sustaining power of calligraphy， painting the majestic atmosphere of the whole grasp of the depth of the development of mood on the screen so that they work atmosphere And engaging。<br />有些画家劳顿一生，而终无成就，常与方法上的舍本逐末有关，每每把酷似某家笔法，放在首位，而遗忘其传统的艺术精神，虽可得僵死的躯壳，但终不见艺术精神的灵光。不守法度，逐日花样翻新，在形式上作文章，艺术作品就会缺乏内在生命。相传明朝山水画家周臣，其绘画功力方面和他的学生唐寅相比并不见得差，但整体艺术水平和艺术品位却不及唐寅。当有人问他为什么画得反不如学生好时，周臣回答说：“惟少唐生胸中万卷书耳。＂可见提高修养的主要手段，便是读书。<br />Some artists fatigue life， and finally no success， often on the forest for the trees and methods related to strokes always resembles a home， the first place， but forget the spirit of its traditional art， although the availability of a dead body， but in the end but not the spirit of Art Aura。 Degree of non-compliance， daily new guise， in the form of making a fuss， works of art will be a lack of inner life。 According to legend， the Ming Dynasty landscape painting Zhou chen， the painting skill area compared Tang Yin and his students is not necessarily bad， but the overall artistic level and not as Tang Yin artistic taste。 When someone asked him why he painted as anti-student Hershey， Zhou chen said: &quot;alone read a lot less than the Tang Yin ah。 &quot; visible means of improving the main accomplishment is reading。<br />应该是恢复中国画丰厚的文化底蕴，在此基础上融化西方绘画技法——“西风东渐”，形成新的中国画风貌。<br />Should be the resumption of Chinese painting rich cultural heritage， in this based on the melting of Western painting techniques - &quot;the Chinese painting and Western painting in the help of borrowed&quot; to form a new style of Chinese painting。<br />诗是隐含的，画是外表的；因此，无诗不成趣、无画不解情——诗情画意是相得益彰。著名书画家陆俨少生前有句名言：“四分读书，三分写字，三分作画，诗书画三者统一，才能成为名副其实的画家。”又云：“窃以为学画而不读书，完全缺少营养，流于贫瘠，而且意境不高，匪特不能撰文题画，见其寒俭已也。（意思是：自己认为学画而不读书，就像人一样缺少营养一样，停留在非常贫困的状态，而且意境不高，特别是不能撰文题画，可以看到他的学识太少了啊。）”<br />Poetry is implied， painting appearance; therefore， no not a fun poem， no painting understand the situation - a beautiful painting， poetry fun with each other to have greater benefits。 Lu Yanshao famous painter during his lifetime had a famous saying: &quot;with a quarter of the energy to study， one-third the energy to write， one-third of the energy painting， and poetry painting three unified， in order to become a real painter。 &quot; said: &quot;I think Study painting instead of reading， like people， like the lack of nutrition， stay in very poor condition， and mood is not high， especially not the author painting， you can see little ah his knowledge。 &quot;<br />创作本是激发情感、抒情的趣事；画家的长期自我修养与生活的直接启迪相碰撞，而发生会像火石一样闪射出耀眼夺目的光芒，这就使艺术灵感随之迸发。生活既是画家的地狱又是他们的天堂；在中国画的创作上，也应该灌注“中和”精神：即是不偏不倚，融合各个方面的修养于一体。<br />Creation of this is to stimulate emotion, lyrical interesting; artist's long-term self-cultivation and the direct inspiration and life collide, will occur as shone like flint dazzling light, which makes the subsequent burst of artistic inspiration. Life is both a painter of hell is their heaven; in the creation of Chinese painting, it should perfusion &quot;and in&quot; Spirit: that is impartial, the integration of all aspects of cultivation in one.<br />具有中国文化的民族性的“画外功夫”源自于生活的千锤百炼，画外功夫即为画者卓而不群的自我完善，它参与整个艺术创作过程，对作品进行“灵”的渗透。长期以来，人们往往过多地强调了笔墨运用，而忽略了艺术家的修养工夫。而后者恰恰对作品起着决定性的、主导性的作用。人们在谈论艺术创新时，也常常着眼于形式方面，而未把艺术境界的创造放在首要位置。<br />With the national character of Chinese culture, &quot;the cultivation of outside painting&quot; from life, tempered in the painting is the art training other than the group who self-improvement rather than excellence, it is involved in the whole process of artistic creation, the work in the &quot;work of art Soul thinking &quot;penetration. For a long time, people tend to over-emphasize the use of painting techniques, while ignoring the artist's training effort. The latter is precisely the works play a decisive and leading role. People are talking about artistic innovation, they often focus on the form, without the creation of the realm of art on the most important position.<br />笔者认为境界的创新，才是真正的创新，才是艺术家艺术追求的根本。固然，境界要依托于笔墨，或者说寓于笔墨之中，境界要在笔墨中得以体现。但笔由心使，墨由心化（技法是由画家情感支配的），境界是艺术家丰富的修养以及心灵顿悟在艺术作品中的闪光和体现。画家绘画作品格致的雅俗高下，也和画家之人品修养有着直接或间接的关系，因此，欲求修养之提高，素质之升华，大量的读书及丰富的生活阅历必不可少，还要去掉“急功近利（急需要成功和获得利益）”的欲望，所谓“无欲则刚（没有过多的要求则可以更加完美）”，尽量做到无名利牵绊，那么其艺术创造当可驰骋自在之境也。唯有悟出传统文化之真谛，得到和自然造化之神韵，方可以柔翰出写精神，凭墨彩自由抒发胸怀，也只有博采众长（学习众多的艺术家所擅长的），才能厚积薄发（积累多，而通过比较少的技法表现出来）。<br />I believe that the realm of innovation, is the real innovation is the fundamental pursuit of art the artist. Of course, have to rely on the state of painting techniques, painting techniques or resides among the state should be reflected in the painting techniques. Chinese painting techniques, but is dominated by the emotion the artist, the artist-rich state of cultivation and spiritual epiphany in the work of art in the flash and reflected. Refined artist's paintings Gezhi compete with, but also the character and the cultivation of the artist has a direct or indirect relationship, therefore, cultivate the desire to improve, the quality of the distillation of a lot of reading and a rich life experience is essential, but also to remove &quot;need to be successful and benefit, &quot;the desire, the so-called &quot;no &quot; need to be successful and benefit &quot;requirement, can be more perfect &quot;, as far as possible tie him no fame and fortune, its artistic creation itself when the environment can also ride. Only understand the traditional culture of the truth, get the charm and natural good fortune, square can be used to write out the spirit of Chinese painting and calligraphy, Chinese painting techniques and the use of color to express the artist's feelings of freedom, only to learn many of the artists are good at &quot;things&quot;, To accumulate more, and less by the techniques shown.<br />中国画还非常注重“品味（人对事物观点态度）”，犹如人品（人的道德观点和行为）一样，对于举止粗俗、谈吐低级、卑躬屈膝是没法与举止斯文、谈吐风雅、重信守诺的人相提并论；没有传统文化底蕴中国画只是肤浅的“笔墨造型”而已。正如“数码照片”比任何绘画作品都要“真实”，为什么大师的艺术作品与数码照片不能相提并论呢？如同人文性与机械性不能相提并论一样。同理我想：大师的作品也不能与画匠的作品相提并论是一个道理吧。人们还是愿意悬挂中国画等艺术品；是因为在这些艺术品里有更多的“人文”的东西——文化积淀；从而也提高或者提升了这些艺术品主人的文化品味。<br />Chinese painting is also very focused &quot;view of things people attitude &quot;, as if the person's moral views and behaviors, the behavior vulgar, talk low, groveling is impossible and gentle manners, conversation Fuga, who compared weight keep his promise; no traditional culture Chinese painting is only superficial, &quot;Chinese Painting&quot;only. As the &quot;digital photos&quot;than any painting to be &quot;real&quot;, why the master works of art can not be compared with the digital photo it? As humanity can not be compared with the same mechanical. Similarly, I think: the works of masters can not be compared with the craftsman is a reason it works. People were willing to fly Chinese paintings and other works of art; is because in these works of art, there are more &quot;human&quot;things - cultural heritage; and thus improve or enhance the owner of these works of art and cultural attitude towards the human point of view of things.<br />中国画家是用“澄怀观道（艺术是人类最高的精神活动，挖掘心灵中美的源泉，实现“最自由最充沛的深心的自我”，胸襟坦然，脱净尘渣，完成那审美的人，提供审美的主体条件。并且有‘于空寂处见流行，于流行处见空寂’，这样的生命情调和艺术意境的实相。”）”的宇宙观来认识世界，体察万物，写胸中逸气，求得一种心灵的解放。中国画是理想的、浪漫的，是画家集中把大自然的美，通过艺术“提纯”的“反映结果”；而“诗情画意”更是突破了时空上的束缚，将视觉艺术转变为精神追求，开启了人们对真、善、美（理想世界）——“世外桃源”（和谐社会）的向往与追求；从某种意义上说：诗情画意是灵动的、是“有生命的”和不朽的；他根至于每个喜爱中国文化的人们思想之中。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。<br />Chinese artists is &quot;Art is the highest human mental activity, and tap the source of a beautiful mind to achieve &quot; the most liberal heart of the most abundant deep-self &quot;, outgoing, out of trouble the world to complete the aesthetic of people that provide aesthetic The main conditions. and there 'there, see the empty flow, see where in the flow of empty', so life is his mood and the essence of artistic conception.) &quot;of the universe to understand the world and understand things, write the chest outgassing, find Have a spiritual liberation. Chinese painting is an ideal, romantic, a painter focused on the beauty of nature through the art of &quot;purification &quot;and&quot;reflects the results &quot;; and &quot;poetic fun painting like a beautiful Chinese Painting&quot;is a breakthrough in the temporal and spatial constraints , The visual arts into a spiritual pursuit, opening people for truth, goodness and beauty (ideal world) - &quot;Xanadu&quot;(harmonious society) the desire and pursuit; sense: poetic painting taste like Beautiful works of Chinese painting is the Smart is &quot;living&quot;and the immortal; his roots As each loved Chinese culture into people's thinking. It can be said, each word, setting a national painting and have the mentality of the era, steeped in the cultural layer of the national spirit. As art, as the Chinese mentality of the crystallization of painting and calligraphy art, the more Budai a statement.<br />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。中国画的发展是全民族的事情，“诗情画意”会成为中国画发展的目标。希望我们喜爱和从事中国画的人们积极关注和支持中国画的发展。<br />But not everyone is able to enjoy a higher level of painting and calligraphy. It is so rich and long, delicate and marvelous! To understand and feel the mysterious painted pottery, bronze ornamentation of classical guarded, quiet and solemn statues and recreate in painting techniques from the literati painting and the high degree of abstraction, the flow of calligraphy is zoned structure, we need the knowledge and accomplishment. The development of Chinese painting is something the whole nation, &quot;poetic taste like a beautiful painting, Chinese painting works &quot; will become the goal of the development of Chinese painting. I hope we enjoy and the people engaged in an active interest in Chinese painting and support the development of Chinese painting.<br />请记住：越是传统，就越具有民族性；越是民族的，就越具有世界性。中国画是中华民族的传统文化精髓，而诗 、书 、画（三绝）溶为一体的“诗情画意”是继承传统，中国画的延续性有赖于中国书画家的创造性和瞻前顾后的弘扬国萃。<br />Remember: the more traditional, more national character; more national, more cosmopolitan. Chinese painting is the traditional Chinese cultural essence, and poetry, calligraphy and painting melting as one of the &quot;poetic taste of painting like a beautiful Chinese Painting&quot;is a succession of traditional Chinese painting continuity is dependent on Chinese Painting and Calligraphy of the creativity and the past and Will carry forward Chinese traditional culture.<br /><br /> Miscellaneous http://www.zorpia.cn/gushaohua/journal/2056249 Sun, 26 Jun 2011 21:53 EST http://www.zorpia.cn/gushaohua/journal/2056246 笔者斗胆认为，中国画的艺术创作应该有两大审美意趣：1、是笔墨线条之美，2、是传统文化底蕴之美——诗情画意：<br />I venture to believe that the art of Chinese painting aesthetics of creation should be two: 1， is the beauty of ink lines， 2， is the beauty of traditional culture - a beautiful painting， poetry interesting:<br />1、笔墨线条之美；<br />1， the ink lines of beauty;<br />在中国，书写文字的工具，同绘画的工具一直一体不分，而在西方是分离的。一体不分的状况造成了“书画同源”的文化共生的现象，而这一切共生现象在西方不存在。文化共生现象造成了审美认识上、审美评价上、审美实践上的“解释前理解”——一切中国绘画的审美认识、审美评价、审美实践都要从这个“书画同源”的文化共生现象出发。<br />In China， the written word tools， painting tools have been integrated with， regardless of， and in the West are separate。 One， regardless of the situation created a &quot;Chinese calligraphy Chinese painting is one source of&quot;cultural symbiosis， and all this symbiosis does not exist in the West。 Cultural symbiosis of aesthetic understanding phenomena， aesthetic evaluation， the aesthetic practice of the &quot;interpretation of pre-understanding&quot;- all the aesthetic understanding of Chinese painting， aesthetic evaluation， aesthetic practice to be from this &quot;Chinese calligraphy， Chinese painting is the same source &quot; Cultural symbiosis start。<br />书画同源是中国特有的文化共生现象，中国画的审美要素很多，但最基本的还是“笔墨、笔力、笔姿、墨性、墨韵”即：线条的表现中锋（毛笔线条在笔画痕迹的中间行走）、侧锋（毛笔线条在笔画痕迹在一侧行走）、逆锋（毛笔线条在笔画痕迹中反方向行走）、拖笔（毛笔线条笔根在前笔尖在后地行走）、散笔（毛笔线条在笔画痕迹中比较随意地行走）等，行笔速度的快疾与缓慢配合“积墨（堆积墨的方法）、破墨（墨色浓淡相互交替的方法）、泼墨（泼撒墨色与色彩的方法）”等带来的效果——“枯湿浓淡”、“五墨六彩”等变化，而产生笔情墨趣，这是中国书画的慧根所在；而线条表现力正是中国画的精髓所在，是画面的骨骼和支柱，以线为造型基础是中国画的基本特征。中国画线条是有形有色，有骨 有神，有气有韵，有情有意的具有高超表现力和强大生命力的线。中国画的线有特殊的审美价值，是画家表达物象，抒发情感的重要手段。长期的艺术实践，使得线条形式变得极为丰富，具有感人的艺术魅力。<br />Chinese calligraphy， Chinese painting is a single source is the unique cultural symbiosis， Chinese painting aesthetic elements of a lot， but the most basic or &quot;brush lines and black color depth changes， pen force &quot; that is: the line's performance brush lines in the stroke marks in the middle of walking， Traces of brush strokes on one side in line to walk， brush strokes， lines and marks in the walk in the opposite direction， brush the front lines of the root tip pen in the post-walk， brush strokes， lines and marks in the more free to walk so fast the speed of disease T Bank And slow with the &quot;accumulation of ink method， the method of alternating between shades of ink， ink and color rippled the way&quot;and other effects caused by - &quot;dry wet bias&quot;and&quot; five six-color ink， &quot; such as changes in lines arising from the brush Changes brought about with the ink depth of taste， which is where the Chinese painting and calligraphy by nature; and expressive line is the essence of Chinese painting is a picture of the bones and pillars of the line is based on the shape of the basic characteristics of Chinese painting。 Chinese painting color line is visible， there are bones God， there is gas there is rhyme， affectionate intention with superb expressiveness and vitality of the line。 Line of Chinese painting has a special aesthetic value， the expression of a painter images， an important means to express emotion。 Long-term artistic practice， making the line form to become extremely rich， with a touching charm。<br />2、传统文化底蕴之美——诗情画意：<br />2， is the beauty of traditional culture - a beautiful painting， poetry interesting:<br />“诗情画意”是根植在中国人“骨子”里面的文化情结。作为中国画家应该是具备有“书、画、诗、文”的基本功。只是因为中国画是能反映中国传统文化的“综艺体”。 <br />&quot;a beautiful poetry of fun painting&quot;is rooted in the Chinese people &quot;bones&quot;inside the culture complex。 As a painter should have a &quot;books， paintings， poetry， literature， &quot;the basic skills。 Only because of Chinese painting is to reflect traditional Chinese culture， &quot;a variety of art in one fusion。 &quot;<br />中国画不同于西画：伟大的教育家蔡元培指出：“西画近建筑（理性的），中国画近文学（感性的）。”即：西方的绘画近似建筑一般的理性——写实性强；而中国画是近乎文学作品一般的个性强烈，艺术化的客观事物——来源于生活，而高于生活（是生活的提炼，是情感的宣泄）。中国画不是西画先找好了题材，再找模特儿照着画，总有一个对象的束缚，天地的限制，虽然也有形神***备，但“意”就不够了。中国画是画家在生活体验中体味万物的形象，“深入生命节奏的核心”，以自由谐和的形式，表达出画家最深的意趣。石涛认为他的画不象古人也不象今人。“我思我画，自有我在。”（有强烈的个性特征）说中国画现实弊端是千人一面，没有变化，须要横向联系，学习西画，也许是学而不深，言而不精吧。<br />Chinese painting is different from Western painting: the great educator Cai yuanpei said: &quot;Western art is the same as building a rational， just as literary works of Chinese painting as full of passion and romance are emotional。 &quot; namely: the general architecture of Western painting rational approximation - Realistic Strong; and literary works of Chinese painting is almost a general strong personality， artistic objective things - from life than life (which is a refinement of life， is the emotional catharsis。) Western painting Chinese painting is not a good theme to go first， find a model according to art， there is always an object of the shackles of limited world， although there are Vivid， but &quot;means&quot; inadequate。 Chinese painting is the painter of all things in life to experience and taste the image of &quot;in-depth core rhythm of life&quot;to free the form of harmony to express the artist's deepest charm。 Shi Tao that his painting not as the ancients did not like modern people。 &quot;I think I'm painting， I own。 &quot;(there is a strong personality traits) that real drawback is that thousands of Chinese painting one side， there is no change， have horizontal linkages， learning Western painting， perhaps the school but not very deep， the words will not fine it。<br />绘画的发展是从低级到高级，从原始抽象意识，发展到集中体现出了中国文化、哲学、美学的中国画艺术，乃至发展成为文人画的诗、书、画、印合壁的中国画表现形式。从中国画发展的各个时期的状况来看，无论哪个阶段的绘画形式，都能够体现出中国文化的底蕴，并且以此形成了中国画独有的艺术表现特色。<br />Painting development is from lower to higher， from the original abstract sense， the development embodies the Chinese culture， philosophy and aesthetics of Chinese painting art， and even the development of the literati painting poetry， calligraphy， painting and seal wall of Chinese painting forms。 Paintings from various periods of development of the position， no matter what stage of the art， are able to reflect the heritage of Chinese culture and Chinese painting as a unique form of artistic expression characteristics。<br />所谓“书画同源”，正是在这种特定的中国文化基础上，产生的一种反映出中国书画之间的用笔、用墨同出一辙相关联的比喻。就中国画的再发展问题而论，中国画的发展确实存在着一条重要的脉络，这条脉络就是中国传统文化、哲学、美学等。中国画正是依靠了中国的传统理论才发展起来的一门代表了中国文化底蕴的绘画艺术。中国画的传统笔墨等技法，也正是在中国传统文化理论的指导之下形成的艺术形式，从而才产生了不同的表现技法。以中国画技法形成的原则来认识，中国画发展需要遵守的法则是中国的传统文化，只有这样，才能促进中国画的再发展。<br />The so-called &quot;Chinese Calligraphy Chinese Painting from a culture， &quot; It is in this particular on the basis of Chinese culture， producing a reflected between the use of Chinese calligraphy writing brush， ink used to express the depth of emotion， is no difference Rut associated metaphor。 To further development of Chinese painting is concerned， the development of Chinese painting does exist an important context， this context is the traditional Chinese culture， philosophy， aesthetics and so on。 Chinese painting is to rely on the traditional Chinese theory was developed on behalf of a painting of the Chinese cultural arts。 Traditional Chinese painting ink and other techniques， it is in the theory of traditional Chinese culture under the guidance of the formation of the art form， which has generated a different performance techniques。 Chinese painting techniques to understand the principles of the formation， development of Chinese painting is the need to comply with the rules of traditional Chinese culture， the only way to promote the further development of Chinese painting。<br /><br /> Miscellaneous http://www.zorpia.cn/gushaohua/journal/2056246 Sun, 26 Jun 2011 21:43 EST http://www.zorpia.cn/gushaohua/journal/2056245 一、是创造力的缺失：<br />First， the lack of creativity:<br />我们的书画工作者（爱好者）从学生时代就养成只注重分数（结果），使学生们养成“只重答案而轻过程”的习惯．从而抄袭之风，日趋盛之。只要“得数”（答案）是正确的，不管采取什么手段都行；故尔有了“为答目的，不择手段”的名言。自己怎么就不能想想办法，“玩点新花样呢”？成人以后，就去制造仿冒的伪劣商品……；<br />Our Painting workers (fans) from the student to develop a focus only on the score (result)， so that students develop a &quot;light only on the answer and the process of&quot;habits。 To copy the style， the increasingly Sheng。 As long as &quot;thanks to a number&quot;(the answer) is correct， no matter what means will do; it is Seoul with &quot;A purpose to whatever means， &quot;the famous saying。 How to not think about their own ways to &quot;play something new then? &quot; After the adults， go fake and shoddy products manufacturing 。。。 。。。;<br />再则古往今来，人们只知道不能忤逆或怀疑“上面”（权威）的指示（命令）。也就成了“下面”只能机械的执行，养成懒于思考，懒于追求科学（最佳）的精神……养成 “唯长官意识”与“唯命是从”的“奴性”；或“人云亦云、随声附和”。即：一方面是不容你去思考；另一方面也是懒于思考（只需执行）。<br />Furthermore the ages， people only know or suspect can not go against &quot;above&quot; (authority) of the instruction (command)。 Become a &quot;following&quot; only the implementation of machinery， to develop too lazy to think， too lazy to pursue science (best) to develop the spirit of 。。。 。。。 &quot;Only Executive Consciousness &quot;and&quot;obedient&quot;and&quot;servility&quot;; Or &quot;parrot， echo。 &quot; Namely: one is not to think about you; the other hand， is lazy thinking (just executed)。<br />因此，创造力或创新精神特差。这样就导致在中国画的创作上，要么复古，要么盲从：所谓发扬传统本身就意味着发展与变化，没有变化的继承是固守陈规，而不是发扬。作为一个画家坚守古法，不再创新，充其量是个画匠，不可能在艺术上取得大的成就。所谓传统不是绝对的，也不是一成不变的，任何一件事情都是在发展中得到发扬，转而成为后人之传统。然而恰恰在这些画家中另有别类，他们以陈腐混浊的保守意识，面对早已失去艺术光泽的陈旧传统技法孤芳自赏，同时又充满妒忌地望着具有创新精神的中国画作品，不论好坏与否，一慨予以排斥，他们这种心态除了是对中国画的发展毫无认识之外，就是一种庸人之表现。<br />Therefore， the spirit of creativity or innovation especially poor。 This resulted in the creation of Chinese painting， or retro， or blind obedience: the so-called carry forward the tradition itself means that development and change， no change is to stick to stereotypes inheritance， and not carried forward。 As an artist stick to the traditional method， not innovation， at best， is a painter， art can not achieve a major success。 So-called traditional is not absolute， is not static， any thing is to get forward in the development， turn into future generations of tradition。 But precisely in these artists otherwise included in other classes， they muddy the conservative old sense of the face of long lost art of the old traditional techniques narcissistic luster， full of envy， looking at the same time， innovative works of Chinese painting， whether good or bad A generous be excluded， in addition to their kind of mentality is no understanding of the development of Chinese painting outside， is a mediocre performance。<br />我国明代文学家、书画家徐渭指出：“人有学为鸟言者，其音则鸟也，而性则人也；鸟有学为人言者，其音则人也，而性则鸟也。此可以定人与鸟之衡哉？今之为诗者，何以异于是？不出于己之所自得，而徒窃于人之所尝言，曰某篇是某体，某篇则否；某句似某人，某句则否。此虽极工逼肖，而已不免于鸟之为人言矣。”（解释为：人有学作鸟的语言的，他的声音象鸟，而本性还是人；鸟有学作人的言语的，它的声音象人，而本性仍然是鸟。这就可以划定人与鸟之间的不同特征了。现在那些作诗的，又有什么和这不一样呢？他们不是出于自己所体会感受到的，而只是从别人那里剽窃已经说过了的东西，并且标榜说这一首诗是什么体，那一首则不是；这一句象谁的，那一句则不象。这样的作品即使摹仿得极其工细、极其近似，还是免不了象鸟在学人说话一样。）法国著名艺术家奥古斯特?罗丹说：“世界上有多少艺术家，就有多少种素描与色彩。”就是每个画家要有自己的特点，不能“雷同”。<br />China's Ming Dynasty writer， painter Xu Wei said: &quot;People have to make the birds learn the language， his voice like a bird， and nature or man; bird to a human language learning， and it sounds like humans， and nature is still Birds。 This may be delineated between the people and the different characteristics of birds。 Now that's poetry， what， and this is not the same? they are not felt because of his own experience， but only from others plagiarism Said a thing， and what is advertised that the body of the poem， which is not the first; this one as who， that one is not like。 This works fine even if the imitation was very public， very similar to， or as inevitable Birds， like people speak in school。) renowned French artist Auguste Rodin ? said: &quot;There are many artists， there are many kinds of drawing and color。 &quot;Each artist is required to have their own characteristics， not &quot; identical。 &quot;<br />二、西化：<br />Second， Westernization:<br />“中西结合”的出现也反映出了近百年来中国人对自身拥有的博大精深的中国传统文化的忽视与偏见，这造成了中国画家艺术理论上的混沌，从而产生中国画发展的徘徊。在对待“中西结合”的问题上，忽略了中西方文化之间存在的差异以及各自的特性，未看到绘画艺术与科学技术是属于两个不同的文化领域：即绘画属于社会科学，而科技属于自然科学，两者不能混为一谈。绘画艺术具有民族性，其本身就蕴涵着深厚的民族文化底蕴，离开了本民族的文化，绘画就失去了艺术灵魂与艺术价值。<br />&quot;East-meets-&quot; over the past century also reflects the emergence of the Chinese people themselves have profound traditional Chinese culture of neglect and prejudice， which caused the Chinese artists and artistic theory of chaos， resulting in the development of Chinese painting wandering。 In the treatment of &quot;integrated Chinese and Western&quot;issue， ignoring the differences between Western culture and their respective characteristics， do not see the painting is the art and science and technology fields belong to two different cultures: the painting is a social science， and technology Belonging to the natural sciences， the two can not be confused。 Painting the national character， which itself implies a profound cultural heritage， left the nation's culture， drawing on the lost art of soul and artistic value。<br />中国画若离开了中国的传统文化，也就失去了中国画存在的意义。以哲学观来认识，中国有中国的哲学，西方有西方的哲学，这是两个不同的哲学领域，其哲学观截然不同。当一种认识方法进入到高层次时，所触及到的根本是哲学问题，尤其是属于社会科学的绘画艺术，在研究其发展与创新问题时，必然会触及到本民族的哲学观，更何况中国传统哲学中本身就存在着中国画的发展理论与规律，这是西方哲学与科技根本不可能代替的民族个性与文化精神。<br />Chinese painting， if left China's traditional culture， Chinese painting will be lost meaning of existence。 To understand the philosophy， China has its own philosophy， the West of Western philosophy， which are two different philosophy， the philosophy different。 As a way into the high-level understanding of the time， which touches the fundamental philosophical problems， especially painting belonging to the social sciences， their development and innovation in research issues， will inevitably touch on the philosophy of this nation， not to mention Chinese traditional philosophy itself there is the development of Chinese painting theory and law， it is impossible for Western philosophy and science and technology instead of the spirit of the national character and culture。<br />中国画在古代大体为自律发展，数千年守望着它的精神家园，根植于中华文化沃土自成独特体系而辉煌璀璨。但近代开始，“地位”下降了：中国画便在西化霸权下错位发展。中国绘画史论家、中国画家俞剑华指出:“……国画即吾民族最丰富之宝藏，最高尚之文化，且为世界所独具者也。国人醉心欧化蔑视国画，直视吾国如无画者久矣!”由于醉心西化者把西方进化论史观奉为神圣教条，无视中国画本体发展规律，用西方科学主义及写实主义标准丈量中国画，导致价值判断严重失衡。<br />In ancient Chinese painting in general as self-development， keep looking at it for thousands of years the spiritual home of Chinese culture is rooted in the fertile soil into a unique system of self-bright and brilliant。 But modern times began， &quot;status&quot;down: the Chinese painting will be dislocation in the Westernized hegemony development。 History of Chinese Painting， a Chinese painter Yu Jianhua said: &quot;。。。 。。。 painting is my most extensive national treasure， the noblest of the culture， and those are unique to the world。 Europeanization of contempt for people obsessed with painting， look no artists such as My Country To live! &quot;The Westernization of those obsessed with the Western view of history enshrined in the doctrine of evolution， ignoring the law of development of Chinese painting body， with the Western scientific doctrine and standards for measuring realism of Chinese painting， leading to a serious imbalance of value judgments。<br />而今中国画的发展却偏离了它原有的轨道。西学东渐极大地改变了中国文化的面貌，白话文的兴起虽然使中国的文字得到了空前的普及，但是现在人们发现文盲的被消灭，并不意味着文化人的增多，文化无用论，上学无用论总是掀起一次又一次的回潮。现在大学毕业收入不如初中毕业就打工的现象又一次使大学学子心中发凉。<br />Now the development of Chinese painting has deviated from its original orbit。 Western Learning has greatly changed the face of Chinese culture， although the rise of the vernacular so that the Chinese written language has been an unprecedented popularity， but now it has been found to eradicate illiteracy， the increase does not mean that intellectuals， culture is useless， go to school Useless always set off a resurgence again and again。 Now graduated income workers than to the phenomenon of middle school once again so cold in the hearts of college students。<br />文化又一次成了最没用的东西。作为艺术生，文化的先天不足使他们从进入艺术圈一开始，就缺乏中国画的中国文化内涵。诗文书画，他们只会绘画。诌几句顺口溜，白话诗还凑乎，诗词格律对他们而言并不比外文容易。古文对他们而言比英语更难懂。学中国画四五年，书法甚至都不能入门。传统文人的诗文书画技艺丧失殆尽。文人画绝灭了，所谓新文人画也不乏“新观念”。所谓新观念仔细考察一下，发现不过是西洋人新的或旧的艺术观念而已。至多新文人画不过是残缺的文人画而已。<br />Culture once again become the most useless things。 As art students， cultural deficiencies so that they enter the art world from the beginning to the lack of Chinese Traditional Culture in Chinese painting。 Poetry paintings， they will only painting。 Only be a few doggerel， vernacular poetry barely know a little， and Poem for them， no less than foreign language easy。 Classical for them more difficult to understand than English。 Four or five years learning Chinese painting and calligraphy can not even get started。 Poetry of traditional literati painting and calligraphy art lost。 Extinction of the paintings， new paintings there are some so-called &quot;new concept。 &quot; Closer look at the so-called new ideas， but Westerners find new or old artistic concepts only。 New paintings up to the literati painting but just incomplete。<br />一些中国画家对置身其中的博大精深的传统文化产生了怀疑与自卑，并导致后人对中国画发展问题出现了更大的疑惑与偏差；不少画家以西方绘画作为中国画创作的参照，以此倡导所谓融合中西绘画以加强“视觉冲击”和写实效果。其结果造成了中国画的发展不但失去了中国文化的民族性，也一度出现了极其萧条的现象，在这种外来文化意识决定下的美术发展和创作很难形成一套完整的艺术体系，影响持续了近百年的中国画创作。<br />Exposure to which some Chinese painters of the profound traditional culture of doubt and low self-esteem and lead to the development of future generations of Chinese Painting a bigger problem the doubts and deviations; many artists of Western painting， Chinese paintings as a reference， as advocated by the so-called Fusion of Chinese and Western painting to enhance the &quot;visual impact&quot;and the realistic effects。 The result is the development of Chinese painting will not only lose the national character of Chinese culture， there was also the phenomenon of extreme depression， in which awareness of foreign culture and art development under the decision is difficult to form a complete set of creative art system of continuous Nearly a hundred years of Chinese painting。<br />尤其是上世纪中期，“光影”与“色调（主要指光源色、环境色）”充盈于中国画的创作与实践，为了追求复杂变幻的肌理效果而不择手段，拓印、搓揉等特技被错误地认为是笔墨的创新，嫁接、照搬使许多“中国画”作品不伦不类，这些现象严重地脱离了中国画创作与表达的本质，极大地抑制了笔墨语言的形式意义，一度改变了中国画的方向，中国画的文化脉络也几近隔绝，从而失去了民族文化之根。<br />Especially in the middle of the century， &quot;painting light and shadow &quot; and &quot;tone (mainly light color， ambient color) &quot; filling in the creation of Chinese painting and practice， in pursuit of complex effects of changing the texture by any means， rubbing， kneading， etc。 Effects are wrongly attributed to ink innovations， grafting， copy many &quot;Chinese painting&quot;works neither fish nor fowl， these phenomena seriously out of Chinese Painting and expression of the essence， which greatly inhibited the ink language in the form of meaning， once changed the Chinese art direction ， the cultural context of Chinese painting is also near cut off， thus losing the ethnic and cultural roots。<br />西洋画丰富的色彩早就让从小受西式教育的中国画“画家”羡慕不已，他们把丰富中国画的色彩当作自己主攻方向，并把这种尝试当作改造中国画的重要工作，在不择手段地追求艺术目的的所谓原则下，他们在宣纸上不但是用水墨和传统的国画色彩，而且水粉水彩甚至油彩什么都用，特别在印刷以后，他们的画面已经和拙劣的油画绝无二致了。<br />Western painting rich in color so long ago childhood education in China by Western painting &quot;artist&quot; envy， they enrich the color of Chinese painting as the main direction of their own， and to transform such an attempt as the important work of Chinese painting in the unscrupulous pursuit of art The so-called principle of purpose， they not only on rice paper and traditional painting with ink color， and gouache or watercolor paint with anything， especially in print after the picture they have no oil painting and poor were before。<br />实际上他们在心中已经把中国画消灭掉了。中国画的水墨在他们那里变成了一种普通的黑色颜料。中国画被油画化了。中国画的“发展”反而舍近求远，从与中国文化大相径庭的西方艺术理论中寻找出路是死路。好象中国画离开了“中西结合”就无路可走，无法发展了。其结果造成了中国画的发展不但失去了中国文化的民族性，而且更加迅速地走向穷途末路。<br />In fact they have in mind destroyed by the Chinese painting。 Chinese ink painting， where they become a common black pigment。 Oil painting of a Chinese painting is。 Chinese Painting of the &quot;development&quot; but far away， and the Chinese culture very different from Western art theory， find a way out is a dead end。 Chinese painting seems to leave the &quot;East-meets-&quot; to nowhere， can not be developed。 The result is the development of Chinese painting is not only lost the national character of Chinese culture， and more rapidly toward a dead end。<br />现代著名画家，美术教育家潘天寿指出：“中国是世界公认的文明古国，传统遗产之丰富，艺术成就之高深，在世界上是少有的。作为中国人，应该花大力气研究、整理、宣扬我们的民族遗产，并从中推出民族风格的新成就，否则真要对不起我们的老祖宗了。艺术这个东西是要有不同的，不要去强求相同。各民族、各地区的作家创作出来的东西有不同的风格、形式、气魄，这是好的。如果都相同起来，那不是艺术而像机器生产。当然，艺术大的原则还是同的，但不同民族、不同作家的表现有所不同。不同就是他的成就。”<br />Famous modern painter， art educator Tianshou said: &quot;China is the world's ancient civilizations recognized the traditional heritage of the rich， profound artistic achievement， is rare in the world。 As Chinese， we should make great efforts to research， organize， Promoting our national heritage， and introduced the national style from the new achievements， otherwise you really want to I'm sorry our ancestors had。 Art this thing is to have different， not to insist on the same。 all nationalities， all regions of the writers out of something There are different styles， forms， boldness of vision， which is good。 If it is the same， it is not art， like machines。 Of course， the art of great principle is the same， but different nationalities， different writers have different performance。 different Is his achievement。 &quot;<br /><br /> Miscellaneous http://www.zorpia.cn/gushaohua/journal/2056245 Sun, 26 Jun 2011 21:32 EST http://www.zorpia.cn/gushaohua/journal/2056244 中国画岂能缺文化<br />How can lack of culture of Chinese Painting<br />顾绍骅著<br />ShaoHua Gu writing<br />【摘要】各个画种都有自己的特点，而代表中国民族文化的中国画是具有“诗、书、画”等中国民族文化特征，这是中国画的根本；其最高境界就是诗情画意。当下不少画家以西方绘画作为中国画创作的参照，以此倡导所谓融合中西绘画以加强“视觉冲击”和写实效果。其结果造成了中国画的发展不但失去了中国文化的民族性，也一度出现了极其萧条的现象，在这种外来文化意识决定下会将中国画引入末路；因此，我们不能舍本求末，尤其是当前中国处在国际文化交流日益频繁和实现中华民族之伟大复兴的情况下，更应该加强民族文化观念， “诗情画意”应该是中国画艺术发展的大趋势。<br />【Abstract】Each painting has its own characteristics， which represents Chinese culture Chinese painting is a &quot;poetry， calligraphy and painting&quot;and other features of Chinese culture， which is the root of Chinese painting; its highest level is the poetic。 Many Western artists contemporary Chinese paintings painting as a reference， as advocated by the so-called fusion of Chinese and Western painting to enhance the &quot;visual impact&quot;and the realistic effects。 The result is the development of Chinese painting will not only lose the national character of Chinese culture， there was also the phenomenon of extreme depression， in which the decision of foreign cultural awareness of Chinese painting will be introduced under the dead end; Therefore， we can not trifles， especially China's current in international cultural exchanges become more frequent and the great rejuvenation of the Chinese nation of the circumstances， should strengthen the concept of national culture， &quot;poetic &quot; art of Chinese painting should be the trend of development。<br />时下经济的发展带来了文化的繁荣。打开网页，搜索“中国画……”：满是冠以“著名书画家……”；而观看其作品时，却是“惊人的相似”——可谓“千人一面、万人一貌”啊！一部分画者均以摹仿、抄袭为能事，形式的、僵化的、程式化的画作与画论充斥着中国画坛，更加速了中国画走向没落与衰败，中国画的发展是混沌的，缺乏艺术主见。艺术家们如何保持清醒的头脑，不被市场牵着鼻子走而失去探索的锋芒与锐气。中国画市场的混乱造成艺术市俗化倾向的发展，在技巧普遍有所提高的同时，艺术格调并没有得到相应的提高，甚至在某些方面有所降低。<br />Nowadays has brought economic development and cultural prosperity。 Open the Web page， search for &quot;Chinese painting 。。。 。。。&quot;: Man is known as a &quot;renowned painter 。。。 。。。 &quot;; and watch their works， but it is &quot;strikingly similar&quot;- described as &quot;thousands of people side， people an appearance， &quot; ah! Part of the painting caught with imitation， plagiarism is sensationalism， formal， rigid， stylized paintings of paintings and filled with Chinese painting， Chinese painting to a more accelerated decline and decay， the development of Chinese painting is chaotic， the lack of artistic minds。 Artists how to keep a clear head， not to explore the market led by the nose and lose the edge and elan。 Chinese painting market turmoil caused by the development of artistic city of secularization tendencies， the general increase in the skills at the same time， artistic style has not been a corresponding increase， or even decreased in some areas。<br />现在中国画学习还有一种现象，那就是太“中西合璧”了，学生考美院入门试是色彩素描画，然后再接受中国传统绘画的审美艺术，其实这个时候的学生早已经形成一种西方审美标准，然后在这套标准的影响下来学习中国画，这样一来，将会越来越少的学生能够完全的理解传统中国画的精髓。并且，艺术院校招生文化课分数一直处于很低的状态，教学一直把中国画当成一种绘画技术来教。文化课是艺术院校的弱项，科班出来的毕业生一出校门就被当成艺术家，中国画的笔墨技法是他们手中唯一的仗恃。实际上他们手中只有中国画的外壳，中国文化的实质已经丢掉了。他们只知道工笔重彩和写意的区别，有多少人知道写意的“意”字到底是何意？一个世纪以来，就这样中国画画家手中的技术越来越精湛，胸中的文化却越来越少了，不少人除了笔墨就不知道中国画还有什么了。<br />Now there is a phenomenon of learning Chinese painting， that is too &quot;Western &quot;， the Academy of Fine Arts students test entry test is color sketches， and then accept the aesthetic art of traditional Chinese painting， in fact， this time the students had already formed a Western aesthetic Standard， and then set down the standard of learning Chinese painting， this way， fewer students will be able to fully understand the essence of traditional Chinese painting。 Moreover， cultural studies， art school enrollment has been in a very low fraction of the state， has been teaching Chinese painting to painting as a technique to teach。 Cultural studies is the art school's weaknesses， Coban out graduates out of school was as artists of a Chinese ink painting technique is the only Zhangshi their hands。 Chinese painting is actually in their hands is only the shell， the essence of Chinese culture has been lost。 They only know Meticulous re the difference between color and freehand， freehand， how many people know the &quot;meaning &quot; word in the end is the means? A century， it is so at home in the hands of the Chinese painting techniques become more sophisticated， the chest of the culture is less and less， and many people in addition to ink do not know what a Chinese painting。<br />要从民族心理自信的层面上对传统资源的精神内核再度发现，并必须在具有蕴涵着深厚民族文化的底蕴之上创造。由此而产生的艺术还应与艺术家自身全面的人文素养、对当前国际文化格局的全面认识、和由时代和生活引发的冲动与思考而获得的孕含个性化的创造密切相关。一个民族的艺术如果离开了本民族的文化母体，就失去了灵魂与价值。而艺术家的创造性必须自觉地根植于民族传统文化的基础之上。作为中国文化中最有代表性的视觉化文化样式之一的中国画艺术，在探索宇宙自然奥妙的同时，从一开始就不满足于描摹客观物象的外在体貌，一直具有强烈的精神性和自我中心的态度，将包蕴着中国哲学内涵的创造性作为绘画追求的至高境界。而笔墨的创造与发展更加强调了语言体系的逐步完善，笔墨精神和形式应用是中国画家在创作实践中始终追求的核心。<br />The level of confidence from the national psychology resources on the spiritual core of traditional re-discovered， and must have a profound implication on the national culture heritage to create。 The resulting art and the artists themselves should also be comprehensive humanities， the pattern of the current comprehensive understanding of international culture， and life caused by the impulse times and obtained pregnancy and thinking with the creation of personalized closely related。 If the art of a nation left the nation's cultural matrix to lose its soul and value。 The creative artist must consciously rooted in the foundation of traditional culture。 As the most representative of Chinese culture in the cultural style of the visual art of Chinese painting， exploring the natural wonders of the universe at the same time， from the beginning to meet the objective in depicting images of the external physical appearance， has a strong spirit and self-Centered approach， meaning the package exhibited the influence of Chinese philosophy， the pursuit of creative excellence as a painting。 And the ink is more emphasis on the creation and development of the language system， the gradual improvement of the spirit and form of application of ink painter in the creative practice is always the pursuit of the core。<br />在西方“实体”认识论与中国“辩证”认识论相对立的前提下，中国出现了以怀疑和排斥中国传统文化，片面追求西方文化为主导的艺术取向，致使中国画发展失去了抚育之根——中国的传统文化。其结果是将中国画的发展推向一个极端，要么保守自封，坚守陈腐；要么全盘西化，以西方理论将中国画改造得不伦不类。在此期间，虽然也出现了几位为中国画的再发展不懈求索的画家，然而由于他们缺乏对中国画的理论渊源——中国传统文化进行研究，因此使只能局限在以“术”求“术”的艺术思维之中，无法摆脱长久以来形成的“意象”的思维方式。<br />In the West， &quot;entity &quot; Epistemology and Chinese &quot;dialectical&quot; theory of knowledge as opposed to the premise that China appeared to doubt and rejection of traditional Chinese culture， one-sided pursuit of Western culture as the leading art direction， resulting in development of Chinese painting lost the rearing of the root - China Traditional culture。 The result is the development of Chinese painting to a extreme， or self-proclaimed conservative， stick to trite; or wholesale Westernization， in order to transform the Western theory of Chinese painting was neither fish nor fowl。 During this period， although there have been some further development of China's relentless quest painting artist， but because they lack the theoretical origins of Chinese painting - to study traditional Chinese culture， thus allowing only limited to &quot;painting technique&quot; obtained &quot;painting technique&quot;art of thinking among the long form can not get rid of the &quot;image &quot; way of thinking。<br />虽然他们在艺术上也取得了一定的成就，研究出一些新的技法，但是并未从理论上根本解决中国画的创新与发展问题。一些懵懂的年轻人或者本来就是洋人弟子又甘心为洋奴的人，正在忙于把中国画弄成现代派的中国变种，他们以为西洋现代派就是明天中国画的方向。西洋画会归于消灭，中国画也会变成所谓观念艺术，他们还以为他们兢兢业业所做的，就是推动中国画早点灭亡，早灭亡就是发展，尽管是奇谈怪论，却市场的确不小。笔者认为造成现状的因素是多种的，但归结是两类：<br />Although they have made some artistic achievements， developed some new techniques， but did not solve the fundamental theory of Chinese painting from the innovation and development。 Some ignorant young people or foreigners disciples has always been willing to servility to foreigners who ended up being busy with the modern Chinese painting Chinese variant of Western modernism is tomorrow they think the direction of Chinese painting。 Be attributed to elimination of Western painting， Chinese painting will become the so-called conceptual art， they thought they were hard done is to promote the early demise of Chinese painting， is the development of early demise， albeit absurd argument， but the market is indeed not small。 I believe that a variety of factors caused the status quo， but is attributed to two categories:<br /><br /> Miscellaneous http://www.zorpia.cn/gushaohua/journal/2056244 Sun, 26 Jun 2011 21:31 EST http://www.zorpia.cn/gushaohua/journal/1993811 GU Shao-Hua Chinese paintings and calligraphy works (since 2010 poetry)<br />顾绍骅中国书画作品（2010年自作诗）<br />1, Chinese landscape painting poetic - &quot;Bishan pine&quot;<br />1、中国山水诗意画——《碧山苍松》<br />【原诗】碧山苍松如门开，一帆云水自徘徊。和谐盛世兴九州，吾辈见证鸿运来。<br />【Appreciate】<br />Green dripping with infinite vitality of the mountain, and &quot;yo son pine, cold of winter, alone hold. Vertical Division of Labor, such as Qiu Long bottom, pine why envy Tao Li&quot; The pine was &quot;Tongtian&quot; separation of pine, like a painting of two Cangshan door; Yifan boat in the embrace of nature, free to swim, the shore Yo Yo Deer, Kuino the apple ... ...; this school of nature and harmonious picture of how charming ah! Golden Age of economic prosperity and harmonious social reality, the state's rising prosperity, people's wealth; we have witnessed the progress of the times, we common people like the good old days was optimal for sesame - steadily high ah!<br />【欣赏】苍翠欲滴、生机无限的大山，与“落落青松子，岁寒抱孤独。老干如虬龙探底、松柏何须羡桃李”的青松被“通天河”分开，青松、苍山犹如画中的两扇门；一帆轻舟在大自然的怀抱里，自由自在地游动，岸边呦呦鹿鸣、食野之苹……；这样一派大自然和谐的景象是多么迷人啊！而和谐盛世经济繁荣的现实社会，国家日益繁荣昌盛，人民富足；我们见证着时代的进步，咱老百姓的好日子犹如芝麻开花——节节高啊！<br />Specifications: four feet the entire paper 136 × 68 cm paper colors created in June 2010<br />规格:四尺整纸136×68㎝&nbsp;&nbsp; 纸本设色&nbsp;&nbsp;&nbsp; 2010年6月创作<br /><img hspace="0" vspace="0" border="0" align="baseline" src="http://blogfile.ifeng.com/uploadfiles/blog_attachment/1008/15/376315_653e93dddadd4759c63028eb260dc3ae.jpg" /><br /><br />2, the Chinese luck painting - &quot;family Geely&quot;<br />2、中国吉祥画——《全家吉利》<br />【原诗】父鸡昂然气雄壮，独立峰颠发高唱。 母鸡叫食唤十雏，且行并逐鸣相嚷。<br />【Appreciate】<br />Chicken, lychee, in the performance of Chinese painting in the &quot;lucky&quot; awareness (of Chinese culture stresses: homonym).<br />Specifications: four feet the entire paper 68 × 136 cm paper colors created in June 2010<br />【欣赏】鸡、荔枝，在中国画中表现为“吉利”的意识（中国文化讲究：谐音）。<br />规格:四尺整纸&nbsp; 68×136㎝&nbsp;&nbsp; 纸本设色&nbsp;&nbsp;&nbsp; 2010年6月创作<br /><img hspace="0" vspace="0" border="0" align="baseline" src="http://blogfile.ifeng.com/uploadfiles/blog_attachment/1008/15/376315_ac55a2cb3043dae4ffced75ffa24ebea.jpg" style="width: 862px; height: 433px;" /><br /><br />3, the Chinese luck painting - &quot;long life&quot;<br />3、中国吉祥画——《福寿安康》<br />【原诗】福寿安康趋伴团，慈母华诞神矍焕。云边仙籍传青鸟，日下题封降紫鸾。<br />【Appreciate】<br />The plan's &quot;Peach, Bergamot (fruit), ribbon (the bird), quail, rice bran,&quot; and so, the implication is: &quot;long life&quot; is also. The age of the oldest old mother (8 Shiyou Er) a time when birthday, hale and hearty, feeling lively. I saw the horizon of the immortal birds descended to report good news, Mother is God in recognition: she wants to live in good health over 150 years old<br />【欣赏】本图所作“寿桃、佛手（水果）、绶带（鸟）、鹌鹑、稻糠”等等，寓意为：“福寿安康”是也。慈母年届耄耋（八十有二）时值华诞，精神矍铄，心情盎然。只见天际的神仙鸟下凡来报喜讯，慈母被上天表彰：她要身体健康地生活过一百五十岁。<br />规格:四尺整纸136×68㎝&nbsp;&nbsp; 纸本设色&nbsp;&nbsp;&nbsp; 2010年6月创作<br />Specifications: four feet the entire paper 136 × 68 cm paper colors created in June 2010<br /><img hspace="0" vspace="0" border="0" align="baseline" src="http://blogfile.ifeng.com/uploadfiles/blog_attachment/1008/15/376315_c37e9152970bc9a743a264f2e76f8183.jpg" /><br /><br />4, Chinese landscape painting poetic - &quot;braving the snow and shower the plum&quot;<br />4、中国山水诗意画——《踏雪赏梅》<br />Specifications: four feet the entire paper 136 × 68 cm paper colors created in July 2010<br />规格:四尺整纸136×68㎝&nbsp;&nbsp; 纸本设色&nbsp;&nbsp;&nbsp; 2010年7月创作<br />【原诗】疏影横斜迎雪开，暗香浮动斗寒来。昔有一梅一放翁，今得十全十美还。<br />【Appreciation】<br />&quot;Plum Blossom the bitter cold, snow fighting the wind alone, open the&quot; purity and quality plum blossom, the ancient literati poet Mei Yongmei a lot of love, of which Lu fond of plum, because it symbolizes integrity. His &quot;La Mei&quot; Shi said: &quot;The Snow Child socialist the more awe-inspiring wind, the highest integrity, strong flowers. Out of date from the combination of wandering to, shame more eastward Jun beg.&quot; Plum blossoms when the fear cold, falling without love spring, more light, to be candid. Lu Xin Zhe's is the plum of this noble and pure character. He even imagine &quot;where can disguise 100 000 000 000, a pair of plum a Fang Weng&quot; (&quot;Plum quatrains&quot;), hope for life as partners with the plum. The term Yongmei, in fact self-evident state of mind by plum character, since the express embrace. Loading sense of the event. <br />Phrase now Sparse crossfall, subtle fragrance of plum blossoms floating snow bucket Haner always welcome in full bloom; ancient plum of Lu You have love, like &quot;avatar 100 000 000 000&quot; and then &quot;a plum of a Fang Weng&quot; appreciation; it is feudal society, the individual's ideals, aspirations can not achieve self-expression &quot;get away&quot;; Now, under the guidance of the concept of harmony, China's reform and opening up, economic prosperity, peace and prosperity in the form of a great faction; &quot;perfect&quot; will face &quot;exhibition also&quot; in front of us.<br />【赏析】“梅花香自苦寒来，迎风斗雪独自开” 梅花品质高洁，古代爱梅咏梅的文人骚客很多，其中陆游酷爱梅花，因为它象征着气节。他的《落梅》诗说：“雪虐风饕愈凛然，花中气节最高坚。过时自合飘零去，耻向东君更乞怜。”梅花开时不畏严寒，落时不恋春光，来得光明，去得磊落。陆游所心折的正是梅花的这种高洁品格。他甚至幻想“何方可化身千亿，一对梅花一放翁”（《梅花绝句》）， 希望终身与梅花为伴。此词咏梅，实际上是借梅花的品格自明心迹，自抒怀抱。上片感遇。<br />【释义】疏影横斜、暗香浮动的梅花总是迎雪斗寒而盛开；古代有酷爱梅花的陆放翁，愿“化身千亿”然后“一株梅花一放翁”的欣赏；那是在封建社会下，个人的理想、抱负实现不了，自我“开脱”；而今，在和谐理念的主导下，我国改革开放、经济繁荣、国泰民安的形式一派大好；“十全十美”的面貌一定会“展还”在我们面前。<br /><img hspace="0" vspace="0" border="0" align="baseline" src="http://blogfile.ifeng.com/uploadfiles/blog_attachment/1008/15/376315_2a0b34fac5eb3a7de850434c003f6f57.jpg" /><br /><br />5, Chinese landscape painting poetic - &quot;Ku people today&quot;<br />5、中国山水诗意画——《古月今人》<br />&nbsp;Specifications: four feet the entire paper 68 × 136 cm paper colors created in July 2010<br />规格:四尺整纸68×136㎝&nbsp;&nbsp; 纸本设色&nbsp;&nbsp;&nbsp; 2010年7月创作<br />【原诗】今月曾是白玉盘，诗仙圣贤自轮番，勤时有功业荒嘻，人生无悔后辈参。<br />【Appreciate】 <br />&quot;Modern people not see the ancient month, this month and according to the ancients.&quot; Life is short, the eternal sun and the moon, the changes of time, months do not change. Vicissitudes of the moon in her witness to history, the author with his passionate, understanding the child on the hands of the mind, from the ancients saw her. Life is short, the eternal sun and the moon, the changes of time, months do not change. Vicissitudes of the moon in her witness to history, the poet with his passionate, understanding the child on the hands of the mind, from the ancients saw her. Those &quot;Shixian saints&quot; has been arranged according to the history, each took turns with, and the &quot;real man&quot; cause, we need to work hard ah, (no cause is) &quot;diligence and shortage in the play, lines into the Si, destroyed With &quot;The Yes;&quot; the most precious is life, life and each person only once. one's life should be spent this way: When he looks back, it will not live that regret, it will not idle away the Shame. &quot;people should have&quot; no regrets in life, &quot;which is the younger generation are the need to refer to and think all night.<br />【欣赏】“今人不见古时月，今月曾经照古人。”人生短暂、日月永恒，时代变迁、月却不改。月亮用她的沧桑见证了历史，笔者用自己的多情，体会了月儿，寄托了心思，从她的身上看到了古人。人生短暂、日月永恒，时代变迁、月却不改。月亮用她的沧桑见证了历史，诗人用自己的多情，体会了月儿，寄托了心思，从她的身上看到了古人。那些 “诗仙圣贤”已经按照历史的排列，各自轮番着，而“大丈夫”的事业需要勤奋努力呀，（任何事业都是）“业精于勤，荒于嬉，行成于思，毁于随”的呀； “人最宝贵的是生命，生命每个人只有一次。人的一生，应当这样度过：每当他回首往事时，不会因为碌碌无为而悔恨，也不会因为虚度年华而羞耻。”人要做到“无悔人生”，这是后辈们所需要参考和思索的呀。<br /><img hspace="0" vspace="0" border="0" align="baseline" src="http://blogfile.ifeng.com/uploadfiles/blog_attachment/1008/15/376315_6a7a540b8c26f55d99d5038955c3f217.jpg" style="width: 785px; height: 394px;" /><br /><br />6, Chinese landscape painting poetic - &quot;Cuckoo praise&quot;<br />6、中国山水诗意画——《杜鹃赞》<br />Specifications: four feet the entire paper 136 × 68 cm paper colors created in July 2010<br />规格:四尺整纸136×68㎝&nbsp;&nbsp; 纸本设色&nbsp;&nbsp;&nbsp; 2010年7月创作<br />【原诗】漫山遍野紫红袍，辛亥始把革命找；烈士无数血染成，和谐爱民国运好。<br />【Appreciate】 <br />Mountains and plains like the purple rhododendron in the mountains, like Phi, 1911 Revolution overthrew the Qing dynasty successful end to the monarchy in China, opened a new era of democratic republic, so that the Republican concept of in-depth thinking of the upper class society. The great revolutionary forerunner Sun Yat-sen led the 1911 Revolution overthrew the Qing dynasty. The roar of cannons Russian Revolution, Marxism-Leninism to the Chinese sent a 1919 outbreak of the May 4 Movement, July 1, 1921 the birth of the glorious Communist Party of China, the Chinese revolution entered a new era. Numerous revolutionary martyrs of Xianxue Ran into purple rhododendron; now, harmonious society and people's livelihood issues are the greatest degree of improvement in national prosperity, people are enjoying it is the country's good luck ah!<br />【欣赏】漫山遍野的杜鹃花象紫红袍一样披在整个山林，辛亥革命成功推翻了清朝的统治，结束了中国的帝制，开启了民主共和新纪元，使共和观念深入社会中上层人士思想中。伟大的革命先行者孙中山领导了辛亥革命，推翻了清王朝。俄国十月革命一声炮响，给中国送来了马列主义，1919年爆发了五四运动，1921年7月1日中国共产党光荣诞生，中国革命进入了新时代。无数革命烈士的鲜血染成了杜鹃花的紫红色；而今，和谐社会、民生问题得到最大程度的改善，国家繁荣昌盛、人民安居乐业这是国家的好运啊！ <br />July 21, 2010 Creation<br /><img hspace="0" vspace="0" border="0" align="baseline" src="http://blogfile.ifeng.com/uploadfiles/blog_attachment/1008/15/376315_0ae6e15d08458153d5f8f2ef7582af5b.jpg" /><br /><br />July 21, 2010 creation (sorry! I do not know foreign languages, and can only be translated using translation software; inappropriate, please forgive me! Thank you!)<br />2010年7月21日创作(抱歉！我不懂外语，只能借助翻译软件来进行翻译；不当之处，敬请原谅！谢谢！)<br /><br /> Personal http://www.zorpia.cn/gushaohua/journal/1993811 Tue, 31 Aug 2010 21:27 EST http://www.zorpia.cn/gushaohua/journal/1973549 4、中国山水诗意画——《峡江仲春绿映红》 &nbsp;<br /> 4、Poetic Chinese landscape painting - &quot;Three Gorges of the spring is very beautiful, the spots of green in the red&quot;<br /> <img hspace="0" border="0" align="baseline" vspace="0" src="http://org112.zpcdn.com/0/5871/37579564.139166.jpg" /><br /> 【赏析】取：唐·杜牧的《江南春》 “千里莺啼绿映红”和唐·韦庄的《幽居春思》“绿映红藏江上村” 之意境；以歌颂祖国锦绣河山之壮丽、秀美，大自然的一切，是多么和谐美好啊！<br /> 【Appreciate】 Take: Don · Du Mu's &quot;Jason Jiang&quot;, &quot;Journal of Dalian Green Ying-thousand miles,&quot; and Don ? Wei Zhuang's &quot;house arrest two poems,&quot; &quot;Green Ying-possession of the river village&quot; mood; &quot;Three Gorges of the spring is very beautiful, green the spots in the red &quot;as a tribute to the motherland and beautiful land of magnificent, beautiful, all of nature and how beautiful harmony ah!<br /> 规格：&nbsp; 67.8cm×69cm&nbsp;&nbsp;&nbsp; 纸本设色&nbsp; 创作年代：2008年11月<br /> Size: 67.8cm × 69cm paper, ink Creation's: November 2008<br /> 二、&nbsp;&nbsp; &nbsp;依诗作画：<br /> Second, according to Chinese landscape poetry of content creation:<br /> 5、中国山水诗意画《金秋红叶》<br /> 5、Poetic Chinese landscape painting &quot;beautiful golden autumn leaves&quot;<br /> <img hspace="0" border="0" align="baseline" vspace="0" src="http://lrg103.zpcdn.com/0/5871/37579565.81d845.jpg" /><br /> 流水何太急，深宫尽日闲。殷勤谢红叶，好去到人间。——【唐】宣宗宫人诗意<br /> 【赏 析】本诗写的是一个失去自由、失去幸福的人对自由、对幸福的向往。诗的前两句「流水何太急，深宫尽日闲」，妙在只责问流水太急，诉说深宫太闲，并不明写怨 情，而怨情自见。诗的后两句「殷勤谢红叶，好去到人间」，运笔更委婉含蓄。它妙在曲折传意，托物寄情，不从正面写自己的处境和心情，不直说自己久与人间隔 离和渴望回到人间，而用折射手法，从侧面下笔，只对一片随波而去的红叶致以殷勤的祝告。这里，题诗人对身受幽囚的愤懑、对自由生活的憧憬以及她的冲破樊笼 的强烈意愿，尽在不言之中，可以不言而喻了。本作品取反义：一艘乘风破浪的帆船，远行在红叶青山间；它满载着主人对美好生活憧憬，划过“沟沟坎坎、浊浪重 重”一直奔向和谐的光明。<br /> 【Appreciate】The poem describes a loss of freedom and happiness of people lost their freedom, the yearning for happiness. The first two poems, &quot;What water too fast, do palace on idle&quot;, wonderful in the water too fast just scolded, telling palace too busy, not out to write a complaint, but a complaint from view. After the two poems, &quot;gracious thank leaves, good to go to the earth&quot;, the pen moves more euphemistic. It is wonderful twists and turns communication, child care, always focussed on, not from the front to write their own situation and feelings, not always say that their long isolation and the desire to return with the human world, but with refraction methods, from the side write, but only one with wave extend hospitality to the leaves of Zhu Gao. Here, people are seriously humor poem prisoners of resentment, longing to live in freedom and break through the confinement of her strong will, do not words into, can be self-evident. <br /> I created the painting in the opposite sense: the sailing ship the wind and waves, travels between Castle Peak in the leaves; its owner for a better life filled with longing, across the &quot;Gully sill, heavy turbid waves&quot; has been toward a bright and harmonious.<br /> 规格：136×68cm&nbsp;&nbsp; 纸本设色&nbsp;&nbsp;&nbsp; 2010年4月创作<br /> Size: 136 × 68cm paper colors created in April 2010<br /> 6、中国山水诗意画《金秋独钓》<br /> 6、Poetic Chinese landscape painting, &quot;Autumn of a person fishing&quot;<br /> <img hspace="0" border="0" align="baseline" vspace="0" src="http://blogfile.ifeng.com/uploadfiles/blog_attachment/1005/15/376315_0726ee7a3dfa7a27cc02e360d5fbca04.jpg" /><br /> 【原诗】一蓑一笠一扁舟，一丈丝纶一寸钓。一曲高歌一樽酒，一人独钓一江秋。——清?王士祯《题秋江独钓图》<br /> 【画 面说明】秋江独钓者披着蓑衣，戴着斗笠，驾着小船，来到江边。坐定后，取出鱼竿，理好鱼线，下好鱼钓。在这样一个秋天的江上，独自一人垂钓，天高水长，有 种说不出的自在。高兴时对着远方，高歌一曲，饮酒一杯，那是何等的畅快呀。诗人连用九个“一”字，大胆而奇妙，使诗歌妙趣横生，也更好地写出了“独钓”的 那份悠闲自在使我们好象看到了这一幅《秋江独钓图》：秋天，一个披蓑戴笠的老翁在钓鱼，船边水里有一篓鱼，船上有一壶酒，江边有一些落叶，还有一些火红火 红的枫叶，真美呀！<br /> 【寓意】：人道是“春华秋实”春天的花，秋天的果实；是最美好的，“独钓一江秋”把所有的“果实”都“钓”了出来。实在是大吉大利！！！<br /> 【Appreciate】 Autumn River alone I am similar anglers dressed, wearing hats, sail boat, arrived at a riverside. Seated, remove the rod, handle the fishing line, under the good fish catch. A fall in the river, alone, fishing, long days of high water, a kind of unspeakable ease. Pleased when the front of the distance, singing a song, drinking cup, that is how fun ah. Poet Lian Yong nine &quot;one&quot;, bold and wonderful, so poetry fun, but also better to write a &quot;fishing alone,&quot; the share of leisure itself so that we seem to see this one, &quot;Autumn River, and fishing alone&quot;: the fall A Phi Mino Dai Li's man in fishing, the water alongside the vessel with a basket of fish, jug of wine on board, the bank has a number of leaves, and some fiery red maple leaves, so beautiful! <br /> The moral of the romantic: humanity is a &quot;Fruitful&quot; spring flowers, fall fruit; was the best, &quot;One River fall fishing alone,&quot; all of the &quot;fruits&quot; are &quot;fishing&quot; out. It is good luck! ! !<br /> 规格：180 x 97㎝&nbsp;&nbsp;&nbsp;&nbsp; 纸本设色&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; 2010年4月创作&nbsp;&nbsp; &nbsp;<br /> Size: 180 x 97 cm paper colors created in April 2010<br /> 7、中国山水诗意画《松风银浪》<br /> 7、Poetic Chinese landscape painting, &quot;wind blowing through pine trees, blew the water pulls the Yangtze River silver spray&quot;<br /> <img hspace="0" border="0" align="baseline" vspace="0" src="http://blogfile.ifeng.com/uploadfiles/blog_attachment/1005/15/376315_d3e5c0816512734d240396e42e13da56.jpg" /><br /> 【原诗】枕中云气千峰近，床底松声万壑哀。要看银山拍天浪，开窗放入大江来。——宋·曾公亮《宿甘露寺》<br /> 　 【赏析】这首诗从小处着笔写出了长江的宏伟气势。 甘露寺，坐落在长江南岸镇江的北固山顶，从上面可俯视汹涌澎湃的滚滚长江。诗的一、二句采取了一种以近推远、远近结合的写法，即由“枕中”、“床底”推至 千峰、万壑，同时又将千峰、万壑纳入胸怀，而诗的三、四句则采取以小写大、大小结合的写法，即以一扇小窗的开启写出长江的宏伟气势，同时又以“放入”一词 将大江的排山倒海之势（大）与一窗的涛声顿起（小）巧妙结合起来，这一开窗赏江听涛的行为在“放入”的主体意志熔铸中转化为一种主动拥抱长江的豪情壮举。 此时的“开窗” 实际上是诗人的开怀，因为只有具备装得下大江大海的豪迈胸襟与浩然心胸的人才会有如许宏大气魄的诗情。“开窗放入”也体现了中国传统诗学“咫尺而有万里之 势”的艺术构思法，诗人以小窗写大江，从小处着笔而直探大江的真容貌。令人有将千万山峰揽入胸怀的感觉；松涛在深谷中呼啸升起，细听仿佛就在床底下席卷而 过，其声呜咽，令人心颤。诗人写“云气”，写“松声”，正是为了衬托甘露寺的清迈脱俗，而这“云气”又极奇特，仿佛如枕中所出，似云似雾，似真似幻，造成 了一种如梦如幻的感觉。而“枕中云气”与“床底松声”又不仅仅是夸张与幻想，而是充满着诗人强烈的主观意志，体现出中国传统文化“万物皆备于我”的哲学精 神。此时之诗人，居高凌视，孤峰独立可统驭万物。可以想象，诗人高居北固山顶，看云气缭绕身旁，千峰仿佛前来亲近，听脚下松涛卷过，万壑似乎低首哀鸣，胸 中升起的是一种何等雄迈俊爽的感觉。<br /> 【Appreciate】This poem written Zhaobi small and the great momentum of the Yangtze River. Kanroji, located in the south of the Yangtze Zhenjiang Beigushan top, looking down from above can be rolling in the Yangtze River surging. One poem, two have taken a nearly pushed far, far and near combination of written, that is &quot;Pillow,&quot; &quot;bed&quot; push to Shiqianfeng, myriad, but will also Shiqianfeng, myriad into mind, but Three poems, four were taken to lowercase large size of the combination of written, that is a small window to write the Yangtze River's grand opening momentum, and used &quot;put&quot; is the overwhelming trend in the river (large) with a window of waves Dunqi (small) cleverly combined the window's behavior reward Jiang Tingtao &quot;into&quot; the subject will cast a pro-active in embracing the Yangtze River into the pride feat. At this time &quot;window&quot; is actually the poet's exuberance, it is only pretend to be the next big Jiang Da Hai with the heroic and noble-minded people would mind if Xu Hong great boldness of vision of poetry. &quot;Window into the&quot; also reflects the traditional Chinese poetry, &quot;right close by while thousands of miles of the situation,&quot; the idea of artistic method, the poet to write small window river, small and Zhaobi and rediscovering the river's true appearance. There will be millions of people into the mountains embrace the feeling of mind; pines in the deep valley in the roar rising, listen as if swept under the bed too, the sound of sobs, is Xin Chan. Poet wrote, &quot;clouds&quot;, write &quot;loose sound,&quot; Chiang Mai is to emphasize the Kanroji refined, and this &quot;cloud&quot; has a very strange, as if by a pillow, like clouds Si Wu, like Zhen Si magic, resulting in a kind of dreamy feeling. The &quot;Pillow clouds&quot; and &quot;voice of the pines bed,&quot; it is not just exaggeration and fantasy, but full of the poet's will, reflect traditional Chinese culture, &quot;All things are to me,&quot; the philosophical spirit. At this point the poet, as Marian home, Koho may exercise was independent of all things. Can imagine, the poet highest Beigushan top to see swirling clouds beside Shiqianfeng like to come close, volume to listen to the foot of pines had, it seems Dishou myriad moan, the chest is a rising sense of how male Junshuang step.<br /> 规格：180 x 97㎝&nbsp;&nbsp;&nbsp;&nbsp; 纸本设色&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; 2010年4月创作&nbsp;&nbsp; &nbsp;<br /> Size: 180 x 97 cm paper colors created in April 2010<br /> 8、中国山水诗意画《闲钓》<br /> 8、Poetic Chinese landscape painting, &quot;recreational fishing&quot;<br /> http://blogfile.ifeng.com/uploadfiles/blog_attachment/1005/15/376315_be82bb0f72d4ebe872101b8e6ad7feb7.jpg<br /> 【原诗】闲钓江鱼不钓名，瓦瓯斟酒暮山青。醉头倒向芦花里，却笑无端犯客星。——唐·<img hspace="0" border="0" align="baseline" vspace="0" src="http://blogfile.ifeng.com/uploadfiles/blog_attachment/1005/15/376315_be82bb0f72d4ebe872101b8e6ad7feb7.jpg" />崔道融《钓鱼》诗意<br /> 【赏析】舒心得闲时来垂钓，用的是瓦瓯瓶来斟酒；乏了坐观青山，醉了就睡卧在芦花荡里，倏忽入夜，星星羡而妒之。先直写悠闲垂钓，次以星星羡妒衬之，写足了闲适心情。<br /> 【Appreciate】 Shu learned leisure to fishing, using a tile ou bottles to sommelier; lack of sit down and Castle Peak, drunk sleep lying in Luhua Dang, time passed quickly, and at night, the day the stars are envious and jealous of me leisurely life. First direct writing laid-back fishing, plays with the stars envy of the lining of the writing from a comfortable full feeling.<br /> 规格：86 x 68㎝&nbsp;&nbsp;&nbsp;&nbsp; 纸本设色&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; 2010年4月创作&nbsp;&nbsp; &nbsp;<br /> Size: 86 x 68 cm paper colors created in April 2010<br /> <br /> <br /> 本文参考文献：1、中国古典山水画美学侧记，2、三谈破体书法，3、中国书画<br /> This article References: 1, Chinese classical landscape Sidelights, 2, 3 on nicely, 3, Chinese calligraphy and painting<br /> 顾绍骅作于2010年5月4日<br /> Shao-Hua Gu for the May 4, 2010 Personal http://www.zorpia.cn/gushaohua/journal/1973549 Thu, 13 May 2010 22:52 EST http://www.zorpia.cn/gushaohua/journal/1973548 下面是笔者探索“诗情画意”的拙作，恳请大家批评指正：<br /> Here I explore the &quot;poetic&quot; of an apology, I implore you criticize correction:<br /> 一、&nbsp;&nbsp; &nbsp;依画题诗（自作诗）<br /> 1, according to Chinese painting poetry (write your own poems)<br /> 1、中国山水诗意画——《峡江秋色》<br /> 1、Chinese landscape painting poetic - &quot;Autumn Xiajiang&quot;<br /> &nbsp;<img hspace="0" border="0" align="baseline" vspace="0" src="http://blogfile.ifeng.com/uploadfiles/blog_attachment/1005/15/376315_78ea61586554ad268f765569ebafd491.jpg" /><br /> 【原诗（顾绍骅自作诗）】绝壁现帆影，红叶盛崖顶。峡江满秋色，闲翁五言吟。<br /> 【欣赏】在陡峭的山峡绝壁中，远处显现帆船的影象；茂盛的红叶树生长在山崖的顶部，将画面“染红”，好一片秋天丰收的景色充满整个山峡的江山。我看到这样的美丽风光，忍不住把“五言”诗词作。<br /> 规格：68×68㎝&nbsp; 纸本设色&nbsp; 2008年10月创作<br /> 【Appreciate】 Steep gorge in the steep cliffs, the distance of the boat's image; lush red long Ye Shusheng top of the cliff, will screen &quot;red&quot; and a good harvest in the autumn landscape is full of the whole of the gorge. I saw this beautiful scenery, could not resist the &quot;Wu Yan&quot; for poetry.<br /> Specification: 67 × 65 cm paper colors created in October 2008<br /> 2、中国山水诗意画——《自作诗·画山水》<br /> 2、Poetic Chinese landscape painting - &quot;Since poetry ? Landscape Painting&quot;<br /> <img hspace="0" border="0" align="baseline" vspace="0" src="http://blogfile.ifeng.com/uploadfiles/blog_attachment/1005/15/376315_23e7e37959fcf9e98667b030e21fc728.jpg" /><br /> 【原诗】不守成法任激趣，五墨六彩①笔情寄；只因②《再探》③少素材，续上七言自惬意。<br /> 【释 义】没有严格遵照山水画的“勾、皴、点、染”等“程序”来，而是依照自己“成竹在胸”来抒发激情，追求笔墨意趣；用“五墨六彩”（焦浓重淡清）等笔墨效果 来在宣纸上“游戏”。 （这些）是因为《诗情画意再探》缺少素材，（自己）再继续题上七言诗，完成后是多么的惬意啊！<br /> 【Appreciate】 Not strictly follow the landscape of the &quot;hook, cracked, point, dye&quot; and &quot;procedures&quot; to, but according to his &quot;enlightened approach&quot; to express the passion, the pursuit of ink Interest; with &quot;five-color ink 6&quot; (Jiao Qing strong light) and other words effect to the rice paper on the &quot;game.&quot; (These) as &quot;poetic Revisited&quot; lack of material, (their own) and then continue to question the Piece, how comfortable after ah!<br /> 【注】①“五墨六彩” 五墨：焦墨、浓墨、重墨、淡墨、清墨——水墨画的色彩层次；六彩：黑、白、干、湿、浓、淡。<br /> ②“只因”二字取与“只因误识林和靖，惹得诗人说道今”；<br /> ③《再探》：《再探》即为本文。<br /> 【Note】 ① &quot;five-color ink 6&quot; Five Mexican: Mexican coke, the edges of heavy ink, light ink, clear ink - the color ink level; six-color: black, white, dry, wet, thick, pale.<br /> ② &quot;just because&quot; taking the word of &quot;false consciousness because Linhe Jing, prompting the poet said this&quot;;<br /> ③ &quot;Revisited&quot;: is this article.<br /> &nbsp; 规格：136×68㎝&nbsp;&nbsp; 纸本设色&nbsp;&nbsp;&nbsp; 创作年代：2010年5月<br /> Size: 136 × 68 cm paper's color creation: May 2010<br /> 3、中国山水诗意画——《自作诗·峡山情》<br /> 3、Poetic Chinese landscape painting - &quot;Since poetry · Xiashan Love&quot;<br /> <img hspace="0" border="0" align="baseline" vspace="0" src="http://blogfile.ifeng.com/uploadfiles/blog_attachment/1005/15/376315_58e461eb659f0fe7792c5e029dee8fd2.jpg" /><br /> 【原诗】云蒸霞蔚写峡山，荆州①江水景泰澜；昔闻太白言孤帆②，时逢盛世作三船③。<br /> 【释 义】（笔者）怀着对祖国美丽江山的热爱，绘出“心中的壮景” ——象云霞升腾聚集起来。景物灿烂绚丽的峡山；风景如画的母亲河与如斧劈沟壑一般的峡江，浮云环绕，波澜壮阔的江山，景色怡人、美丽激昂、国泰民安；太白 诗仙曾经咏道：“孤帆远影碧空尽，…。”是何等的伤感；如今随着祖国的强大，真是翻天覆地的变化，那些“孤寂、穷困”的朝代已经一去不复返，一片繁荣、和 谐的景色已经“闯入”我们的视野。<br /> 【Appreciate】 With beautiful rivers and mountains of the motherland, love, draw the &quot;King Zhuang heart&quot; - like the rosy clouds gathered Ascension. Xiashan brilliant magnificent scenery; picturesque Mother River and Three Gorges, such as ax gully general, clouds, surrounded by magnificent rivers and mountains, scenic, beautiful and passionate, peace and prosperity; Bai Shixian who chant: &quot;The Gu Fan Yuan shadow blue sky to make, .... &quot;What a sad; now with the Motherland, is really earth-shaking changes, those&quot; lonely, poor, &quot;the dynasty has been gone, a prosperous and harmonious scenery has&quot; entered &quot; our vision.<br /> 【注】①苏轼诗《荆州十首》有“游人出三峡，楚地尽平川。”句；荆州：古&quot;九州&quot;之一。在荆山﹑衡山 之间。汉为十三刺史部之一。辖境约相当于今湘鄂二省及豫桂黔粤的一部分;汉末以后辖境渐小。东晋定治江陵(现属湖北)，为当时及南朝长江中游重镇。明清置 府，后废。&nbsp; 2.唐韩朝宗曾任荆州长史，为时人所推重，称韩荆州。见唐李白《与韩荆州书》。后因以&quot;荆州&quot;称己所推重之士。<br /> ②“孤帆”：李白诗句有：“孤帆远影碧空尽，唯见长江天际流。”<br /> ③“三船”： 古代的“三、六、九”是吉利数字，“三生有幸、三人为众、三纲五常、三人行，必有我师焉”也是多指数。<br /> 【Note】 ① Jingzhou: ancient, &quot;Kyushu&quot; one. Hengshan in between Jingshan ﹑. Department of Chinese and one for the 13 provincial governor. Jurisdiction over this territory equivalent to about two provinces of Hunan, Hubei and Henan part of Guangxi, Guizhou and Guangdong; Han Dynasty after the territory under its jurisdiction gradually smaller. Eastern Sadaharu Gangneung (now part of Hubei Province), for the time and the Southern city of the Yangtze River. Chi Ming and Qing government, after the waste. 2. Tang Han Chaozong former Jingzhou Nagao, too people hold in esteem, Jingzhou Han said. See Don Li Bai &quot;and Han Jingzhou.&quot; Later, because of the &quot;Jingzhou&quot;, said the thrust-weight people in already. <br /> ② &quot;a boat&quot;: Li Bai's poem are: &quot;a boat to walk very far, just to see the Yangtze River's water, all flow of the&quot; horizon &quot;.&quot; <br /> ③ &quot;Mifune&quot;: the ancient &quot;three, six, nine&quot; is a lucky number, &quot;'ve been looking forward, three for the public, three cardinal guides and the five permanent members, three rows, must be my teacher Yan&quot; is also a multi-index.<br /> 规格 68×136cm&nbsp;&nbsp;&nbsp; 纸本设色&nbsp; 创作年代：2010年5月<br /> Size 68 × 136cm paper, ink's creation: May 2010<br /><br /> Personal http://www.zorpia.cn/gushaohua/journal/1973548 Thu, 13 May 2010 22:51 EST http://www.zorpia.cn/gushaohua/journal/1973547 “元四家”不仅完善了中国山水画的水墨技法，而且因为时代的特 点，为中国山水画在审美范畴内增添了“逸”的概念。这种具有明显时代特点的审美时尚，虽然有审美之外的社会原因，但却因为这一契机在中国山水画意境的领域 内创造了一个新的标准——“诗情画意”，后世则将此推为最高的准则。<br /> &quot;Element 4&quot; is not only perfected the technique of Chinese ink painting, but also because the characteristics of the times, as in the aesthetic context of Chinese landscape painting to add a &quot;leisurely, more than a general&quot; concept. This has the obvious characteristics of the times of aesthetic fashion, although there are social reasons other than aesthetic, but because of the opportunity in the field of Landscape Painting in the creation of a new standard - &quot;poetic Chinese painting&quot;, while later this to promote the highest standards.<br /> 尽管文人画鄙薄技艺，但文人画在山水领域所提出的依附于“笔墨”的审美准则，却不能脱离一定技术的规范。绘画的形式与山水的程式，都建立在一定的技术基础上，所以在南北分宗时，人们对它的划分与解释，也是以技术的标准来树立南宗的美学规范。<br /> Although the skills paintings scorn, but the landscape paintings in the area of the proposed attached &quot;pen&quot;, the aesthetic criteria, but not out of certain technical specifications. And landscape painting in the form of programs that are built on the basis of a certain technology, so in North and South sub-cases, people explained it, is to establish technical standards to the aesthetic norms Southern Sect.<br /> 中国山水画发展过程中的南北分宗，是一定历史时期的必然，也是中国山水画发展史上的重要事件。以新的技术标准和美学规范来疏导发展过程中的无序状况，回归历史的传统，实际上已经表现了中国山水画的衰落。董其昌对现世的感叹，说明了其中的许多道理。<br /> Chinese Landscape Painting in the development of North-South sub-cases, is bound to a certain historical period, China is an important event in the history of landscape painting. With new technical standards and aesthetic norms to ease in the development of disordered state, return to the historical tradition of landscape painting in China has actually shown a decline. Dong Qichang on secular laments, illustrates many of the reasons.<br /> 明清两代在山水的精神和意境方面已无能为力，在宋元的峰巅面前人们只有景仰和赞叹。为了挽回历史的颓势，董其昌打出了“ 复古”的旗帜。在一个过于强调笔墨和程式的时尚中，画家们只有穷毕生的精力“血战宋元”，人们只有通过“临”、“仿”、“抚”、“摹”来标识自己的传统渊 源，确立自己的艺术价值。“四王”在中国古代绘画史上为中国山水画创造的最后的辉煌，最终消失在晚清的暮色中；只有“诗情画意”这样最能体现中国文化精髓 的艺术形式能够流芳百世。<br /> Ming and Qing dynasties in the landscape of the spirit and mood has been powerless in front of people in the Song of the hilltops only admire and praise. In order to restore the historical decline, Dong Qichang hit the &quot;retro&quot; banner. In a pen and programs too much emphasis on fashion, the artists only spending a lifetime of effort &quot;bloody Song&quot;, it is only through &quot;temporary&quot;, &quot;imitation&quot;, &quot;ask&quot;, &quot;copy&quot; to identify their traditional sources, to establish their artistic value. &quot;Four Wangs&quot; in the history of ancient Chinese painting Chinese landscape painting to create the final glory, finally disappeared in the late Qing Dynasty in the twilight; only &quot;poetic Chinese Painting&quot; This can best embody the essence of Chinese culture and art form to remain immortal.<br /> 然而，“艺术当随时代走”、“与时俱进”和创新是永恒的话题，没有创新和发展，就没有生命。但需要把握的是：一定要取于传统，因为离开传统就是“无根之花、无源之水”。<br /> However, &quot;When the arts go with the times&quot;, &quot;Times&quot; and innovation is the eternal subject, no innovation and development, there is no life. But needs to grasp is this: we must take on the tradition, because tradition is to leave &quot;no roots, flowers, water without a source.&quot;<br /><br /> Personal http://www.zorpia.cn/gushaohua/journal/1973547 Thu, 13 May 2010 22:49 EST http://www.zorpia.cn/gushaohua/journal/1973546 魏晋玄学推演了山水观念的转换，迁想妙得使山水获得了新的美学意义。庄老告退，山水方滋。神超形越之外，玄对山水，自然的山水成为山水的自然。<br /> Metaphysics deduction of the landscape transformation of concepts Fruitful Imagination to get a new landscape aesthetic significance. Chuang old retire and live a better place in Yishanbangshui life. God, the more ultra-shaped, the fortune-telling, science on the landscape, natural landscape into the natural landscape.<br /> 人们关注山水，寄希望于山水的表现，扩展自己的生活空间——“嵩华之秀，玄牝之灵，皆可得之于一图”。为了实现这时代的理想，时尚澄怀清谈的魏晋圣贤又发明了“卧游”的方式。这种具有理想色彩和积极意义的方式，促进了中国山水画的独立和发展。<br /> People concerned about the landscape, landscape performance hopes to expand their living space - &quot;Song of China the show, mysterious female spirits may apply purest a map.&quot; To achieve this the ideal time, when the talk Shangcheng Huai Wei Jinsheng Xian has invented a &quot;spiritual travel&quot; approach. This is the ideal color and positive way, promoting independence and development of Chinese landscape painting.<br /> 宗炳发前人所未言，给中国山水画的成因以一个合乎实际的诠释：“夫昆仑山之大，瞳子之小；迫目以寸，则其形莫睹；迥以数里，则可围于寸眸。诚由丢之稍阔，则其见弥小。今张素以远映，则昆仑之形，可围于方寸之内。”<br /> zong-bing predecessors did not tell the truth to say to the reasons for the formation of Chinese landscape painting, with a realistic interpretation: &quot;The great Kunlun Mountains, the small pupil; forced to look to look down upon the large, its shape is to look at incomplete; is walking a few years, we can only see a small area. It is true that because he discarded (not refined) in the &quot;big&quot;, but it can see the exquisite &quot;little.&quot; (then) Su-use &quot;Three Perspectives,&quot; the painting to draw the shape of the Kunlun Mountains, you can draw a very small range. &quot;<br /> 宗炳的思想建立在中国山水画发展的过程中，他把以往过于精神化的山水理念，引向到视觉的理念之中，从而为山水成“形”作出了前所 未有的贡献。宗炳还提出了“应目会心”、“ 应目感神”、“神超理得”，这是他对中国山水画作出的具有本质意义的界定。千年以后，画家百代，然中国山水画的准则却千古不移。<br /> zong-bing ideas based on the process of development of Chinese landscape painting, he has the spirit of the landscape over the past concept leads to the idea of being visual and thus landscape into a &quot;form&quot; made an unprecedented contribution. zong-bing also proposed &quot;to see the experience in the heart&quot;, &quot;will see a reflection of the spirit&quot;, &quot;will this spirit into a theory&quot;, which he made on the Chinese landscape painting with the definition of essential meaning. Years later, EMI artists, however the criteria for Chinese landscape painting is eternal.<br /> 山水脱离了宗教的神，中国山水画引入了人的神，自然在神会之中体现了文化的意义，这是历史的飞跃。“神飞扬”，“思浩荡”，山水激发了人的精神，中国山水画实现了人的生活理想、扩展了人的生活空间——“披图幽对，坐究四荒”。<br /> God from the religious landscape, the Chinese landscape painting into a people of God, God will naturally is reflected in the meaning of culture, this is a historical leap. &quot;God flying&quot;, &quot;thinking graciousness&quot;, landscape inspire the human spirit, the Chinese landscape painting to achieve the ideal of human life extends the life space - &quot;Phi Figure quiet right, sitting four study shortage.&quot;<br /> 唐代始于吴道 子，成于李思训、李昭道的“山水之变”，其本质是由山水精神的追求转向山水意境的表现。王维以诗人的学养发挥画家的气质，在文学和绘画领域揭示了诗与画的 关系，从而提出了中国山水画意境表现中的一个准则——画中有诗（诗情画意）。由精神而意境，不是垂直的历史线索的过渡，而是一个线索的分枝，是美学上的平 行关系。中国山水画中意境问题的提出，是中国山水画在发展过程中侧重点的转变，是在美学上的完善。<br /> Tang began Wu Daozi, as in Li Xun, Li Zhao Tao's &quot;Landscape Change&quot;, its essence is the spirit of pursuit by the landscape turned to landscape Artistic Conception. Educated poet Wang Wei to play the artist's temperament, in the field of literature and painting reveals the relationship between poetry and painting, which made the performance of Chinese Landscape Paintings in a guideline - painting in poetry (poetic Chinese painting). Conception by the spirit, not the historical clues vertical transition, but a clue to the branch, is the aesthetic parallel relationship. Chinese Landscape Painting in the conception of the problem is that the Chinese landscape painting in the development process focused on the changes in the aesthetic perfection.<br /> 北宋时期的郭熙说 道：“君子之所以爱夫山水者，其旨安在？丘园，养素所常处也；泉石，啸傲所常乐也；渔樵，隐逸所常适也；猿、鹤，飞鸣所常亲也。尘嚣缰锁，此人情所常厌 也．．．烟霞仙圣，此人情所常愿而不得见也。然则林泉之志，烟霞之侣，梦寐在焉，耳目断绝，今得妙手郁然出之，不下堂筵，坐穷泉壑，猿声鸟啼依约在耳，山 光水色晃漾夺目，此岂不快人意，实获我心哉，此世之所以贵夫画山之本意也。”（解释为：北宋时期的郭熙说道：“君子之所以非常喜爱山水，是因为什么呢？丘 园，是我因为修身养性的好地方，我常常来此；泉石（泉石：指山水、泉石名胜之处），山泉飞泻、风啸森林的声音是很美妙的，所以我常常感到快乐呀；渔夫、樵 夫他们自由自在的隐居在此，很快乐呀；猿猴、飞鹤它们与人们和谐地生活在一起，自由自在地飞翔、鸣叫，是人们感到亲密呀。尘世间的喧嚣和缰死的关系，象锁 一样禁锢着我们的心灵，这是人们所非常讨厌的呀．．．云烟环绕、彩霞升起的仙境、圣地，是人们非常想去的地方，但是，却是看不见的呀。然而，人们向往山 林、泉石的志向，追求与云烟环绕、霞光万道的仙境相伴，是梦寐以求的，这些是耳听不到，眼看不到的呀；现在幸亏有绘画高手，（他们）经过非常艰苦的训练才 能画出中国山水画，（他们）没有时间去休息，甚至吃饭都是很简单，（他们）一天到晚坐在那里努力地画着泉石与沟壑，（他们画得非常形象）猿声鸟啼好像是在 耳边响起，山光水色晃漾夺目，看了这些画怎么不让人赏心悦目、非常快乐呢？这些画让我称心如意呀，是世上非常难得的，因此，这才是画中国山水画的本意呀。 ”）<br /> Guo Xi Northern Song Dynasty said: &quot;The reason why a gentleman was very fond of landscape, because it? Kew Gardens, is my self-cultivation as a good place, I always come here; Tanzanite (Tanzanite: refers to landscapes, Tanzanite spot it), spring plunging, Feng Xiao forest is very beautiful sound, so I often feel how happy; fisherman, woodcutter who lived in this carefree, happy Yes; apes, flying crane with the people they are living together in harmony, free free to fly, tweet, is that people feel close ah. earthly death of the relationship between noise and bridle, the same as the lock confined to our minds, this is very annoying that people ah ... clouds around, Choi Ha rising paradise , Holy Land, where people are in want, but it is invisible Yeah. However, there is longing for the mountains, Tanzanite's aspirations to pursue with clouds around, accompanied by Xiaguang 10,000 wonderland is dream, these are the ears less and watch less than the ah; now thanks to a painting master, (they) been training very hard to draw the Chinese landscape painting, (they) do not have time to rest, and even food are very simple, (they) spend all day sit hard painted Tanzanite and ravines, (they paint a very vivid) monkeys sound like robins in the ears, Hongya Huang Yang brilliant, saw how these paintings are not looking, very happy it ? These paintings make me agreeable Yeah, the world is very rare, so this is the intention of Chinese landscape painting ah. &quot;<br /> 五代宋初的荆浩、关仝、董源、巨然、李成、范宽，完善了中国山水画的艺术表 现，并把中国绘画中的中国山水画推向了一个历史的高峰。中国山水画在这一时期成为时代的主流 艺术。被称为“百代标程”的五代宋初中国山水画，在表现领域中将山水的物理和技巧结合起来，又提出了一个新的历史话题，传统中国山水画对精神和意境方面的 关注经此而转向于技术层面——形式（诗情画意）。<br /> Five Dynasties and Song of Jing Hao, Guan Tong, Dong Yuan, Ju Ran, Li Cheng, Fan Kuan, perfected the art of Chinese landscape painting performance, and to Chinese painting in the history of Chinese landscape painting into a peak. Chinese landscape painting during this period to become the mainstream art of the times. Known as the &quot;100 generation of standard process&quot; of the Five Dynasties Song Dynasty Chinese landscape painting, landscape painting in the performance area will combine the physical and skill, but also proposed a new historical subject, the traditional Chinese landscape painting on the spirit and the mood of concerns but by this Turn on the technical level - form (poetic Chinese painting).<br /><br /> Personal http://www.zorpia.cn/gushaohua/journal/1973546 Thu, 13 May 2010 22:48 EST http://www.zorpia.cn/gushaohua/journal/1973545 诗情画意再探<br />Discussed again poetic Chinese painting<br />------浅谈中国山水画中的诗情画意<br />On the poetic Chinese landscape painting<br />中 国书画作为中国文化精髓，给予中华民族以极其高尚的精神享受，笔精墨妙是人生一乐。在中国文化史上，绘画是一个重要组成部分，如西晋时期的文学家、书法家 陆机所言： “宣物莫大于言，存形莫善于画”（ 介绍事物没有比语言更好的方法了，介绍形状没有比画画更好的方法了）。<br />As the essence of Chinese culture, Chinese calligraphy and painting, to give the Chinese people to enjoy the most noble spirit, pens, ink magic essence is a happy life. In Chinese culture, history, painting is an important part, such as the Western Jin Dynasty writer, calligrapher Lu said: &quot;propaganda material is greater than words, keep good form Mo Painting&quot; (description of things no better way than words , describes the shape of no better way than painting).<br />中国民族绘画著重达意畅神与线条造型，以结构组织为主， 色彩明暗辅，诗、书、印、款识与画相结合为艺术特征——“诗情画意”，中国书画在满足人们视觉享受的同时，更能启人智蕊，怡人心神。中国画强调“外师造 化，中得心源”（ “外师造化，中得心源”这句话，出自唐朝的画家张璪，是中国绘画史上的不朽名句。<br />Chinese National Painting Praising God with emphasis on expressive line shape, structural organization mainly auxiliary light and dark colors, poetry, books, printing, inscription and painting combination of features for the arts - &quot;poetic Chinese painting,&quot; the Chinese painting and calligraphy to meet the visual enjoyment the same time, more inspired wisdom, nice mind. Chinese painting emphasizes &quot;nature outside, in the heart of source&quot; (in &quot;Nature&quot; as a teacher, summed up his approach) these words, from the Tang Dynasty painter Zhang Zao, is the story of the history of Chinese painting.<br />简单的说，“造化”是指大自然，“心源”指的是内心的感悟。意指画家应以大自 然为师，再结合内心的感悟，然后才可创作出好的作品。）也就是说艺术家通过对天地的热爱、观察、感悟，用“笔墨纸砚”作为载体，讴歌、抒发或宣泄自己的情 怀。古往今来，无论是“士大夫”或今天的普通百姓，在面对美景时，总是想通过自己的画笔或相机，将其“美景”保留下来，再题上“四言八句”（ 言简意赅的文字）——诗情画意。这是中国文化的表现形式之一，也是中国人民的文化追求。<br />Put simply, &quot;zhao hua&quot; is natural, &quot;mind the source&quot; refers to the inner perception. Means the artist should be natural for the teacher, combined with inner perception, and can create good work. ) Means that the artist's love through the world, observing, understanding, and using &quot;pen and ink, paper and ink,&quot; as the carrier, Acura, express or express their feelings. Throughout the ages, whether it is &quot;elite&quot; or today's ordinary people, in the face of beauty, you always want your brush or camera, to its &quot;beauty&quot; be retained, and another question on the &quot;four words 8&quot; (concise text ) - poetic. This is one of the manifestations of Chinese culture, the pursuit of the Chinese people's culture.<br />我国的书画艺术 在长期的历史发展中形成了在世界上独树一帜的民族艺术，具有鲜明的特色和深厚的传统，这与我国的社会发展、民族欣赏习惯，以及传统的学术思想，有着密切关 系。中国山水画是中国人所特有的一个文化概念。中国人的中国山水画不同于外国人的风景画，它不是再现自然景观，而是通过自然景观的表现，赋予自然以文化的 内涵和审美的 观照。天人合一——人与自然的亲和，是中国山水画的基础。春夏秋冬，朝暮白昼，风霜雨雪，山水表现出了不同的面貌，体现了生命的意义。<br />The painting and calligraphy in China's historical development in the long formed the world's unique folk art, with distinct characteristics and a strong tradition, that with China's social development, Minzu Appreciation Convention as well as traditional academic thinking, closely related. Chinese landscape painting is a unique Chinese cultural concept. Chinese landscape painting Chinese landscape painting is different from the foreigners, it is not a reproduction of the natural landscape, but through the natural landscape of the performance, given the natural meaning of culture and aesthetic contemplation. Heaven - the affinity between man and nature is the basis of Chinese landscape painting. Seasons Zhaomu day, wind, frost, rain, snow, mountains and rivers showed a different face, reflects the meaning of life.<br />山水和人一样具有内在的生命运动和精神力量。中国人关于山水的观念，源于原始的宗教。对山灵的崇拜，对水神的敬 畏，人们在这种崇拜和敬畏之中经历了漫长的历史过程。在神统治的社会里。一切神灵无不隐匿于山水之中。山水是神灵之母。山之高，水之深；山之广，水之渺， 蕴涵了天体宇宙的无限奥妙。<br />Landscape and human life as inherently movement and spiritual strength. Chinese concept of landscape, from the original religion. The mountain spirit of worship of God and of the water, people in worship and awe of this experience of a long historical process. God rule in society. All the gods are all hidden in the midst of the landscapes. Landscape is the mother of the gods. High mountains, deep water; mountain wide, water vague, implies the celestial wonders of the universe's infinite.<br />为了表示对山水神灵的崇拜和敬畏，人们刻画山水神灵的形象，用于祭祝或瞻仰。神话或神画 启发了中国山水画的独立成形。中国山水画是画家对祖国大好河山无比崇敬、无限热爱的一种激情，将这种激情表现出来（记录下来），这种表现出来的作品是“源 于生活而高于生活”的，是画家“心画”——对美好生活的提炼，用笔墨、色彩等绘画语言来描述“理想中的”青山绿水、小桥人家等等；若再题上诗句就是典型的 “诗情画意”了。<br />In order to express the worship of mountain gods and fear, it depicts the image of mountain gods, I wish to sacrifice or pay their last respects. Myth or God inspired the Chinese landscape painting independent shape. Chinese landscape painting is the painter of the immense respect the motherland's great rivers and mountains, boundless love as a passion, this passion will be shown (recorded), this show works out &quot;from life than life&quot;, a painter &quot; pictures of the heart &quot;- refining the good life, with ink and color painting language to describe the&quot; ideal &quot;mountains, bridges and people and so on; Ruozai title on the line is a typical&quot; poetic Chinese painting &quot;the.<br />而西方的风景画 是“某一时段”——条件色彩下的某处照片式的真实描绘。因此，笔者认为：中国中国山水画是理想的、浪漫的，是画家集中把大自然的美，通过艺术“提纯”的“ 反映结果”；而“诗情画意”更是突破了时空上的束缚，将视觉艺术转变为精神追求，开启了人们对真、善、美（理想世界）——“世外桃源”（和谐社会）的向往 与追求；从某种意义上说：诗情画意是灵动的、是“有生命的”和不朽的；他根至于每个喜爱中国文化的人们思想之中。而风景画是客观现实的反映，他是相对静止 的（犹如风景照片一般），物质的。<br />The Western landscape is &quot;a time&quot; - somewhere under the conditions of color photographs depict the true style. Therefore, I believe: China Chinese landscape painting is an ideal, romantic, a painter focused on the beauty of nature through the art of &quot;purification&quot; and &quot;reflects the results&quot;; and &quot;poetic Chinese Painting&quot; has broken through the shackles of time and space, the visual arts into a spiritual pursuit, opening people's truth, goodness and beauty (ideal world) - &quot;Xanadu&quot; (harmonious society) desire and pursuit; sense: &quot;poetic Chinese Painting&quot; is Smart is &quot;living&quot; and the immortal; his roots As each loved Chinese culture into people's thinking. The landscape is a reflection of objective reality, he is relatively static (like landscape photos General), substances.<br />刻画中的“日月山”，表现的既是一个自然的观念，又是一个历史的时期。人们能够将它们合为一体，就已经表明了对自然的独特的认识方式。中国艺术中关于自然的观念可以说是先天的，这种先天的因素是精神高于物质、思维高于存在。<br />Portray the &quot;Riyue&quot; performance is a natural idea, it is a historical period. People to them as one, had already demonstrated a unique understanding of the natural way. Chinese art in the concept of nature can be said to be innate, inherent factors such spirit than substance, more than thinking there.<br />哲学方式决定了中国人关于自然的定义，宗教则为哲学方式增添了生命和精神。天地与我并生，天地与我合一，庄子打开了人与自然之间的屏障，人开始与天地精神往来。“仁者乐山，智者乐水”。<br />Determined by the Chinese philosophy on the nature of the definition of philosophy of religion was a way to add life and spirit. World and I, and Health, World and I one, Chuang open the barriers between man and nature, people started to contact the spirit world. &quot;Others Mountain, the wise man happy water.&quot;<br />山水“质有而趣灵”（ 质有，形质是有。趣灵，其趣向，趣味，则是灵。与道相通之谓灵。），因此，圣人、贤者、高士必有山川之游，轩猿、尧、孔无不如此。而崆峒、具茨、藐姑、箕 首、大蒙等名山又演绎了千古佳话。“优游”是生活也是文化，他体现了中国人对自然的爱好，也表现了中国人特有的联结自然与文化的方式。眷念庐衡，契阔荆 巫，山水的价值得到了历史的确认。<br />Landscape, &quot;the quality of the spirit and interest&quot; (the quality of the, form of quality is. Interesting spirit, its help one to fulfill, interesting, it is spiritual. And that the spirit of Taoism.), So people must have learned the action around mountains , good ancient emperor, Confucius, just a few. The Kongtong, with Heights Hill, despise Gushan, Kei first mountain, mountains and other large Mengshan another interpretation of the eternal stories. &quot;A good tour great mountains and rivers&quot; is also a culture of life, he embodied the Chinese people's love of nature, but also demonstrated the unique Chinese way of linking nature and culture. Miss Mountain, Hengshan, Jingshan, Wushan, so the value of the landscape has been confirmed by history.<br />含道应物，澄怀味象。在以精神为第一性的山水里，人们并不关注所显之象，而是重视所含之道。形而上的道弥补了生活中的诸多缺陷和不足，故“以形媚通”成了中国人的一种生活哲学。<br />To the corresponding changes in the nature of things, the truth of things is clear. First in the spirit of the landscape with, people do not pay attention to the signs of obvious, but attention to the truth contained. Metaphysical truth, make up the life of the many defects and deficiencies, so &quot;in order to explain the shape of things&quot; has become a kind of Chinese philosophy of life.<br />庄子对老子提出的“涤除玄鉴”的美学命题作了极丰富的发挥。老子指出：“涤除玄鉴”是把握“道”的根本途径。也就是说，观照“道”必须有一个虚静空明的心境，即主体必须有一个审美心胸。<br />Laozi Zhuangzi's &quot;eliminate Yuen Kam,&quot; made a very rich aesthetic proposition to play. I said: &quot;eliminate Yuen Kam,&quot; to grasp the &quot;Tao&quot; a fundamental way. In other words, contemplation of &quot;Tao&quot; must have a clear state of mind xujing empty, that there must be a subject of aesthetic mind.<br />庄子 对此的发挥是提出了“坐忘”，“心斋”等一系列的美学命题。诚然，这种虚静空明的心境对后世人们欣赏自然山水时审美意 象得以产生，其影响是极至深远的。而“涤除玄鉴”、“心斋”、“坐忘”——即建立审美心胸，这一核心范畴被引入绘画领域并且有重大贡献的美学家始于魏晋南 北朝时期的宗炳。诚然，这与魏晋玄学之兴起有极密的联系。<br />Zhuangzi this play is to propose a &quot;sitting forgotten,&quot; &quot;inner world&quot; and a series of aesthetic propositions. Indeed, this Xujing air out of mind on the future generations to appreciate the natural landscape can be generated when the aesthetic image, the impact is extreme far-reaching. And &quot;eliminate Yuen Kam,&quot; &quot;sitting forgotten,&quot; &quot;inner world&quot; - that is to establish aesthetic mind, the core category was introduced and there is a significant contribution to painting in the field of aestheticians began Wei, called Bing's people. Admittedly, this is Wei &quot;divination, astrology,&quot; the rise of a very close contact.<br />艺术无疑是以表现人生，表现人之心灵世界，表现宇 宙万象作为对象和目的的。至魏晋南北 朝，老、庄之学大兴，不管是在诗歌领域，还是在书画领域都纷纷地倾向于“师法自然”，“表现性情”，以通向对“道”的观照和把握这一特点。从而把自然当作 至美，至真的对象来如以描述和表现。庄子云：“天地有大美而不言，四时有明法而不议，万物有成理而不说。<br />Art is no doubt that life, showing people the spiritual world, the entire universe as the object and purpose of Vientiane. To the Wei and Jin, old science of Tai Hing Chuang, whether in the field of poetry, or in the fields of painting and calligraphy have to tend to &quot;Nature as Teacher,&quot; &quot;performance temperament&quot; to lead to the &quot;Road&quot; in contemplation and understanding this a feature. To the natural as to the United States, to really object to such descriptive and performance. Zhuangzi Yun: &quot;Heaven and earth have made great beauty, four seasons have clear without proposed, does not talk contribution has everything.<br /><br /> Personal http://www.zorpia.cn/gushaohua/journal/1973545 Thu, 13 May 2010 22:46 EST http://www.zorpia.cn/gushaohua/journal/1973544 <br /> 2009年7月“庆祝建国六十周年全国书画艺术成就展”组委会收藏中国画一件<br /> July 2009 to celebrate the sixtieth anniversary of the founding of the National Painting and Calligraphy Art Exhibition, the organizing committee a collection of Chinese painting<br /> 中国画作品《知向桃源里》参加了由文化部中国小康公益基金、世界华人民族文化促进会、文化部中华书画报、消费日报社、财富与收藏杂志、中华人民美术网等单位联合举办的“庆祝建国六十周年全国书画艺术成就展”，获得“金奖”其作品被收藏。<br /> Chinese painting work, known to the Taoyuan Village, took part in a well-off public funds by the Ministry of Culture of China, the World Association of Chinese culture, Chinese calligraphy and painting the Ministry of Culture reported that consumer Daily, Fortune Magazine and collection, the Chinese People's Fine Arts Network and other units jointly organized by the&nbsp; to celebrate the sixtieth anniversary of the founding of the National Painting and Calligraphy Art Exhibition , the Gold Award a collection of their works.<br /> 【作品说明】中国山水诗意画——《知向桃源里》<br /> 【Description】 Chinese landscape poetry, works of art - know the Taoyuan Village<img hspace="0" border="0" align="baseline" vspace="0" src="http://www.home126.net/attachment/200911/18/216669_1258535098gVj5.jpg" /><br /> <br /> 【原诗】几转到青山，数重度流水。秦人入云去，知向桃源里。——唐·钱起《蓝田溪诗意》<br /> 【Original poem】<br /> Was removed by too many who came to the beautiful peaceful mountains, only to see many, many rivers flowing around the Castle Peak. Qin Dynasty who has entered the clouds, surrounded by mountains and gone, oh, know that they are to the Peach This place ah. - Don · money to Poetic Lam Tin River<br /> 规格：136×68 cm&nbsp;&nbsp;&nbsp; 纸本设色&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; 2009年创作<br /> Size 136 × 68 cm paper colors created in 2009<br /> <br /> 2009年10月中国书画作品三幅被福建张先生收藏家收藏<br /> 【作品说明】&nbsp; 破体书法：《广通四海 宇运恒昌》&nbsp;&nbsp;&nbsp;&nbsp; 规格：195×45 cm&nbsp;&nbsp;&nbsp; 纸本<br /> <img hspace="0" border="0" align="baseline" vspace="0" src="http://www.home126.net/attachment/200911/18/216669_1258534822e618.jpg" /><br /> <br /> 本作品基础于草书、行书、大篆（大盂鼎）上结合而成，其中“广、运、恒、昌”为行书，“通、海”为草书，“四”为大篆（大盂鼎），“宇”为行楷；整体看来浓淡相间、大型匀称，气韵生动，为小破体的写法——人称顾氏“破体书法”的书法。<br /> 特点：既为“破体书法”，又能认识、能懂得。一般人是不知道的书法。加上先生的题文，是相得益彰呵！<br /> 【Description】<br /> A combination of a variety of body calligraphy calligraphy Yu-Yun Hengchang Guangtong seas Size 195 × 45 cm paper<br /> This work is based in cursive, running script, Seal Script (Tai Yue Ding) on combination of them well, transportation, Heng, Chang as the Semi-cursive script, pass, the sea as the cursive, four as the Seal Script (large Meng Ding) , yu for Xing Kai; as a whole appears to shades of white, large-scale symmetry, Qiyun vivid, small broken body of writing - called Gu, a combination of a variety of body calligraphy calligraphy calligraphy.<br /> Features Not only is a combination of a variety of body calligraphy calligraphy, but also understanding, can understand. Most people do not know calligraphy. Together with the text title of Mr., is complementary Oh!<br /> 【作品说明】中国山水诗意画——《一帆风顺》<br /> 【Description】 Chinese landscape poetry, works of art - smooth sailing<br /> <img hspace="0" border="0" align="baseline" vspace="0" src="http://www.home126.net/attachment/200911/18/216669_12585351080033.jpg" /><br /> <br /> 规格： 68×136cm&nbsp;&nbsp;&nbsp; 纸本设色<br /> Size 68 × 136cm paper-based color<br /> 【原诗】八月长江万里晴，千帆一道带风轻。尽日不分天水色，洞庭南是岳阳城。——唐·崔季卿《晴江秋望》诗意<br /> 【Original poem】<br /> August inside the Yangtze skies, lots and lots of sailing, are gone with the wind makes the boat light. No time is too close to where the sun is the day, Where is the water color, Dongting Lake in Yueyang City of the south. ——Don · Cui Jiqing Wang Ching-Jiang Qiu, poetic<br /> <br /> 中国山水诗意画——《春风》<br /> Poetic Chinese landscape painting - Spring Breeze<br /> <img hspace="0" border="0" align="baseline" vspace="0" src="http://www.home126.net/attachment/200911/18/216669_1258534826OB1y.jpg" /><br /> <br /> 【作品说明·原诗】春风先发苑中梅，樱杏桃梨次第开。 荠花榆荚深村里，亦道春风为我来。------唐·白居易《春风》诗意<br /> 【works Note · original poem】Spring pre-emptive Court in plum, cherry apricot pear sequential open. Water chestnut flower pods deep elm village, also know spring is me. ------ Don · Bai Ju-yi, Spring Breeze poetic<br /> 规格：68×136㎝&nbsp;&nbsp;&nbsp;&nbsp; 纸本设色&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; 2008年10月创作<br /> Size 68 × 136 cm paper colors in October 2008 created<br /> <br /> 2009年11月北京的许瀞女士收藏破体书法作品二件<br /> November 2009 Beijing, Miss Xu Jing-breaking body of work of calligraphy collection 2<br /> <img hspace="0" border="0" align="baseline" vspace="0" src="http://www.home126.net/attachment/200911/18/216669_12585348262LON.jpg" /><br /> <img hspace="0" border="0" align="baseline" vspace="0" src="http://www.home126.net/attachment/200911/18/216669_1258534840W9dt.jpg" /><br /> <br /> 【作品说明】《志在高山 瀞如止水》规格：195×45 cm ×2幅&nbsp;&nbsp; 纸本<br /> 作品整体上力求秀美、清馨、大气。作品由天发神天发神谶（纖）碑、石鼓文、毛公鼎、汉隶、草书等等组成；另一幅加有甲骨文与金文的字意，其整体效果古朴而不失活泼、凝重而不失灵动，如行云流水、又枯湿有度，一气呵成。<br /> 【Description】<br /> Ching-Chi in the high mountains, such as sealing, Size 195 × 45 cm × 2 Fu paper<br /> Works as a whole seeks to beautiful, Qingxin, the atmosphere. Work days from the day God made God Prophecy hair (fiber) monument, Ancient Proses on Stones, Maogong Ding, Han Li, cursive, etc. composition; the other one plus there is a word meaning Oracle and Clementi, the overall effect of simplicity to the public yet lively, Smart to the public yet dignified, such as Xingyunliushui, but also dry wet with degrees, all in one.<br /> <br /> 2009年10月中国书画作品一幅被广东某收藏家收藏<br /> <br /> 中国山水诗意画——《隐者》<br /> Poetic Chinese landscape painting - Hermit<br /> <img hspace="0" border="0" align="baseline" vspace="0" src="http://www.home126.net/attachment/200911/18/216669_1258535086cqon.jpg" /><br /> <br /> 规格：68×47 cm&nbsp;&nbsp;&nbsp; 纸本设色<br /> Size 68 × 47 cm paper-based color<br /> 【作品说明·原诗】先生已得道，市井亦容身。救病自行药，得钱多与人。问年长不定，传法又非真。每见邻家说，时闻使鬼神。——唐·张籍《隐者》诗意<br /> 【works Note · original poem】<br /> Mr. has been moral, streets and marketplaces have shelter. Save the sick on their own drugs, and people get more money. Asked older indefinite, mass Act is non-truth. Every see neighbors said, when you hear so that ghosts and spirits. - Don · Zhang Ji, hermit poetic<br /> <br /> 鸣谢：非常感谢中国国家文化部、中央媒体（人民日报、人民教育出版社——人教网、国际商报、中国亚太经济发展研究中心等）及北京众多的艺术部门、社团的负 责人、编辑老师们；外国的“Alborques - Online Gallery” 艺术网、“vanarte”艺术网、“Art Gallery”艺术网、英国的萨奇画廊网、英国的《艺术的世界》杂志；福建的张传猛先生和众多的收藏家们给我的长期鼓励与支持，可以说没有他们的热情鼓 励与支持就没有我的发展；我在此向您们深深的鞠上一躬，衷心地说声“谢谢啦”！<br /> Acknowledgments: Many thanks to China's Ministry of Culture, the central media (People's Daily, People's Education Publishing House - taught Network, International Business Daily, China's economic development in the Asia-Pacific Research Center, etc.) and Beijing numerous art department in charge of societies, editors teachers; foreign &quot;Alborques - Online Gallery&quot; Art Network, &quot;vanarte&quot; Art Network, &quot;Art Gallery&quot; Art Network, Britain's Saatchi Gallery Network, the British &quot;art world&quot; magazine; Fujian Province Mr. Zhang Zhuanmeng and many Collectors who gave me encouragement and support of the long-term, it can be said without their enthusiastic encouragement and support of the development would not I; I take this opportunity to you on their deep Ju Yi Gong, and sincerely say &quot;thank you&quot;!<br /> 顾绍骅于2009年11月16日整理<br /> Gu Shao-hua on November 16, 2009 order<br /> 文化发展论坛：http://www.ccmedu.com/bbs13_108479.html<br /> <br /> &nbsp; Personal http://www.zorpia.cn/gushaohua/journal/1973544 Thu, 13 May 2010 22:43 EST http://www.zorpia.cn/gushaohua/journal/1973543 <br /> 2009年7月被武汉的李建强先生收藏中国画一件<br /> In July 2009 by Mr. Li Jianqiang Wuhan, a collection of Chinese painting<br /> 中国山水诗意画——《野山红叶》<br /> Poetic Chinese landscape painting - Wild Red Leaf<br /> <img hspace="0" border="0" align="baseline" vspace="0" src="http://www.home126.net/attachment/200911/18/216669_1258534803ewKO.jpg" /><br /> <br /> 【作品说明·自作诗】野鸟知早勤飞习，山林应秋妆扮易；红橙黄绿青蓝紫，叶花识世添伟绩。<br /> 【Description · Self-poetry works】<br /> Birds know as early as ground flying habits, the forest should be easy to fall dress; red-orange yellow-green green blue-violet, leaves and flowers of knowledge world-tim feats.<br /> 【赏析】（高飞的）野鸟知道（每天）早起，勤奋地进行飞翔练习；山中的树林适应着秋天季节而将自己的“时装”变换成——“红、橙、黄、绿、青、蓝、紫”的 多姿多彩、绚烂艳丽……；树叶、花儿也认识当今是盛世而频频添加伟绩—— 29届奥运会成功的举办，“神七”的太空行走……。<br /> 【Appreciation】<br /> (Goofy's) wild birds know the (daily) to get up early, hard to carry out flying exercises; the mountain in the woods to adapt to the autumn season will be their own fashion transform into - red, orange, yellow, green, green, blue and purple, the colorful, dazzling bright ... ...; leaves, flowers also recognized that today is a flourishing and frequently add the feats - 29 th Olympic Games will be held, God seven space walk ... ....<br /> 规格：100cm×53cm&nbsp;&nbsp;&nbsp; 纸本设色&nbsp; 创作年代：2008年11月<br /> Size 100cm × 53cm paper-based color creation's November 2008<br /> <br /> 2009年9月被武汉的一收藏者收藏中国画一件<br /> In September 2009 was a collector of Wuhan collection of Chinese painting one<br /> 中国山水诗意画——《白发渔樵江渚上》<br /> Poetic Chinese landscape painting - white-haired fish-chiu islet on the river<br /> <img hspace="0" border="0" align="baseline" vspace="0" src="http://www.home126.net/attachment/200911/18/216669_1258534817qa55.jpg" /><br /> <br /> 【原词】滚滚长江东逝水，浪花淘尽英雄。是非成败转头空。青山依旧在，几度夕阳红。白发渔樵江渚上，惯看秋月春风。一壶浊酒喜相逢。古今多少事，都付笑谈中（明朝·杨慎的《临江仙》诗意）。<br /> 【Original words】<br /> Rolling in the Yangtze River East PASSING, spray 淘尽 hero. Success or failure of rotor of non-empty. Aoyama is still there, How Many Suns. Yue-Qiao Jiang Nagisa white hair on the moon used to look at the spring breeze. A pot of liquor Happy Encounter. The number of things past and present, have to pay jokes (the Ming Dynasty · Yang Shen's Lin Jiangxian poetic).<br /> 【赏析】本画采用“云青青兮欲雨、水淡淡兮生烟” 的“小青绿山水”画法，画面中：只见群峰突起，夕阳的余辉，将一座座山峰染成赫色。紧接着，雾霭泛起，乳白的纱把重山间隔起来，只剩下青色的峰尖，笔墨清 爽、疏密有致。那滔滔的江水、那渔歌唱晚、响穷彭蠡之滨与密林发出“梆、梆、梆……”砍樵声相互交错，组成分外壮美的历史长歌。在浩瀚历史长河中经历过血 与火的熔炼，凝聚着华夏儿女的无穷智慧。<br /> 【Appreciation】<br /> The paintings adopt the green Come To the rain clouds, water, hygiene Xi faint smoke and little green landscape painting, screen I saw peaks protruding sunset afterglow, would be a mountain peaks He dyed colors. Shortly afterward, the mist thrown up, Opal yarn intervals up to mountains, leaving only blue of Feng Jian, the works fresh, density has caused. That the surging river, that singing fish late, poor sound and the jungle coast of Peng calabash issued a bang, bang, bang ... ... cutting firewood sound intertwined to form a long history of exceptionally magnificent song. In the vast span of history gone through blood and fire, melting, crystallization of the infinite wisdom of the sons and daughters.<br /> 规格：68×136cm&nbsp;&nbsp; 纸本设色 2007年创作<br /> Size 68 × 136cm paper colors created in 2007<br /> <br /> <br /> Personal http://www.zorpia.cn/gushaohua/journal/1973543 Thu, 13 May 2010 22:40 EST http://www.zorpia.cn/gushaohua/journal/1973542 <br /> 2009年3月被武汉的吴润泉先生收藏中国画三件<br /> In March 2009 by Mr. Wu Runquan Wuhan Collection of Chinese Painting 3<br /> 中国山水诗意画——《峡江新绿》<br /> Poetic Chinese landscape painting - Three Gorges New Green<br /> <img hspace="0" border="0" align="baseline" vspace="0" src="http://www.home126.net/attachment/200911/18/216669_12585347666cN4.jpg" /><br /> <br /> 【作品说明·自作诗】峡壁又逢春,江水激漩深；新涛振弦崖，绿境自古呈。<br /> 【Description · Self-poetry works】<br /> The spring on the hillside back to the Three Gorges, the Yangtze River water, stirring another vortex deep; new waves pushed the old fishing boat and the waves beat the cliff, then the green landscape from the ancient times, ah.<br /> 【欣赏】峡江两边的山壁又逢春天，那绿茵茵的植物“发满”（生长）两岸；长江水漩流、急湍又不可测，长江的水总是后浪推前浪，拍振着船舷与岸崖上；这些绿色的仙境是自古都呈现出来的，我们后人要保护环境呀！<br /> 【Appreciation】<br /> Xiajiang both sides of the cliff once again the talk of spring, then plant Lvyin Yin Fat Man (growth) of cross-strait; Yangtze River water swirling stream, swift current also unpredictable, the Yangtze River water is always pushed forward after the waves the waves beat vibration with the ship's rail and coastal cliffs On; the green fairy is all rendered out of ancient times, we have to protect the environment for future generations ah!<br /> &nbsp;&nbsp; 规格：136×68㎝&nbsp;&nbsp; 纸本设色&nbsp;&nbsp;&nbsp; 创作年代：2008年11月<br /> Size 136 × 68 cm paper-based color creation's November 2008<br /> <br /> 中国山水诗意画——《山乡新绿》<br /> &nbsp;Poetic Chinese landscape painting - Shan New Green<br /> <img hspace="0" border="0" align="baseline" vspace="0" src="http://www.home126.net/attachment/200911/18/216669_1258534779wm99.jpg" /><br /> <br /> 【原诗】山村小学早，乡情浓又好；新壁不用凿，绿境古勿找。<br /> 【Original poem】<br /> Village primary school very early, where the teachers are local, he has in mind for the home to contribute to education; chisel wall Jieguang story will not happen today, we learned from ancient times had a beautiful environment, we must be protected.<br /> 【赏析】在“崇山峻岭、茂林荫海”的大山中，清晨的小学校里，乡村教师是“回乡”的大学生与小学生们感情深厚，古代的穷学子匡衡“凿壁借光”，现在新学校 是为“九年义务教育”而修建，因此学生们不必再“凿壁借光”式地学习了；那绿色环保生态是自古就有的只是“物是人非”我们要学习古人刻苦学习的精神并且要 保护古人给我们留下宝贵的自然资源。<br /> 【Appreciation】<br /> In the mountains, Mao-tree-lined sea mountain in the morning of the primary and secondary schools, the rural teachers are returning college students and schoolchildren has deep feelings for the poor students of ancient Kuangheng chisel wall Jieguang Now a new school for the 9 year compulsory education and to build, so the students no longer have to dig Jieguang wall type of learning a; that green ecology is only since ancient times, people have changed We want to study hard and learn the spirit of the ancients, and to protect the ancient has left us with precious natural resources.<br /> &nbsp; 规格：136×68㎝&nbsp;&nbsp; 纸本设色&nbsp;&nbsp;&nbsp; 创作年代：2008年11月<br /> Size 136 × 68 cm paper-based color creation's November 2008<br /> <br /> 中国山水诗意画——《秋》<br /> Poetic Chinese landscape painting - Autumn<br /> <img hspace="0" border="0" align="baseline" vspace="0" src="http://www.home126.net/attachment/200911/18/216669_1258534781Ss2l.jpg" /><br /> <br /> 【原诗】洛下三分红叶秋，二分翻作上阳愁。千声万片御沟上，一片出宫何处流。------唐·徐凝《上阳红叶》诗意<br /> 【Original poem】<br /> Luoyang City, the next three dividends securinine, red leaves, autumn deep heavy dew. Sigh, for this late autumn, Yiyun, the deep, for this autumn; what to write You want. Until the leaves send, they send with whom Look at the foot of flowing water, you want to, you send with water bar. unimpeded Autumn Creek, flowing from the stream rockery, chemical Rugong River, a red leaves, drifting into the water, away, away ......--- --- Don · Xu Ning, Yang Hongye on the poetic<br /> 规格：68×136㎝&nbsp;&nbsp;&nbsp;&nbsp; 纸本设色&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; 2008年10月创作<br /> Size 68 × 136 cm paper colors in October 2008 created<br /> <br /> <br /> Personal http://www.zorpia.cn/gushaohua/journal/1973542 Thu, 13 May 2010 22:38 EST