中国画欣赏新译-------中国书画作品欣赏之我见之中国画
Chinese paintings to enjoy the new translation ------- Chinese paintings and calligraphy works, I see the appreciation of Chinese painting
顾绍骅著
Author shaohua-gu
对中国画审美特征的理解会敏锐我们的直觉，欣赏时再结合想象，方能领略作品的文化背景和气韵、神韵、陶冶情怀。中国的书法与绘画是在一种特殊而古老的文明环境中产生的。几千年来，它们曾走过了从发端、童稚、成熟到升华变化，从实用到艺术化的漫长路程。毫不夸张地说，书与画是华夏民族的聪慧与创造力最集中的表现之一，并在某种意义上标志着华夏文明在古典文化艺术领域的最高水准。
The aesthetic characteristics of Chinese paintings will be keen understanding of our intuition, when combined with the appreciation imagine, can appreciate the works of cultural backgrounds and Qiyun, charm, cultivate sentiments。 Chinese calligraphy and painting is in a unique and ancient civilization in the environment。 For thousands of years, they have gone through from the originator, Tongzhi, to mature distillation of change, from the practical to the art of the long journey。 No exaggeration to say that the painting is the Chinese nation and the intelligence and creativity of the performance of one of the most concentrated, and in a sense, marks the Chinese civilization in the field of classical culture and the arts the highest standards。
中国乃至东方世界对宇宙自然的看法，对社会人事的态度，对美与永恒性的追求，都在中国书画里得到了显化，并通过它们而获得了千百万炎黄子孙、东方朋友乃至世界各国朋友的认同。历代那些稚拙的或者雄健的或者秀美的碑帖法书，那些神秘的或灿烂的或淡雅的绘画名品，都是我们民族的精华——书画艺术家们(包括不知名姓的民间艺匠)以审美方式与主客体世界进行心灵对语的形象记录。这种对语有时达到了哲学化的高度，——在“若坐、若行、若飞、若动”的纵横笔画之间，在“有丰致、有缥缈”的笔情墨象之中，蕴含着情思，也体现着“道”，表现着人格乃至对生命宇宙的体验。
China and the Eastern world views of the universe's natural, social and personnel on the attitude of the United States and the pursuit of the eternal, all in Chinese painting, has been significant, and through them, and access to the millions of Chinese, Oriental and friends around the world Friend's identity。 Zhizhuo, or those of the previous Xiongjian or beautiful Beitie law books, those mysterious or brilliant or elegant paintings pruducts, are our nation's best - painting and calligraphy artists (including the civil Yijiang First name Last name unknown) to aesthetic way With the main object of the soul of the world to record the image of the phrase。 This kind of language sometimes reach a height of philosophy, - "Ruozuo, if the trip, Ruofei, if the dynamic" between the vertical and horizontal strokes, "by Feng, Piaomiao" T situation like in Mexico , Contains a Qingsi, but also the "Road", the performance of the personality of the universe and of life experience。
可以说，每幅字、画都凝结着民族与时代的心态，积淀着民族精神的文化层。作为艺术，作为中国人心理意识结晶的书画艺术，就更不待言了。但不是每个人都能够在较高的层次上欣赏书画艺术。它是如此的丰富而悠久，精致而又神妙！要理解与感受神秘的陶绘，狞厉的青铜纹饰，静穆的佛像，意在笔墨之外的文人画和高度抽象、流动的书法点划结构，都需要一定的知识和修养。欣赏中国书画，允许欣赏者持的某种主观态度，这需要情感与想象。需要理性、确切的知识与判断。将二者合而为一，是笔者试图向读者提供的既引导欣赏，又介绍知识的文章。
It can be said, each word, setting a national painting and have the mentality of the era, steeped in the culture of the national spirit。 As art, as the Chinese mentality of the crystallization of painting and calligraphy art, the more Budai a statement。 But not everyone is able to enjoy a higher level of painting and calligraphy art。 It is so rich and long, delicate and Shenmiao! In order to understand and feel the mysterious painted pottery, bronze ornamentation Ning Li, Jingmu the Buddha with the intention of ink from the literati paintings and a high degree of abstraction, the flow of calligraphy, is zoned structure, we need the knowledge and self-cultivation。 Appreciate Chinese paintings and calligraphy, allowing holders to enjoy some kind of subjective approach, which requires emotion and imagination。 Needs a rational, precise knowledge and judgement。 Will combine the two, is the author trying to guide readers of both shows, and on knowledge of the article。
传统中国画以毛笔、水墨、矿物质颜料、绢帛、宣纸等为工具（原料）从表现形式上分工笔画和写意画。人物画强调“传神”，通过对人物面部表情（特别是眼神的刻画）、肢体语言、环境等的表现，达到以形写神、突出人物的内心世界。山水画强调“诗情画意”表现雄壮粗犷或秀丽俊美的山式、云吞雾幕——情景交融的意境创造即：将大自然的美与文人逸趣（中国文化）紧密地糅合在一起，用高远、平远、深远（或合三远）法的结构画面，计白当黑的处理方式。花鸟画则以托物言志、借物抒怀；来赞美生命、歌颂大自然——挥洒“胸臆”。在笔墨色彩上讲究：1、笔法丰富、有力度，或浸润凝重、或枯涩快疾；或中锋、或逆锋、或侧锋、或拖笔、或散笔。2、墨法多层次的变化（五墨六彩——焦、浓、重、淡、清加上纸的颜色），或积墨、或破墨、或泼墨。3、色彩为随类赋彩等感性色彩，讲求墨气、沉着（色彩以墨骨为主，施以淡彩）并有工笔重彩。总体上追求传统文化（内在的）与以线造型的笔墨意趣（外显的）融合，即：诗情画意和“气韵”、“神韵”的表现。在造型上不拘泥于外形的肖似（逼真），而着重表现物象内在的“气韵”、“神韵”与画家“胸臆”的挥写（抒发）。在构图、透视上的处理有别于西方绘画，以多角度、多视点（移动）的“散点透视”来表现画家的主观意图自由组合空间。那幺我们究竟如何欣赏呢？笔者认为可从以下几个方面去欣赏：中国的历史、文化背景、文学艺术（诗情画意）和笔墨技巧以及中国画色彩的魅力等方面去品味（欣赏）中国画作品。
Traditional Chinese painting with a brush, ink, mineral pigments, silk silk, Xuan paper as the tools (raw materials) from the performance of the Fine Brushwork form and freehand brushwork paintings. That figure painting "vivid" and through the characters facial expressions (especially the eyes of the portrait), body language, and environmental performance, to write to-God, prominent figures of the inner world. Landscapes stressed that "poetic" magnificent performance of wild or beautiful mountain-Jun Mei, wonton fog screen - scenes that blend to create the moods: Nature's Beauty and the literati Yiqu (Chinese culture) closer together, "lofty, Ping far, far-reaching "(or a distant third) of the structure of the screen to white when the black approach. Flowers and Birds Painting of statement-while child care, by-Shuhuai; life to praise, praise of nature - Huisa "Xiong Yi." In pen and ink color on stress: 1, abundant technique, intensity, or infiltration solemn, or Kuse fast disease, or center, or the inverse front, side or front, or drag pen, or casual T. 2, multi-level Mexican law changes (5 6 ink color - Coke, thick, heavy, light, the color-plus paper), or plot Mexico, Mexico or broken, or Pomo. 3, with the color categories to give emotional color, such as color, and stress Mexican gas, calmly (ink color to the main bone and exercise Dancai) and Meticulous re-Cai. The pursuit of traditional culture in general (internal) and the line to form the ink Interest (explicit) integration, namely: poetic and "Qiyun," "charm". Modeling is not rigidly adhere to the appearance of Xiaosi (realistic), and images focused on the internal performance of "Qiyun," "charm" and the artist "Xiongyi" wrote the play (to express). In composition, perspective on the treatment is different from Western painting, a multi-angle, multi-perspective (mobile), "Scatter Focus" performance artists to the subjective intent of an ensemble of space. NA me how to appreciate what we do ? I believe that from the following aspects to appreciate: China's history, cultural background, literature and art (poetic) and Chinese ink painting techniques and color of the charm of the areas to taste (appreciate) works of Chinese painting.
1                 中国画史：
中国的绘画艺术，源远流长，波澜壮阔，在世界美术史上形成了最为繁盛而特具风格的绘画体系（越是民族的就越具世界性）；蔡元培倡导“美育代宗教”，美术教育始见重视；原属宫廷和权贵秘藏的历代名画，也已纷纷散至民间，继而介绍到国外，引起了世界人士的瞩目赞叹、争相研究，这情形，又反过来刺激着中国的学者，痛感我国近代对于传统艺术研究之不足。考证世界文化发源地：西方为意大利半岛，东方为中国。意大利吸收埃及与中央亚细亚古代文明之素养，启发于希腊、罗马两时代，分布于全欧洲，移植于美洲；中国则采纳美索八达米亚(古希腊人称这个地区为“美索八达米亚”，意即两河之间的土地,所谓两河，是指在亚洲西部今伊拉克境内的底格里斯河和幼发拉底河。这个地区面积不大，大体上相当于现在的伊拉克。)与印度文明之灌溉，汇成东方特殊系统之泉源；沿朝鲜及我国台湾一带流传于琉球、日本诸域，绘画上亦不外此线索。故西方绘画者，以意大利为母地，而东方绘画者，以中国为始祖矣。而中国绘画受中国传统文化（儒家、释家、道家）的影响，特别是“中庸”、“中和”思想——不偏不倚、不左不右；“含而不露”的人文精神；因此，隐涵、博义是其特点；加之其所用之工具、发展之情况等，都与西方绘画的造型、追求、情趣等不大相同。
1 Chinese Painting History:
Chinese painting art, a long history and magnificent in the world art history form the most prosperous and a special style of painting system (the more the nation will be a world-wide); Cai Yuanpei advocate "aesthetic and religious," art education only to see; Micang origin palace and the bigwigs of the art history, has also have scattered to the public, then introduced abroad has aroused world attention to the praise, compete on this situation, in turn, stimulate China's scholars, China's modern pain The traditional art research inadequate。 Birthplace of the World Cultural research: the West for the Italian peninsula, east of China。 Italy absorption of ancient Egypt and Central Asia civilized standards, inspired in Greece, Rome two times, distributed in Europe, transplanted in the Americas, China has adopted the U。S。 cable 8 Mesopotamia (ancient Greeks said the region as "the U。S。 cable 8 Damian Asia ", which means the land between two rivers, the so-called two rivers, is in Asia this western Iraq in the Tigris and Euphrates rivers。 This area of small, largely equivalent to the current Iraq。) Irrigation with the Indian civilization , Huicheng East special source of the system; along North Korea and China's Taiwan area spread in Okinawa, Japan various domains, painting, not on this trail。 Therefore, Western painting, to Italy for the mother, and Oriental paintings, with China as the ancestor of just。 Chinese painting by the Chinese traditional culture (Confucianism, Buddhism, and Taoism) the impact, in particular the "Doctrine of the Mean", "and" thinking - impartiality, not left not right, "including but not reveal" the humanistic spirit; Therefore, the hidden culvert, is characterized by Boniface; addition, the tools they use, development, and so on, all the modeling and Western painting, the pursuit of fun, and so not the same。
我国自有绘画以来，经古人专心致志的探求，四、五千年间长期的演变和进步，作手名家，人才辈出，你追我赶，且遍布华夏，各发挥一代之光彩。如顾恺之、陆探微、张僧繇、展子虔等都能以画而称为大家；到了唐代，有李思训、王维等成为南北二大派（风格）的代表。之后，继承传统作家如风云涌起，可谓数不胜数。所以说上下数千年的中国绘画史，于叙事上简便起见，大略可分为古代史，上世史，中世史，近世史，四篇，以寻求其变迁推移之痕迹。而顾恺之《女史箴图》，亦尚留存于人间，足以供我们参考。此画曾被记录于《宣和画谱》、《米芾画史》、《陈继儒妮古录》、《朱彝尊曝书亭书画跋》、《石渠宝笈》等诸书。因清代末列强的掠夺而散失，今藏于英国博物馆。无论其为摹本，修缮本，都足以窥见顾氏（顾恺之）及当时画风都是与之相似。虽然在此之间的画风及技巧诸方面，有多次的变化，如：两汉的雄浑朴厚，六朝开始逐渐精细（工笔），隋朝就画得很精致华丽了；然而大体都是先以墨线勾轮廓（以线造型），再赋以彩色，并在此前后都是遵循这一程序（系统）来进行的；这种方法成为亚洲大陆共同的绘画式样。印度阿近他窟，我国敦煌石室，日本法隆寺金堂等之壁画，均系类似手法。

China's own paintings, as the ancients dedicated explore, four, five thousand years of long-term evolution and progress, famous for hand, talented people, Nizhuiwogan, and all over China, all play a generation of glory。 Such as Gu Kaizhi, Lu On, Mr。 Monk Yao, Qian exhibition of paintings, and so can to everyone and called up to the Tang Dynasty, Li Xun, Wang will become the major north-south camp (style) representatives。 After carrying forward the tradition writers such as the situation filled, is endless。 So, from top to bottom several thousand years of history of Chinese painting, in the narrative on the simplicity's sake, can be roughly divided into ancient history, Shangshi history, the history of the World, Modern History, 4, to find traces of their passage changes。 And Gu Kaizhi, "the history of women Zhen map", also was retained in the world, sufficient for our reference。 This painting had been recorded in the "sun and Huapu," "Mi Fu painting history", "Chen Jiru Minnie ancient recorded", "Zhu Yizun exposed Shuting painting Postscript," "Shiqu Baoji" Zhu Shu。 Because of the predatory powers at the end of the Qing Dynasty and lost, this possession in the British Museum。 Whether it was Moben, the repair, are sufficient insight into Gu (Gu Kaizhi) and then with the style are similar。 Although in this style and skills between the various aspects, there are a number of changes, such as: the powerful Puhou the Han Dynasty, began gradually refined the Six Dynasties (Meticulous), the Sui Dynasty painting on a very delicate gorgeous, but generally are first Mexican contour lines to hook (in line modeling), and then given to color, and Before and after this procedure are followed (system) to carry out; such as the Asian continent common method of painting style。 India A near his cave, China's Dunhuang sarcophagus, Japan Horyuji Jintang, such as the murals, are in a similar way。
魏晋以后，我国的书学（书法）大发展，绘画上亦开始受书法运笔之影响。到了唐代就更盛行了，大大地发挥毛笔画线上的抑、扬、顿、挫之特有的趣味，开吴道子“兰叶描”（十八描的一种）等诸新法，一变隋陈细润之习，成正大雄浑之风格。兼以唐、宋二代，禅风与诗理学之互相因缘，大大地促进了水墨画的发展，与山水、花鸟画之流行，使玩赏绘画者得到最大益处——“赏心悦目”；这样一来顿时成为当时社会（唐、宋）的新趋势（时尚），从而开辟了我国绘画史上的新纪元。元代的画风，虽是唐、宋二世的过渡之桥梁，然而大体上承唐宋之余波，仍可划入于“中世”。明、清二代，除明初画院中的水墨苍劲派外，其画风都可以概括为以“纤、浓、轻、软”呈现其特色，而存在有向近体转变的姿态。虽然，在这期间实际上是风俗画（传统绘画）之兴起与西洋画风的输入，这两者之间相互作用、相互交融，开一时之新生面，而呈现其变革（并延续至今）。然而这些变革的均系局部中之小波澜。虽然，绘画为艺术之一种，其演进之途程，总是依随当时的政治、思想、教育及特殊之环境而异其趋向。我国四、五千年来，随思潮之起落，战争之频发，政局之更易，则变化多端，其直接或间接地影响于绘画；因此，在绘画形式、绘画内容和绘画风格上各具变化与政治是形影之相随；也就是人们常说的：“艺术当随时代变”。近一百年间特别是近二十年来随艺术流派、艺术形式的纷繁，以创新为目的画作也频频地出现在我们的视野里，真是“百花齐放、百家争鸣”。他们是：1、以传统绘画美为美的代表画家：齐白石、张大千、唐云、溥佐、于非闇、黄胄、付抱石、王雪涛、朱屺瞻、田世光、张世简、叶浅予、姚有多、白雪石、宋文治、任率英等。2、传统绘画美结合西方绘画美的代表画家：徐悲鸿、蒋兆和、林凤眠等。
Wei-Jin (dynasty), the book of China (calligraphy) development, also started by painting on the impact of calligraphy Yunbi。 To the Tang Dynasty more prevalent, greatly gross stroke play online suppression, Yang, Dayton, down the special interests, Wu Daozi a "depiction of the Koran" (a depiction 18), all the new law, a change Chen Xi Xi Run of the Sui Dynasty, as the Zhengda powerful style。 And the Tang and Song II, Zen poem jurisprudence of the wind and each other Causes, greatly promoted the development of Chinese ink painting, and Landscape, Flowers and Birds Painting of the epidemic so that the fun of painting to receive the maximum benefit - "pleasing" This has suddenly At that time, become a social (Tang, Song) to the new trend (fashion), thus opening up a new era of the history of painting in China。 Yuan's style, although Tang, Song II, the transition of the bridge, but largely for the aftermath of the Tang and Song Dynasties can be included in the "in the world。" Ming and Qing second-generation, with the exception of the early Ming Ink Painting Studio in Cangjin camp, their style can be summed up as "fiber, dense, light, soft," showed the character, and there was to change the attitude of the past。 Although, in this period is actually folk paintings (traditional painting) and the Rise of Western style of input, interaction between the two, mutual exchanges, opened at the new face, and showed its changes (and renewal date)。 However, these changes are part of the small waves。 Although the painting as a kind of art, the evolution of the carriage, always in accordance with the prevailing political, ideological, special education and the environment vary its trend。 China 4, 5,000 years ago, with thoughts of the ups and downs, the frequency of the war, the more councils, changeable, directly or indirectly impact on the painting; Therefore, in the form of painting, drawing and painting style on the content of the various changes and Xingying of politics is accompanied; is often said: "When the arts change with the times。" Nearly 100 years in particular the last 20 years with the art schools, art forms ever to innovation for the purpose of the paintings also frequently appear in our view, is "letting a hundred flowers blossom and a hundred schools contend。" They are: 1, the traditional painting to the United States and the United States on behalf of artists: baishi-qi, daqian-zhang, yun-tang,zuo-pu,feian-yu,zhou-huang,baoshi-fu, xuetao-wan, qishan-zhu, shiguang-tian, shijian-zhang, qianyu-ye , Youduo-yao, xueshi-bai, wenzhi-song, shuaiying-ren, and so on。 2, combining traditional painting the United States and the United States and Western painting on behalf of artists: beihong-xu, zhaohe-jiang, fengmian-lin, and so on。
2                  文化背景
2 cultural background
1、    统文化的融合
1, the integration of cultural integration
古代文人大多视绘画为余事，同书法一样用来充实自己的精神家园，情感得到宣泄，心灵得到净化。如米芾的画作，水墨点点，视为戏作，是作者随意、自然、不蹈故常的心态写照。也有的画家视绘画为生命，淡泊名利，为艺术而终生求索，同样受到人们的敬重。如清代的石涛，虽出家为僧，但在绘画创作上却倾注了大量的心血和汗水，他在绘画上的标新立异，招致了周围同道们的讥讽和嘲笑。但他不受时风的左右，提倡一画之法，主张画家要借写生抒发真情实感，不要斤斤计较于一点一画的得失，要从全局着眼。因此他的山水、人物画形态恣肆，不拘绳墨。其“墨海中立定精神”的主旨被后人广为传颂。通过上述分析，可给我们以如下三点启示：其一，恰如其分地抒情表意还要以深厚的笔墨功夫和广博的学养为根基。文入画的创作虽然要摆脱纸笔的限制，创造新的意境，一切服从于抒情主题，但有一点必须明确，即扎实的技法是表达情感的基础，熟练畅快地驾驭笔墨丹青，才能卓有成效。文人画家—般都书画兼善，如苏轼、米芾，皆执宋代书坛、画坛之牛耳，是后学效法的楷模。不断地加强自身的修养，澄澈内心也是文入画家的基本功。
Most of the ancient literati painting for more than depending on, with the calligraphy used to enrich themselves as the spiritual home, get emotional venting, the spiritual purification. Such as Mi Fu's painting, ink little bit, as for drama, the author is free, of course, not dancing portrayal of the mentality of Guchang. Some artists as painting to life, indifferent to fame and fortune, and life-long search for the arts, equally respected by people. If the Qing Shi Tao, although the monk to monk, but in the creation of painting has devoted a great deal of effort and sweat, his painting on the unique innovation, incurring the ridicule of their fellow around and ridiculed. But he's not around when the wind to promote a painting of the law, that artists would like to take painting to express Zhenqingshigan not Jinjinjijiao 1. 1 painting in the gains and losses, we should focus on the overall situation. Therefore, he's landscape, figure painting patterns Zisi, informal Shengmo. Their "standing in the spirit of Mexico" was the main thrust of future generations widely famous. Through the above analysis, we can give inspiration to the following three points: First, properly lyric sheet intended to ink a profound and extensive efforts of school support for the foundation. Although picturesque, the creative pen and paper to get rid of restrictions, create new moods, all subordinated to the lyrical theme, but it should be clear that the technique is a solid basis for the expression of emotion, skilled cool to control the ink Danqing , Can be effective. Literati painters - all paintings general Jianshan, such as Su Shi and Mi Fu, they are Song of the altar, the painting of Niuer, after learning model is the model. Continue to strengthen its cultivation, Chengche heart is the text of the basic skills to the artist.
古代文人往往据于儒、依于道、欹于禅，对儒学、道家、禅宗理论浸淫颇深，进而极大地丰富了中国传统文人的文化思想，提高了文人的文化素质，对精神升华也起到了不可忽视的作用，这样他们的画作就体现了多重内涵，具有真正的艺术价值。其二，文人画家不管荣辱得失，始终痴迷于绘事。这固然和文人画特有的寄情功能有关。在—定程度上也反映了文人们对这门艺术的迷恋和热爱，毕生不辍。李苦禅先生在解放前生活困顿，还要经常面对日寇的威逼利诱，即便身陷囹圄仍念念不忘画艺。他笔下的雄鹰，气度超凡，目光炯炯，傲视苍穹，正是先生历万劫而不悔的生动写照。齐白石先生在中国画坛独树一帜，倡导新的画风，但却遭到别人的非议和围攻，但老人却以“不挨骂长不大”坦然应对，他笔下的群虾互相追逐嬉戏，逍遥自在。由画及人，我们可以得知画家内心对艺术的痴迷。其三，创作时要任心态自然流露。画家是绘画艺术王国的主宰，有了精深的笔墨功夫之后，可以暂时忘却一切，全神贯注地用艺术语言记录自己的所思所想。这样的创作过程不需要任何掩饰或是矫揉造作，不做任何名利之想，追求自然、纯真，这才是理想的创作过程：，如此才能创造美好的意境，作品才能成为寄情写志的上乘之作。研究心态与文入画的创作对我们的绘画创作具有重要意义。
According to the ancient Confucian literati often, according to the Road, Yi in Zen, Confucianism, Taoism, Zen theories steeped Poshen, thereby greatly enriched the culture of traditional Chinese literati thinking and enhance the cultural quality of the literati, also on the spirit of sublimation Played a role can not be ignored, so that they reflect the paintings on the multiple connotations, with real artistic value. Second, regardless of the literati painters honour gains and losses, always obsessed with the painting in the matter. This is, of course, and literati paintings unique Jiqing function. In - the extent, the text also reflected the people's fascination with this art and love, life Buchuo. Mr. Li Kuchan in the Predicament of life before liberation, but also often face coercion or inducement of the Japanese invaders, even Shenxianlingyu Huayi still an obsession. He works in Eagle, bearing extraordinary, Muguangjiongjiong, proud to see the sky is not Mr. Li Hui Wanjie a vivid portrayal. Qi Baishi, is unique in the Chinese art world, promoting a new style, but others were objectionable, and the siege, but the elderly are "not Aima Zhang Buda" calm response, described by the group he co-chasing shrimp play, Happy freely. And paintings by the people, we can know the painter's obsession with hearts of the art. Third, the creation of the mind when something very natural to us. Painter is the art of painting the Kingdom of the key, a sophisticated pen and ink work, you can forget all the time being, with rapt attention to his own artistic language records and think they think. This creative process does not need any disguise or artificial, will not do anything to the fame and fortune, the pursuit of natural, pure, this is the ideal creative process: that in order to create a better mood, can become works of fine Jiqing write-in for. On the picturesque, with the mentality of our creative painting creation is of great significance.
2、        诗情画意与中国画的意境：
2, poetic and artistic conception of Chinese Painting:
“无诗不能成画、无画不能为诗”（没有不能成为画的诗，也没有不能写成诗的画）。画家在画作上题以诗文，或记下创作背景，或只写一个言简意赅的画题，通过这样的题跋，—方面表达自己的思想，抒发自己的情感；另一方面，也使画的意境更加深邃，主题更加突出，布局构图更加完善，如果题跋又是精美的书法，那么观者在赏画的同时，还可得到书法的美感享受，这幅画作岂不是更加完美?
"No poetry can not be a painting, not painting can not be poetry" (without the poems can not be a painting, nor did the painting can not be written poems)。 Artists in the paintings on the title to poetry, or a note of creative background, or just write a concise and clear that the paintings, by such Tiba, - express their ideas, express their feelings on the other hand, also painted the Mood More profound, more prominent theme, layout composition more perfect, if Tiba is the exquisite calligraphy, in Shanghua guests at the same time, but also get to enjoy the beauty of calligraphy, paintings of this is not a more perfect ?
诗情画意是中国画所追求的最高“境界”；并且诗、书、画、印堪称“四绝”。这是因为诗、画都是写人绘景；诗画并举，相映生辉，形成中国画一道亮丽的风景。由此可见，它们之间的关系应是有机结合的，不能把诗文视为多余。大画家黄宾虹曾说：“中国画有三不朽”，其中就有“诗书画合一不朽也”。
Chinese paintings by the poetic is the highest pursuit of the "realm" and poetry, books, paintings, India is known as the "four no。" This is because the poetry and painting are people drawn to write King; poetry and painting simultaneously, Xiangying Shenghui, a Chinese painting a beautiful landscape。 Clearly, the relationship between them should be organically integrated, and can not be seen as superfluous to poetry。 The painter Huang Binhong once said: "Chinese paintings are San Buxiu", including the "One immortal poem painting also。"
事实上，自古以来，将诗书画结合巧妙的人大有人在。比如：徐渭在《葡萄》上的题诗：“半生落魄已成翁，独立书斋啸晚风，笔底明珠无处卖，闲抛闲掷野藤中。”如果抛开这首诗，只是—串葡萄而已，还有何意义。郑板桥一生爱竹、画竹他在《竹石》诗中写道：“咬定青山不放松，立根原在破岩中；千磨万击还坚劲，任尔东西南北风。”他以竹自喻、刚直不阿。可见，好的题画诗可以使画的意境更加深邃，主题更加突出有意义，甚至达到点石成金、化腐朽为神奇的作用。画友在一幅山水画中题跋道：“乱石堆中水一泓，草舍置于野林中，远离尘器听鸟语，管他春夏与秋冬。”在《农家之秋》中题曰：“谁说秋天气萧森，经霜红叶更精神，农夫收禾不在家，寻亲访故莫敲门。”在一幅《瀑布图》中题道：“清泉出山不停息，人生苦短自奋蹄。”在另一幅山水中题曰：“岸边房舍绿荫浓，船泊碧水一江中。静看云起云又落，闲坐船头作渔翁。”这是画家思想情感的自然流露，写景抒情朴实宛如“绿色食品”一样。
In fact, since ancient times, the ingenious combination of poetry paintings of many people。 For example: wei-xu artists in the "grape" on the Tishi: "Lapo is a half-Weng, independent Den Xiao Wan Feng, have nowhere to sell T at the end of Pearl, left idle in the leisure throwing Ye Teng。" Cast aside if this poem , The only - only string of grape, what significance。 Painter banqiao-zheng life love bamboo, Huazhu his "Zhu Dan," the poem says: "Castle Peak Yaoding not relax, rooted in the rock-breaking; grinding 000-1000 Kennedy also strong, Seoul, the South and the North East and West Wind。" He Bamboo self-evident, Gangzhi integrity。 Clearly, good poetry can make paintings that draw the mood even more profound, more prominent themes meaningful, even to Diandanchengjin, decadent to the magic of the role。 Friends in a painting landscapes in Tiba: "stoning pile water Yihong, Cao She placed wild forest, away from dust-listen Niaoyu, of his spring and summer and autumn and winter。" "Autumn farmers" in the title Said: "Who says Xiaosen autumn weather, the more the spirit of cream colored leaves, do not at home at Wo, Xunqin visit so-knock on the door。" In a "waterfall map" in the title: "Chingchuankang Chushan kept interest rates, short life hard Since Fenti。 "In another in a landscape that said:" shore premises dense shade, Chuan Bo Jiang in a clear water。 Static view from the clouds and cloud-to sit bow to Fisherman。 "This is the artist thinking of emotion Of something very natural to us, Xie Jing lyric like a simple "green food"。
笔者也在“自画像”中这样题道：“儒世家门坠一瓜，阎罗殿上险遭杀。翰林府第三敬履，蟾桂宫前四献花。”{笔者本人路遇车祸、险丧性命；康复后，又就读于中国书协书培中心之高级书法班时写的一首《感遇》诗。释义：书香世家生了一个男孩，阎王殿上险些被杀害。（在）翰林学府（书法培训中心）里，要象韩信当年求学时①（注①：韩信当年求学时，其师试他的诚心与决心，过桥时有意将鞋子失落于桥下，韩信当即将老师鞋子拾回，并双手敬奉给老师；如此三次，皆如此。其师为之所动，遂授兵书三卷，并予以指点，终使韩信能成大业。这就是“一桥三敬履”的历史故事），有诚心与决心刻苦学习；学成后一定以优异的成绩报效祖国。}。一幅画画得再好它所反映的物象、表现的空间是有限的，只有诗画并举，才能表现时空、寓意深刻。
The author (shaohua-gu) is "self-portraits" in this title: "Confucian family door catch a melon, Yan Luodian on Xianzao killing。 Hanlin House Third Lu Jing, Gui Palace toad first four victims。" I (author Lu Yu Accident, and risk the lives of mourning; after rehabilitation, and education in China Shuxie training centre on the High calligraphy class, written by a "flu case of" poetry。 Interpretation: Shuxiang family of a boy of Health, Yan Wangdian on nearly been killed。 (In) Hallym University (Calligraphy Training Centre), as the Hanshin year to study at ① (Note ①: Hanshin school year, the division test his sincerity and determination, when the bridge will be interested in the shoes lost underneath, Hanshin to be teachers when Shihui shoes and hands Jingfeng to teachers so three times, all this。 The division moved by it, then granted Bingshu three volumes, and to guide, National Cheng Kung University to end the Hanshin industry。 This is "a bridge 3 King fit the shoes "of the historical story), a sincere and determined to study hard; Xuecheng Hou some outstanding achievements to serve the motherland。 )。 A painting in it no matter how good the images reflect the performance space is limited, only poetry and painting simultaneously, to performance time and space, Yuyishenke。
白石老人一幅条幅，画的下方只画了三只小鸡。其余全是空白，只是在右上方题了长款，计白当黑，虚实结合，诗画互补，相映生辉，别有一番趣味。题画诗，还可以使画家爱、憎、悲、愁、褒、贬、扬、弃等多种情感更加强烈地倾注于画面。再如在画作《不倒翁》上题道：“乌纱白扇俨然官，不倒原来泥半团，将汝忽然来打破，通身何处有心肝。”这样的题跋使一幅简单的不倒翁画变得意境深远，意义不凡。如果不是这首诗，画中的不倒翁就显得毫无意义。
Painter baishi-qi a banner, painted just below the painting of the three chicks。 All the rest is blank, just in the upper right, that the long, black or white when, with actual situation, Poetry and complement each other, Xiangying Shenghui, do not have some fun。 Painting poetry, so that artists can also love, loathe, grief, worry about, pao, derogatory, Yang, disposable, and other emotions more strongly into the picture。 Another example is in the works, "Bu Daoweng" that: "The fans like white yarn Ukrainian officials, not the original mud inverted half-Mission, RU to break all of a sudden, Tongshen where a heart and liver。" Tiba make such a simple painting changed Bu Daoweng Mood in the far-reaching significance extraordinary。 If not this poem, painting in the Bu Daoweng it is meaningless。
白石老人《不倒翁》的题画诗对那种道貌岸然、久居高位，却无任何修养，只会欺压百姓的饭桶草包官给予了有力的鞭笞。画家爱什么，恨什么，旗帜非常鲜明，感受常强烈。如徐渭的题葡萄诗，郑板桥的题竹诗都倾注着画家强烈的思想感情。画家融情于画，更借诗直抒胸臆。看着画，读着诗，使观画者受到强烈的感染。画因诗而更具情感魅力；诗因画而更加意义不凡。诗画相得益彰，类似这样好的题画诗在当今画坛也并不鲜见。因而构成了中国画独有的艺术特色，达到一个高层次的美学水平，这是其它任何艺术所不能比拟的。有诗言：又如有山不宜平。”作画亦然。
Painter baishi-qi "Bu Daoweng" the poetry of that painting that Daomaoanran, Hisai high, the lack of any self-cultivation, it will only oppress the people of Fantongcaobao official to give a strong lashes。 What artists love, hate what the banner is very clear, strong feelings often。 Xu Wei that grapes such as the poetry, Zheng Banqiao's poems that are at the painter strongly into the thoughts and feelings。 Painter financial situation in painting, poetry speak by Xiong Yi。 See the paintings, Duzhe poetry, painting to be strongly of the infection。 Painting and poetry for a more emotional appeal; painting and poetry for more extraordinary significance。 Poetry and complement each other, similar paintings that good poetry in the contemporary art world is also not uncommon。 Chinese painting thus constitutes a unique artistic features, to a high-level aesthetic level, this is not by any other comparable to the art。 There are poems: and if it is not appropriate-Hill。 "Chinese painting is the theory of the case。
中国园林讲究以“曲径通幽”式的廊回路转、流水小桥分割空间，制造出一种视觉上的隐蔽迷离之美。中国画亦常在笔墨境象的模糊中追求亦此亦彼、非此非彼，超以象外、得其环中的艺术效果。其魅力之所在，正是借助于形式与精神的诗意化气质，引发人们对有限物象的联想，使画中最难表达的意态与神采转化为弦外之音的回响，使欣赏者能够在瞬间获得一个整体的对绘画时空观的认知与把握。这种认知通常是一个关于审美对象模糊的整体图景的显现，并不拘泥于某一细节。而却更多地关注着诸如委婉、含蓄、一波三折的情境语言的运用；关注虚空、澄明、言外之意、象外之声的经营构思谋略；张彦远在《历代名画记》中所讲“意在笔先，画尽意在”，写意自古就是民族艺术观，也是中国绘画艺术的美学原则所谓“一枝一叶总关情”，我们所画的植物，它既无感情，也无思想，而画家们往往赋予它们某种含义，即画家立意的主观作用自然美的特征触动了画家的某种情感，从而“借景抒情，以物言志”画家们正是以自己独特的视角及感觉确定自已的“立意”，以表达自己的感情，“立意”不是纯主观的臆造，它是画家体验认识生活的结果它是一种美的理解和认识，它还包括了人的思想、感情、理想、修养在里面。通过“外师造化，中得心源”，也就是通过向客观事物要感觉之后形成和发现不同一般的认识,这才是----“意”也可以说“意”足一切艺术作品的灵魂：只有在感情和认识的基础上半场提炼、概括、升华而形成的“立意”，才是绘画作品所需的应该说“意”足情的升华情是“意”的基础。
Chinese garden stress "Qujingtongyou" type of circuit to the gallery, the water bridge division of space, creating a visual blur the hidden beauty。 Chinese ink painting in Yichang, as the habitat in pursuit of fuzzy He also vital, non-Feibi this, as the super-to, the artistic Deqi ring in effect。 Its charm lies precisely with the help of the spirit of the form of poetic temperament, triggered images of people on limited Lenovo, the most difficult painting to express the Italian state into overtones and look good response, so that appreciation can in an instant access to a Drawing on the overall understanding and grasp of Space and Time。 Such awareness is usually a fuzzy object on aesthetic of the overall picture of the show, not rigidly adhere to certain details。 And is more concerned about, such as tactful, subtle and were plagued with setbacks context of the use of language; concern and joy, clarity, meaning, as the voice of the business concept of strategy; Zhang Yan Yuan "art history in mind" in stresses "the intention of T first , The painting was intended to do, "freehand brushwork is the ancient concept of national art, Chinese painting art is the aesthetic principles of the so-called" one leaf of customs intelligence, "we are paintings of plants, it no feelings, no ideology, and artists often Give them some kind of meaning, that is, the artist shows the characteristics of natural beauty subjective role of the painter's touch some emotion, "by King lyric, of words-" the painter who is in their own unique perspective and determine their own sense of "purposive "To express their feelings," conception "is not a purely subjective minds, it is the painter's life experience understand it is a result of the understanding and awareness of the United States, it also includes the people's thinking, feelings, ideals, cultivation inside 。 Through the "division of good fortune, in the heart of the source," that is passed to the objective things to feel different after the formation and found that the general awareness of this is intended ----" "can also say" Italy "full of all works of art Soul: Only in the feelings and understanding of the basis for refining the first half, summed up, and a distillation of the "conception", is the paintings should be said that the "intention" into the full intelligence situation is "intended" basis。
《罗丹艺术论》中曾说过“艺术就是感情”，没有感情基础的艺术，也就是说连自己都不感动的东西史无法打动别人的我们欣赏画时，时为其内含的艺术魅力所吸引，画有十分意趣、主观思想相互交融；为画外之意，弦外之情所打动、所陶冶、所感染，这就是“意境”作用…：“意境”是艺术的灵魂，是客观事物精华部分的集中，加上人的思想感情的陶铸，经过高度艺术加工达到情景交融，借景抒情，从而表现出来的艺术境地是鲜活的、生动的。
"Art of Rodin" said "Art is emotional," not based on feelings of the art, that is not touched by their own history can not be moved by the things we appreciate other people's paintings, when the artistic charm of its implicit Attracted by painting a very Interest, subjective thinking of mutual exchanges; painting, for the meaning of string, moved by feelings, the mould, by infection, which is the "mood" in…: "Mood" is the soul of art, is an objective Part of the concentrated essence of things, coupled with people's thoughts and feelings of the Tao Zhu, after processing to achieve a high degree of artistic integration scenario, lyric by King, demonstrated by the state of the art is fresh and vivid。
白居易认为学无常师，故其指一意状一物，往往运思中与神会”。他在《画竹歌》中写道：“不根而生从意生，不笋而成由笔成……举头忽看不似画，低手静听疑有声。”似乎早已悟出了中国画“妙在似与不似之间”的真帝。中国画家与诗人“游心之所在”，就是自身对造化自然独特感悟的美境，创造的意象。这电决定了中国画自始至终的浪漫主义情结和诗性的内质。董其昌说得好：“诗以山川为境，山川亦以诗为境。”艺术家禀赋的诗心，映像着天地万物的诗心，山川大地是宇宙诗心的影现；画家诗人的心灵活跃，本身就是宇宙的创化，它的卷舒取舍，好似太虚片云、寒塘雁迹，空灵而自然。中国画家诗人“迹化自然，因心造境，曲尽蹈虚揖影之妙”(宗白华语)，可以说是中国诗画的基本特征。也是崇尚“虚空”之美的写意型的中国画与以“实”为本(巴门尼德的Being)的西方古典绘画在创作观念上的最大区别。
The great ancient poet juyi-bai that the division of impermanence, it refers to its one-one of Italy, are often transported in and God will think。 "In his" Huazhu Song "wrote:" The roots from the Italian Health and Health, bamboo shoots Formed by the T-…… Mandrax do not give it the first painting, low listened suspect hands with sound。 "China seems to have already realize the painting," Miao-like and not like in between "the real Dili。 Chinese painters and poets" You heart lies ", that is its own unique sentiment of the good fortune of U。S。 natural habitats, to create the image。 This decision, Chinese painting throughout the complex and the Romantic poetry of the ER。 Dong Qichang was right when he said: "Poetry for Habitat to the mountains and rivers, mountains and rivers also poems for Habitat。 "Artist Endowment heart of the poem, the image of all things poetry heart, mountains and the earth is the universe is the impact of heart poetry, poet, painter of the soul active, is itself the founding of the universe, its volume Shu choice, Taixu-like clouds, Han Tang Yan tracks, Kong Ling and natural。 Poet, painter China "traces of natural habitats due to heart-made, to dance song wonders of virtual Yi Ying" (Zong Baihua language), can be said to be the basic features of Chinese poetry and painting。 Is also advocating " And joy, "the beauty of the freehand brushwork of the Chinese paintings and a" solid "-(Parmenides of Being) of the Western classical painting in the creative concept of the biggest difference。
在美术史上，自古以来就有两种完全不同的表现方式：一种是以再现客观世界为主的写实型艺术，它以西方古典油画为代表；一种是以表现主观心绪与情感为主的浪漫、表现型艺术。中国画就是以后者为其基本特征的。浪漫、表现性绘画，早在战国时代的楚墓帛画《人物夔凤图》及西汉马王堆幡画中就已初露端倪。自唐朝文人画初创以来，中国绘画则更加注重托物抒情、以画寄乐的表达方式的运用。而“绘画以形似，见与儿童邻”也正是苏轼对先贤们艺术实践的理论总结。它之所以能够存在，并且，具有旺盛的生命力，一直被文人们捧为绘画的至理，原因是离不开在中国哲学虚空的宇宙观(老子“万物生于有，有生于无”)影响下艺术家对诗化的精神内质与诗意的形式外观的永恒追求。的确，中国绘画的这种观念也正是把握了中国艺术的精神实质，把握了中国艺术诗性的品质特点，才经受住了时间风雨的考验，并一直影响至今。宋代哲学家程伊川说过：“冲漠无朕，而万象昭然已具。”昭然万象以冲漠无朕为基础，使实中有虚、虚中生实，空外余波，袅袅不绝，“无画处皆成妙境”(笪重光语)，这便是中国画在对意境美的追求中最不可言传的精神所在。
In art history, since ancient times are two completely different performance: a reproduction of the objective world of art consisting mainly of realism, which to Western classical paintings as representatives; performance is a subjective and emotional-based Xinxu Romantic, performance-based art。 Chinese painting is the latter its basic characteristics of the。 Romantic, performance of the painting, as early as the Warring States Period, Chu Tomb of the Bohua "People Kui-feng map" and the banner painted in Mawangdui Han Dynasty have been emerging。 Since the start of the Tang dynasty literati paintings, Chinese painting is more emphasis on care of lyric and music to painting send the use of means of expression。 "Painting to the shape, see neighbors and children," Su Shi is also the sages who practice the art of summing up。 It has been able to exist and has strong vitality, the text has been painting for the people want to arguments, the reasons for the Chinese philosophy is inseparable from the joy of the universe (Laozi, "all things are born, not born") impact The artists of the spirit of poetry, in the form of poetic quality and appearance of the eternal pursuit。 Indeed, Chinese painting of this concept is exactly grasped the essence of Chinese art, poetry grasp of the Chinese art of the quality characteristics, it has withstood the test of time wind and rain, and have been affected so far。 Song Dynasty philosopher Cheng Yichuan, said: "No-I Jammu, and has a Zhaoran Vientiane。" Zhaoran Vientiane to desert no-I-based, so that it is in a virtual, it is false in health, air, the aftermath, not absolutely Niaoniao , "The paintings are not as Miaojing" (Qing Dynasty literary critics chongguang-da (1623-1692) the phrase), this is the Chinese paintings in the United States and the mood in the pursuit of the spirit of the non-Yan Zhuan。

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