中国画岂能缺文化
How can lack of culture of Chinese Painting
顾绍骅著
ShaoHua Gu writing
【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。
【Abstract】Each painting has its own characteristics， which represents Chinese culture Chinese painting is a "poetry， calligraphy and painting"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 "visual impact"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， "poetic " art of Chinese painting should be the trend of development。
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。
Nowadays has brought economic development and cultural prosperity。 Open the Web page， search for "Chinese painting 。。。 。。。": Man is known as a "renowned painter 。。。 。。。 "; and watch their works， but it is "strikingly similar"- described as "thousands of people side， people an appearance， " 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。
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。
Now there is a phenomenon of learning Chinese painting， that is too "Western "， 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 "meaning " 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。
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。
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。
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。
In the West， "entity " Epistemology and Chinese "dialectical" 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 "painting technique" obtained "painting technique"art of thinking among the long form can not get rid of the "image " way of thinking。
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：
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:
一、是创造力的缺失：
First， the lack of creativity:
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……；
Our Painting workers (fans) from the student to develop a focus only on the score (result)， so that students develop a "light only on the answer and the process of"habits。 To copy the style， the increasingly Sheng。 As long as "thanks to a number"(the answer) is correct， no matter what means will do; it is Seoul with "A purpose to whatever means， "the famous saying。 How to not think about their own ways to "play something new then? " After the adults， go fake and shoddy products manufacturing 。。。 。。。;
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）。
Furthermore the ages， people only know or suspect can not go against "above" (authority) of the instruction (command)。 Become a "following" only the implementation of machinery， to develop too lazy to think， too lazy to pursue science (best) to develop the spirit of 。。。 。。。 "Only Executive Consciousness "and"obedient"and"servility"; Or "parrot， echo。 " Namely: one is not to think about you; the other hand， is lazy thinking (just executed)。
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。
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。
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”。
China's Ming Dynasty writer， painter Xu Wei said: "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: "There are many artists， there are many kinds of drawing and color。 "Each artist is required to have their own characteristics， not " identical。 "
二、西化：
Second， Westernization:
“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。
"East-meets-" 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 "integrated Chinese and Western"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。
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。
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。
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。
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， "status"down: the Chinese painting will be dislocation in the Westernized hegemony development。 History of Chinese Painting， a Chinese painter Yu Jianhua said: "。。。 。。。 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! "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。
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。
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。
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。
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 "new concept。 " 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。
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。
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 "visual impact"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。
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。
Especially in the middle of the century， "painting light and shadow " and "tone (mainly light color， ambient color) " 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 "Chinese painting"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。
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。
Western painting rich in color so long ago childhood education in China by Western painting "artist" 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。
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。
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 "development" 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 "East-meets-" 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。
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。”
Famous modern painter， art educator Tianshou said: "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。 "
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：
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:
1、笔墨线条之美；
1， the ink lines of beauty;
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。
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 "Chinese calligraphy Chinese painting is one source of"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 "interpretation of pre-understanding"- all the aesthetic understanding of Chinese painting， aesthetic evaluation， aesthetic practice to be from this "Chinese calligraphy， Chinese painting is the same source " Cultural symbiosis start。
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。
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 "brush lines and black color depth changes， pen force " 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 "accumulation of ink method， the method of alternating between shades of ink， ink and color rippled the way"and other effects caused by - "dry wet bias"and" five six-color ink， " 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。
2、传统文化底蕴之美——诗情画意：
2， is the beauty of traditional culture - a beautiful painting， poetry interesting:
“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”。
"a beautiful poetry of fun painting"is rooted in the Chinese people "bones"inside the culture complex。 As a painter should have a "books， paintings， poetry， literature， "the basic skills。 Only because of Chinese painting is to reflect traditional Chinese culture， "a variety of art in one fusion。 "
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，虽然也有形神兼备，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。
Chinese painting is different from Western painting: the great educator Cai yuanpei said: "Western art is the same as building a rational， just as literary works of Chinese painting as full of passion and romance are emotional。 " 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 "means" inadequate。 Chinese painting is the painter of all things in life to experience and taste the image of "in-depth core rhythm of life"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。 "I think I'm painting， I own。 "(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。
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。
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。
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。
The so-called "Chinese Calligraphy Chinese Painting from a culture， " 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。
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。
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。
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。
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。
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。
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。
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……。
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 。。。 。。。。
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。
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。
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。
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: "alone read a lot less than the Tang Yin ah。 " visible means of improving the main accomplishment is reading。
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。
Should be the resumption of Chinese painting rich cultural heritage， in this based on the melting of Western painting techniques - "the Chinese painting and Western painting in the help of borrowed" to form a new style of Chinese painting。
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。）”
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: "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。 " said: "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。 "
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。
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 "and in" Spirit: that is impartial, the integration of all aspects of cultivation in one.
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。
With the national character of Chinese culture, "the cultivation of outside painting" 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 "work of art Soul thinking "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.
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）。
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 "need to be successful and benefit, "the desire, the so-called "no " need to be successful and benefit "requirement, can be more perfect ", 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 "things", To accumulate more, and less by the techniques shown.
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。
Chinese painting is also very focused "view of things people attitude ", 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, "Chinese Painting"only. As the "digital photos"than any painting to be "real", 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 "human"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.
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。
Chinese artists is "Art is the highest human mental activity, and tap the source of a beautiful mind to achieve " the most liberal heart of the most abundant deep-self ", 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.) "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 "purification "and"reflects the results "; and "poetic fun painting like a beautiful Chinese Painting"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) - "Xanadu"(harmonious society) the desire and pursuit; sense: poetic painting taste like Beautiful works of Chinese painting is the Smart is "living"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.
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。
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, "poetic taste like a beautiful painting, Chinese painting works " 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.
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。
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 "poetic taste of painting like a beautiful Chinese Painting"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.
附历代诗情画意欣赏图片：
Poetic appreciation of history attached picture:
马远作品欣赏：
Ma Yuan Art Works:
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。
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"边角之景"其特点正如前人所指出的"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"，予人以玩味不尽的意趣。
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.
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 "corner of the King, " which is characterized, as noted in previous "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 "effete pondering endless charm.
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。
《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。
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.
Now select the "Stomping map " 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.
唐寅作品欣赏：
Tang Yin Art Works:
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。
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》。
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 "small ax wrinkle" 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.
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 "set of six such as the lay. "
《落霞孤鹜》
"Luo Xia lonely duck"
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。
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.
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。
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。
【appreciate】
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 "mountain pine sound " 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.
《春山伴侣》
"Spring Hill partner "
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。
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。
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。
【appreciate】
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.
徐渭作品赏析：
Xu Wei Art Works:
中国明代文学家、书画家、军事家。徐渭自认为"书第一，诗次之，文次之，画又次之"的明代著名书法家、文学家兼画家徐渭，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"奇恣纵肆，戛戛独造，每有逸出礼法处。"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。
Chinese Ming Dynasty writer, art, military strategist. Xu Wei from that, "the book first, second verse, followed by the text, picture and second, "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 "very strange and out of bounds seems good. " 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.
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。
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 "a large freehand ink"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.
徐渭的泼墨写意花鸟画，别开生面自成一家。其花鸟画，兼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。
Xu Wei's "freehand ink"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 "great impressionistic " style of flower painting techniques.
刘海粟作品欣赏：
Liu Hai Su Art Works:
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。”
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. "
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。
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: "spread of Chinese literature through the ages, is the art of traditional Chinese culture, Liu Hai Su, and so the successor effort ah. " Cai said: "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. "law of Liu Hai Su painting in China's innovation in the affirmative. "Jade Stream Flowing" 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: "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 " learning from nature ", "Chinese painting methods with the Era" realistic attitude and committed to innovation and creative spirit. "re-color lotus"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.
张大千作品欣赏：
Chang daqian Art Works:
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。
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.
张大千是天才型画家，其创作达"包众体之长，兼南北二宗之富丽"，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。
Chang is a genius artist, whose creation of "a large number of objects that contains the best place, and his techniques of Chinese painting is to absorb the top, the most beautiful", 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.
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。
Chang's style, has made several changes in later years through exploration, the age of 57 own "splash of color" painting is the king of the Tang Dynasty in the succession of contact of the "ink"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.
徐悲鸿作品欣赏；
Xu beihong Art Works:
徐悲鸿取法西方古典写实绘画，力倡用"写实主义"改造中国画，强调"尽精微、致辞广大"、"惟妙惟肖"、"直接师法造化"，”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"社会主义现实主义"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。
Xu emulated Western classical realist painting, he promoted the idea of "realism"reform of Chinese painting, emphasizing the "best place to start from the subtle, the most extensive publicity to do so, ""vivid, ""learn directly from nature, ""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 "socialist realism " and as one, to become the mainstream of the largest school of painting in this century. Xu in the painting, the promotion of "Best place to start from the subtle, widely publicized"; his Chinese painting, that "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. "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.
陆俨少作品赏析：
Lu Yanshao Art Works:
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。
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.
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，兼通西学，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。
About 1926, moved to Suzhou Wang Tongyu Nanxiang When Yu Gong, Lu Yanshao had the pleasure of the Lions became "friendship between generations. " 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: "Historical Records"and other classical, big long learning. Wang Tongyu said: "You should read more books at a young age, good scholarship, promising. " 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: "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.
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。”
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。”
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 "outside" 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: "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. "
Lu Yanshao Poetry, Calligraphy, "Ruin" is superb, and Huang, Li Keran par, and that "three outstanding landscape of contemporary master. " Lu Yanshao descendants painting read, like reading a good article, a newspaper editor Lu Yanshao watch the inscription of the landscape, exclaimed: "Compared with Lu Yanshao's literary talent, a far cry from our articles . "
李可染作品欣赏：
Li keran Art Works:
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。
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。
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 "black world " caused by the sorrowful tone. In 1954, his luck as a teacher, repeated under the Yangtze River, explore the "light"and ink changes, form a unique style, can be "black", "full","Horie, ""astringent"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.
Critics agreed that the landscape of the value Li Keran he creatively explore new pattern, and show deep and broad spiritual strength.
傅抱石作品欣赏
Fu baoshi Art Works:
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。
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 "bouldering cracked, "the Chinese painting techniques. Landscape organization of writing does not fall by the regular sets, from the "action" 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 -----" bouldering Wrinkle "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.
齐白石作品欣赏
Qi Baishi Art Works:
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。
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.
植根传统，师法造化的国画大师。他把前人"妙在似与不似之间"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。且诗书画印兼能，被授予"人民艺术家"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。
Rooted in tradition, learning from nature's painting masters. He predecessors "Miao like and not like in between " 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 "People's Artist"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.
黄宾虹作品欣赏
Huang Binghong Art Works:
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。
Huang Bin (1865 -1955), the outstanding paintings of modern masters. In the history of modern painting, the "Southern yellow Qi", which "Qi"is the living master of Qi in Beijing bird, and "South yellow " 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.
他绘画的技法，早年行力于李流芳，程邃，以及髡残，弘仁等，但也兼法元、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”。
His painting technique, the line force in the early years, "Li Liufang, Cheng mysterious, and Kum disability, Hong Ren", 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 "white Binhong. "
其他诗情画意作品欣赏
Other poetic taste like a beautiful painting, Chinese Painting Works
赖少其 《夜雾》
Lai Shaoqi, "God is"
赖少其 《山水画》
Lai Shaoqi "Landscape"
蒋兆和 《人物画》
JIANG Zhaohe "Portrait"
江寒汀 《花鸟图》
JIANG Hanting "bird map "
潘天寿 《江山美》
Pan Tianshou "landscape beauty "
潘天寿 《露水（荷花）》
Pan Tianshou "Lotus"
顾绍骅（qq：1072494751 欢迎交流！）作于2011年6月1日
ShaoHua Gu for the June 1, 2011
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》
This article References:
1, "Chinese painting a special case of development " 2, "Chinese Painting language innovation can not be divorced from cultural matrix ? Zhang Bao Winter ", 3, ""culture to be creative, not globalization "? Xu Ping) " 4, "Chinese painting what will Where development ? Li Jingan "5, " Culture of Chinese painting - Chinese painting to hold the bottom line, "6, " nearly a hundred years the status of the development of Chinese painting and disadvantages of "7," Habitat and Cultivation painting "8, " A Brief History of Chinese Painting ? Song of thin "
