双语版·中国画的本质探 下篇
Chinese English comparison The essence of Chinese painting seek Part two
唐·司空图《诗品·雄浑》所说“返虚入浑（指诗作空灵，入于浑然之境。）”，意即返虚方能入浑。这个“浑（“全部、满是”之意也）”，而是更高级的无所不包极端复杂之浑。“实”就在眼前一览无余，最大也是有边际的，最满也是有限度的。只有返虚入浑，方能无边际，其大无外，其小无内。如李煜词句：“问君能有几多愁？恰是一江春水向东流。”他不实答，却一下使你面对滔滔东流的大江。如果只是一实，还能有那样丰富的含义，那样阔大的境界吗？诗情画意是时空的融合，因此，“没有最好，只有更好”令欣赏者没有统一“标准”，并且，在创作与欣赏中需要有一定的中国传统文化素养。虽然，少了西画那样的“清晰、一览无余”却存有东方审美特有的含蓄、朦胧，甚至有些模糊、迷离……；这也有了“神秘感”，增强了“想象空间”，犹如：“隔纱观美景、月下看美人——越看越喜欢”，在理解“诗情”后，更能了解“其中味”。这是西方绘画所望尘莫及的。欣赏中国画当以：“两情若是长久时 又岂在朝朝暮暮”（ 释文：只要两情至死不渝，又何必贪求卿卿我我的朝欢暮乐呢。）的心态“慢慢品味”；而不是当下漂亮的“中国画”只有技法，不见文化，如同无根花、无源水，和当下青年人的“闪婚”一样，来得快，去得也快。
Tang Sikong Tu "Poetry·Forceful Said Returning to the world of pristine nature(referring to the ethereal poems, returning to the world of pristine nature into vigorous territory.)" Return to Can void enter the Heaven and earth turbid (the). This "muddy" (full, full of "meaning"), but more advanced all inclusive extremely complex muddy. "Real" in front of a glance, the largest and most marginal, full is limited. Only Returning to world of pristine nature, the square can not be marginal, its great no outside, its small inside. As Li Yu said: "Best Blues Guitars? A river spring water towards the rolling of east." He did not answer, but let you face the surging East river. If only one, can have so rich meaning, so broad realm? Poetic Chinese painting is the integration of space and time, therefore, "there is no best, only better" so that the viewer has no unified standard, and, in the creation and appreciation of the need to have some of the qualities of traditional culture China. Although less Western painting as "a clear, Take in everything in a glance implicit," there is a unique Oriental aesthetic obscure, and even some vague, Blurred...... This also; with "Mystique", enhance the imagination, like: "Pass through mosquito net see Beautiful scenery, under the moonlight See beauty, more and more love", in the understanding of "poetry", a better understanding of "one flavor". This is the western painting as far behind. Enjoy China painting: "Durable love keekps the without living together day and night." (text: as long as two love will never change until death, why lust affectionate gay all day.) The mentality of "taste"; instead of "China present beautiful painting techniques only, no culture, like Rootless flower, Passive water, and the young people's" Flash marriage ", come and go.
笔者认为：中国画的发展必须依照“中国方式”——集中国传统文化底蕴（诗、书、画）为一体的观点——“诗情画意”是中国画的灵魂和中国画发展方向!中国画是中国传统文化的厚积薄发！历来有诗 、书 、画同源之说 ，三者的最高境界是 “诗情画意”；都是写心 、写思想 、抒发感情的。自唐代以来，以王维为首的中国文人介入绘画。诗和画的兼收并蓄构成一种高超的艺术境界。苏东坡评价王维的诗画：“味摩诘之诗，诗中有画;观摩诘之画，画中有诗”。 “画中有诗”，一方面是指画作的含蕴深刻，意象幽深，画中不单单是物象的客观再现，而是画家主观意境的挥写，诗书画印的完美结合，己成为民族血脉，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。中国画的根本是借物抒情、托物言志，画上题诗，阐述画意，抒发情感，画龙点睛，使诗情增添画意，珠联璧合，相得益彰。笔者认为：“诗（词）的文学语言内含深、寓意广、言简意赅，能使欣赏者浮想联翩、遐思无限。并且这两种形式可相辅相存、相互转换。即通过读画而理解、体味产生意境，将读画产生的意境，用言简意赅的文学语言——诗（词）记录下来。”在《古松观止·第一部分》的《明·蓝瑛的松岩观瀑图轴》词条编辑中写道：“高山飞泉，云烟升腾；古松承浴，杂树共欢；焦、浓、淡墨神采飞扬，远、中、近景层次分明；一高士，入神地仰观那“飞流直下三千尺”的瀑水，不禁手舞足蹈起来，嘴里咏诵：“南山之瀑水兮，激石滈瀑似雷惊，人相对兮不闻语声。翻涡跳沫兮苍苔湿，藓老且厚，春草为之不生。”“登庐山，观瀑布，海风吹不断，江月照还空，余爱此两句；”或“桑柘周围，菅茅低架，且喜水亲山近。”-------呵呵，人迷此景，流连忘返；是多么和谐的景象啊！”
The author thinks that the development China painting must be in accordance with the "China" - in Chinese traditional culture (poetry, calligraphy and painting) as one of the "poetic Chinese painting" - is Chinese painting soul and China painting development direction! Chinese China painting is the traditional culture of Accumulate steadily! There has always been poetry, calligraphy, Chinese painting one the same source, the highest level of the three is the "poetic Chinese painting"; are writing heart, writing ideas, express feelings. Since the Tang Dynasty, the Chinese literati led by Wang Wei. The combination of poetry and painting constitutes a superb artistic realm. Su Dongpo and Wang Wei: "Pondering Wang of Wei The poem, Painting-in-poetry watch Wang Wei Chinese; Painting There, is poetry in a painting". "There is poetry in a painting", a possess Profound implication refers to the paintings of Imagery deep, and serene, painting, is not only the objective images reproduced, wrote the play, but the artist's subjective conception of poetry, calligraphy, painting and seal cutting combination, Chinese nation blood vessel in has become which the blood and Qi circulate, which need to talk about to the real Chinese nation National responsibility and Chinese nation National cultural crisis awareness, Cultural connotation due to the painting, his charm was greatly expanded. China painting is borrowing lyrics and Use the at shape of the object to express ambition, describes the painting, painting a poem, to express feelings and Bring the painted dragon to life by putting in the pupils of its eyes, Add mood of a painting Poetry, put pearls and jade together each by association with the - improves other a complement of talents and; abilities to form an advisory board [an Executive Committee, Make the old and new contrast and complement each other. The author believes that: "Poetry (CI) of the literary language contains deep, wide meaning, Concise and comprehensive, can make the appreciation of Thoughts thronged mind, Unlimited reverie. And these two forms can be Phase complementary phase, Interconversion. That is, through the appraise a painting and understanding, Understanding produces conception artistic, these, with Concise and comprehensive language of literature - Poetry (CI) recorded." In "Chinese Painting Ancient Pine Drawing to the end - the first part of the" the "Ming Dynasty Lan ying.The Pines rocks watch Waterfall Figure axis wrote," editor: "Mountain waterfalls cliffside, Mist rising Age-old pine trees in; bath The multifarious trees Common joy; In high, coke, concentrated light spirit, far away in close range, and structured; a goldsmith, seeing then that" Fast Flowing water Fly straight down three thousand feet "dance with joy waterfall, I [excitement] up, mouth said:" Nam Son The waterfall water, The waterfall drop stone like thunder shock, People face each other Do not hear the voice. The water turned over and the foam Wet moss, Moss is old and thick, that was not born." "Climb Mount Lu, view falls, The sea breeze blows continuously, Moonlight in the river Shine The empty world, I love this two;" or "Mulberry around, Kan thatch Cane vine in Low frame, and the pro mountain near water." Oh, People are fascinated by, Indulge pleasures without stop, is how Harmonious scene ah!"
例如：唐伯虎在他的《画鸡》图中题了这样的诗：“头上红冠不用裁，满身雪白走将来。平生不敢轻言语，一叫千门万户开。”人们司空见惯的雄鸡啼曙，因了这几句题诗，雄鸡成为了冲破黑暗、迎来曙色的光明之神，啼声成了催人奋起的号角。
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。
八大山人朱耷，系明皇室王孙，明灭亡后，国毁家亡，心情悲愤，落发为僧。他画两只丑陋的孔雀，蹲在一块尖而不稳的石头上，孔雀的尾巴上有三根难看的翎毛。题诗云：“孔雀名花两竹屏，竹梢强半墨生成。如何了得论三耳，恰是逢春坐二更”。讥讽对主子奉承拍马的官员，本该五更上朝，二更就去了。“三耳”，指的就是这些奴才。画中的孔雀尾巴长了三根翎毛，指帽子后面戴着三根“花翎”的高官。那块不稳的石头，暗喻清朝的江山并不牢固。
“扬州八怪”之一的郑板桥一生爱竹、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。
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。
这样以诗为魂，诗画相济，相辅相成，相得益彰的传统文化样式，已成为经典。王国维在《人间词话》中指出，“境非独谓景物也。喜怒哀乐，亦人心中之一境界。故能写真景物，真感情者，谓之有境界。否则谓之无境界。”中国画并非历史图片、写真照片；倘若离开中华传统文化底蕴？就无从说起“中国画”，充其量只能算是漂亮的废纸。
For example: Tang Bohu this poem in his "chicken" in the picture: "cock head without cutting the red crown, covered with white go in future. Life did not dare light language, called numerous households." It is quite common people for cock crow first light of morning, because of this a few words of poem, rooster became Out of the darkness, In the light of early dawn the God of light, to urge people to cry. Xu Wei in the "grape" in the poem: "half a lifetime abandoned Has become The elderly, one Stand there schoolroom Hear the roar of the wind, use brush drawing grape Nowhere to sell, Idle throw in wild Cane vine Field." If you put aside the poem, just a bunch of grapes, still What meaning? Badashanren Zhu Da, Ming Ming Department of Royal Wang Sun, after the demise of Destroy the country and perish shave one's head, feelings of grief and indignation, and become a Buddhist monk. He painted two ugly peacock, sitting on a sharp and unstable rock, there are three ugly tail of a peacock feathers. Poems: "peacock in The flowers of the two bamboo screen, Bamboo shoots Formation of generate prepared Chinese ink. How terrible to about three TheLocal officials, Seems to just entered spring Sitting in the cold have night talk (the)". Sarcasm to the master obsequence officials, even the court, two more to go. "Three ears" refers to these minions. The peacock's tail in the painting has three feather, referring to the hat behind the wearing of the three peacock on official caps, senior officials. The unstable rock, the metaphor of the Qing Dynasty is not strong. "One of the eight wonders of Yangzhou" Zheng Banqiao life love bamboo, bamboo "bamboo" he wrote in the poem: "Insist not relax Castle Peak, Bamboo root growth In the broken rock Bamboo and rock Friction and; hit a million times also strong, Whatever you Insane TheFrom all sides world Storm." He uses bamboo itself and upright. Therefore, good poems can make the painting more profound, more prominent theme has significance, and even reached touch a stone and turn it into gold be able to perform - wonders, turn the foul and rotten into the rare and ethereal turn bad into good -- the role of. Bai Shi, an old man, a scroll, painted only three chicks under the painting. All the rest is blank, just in the upper right Title length, reckon blank as inked, Emptiness and Material object Combination, Poetry Chinese, painting complement each other, Match each other Produce brilliance, Especially have any fun. Poems Inscribed paintings on, you can also make painters Love, hate, sadness, sorrow, praise, praise, derogatory, abandon and other emotions more strongly into the screen. Another example is in the works "tumbler" on the title: "head mounted a black gauze cap Hand fan Like a officer, The reasons for not falling out to be a Half Mud, all of a sudden Beaten you To break, Where the body had no heart and liver." Tiba make such a simple painting changed Bu Daoweng mood far-reaching significance. If not this poem, the tumbler is meaningless. This poem for the soul, Combination of poetry and painting, Exist side by side and play a part together, Make the old and new contrast and complement each other of the traditional culture, has become a classic. Wang Guowei in the Human notes and on Ci poetry, noted that artistic conception merely appellation Scenery also not world. Emotions, Is one the of people plane attained reached hearts of. Therefore, the portrait scene, the true feelings, that there is a realm. Otherwise there is no realm." Chinese painting is not a historical picture, portrait photos; if left The Chinese Traditional deposits cultural? There is no way to speak of "Chinese painting", at best, can only be regarded as beautiful waste paper.
究根寻源、继往开来，窃以为：“中国画只有走自身发展的路才是正道”；因此，顾绍骅在总结前人的“亮点”后得出《诗情画意》公式，
并依此公式创作，得出： 1、咏物抒情部分——“集古句”【依据画面意境来进行挑选最适合、最贴切的诗句，并且，进行重新整合、排列达到“经典”（再创造的高峰）】因为，这样的内容是中国传统文化底蕴的“再现”；这样的创作现在已经中国画家很少“为之”的，也是很高雅的（因为这样的创作方法，有一定的难度；目前是“高处不胜寒”。）目前，好像是只有我一个人是这样“探索”来创作的。2、画面的诗意表现：传统山水画的“随类赋彩”的实际色彩比较“沉闷”，如果继续“维”之，就是“食古不化”啦；因此，借西法之“长”，为我所用，这样可以“雅俗共赏”！
“顾绍骅的诗情画意”作品举例(抛砖引玉)：
顾绍骅提出：“诗情画意”是中国画的灵魂和中国画发展方向。
“顾绍骅的诗情画意作品”创作含义：1、依据画面意境来进行挑选最适合、最贴切的诗句，进行重新整合、排列达到经典——再创造的高峰，是中国传统文化底蕴的再现。 2、画面表现：传统山水画的随类赋彩的色彩比较“沉闷”，如果继续维之，就太拘泥啦；因此，借西法之长，为我所用。
顾绍骅的诗情画意作品，虽然缺少通俗浅表的华丽，但因蕴含中国传统文化艺术的精髓而载入中国的国史网；细细品味，您会发觉更多的美，韵含其中！
中国山水诗意画——《樵》
【题画诗】采樵入深山，能谙白云养。不似名利途，暮带残阳返。
【欣赏】清晨，采樵的樵夫进入深山，樵夫熟悉这山中的一草一木、一山一石、一风一云；因此，知道哪里能伐木（建高楼用）、哪里能砍柴（烧饭煮菜用）。不像官场、仕途，宦海沉沉浮浮、曲折迷离、不知进退……；还是我樵夫悠然自得，不为人左右；虽然，“晨兴理荒秽、带月荷锄归”很辛苦，但是，强筋健骨、心中无忧的生活，使人长命百岁！
作品规格：68×68㎝ 纸本设色 2013年7月创作
本诗出处：1、唐·孟浩然《采樵作》诗的第一句：采樵入深山，2、唐·陆龟蒙《樵人十咏·樵子》诗的第二句：能谙白云养。3、唐·陆龟蒙《樵人十咏·樵径》诗的第七句：不似名利途，4、唐·陆龟蒙《樵人十咏·樵风》诗的第二句：暮带残阳返。
中国山水诗意画——《雪霁》
【题画诗】皇穹何处飞琼屑，日暮诗成天又雪，梅欲飘零特地香，养气不动真豪杰。
【欣赏】皇天后土、苍穹茫茫，哪里不是飞舞着晶莹剔透“美玉的碎屑”，日暮时分，咏诗已成，天上又在下雪了；那孤傲的梅花，想随风飘散她迷人的幽香；像她那样“养天地之气,法古今完人”，又“金钱不动、宠辱不惊”的人，才是真正的豪杰啊！
规格：136×68 ㎝ 纸本水墨 2011年 11月创作
附本诗出处：1、唐·无名氏《白雪歌》诗的第一句：皇穹何处飞琼屑，2、宋·卢梅坡《雪梅》诗的第三句：日暮诗成天又雪，3、南宋·陆游《初春感事》诗的第四句：梅欲飘零特地香。4、南宋·陆游《稽山雪》诗的第十二句：养气不动真豪杰。
中国山水诗意画——《集古句·三才子》
【原诗】水清无底山如削，枝柯偃后龙蛇老。孟嘉嗜酒桓温笑，清歌咽处蜀弦高。
【欣赏】本诗由唐·韩偓《仙山》的第三句，唐·廖匡图《松》的第五句，宋·苏轼《太守徐君猷通守孟亨之皆不饮酒以诗戏之云》的第一句，宋·苏轼《太守徐君猷通守孟亨之皆不饮酒以诗戏之云》的第二句，集合成新诗：水清、水深、水无底；山秀、山高、山如削（山壁似斧劈）。那茂密的松林里，粗壮的枝干犹如前仰后合、姿态万千的虬龙或巨蟒——蜿蜒挺拔、苍劲而不老……。松下是有如孟嘉、桓温一样友情的三人聚在一起，他们饮酒、唱歌、弹奏古琴、谈书论画等等，他们心远洒脱、闲逸超然的情景是我们现代都市人所羡慕的啊！（孟嘉：东晋时大将军恒温的参军，俩人关系密切，情同手足。 并且，孟嘉是陶渊明的外祖父）。
规格：136×68 ㎝ 纸本设色 2011年 8月创作
附本诗出处：1、唐·韩偓《仙山》诗的第三句：水清无底山如削，2、唐·廖匡图《松》诗的第五句：枝柯偃后龙蛇老 3、宋·苏轼《太守徐君猷通守孟亨之皆不饮酒以诗戏之云》诗的第一句：孟嘉嗜酒桓温笑 4、唐·杜牧《见吴秀才与池妓别因成绝句》诗的第二句：清歌咽处蜀弦高。
中国山水诗意画——《朝霞》
【题画诗】天际何人濯锦归，人心波荡犹未回。无赖年光逐水流，须臾还被老相催。
【欣赏】呵呵，壮哉！美兮！天上何人下凡来？引来织锦一样美丽的霞光，洒满人间。那美景如梦如幻，使我思绪飘渺，浮想联翩：人们追求平安、闲适、富足的生活，不就象天上织锦般的彩霞一样绚烂、光亮吗？但是，光阴似箭，日月如梭；人生的意义在于“创造”，在于贡献；不能似水流年、蹉跎岁月！人生苦短，转眼百年；不成就一番事业，枉过一生！画面中的人物，清晨苦读，为的就是学好本领，待他日去 “功成名就”！
规格：55×100㎝ 纸本水墨 2013年6月创作
本诗出处：1、唐·徐夤《霞》诗的第一句：天际何人濯锦归，2、唐·罗隐《酬丘光庭》诗的第十六句：人心波荡犹未回。3、南宋·陆游《年光》诗的第一句：无赖年光逐水流，4、唐·方干《感时三首》诗的第十六句：须臾还被老相催。
中国山水诗意画——《破浪》
【题画诗】破浪一帆风，涛来势转雄。江流石不转，努力继前功。
【欣赏】呵呵，好一个“乘风破浪、一帆风顺”！在行径的途中，难免有些浪涛漩涡，有时浪涛的阻力是非常强大的：正如我们的生活与事业一样，时而会有波澜、曲折的，如果“平淡无趣”，会影响我们的“IQ”的成长。无论江流如何急湍、浪高浪大，也不会撼动水中磐石；正如我们强大的事业心、意志力一样，任凭外界的“风云突变”，也不能改变的“初衷”与目标……；只要我们继续努力，我们一定会在前面取得的成绩上继续取得更多的业绩的；成功就在不懈的追求、努力中！
作品规格：100×55㎝ （三尺整纸） 纸本设色 2013年6月创作
本诗出处：1、北宋·黄庭坚《次盱眙同前韵》诗的第七句：破浪一帆风，2、唐·宋昱《樟亭观涛》诗的第一句：涛来势转雄，3、唐·杜甫《八阵图》诗的第三句：江流石不转，4、宋·京镗《水调歌头》词的最后一句：努力继前功。
吉祥花鸟诗意画——《吉利全家》
【原诗】小鸡竦而待，贵似荔枝来。利爪削黄金，云林谢家宅。
【欣赏】小鸡在父母的呵护下，茁壮成长；这一天，小鸡们“毕恭毕敬”地等待着父母喂食。不一会，父母把小鸡们带到荔枝树下，那些珍贵的荔枝好像知道它们要来，稀疏的散落在地上；父母用大而有力的利爪削开那些黄金般珍贵的荔枝，给小鸡们品尝……；在云林深处，“旧时王谢”家宅里，小鸡一家无忧无虑地生活着。
规格：68×136 ㎝ 纸本设色 2012年10月创作
本诗出处：1、唐·韩愈《斗鸡联句》下联：小鸡竦而待。2、宋·辛弃疾《临江仙》词的第五句：贵似荔枝来。3、唐·徐寅《鸡》诗的第六句：利爪削黄金。4、唐·韦应物《送宣城路录事》诗的第三句：云林谢家宅
investigate root Find the source, Carry forward the cause pioneered by one's predecessors and forge ahead into the future, I think:"China painting only go their own development road is the right way"; therefore, Gu Shaohua in the previous "bright spot" that "poetic Chinese painting" formula, and this formula works, concluded: 1, chant poems about tangible objects express one's emotion Gather "Ancient Poems sentences" [according to the mood of the picture to select the most suitable, the most appropriate verse, and re integration, arrangement to "classic" (Re creation The peak)] because this is the Chinese traditional culture deposits "reappearance"; this creation has now China "for" little painter that is very elegant (because the creation method, so there is a certain degree of difficulty; the "be too highbrow to be popular . At present, it seems that I am the only one to "explore" to create. Poetic performance 2, the picture: the actual color of the traditional landscape painting "conformity to kind in applying colors" is "boring", if it continues to "dimension", is "Follow the beaten track"; therefore, by the western "long", so you can use, "Suit both the refined and the common people"!
"Gu Shaohua's poetic works" (Throw a brick order to in get a gem):
综上所述：中国画是笔墨线条与中华传统文化底蕴的结合！（缺一不可）中国画的特征是托物言志，借物抒怀；因此，“言志、抒怀”是中国画表现的中心；中国画非常强调意境。笔者认为：从一般技法表现上讲，难以体现中国画的内含（中国画的这一优秀传统文化艺术瑰宝之精髓）。诗 、书 、画溶为一体，这才是中国画的真谛，是国学（国萃），是中华民族的骄傲（越是传统的，就越具有民族性；越是民族的，就越具有世界性。）；因此，我们不能片面追求“形似”，而重在于其作品的思想内涵：“思想品格是艺术的生命”以诗情画意为贵。作为传统文化的继承者——书画家，我们必须掌握熟练应用“诗情画意”来多出“精品”，弘扬国萃。我赞同程大利先生总结得出中国画两大功能：1、养心修身之术 ，2、知世悟道之功；只不过：他对大众提出了一个门槛的要求大众必须要先改造自己，而不是去改造中国画，中国画，无论创作者还是欣赏者，它使人进而进入一种恬淡虚无，精神内守的状态，也即“入静”的状态；当然它远离战争，不表现血腥，不表现暴躁，也极少表现焦虑。它追求至静至远，调和天人，它是通过内省而达至善；欣赏者与创作者都要把自己提升成有文化的有有境界感的，有操守的人，才能进入中国画。
To sum up: Chinese painting is the combination of ink lines and Chinese traditional culture! (Not a single one can be omitted.) Chinese painting is C'mon objective features things Expression Ambition, borrow Objective object unburden one's heart; therefore, "Ambition unburden, one's heart" is Chinese painting center; Chinese painting emphasizes the artistic conception. The author thinks that it is difficult to embody the connotation of traditional Chinese painting, which is the essence of Chinese traditional culture and art. Poetry, calligraphy and Chinese painting an organic [integral] whole, This is the true meaning of Chinese painting, is Ancient Chinese Literature Search (Chinese traditional), is the pride of the Chinese nation (The more traditional, The more Have Multi nationality Nature The more the national culture the, more cosmopolitan:); therefore, we can not be one-sided pursuit of "shape". Heavy is the ideological content of the works: "Ideological character is the life of Art to poetic Chinese painting for your". As the inheritance of traditional culture, calligraphy and painting, we must master the skilled application of "poetic Chinese painting" to "forward national extraction, Carry boutique. I agree with Mr. Cheng Dali concluded that Chinese painting of the two functions: 1, nourishing heart cultivate one's moral character Method, 2, be aware of in the world realize the truth or philosophic theory power; but he proposed a threshold requirement of mass must transform themselves to the public, rather than to the transformation of China painting China, painting, both writers and readers, it makes people and into a tranquilized mind Clearly nothing, keeping a sound mind Inner spirit, also known as the "static" state; of course it is far away from the war, not bloody, not irritable, rarely manifest anxiety. It pursues Arrive quiet Arrive distant Harmony between, heaven and man, Through introspection and it is up to best condition; appreciation and creators should put themselves into a culture to enhance the sense of ethical realm, people can enter the Chinese painting.
任何情况下，总是“适合自身发展的，才是最好的”。如：中国特色社会主义等等，任何先进经验的借鉴必须有度，否则会本末倒置；中国画的发展也一样，汲取西方绘画的“光影效果”，仅限于技法的修饰上借鉴，而主题、整体风格上中国画与西方绘画是绝然不同的，一味追求西风东渐？会“丢西瓜捡芝麻”，走向歧途。
In any case, always suitable for their own development, is the best". Such as: Chinese socialism and so on, any advanced experience of Reference must be degree Certain amount Have the order, or reversed; development China painting too, learn from western painting "glight shadow Effect", Be confined only to On the modification of techniques, while the theme and style China painting and Western painting Completely different, a the spread of Western influences pursuit to the East? Will "throw Watermelon up sesame seeds", trend crossroad wrong road pick.
最后，两首《诗情画意·抒怀》结束本文；其一：岂为形质桎梏禁，绍骅泼墨真性情。东坡长笑儿童邻，诗情画意至高境。其二：千种风情予知音，雨疏风骤昨夜停。诗情画意中华情，绍骅捉笔向丹青。
Finally, the first two "-" the end of a quality suggestive of poetry or painting and poetry; the How can Be forced Status and: texture restrict, The true nature of Gu Shaohua's splash-ink, a technique of Chinese ink-painting tempermament. Su Dongpo jokes If you draw a picture of the "shape" and judge the good and bad, He has the same experience as children, poetic and pictorial splendor (poetic Chinese painting) The highest level of Chinese painting. Second: Thousands of feelings give friend appreciative of one's talents, Rain wind stopped suddenly last night amorous a keenly. Poetic and pictorial Chinese love, Gu Shaohua a brush towards red and hold green Writing splendor.
2017年4月26日星期三
本文用过的汉英词语：
the Chinese and English words:
同源:one and the same source
厚积薄发：Accumulate steadily
味摩诘之诗：Pondering Wang Wei The poem
诗中有画：Painting-in-poetry
观摩诘之画：watch Wang Wei Chinese Painting
画中有诗：There is poetry in a painting
含蕴深刻：possess Profound implication
意象幽深：Imagery deep and serene
诗书画印：poetry , calligraphy , painting and seal cutting
民族血脉：Chinese nation blood vessel in which the blood and qi circulate
民族责任感：Chinese nation National responsibility
民族文化危机感：Chinese nation National cultural crisis awareness
借物抒情：borrowing lyrics
画龙点睛：Bring the painted dragon to life by putting in the pupils of its eyes
诗情增添画意：Poetry Add mood of a painting
珠联璧合：put pearls and jade together -- each improves by association with the other； a complement of talents and abilities to form an advisory board [an executive committee;
相得益彰：Make the old and new contrast and complement each other
言简意赅：Concise and comprehensive
浮想联翩：Thoughts thronged one's mind
遐思无限：Unlimited reverie
相辅相存：Phase complementary phase
相互转换：Interconversion
读画：appraise a painting
体味产生意境：Understanding produces artistic conception
古松观止：Chinese Painting Ancient Pine Drawing to the end
高山飞泉：Mountain waterfalls cliffside
云烟升腾：Mist rising
古松承浴：Age-old pine trees in bath
杂树共欢：The multifarious trees Common joy
飞流直下三千尺：Fast Flowing water Fly straight down three thousand feet
手舞足蹈：dance with joy [excitement]
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