二 文化背景
Two culturalbackground
1、 傳統(tǒng)文化的融合
古代文人大多視繪畫為余事，同書法一樣用來(lái)充實(shí)自己的精神家園，情感得到宣泄，心靈得到凈化。如米芾的畫作，水墨點(diǎn)點(diǎn)，視為戲作，是作者隨意、自然、不蹈故常的心態(tài)寫照。也有的畫家視繪畫為生命，淡泊名利，為藝術(shù)而終生求索，同樣受到人們的敬重。如清代的石濤，雖出家為僧，但在繪畫創(chuàng)作上卻傾注了大量的心血和汗水，他在繪畫上的標(biāo)新立異，招致了周圍同道們的譏諷和嘲笑。但他不受時(shí)風(fēng)的左右，提倡一畫之法，主張畫家要借寫生抒發(fā)真情實(shí)感，不要斤斤計(jì)較于一點(diǎn)一畫的得失，要從全局著眼。因此他的山水、人物畫形態(tài)恣肆，不拘繩墨。其“墨海中立定精神”的主旨被后人廣為傳頌。通過上述分析，可給我們以如下三點(diǎn)啟示：其一，恰如其分地抒情表意還要以深厚的筆墨功夫和廣博的學(xué)養(yǎng)為根基。文入畫的創(chuàng)作雖然要擺脫紙筆的限制，創(chuàng)造新的意境，一切服從于抒情主題，但有一點(diǎn)必須明確，即扎實(shí)的技法是表達(dá)情感的基礎(chǔ)，熟練暢快地駕馭筆墨丹青，才能卓有成效。文人畫家—般都書畫兼善，如蘇軾、米芾，皆執(zhí)宋代書壇、畫壇之牛耳，是后學(xué)效法的楷模。不斷地加強(qiáng)自身的修養(yǎng)，澄澈內(nèi)心也是文入畫家的基本功。
1, the integration oftraditional culture
Most of the ancient literatipainting as a matter of fact, with the same as calligraphy to enrich theirspiritual home, emotional catharsis, mind purification. Like Mi Fei'spaintings, ink dots, as a joke for the author is free, natural, Too observantof conventional standards don't mind. Some artists as painting to life,indifferent to fame and wealth, and life-long search for the arts, equallyrespected by people. Such as Tao Shi in the Qing Dynasty, although the monk,but in the creation of painting has devoted a lot of effort and sweat, hispainting on the start sth. new in order to be different, made friends ridiculedand laughed at. Free from the prevailing style but he left, promote a paintingof the law, that artists to express real feelings through painting, do notJinjinjijiao one point one gains and losses, we should focus on the overallsituation. Therefore, his landscape painting patterns Zisi, shengmo. The themeof "Pen culture The spirit of standing" was later praised. Throughthe above analysis, we can give inspiration to the following three points:first, to a proper extent to the lyric sheet intended to deep Pen culture andextensive efforts of school support for the foundation. The picturesque,although the creation of pen and paper to get rid of restrictions, create newartistic conception, subject to all the lyrical theme, but it should be clearthat the technique is a solid basis for the of emotion, skilledChinese brush Mo Danqing cool to control can be very fruitful. Literatipainters - all paintings general Jianshan, such as Su Shi, Mi Fei, all withGreat song of the altar, the painting of artist learning model is the model.Continue to strengthen its cultivation of basic skills, Chengche heart is thetext of the painter.
古代文人往往據(jù)于儒、依于道、欹于禪，對(duì)儒學(xué)、道家、禪宗理論浸淫頗深，進(jìn)而極大地豐富了中國(guó)傳統(tǒng)文人的文化思想，提高了文人的文化素質(zhì)，對(duì)精神升華也起到了不可忽視的作用，這樣他們的畫作就體現(xiàn)了多重內(nèi)涵，具有真正的藝術(shù)價(jià)值。其二，文人畫家不管榮辱得失，始終癡迷于繪事。這固然和文人畫特有的寄情功能有關(guān)。在—定程度上也反映了文人們對(duì)這門藝術(shù)的迷戀和熱愛，畢生不輟。李苦禪先生在解放前生活困頓，還要經(jīng)常面對(duì)日寇的威逼利誘，即便身陷囹圄仍念念不忘畫藝。他筆下的雄鷹，氣度超凡，目光炯炯，傲視蒼穹，正是先生歷萬(wàn)劫而不悔的生動(dòng)寫照。齊白石先生在中國(guó)畫壇獨(dú)樹一幟，倡導(dǎo)新的畫風(fēng)，但卻遭到別人的非議和圍攻，但老人卻以“不挨罵長(zhǎng)不大”坦然應(yīng)對(duì)，他筆下的群蝦互相追逐嬉戲，逍遙自在。由畫及人，我們可以得知畫家內(nèi)心對(duì)藝術(shù)的癡迷。其三，創(chuàng)作時(shí)要任心態(tài)自然流露。畫家是繪畫藝術(shù)王國(guó)的主宰，有了精深的筆墨功夫之后，可以暫時(shí)忘卻一切，全神貫注地用藝術(shù)語(yǔ)言記錄自己的所思所想。這樣的創(chuàng)作過程不需要任何掩飾或是矯揉造作，不做任何名利之想，追求自然、純真，這才是理想的創(chuàng)作過程：，如此才能創(chuàng)造美好的意境，作品才能成為寄情寫志的上乘之作。研究心態(tài)與文入畫的創(chuàng)作對(duì)我們的繪畫創(chuàng)作具有重要意義。
The ancient literati oftenAccording to Confucianism、According to Taoism、According to the Buddhist,Confucianism, Taoism, Zen theory of Profound research, which has greatlyenriched the China traditional literati culture, improve the cultural qualityof the literati, also on the spirit of sublimation played a role can not beignored, so that they reflect the paintings on the multiple connotations, withreal artistic value. Second, the literati painters regardless of the pros andcons of honor, always obsessed with painting. This is of course and literatipaintings unique Jiqing function. To a certain extent, also reflects thepeople's fascination with this art and love, Life Buchuo. Li Ku Chan in thepredicament of life before liberation, but also often face the coercion, evenshenxianlingyu Huayi still an obsession. He's an eagle, Bearing extraordinary,One's eyes flashed like lightning, Proud look The overarching sky, Mr. Li iseternal and not regret a vivid portrayal. Mr. Qi Baishi in the Chinese paintingadvocate new style, become an independent school, but others wereobjectionable, and the siege, but the elderly are "not scolded, notlong" calm response, group of shrimp under his pen and chased each other,leisurely and carefree. By painting and people, we can learn that the artist'sinner obsession with art. Third, the creation of any natural state of mind. Thepainter is a master of the art of painting the Kingdom, a sophisticated Pen andink culture Kungfu, can forget everything, to be absorbed in his own artisticlanguage records and thinking. This creative process does not need any disguiseor Try to deceive by covering up one's real purpose, do not do anything to thefame and fortune, the pursuit of natural, pure, this is the ideal creativeprocess, so as to create a better mood, work can become fine Jiqing write infor. The research mentality and the picturesque creation is of greatsignificance to our painting creation.
2、 詩(shī)情畫意與中國(guó)畫的意境：
“無(wú)詩(shī)不能成畫、無(wú)畫不能為詩(shī)”（沒有不能成為畫的詩(shī)，也沒有不能寫成詩(shī)的畫）。畫家在畫作上題以詩(shī)文，或記下創(chuàng)作背景，或只寫一個(gè)言簡(jiǎn)意賅的畫題，通過這樣的題跋，—方面表達(dá)自己的思想，抒發(fā)自己的情感；另一方面，也使畫的意境更加深邃，主題更加突出，布局構(gòu)圖更加完善，如果題跋又是精美的書法，那么觀者在賞畫的同時(shí)，還可得到書法的美感享受，這幅畫作豈不是更加完美？詩(shī)情畫意是中國(guó)畫所追求的最高“境界”；并且詩(shī)、書、畫、印堪稱“四絕”。這是因?yàn)樵?shī)、畫都是寫人繪景；詩(shī)畫并舉，相映生輝，形成中國(guó)畫一道亮麗的風(fēng)景。由此可見，它們之間的關(guān)系應(yīng)是有機(jī)結(jié)合的，不能把詩(shī)文視為多余。大畫家黃賓虹曾說(shuō)：“中國(guó)畫有三不朽”，其中就有“詩(shī)書畫合一不朽也”。
2，poeticChinese painting the artistic conception of Chinese painting:
"There is no poem can notbe a painting, no painting can not be a poem" (there is no poem can not bepainted, there is no poem can not be written). In the paintings of the artiston the title to poetry, or a note of creative background, or just write aconcise and comprehensive painting, through such inscriptions, and expresstheir ideas, express their feelings; on the other hand, also make the paintingmore profound, more prominent theme, layout composition more perfect, ifcomments is the exquisite calligraphy, so the viewer in a picture at the sametime, can enjoy the beauty of calligraphy, this painting is not a more perfect?Poetic Chinese painting is the highest pursuit of the "realm" Chinapainting; and poetry, calligraphy, painting, seal Chinese called "four".This is because the poetry, painting is to write people painting king; poetry,Chinese painting simultaneously, Mutual confrontation glorify, the formation ofa beautiful landscape of Chinese painting. Thus, the relationship between themshould be an organic combination of poetry can not be considered redundant.Huang Binhong, a great painter, once said, "there are three immortals inChinese painting"".
事實(shí)上，自古以來(lái)，將詩(shī)書畫結(jié)合巧妙的人大有人在。比如：徐渭在《葡萄》上的題詩(shī)：“半生落魄已成翁，獨(dú)立書齋嘯晚風(fēng)，筆底明珠無(wú)處賣，閑拋閑擲野藤中。”如果拋開這首詩(shī)，只是—串葡萄而已，還有何意義。
鄭板橋一生愛竹、畫竹他在《竹石》詩(shī)中寫道：“咬定青山不放松，立根原在破巖中；千磨萬(wàn)擊還堅(jiān)勁，任爾東西南北風(fēng)?！彼灾褡杂鳌傊辈话??？梢?，好的題畫詩(shī)可以使畫的意境更加深邃，主題更加突出有意義，甚至達(dá)到點(diǎn)石成金、化腐朽為神奇的作用。畫友在一幅山水畫中題跋道：“亂石堆中水一泓，草舍置于野林中，遠(yuǎn)離塵器聽鳥語(yǔ)，管他春夏與秋冬?！痹凇掇r(nóng)家之秋》中題曰：“誰(shuí)說(shuō)秋天氣蕭森，經(jīng)霜紅葉更精神，農(nóng)夫收禾不在家，尋親訪故莫敲門。”在一幅《瀑布圖》中題道：“清泉出山不停息，人生苦短自?shī)^蹄?！痹诹硪环剿蓄}曰：“岸邊房舍綠蔭濃，船泊碧水一江中。靜看云起云又落，閑坐船頭作漁翁?！边@是畫家思想情感的自然流露，寫景抒情樸實(shí)宛如“綠色食品”一樣。
Infact, since ancient times, poetry, calligraphy, Chinese painting has a lot ofclever people. For example: Xu Wei in "Grape" on the Half my life isTishi: "not successful, has now become the old man Standing in, the study,at night and the wind chanting poetry, The grapes under the Chinese brush arenowhere to sell, Leisurely throwing wild vine." If you put aside the poem,just a bunch of grapes, what's the point?. Zheng Banqiao life love bamboo, thebamboo he wrote in "bamboo and stone" in the poem: "Insist notrelax Castle Peak, The root of standing in the broken rock; Nature's millionsof blows, he is strong, At the four corners of the world wind crazy." Heis bamboo self, Upright and a outspoken. Therefore, a good poems inscribed onpaintings can make the painting more profound, more prominent themesmeaningful, even to able to perform wonders, turn bad into good effect. Friendsin a painting landscape painting Inscriptions: "The rubble a fountain, Thethatched house in the jungle, Listen to the birds away from dust Regardless of,his spring, summer autumn, and winter." The title said "autumnfarmers": "Who says autumn weather Xiao Sen, After cold air Redautumnal leaves more spirit, cut the corn The farmer is not at home, Lookingfor relatives visit friends don't knock at the door." In a waterfalldiagram in question: Clear spring out the mountains Won't Stop, Life is short,you have to struggle flows." In another landscape, said: The houses Greendense shore, The ship at the blue green water Jiang Zhong in stopped. Staticview the clouds and cloud, Sit bow fisherman from." This is a painter 'sspontaneous emotion and scenery Lyric like a simple "green food".
例如：顧紹驊創(chuàng)作的中國(guó)山水詩(shī)意畫——《送僧游山》
Forexample: Gu Shaohua's poetic Chinese painting -- "Send monks visit themountains"
【原詩(shī)（詞）】：云身自在山山去，何處?kù)`山不是歸。日暮寒林投古寺，雪花飛滿水田衣?！瞥ば苋娴?《送僧游山》詩(shī)意
【賞析】：詩(shī)意深富禪趣——禪心如云，自自在在的向著一山又一山飛去，又有何處的靈山不可歸去呢？我去古寺“進(jìn)香”，在風(fēng)雪之中的傍晚穿越寒林；凜冽的寒風(fēng)夾雜著雪花，狠狠地拍打在我的臉上、身體上，同時(shí)也鉆進(jìn)了我的領(lǐng)口、袖口，并且，那冰晶的雪花沾滿了我的“水田”衣；這么的天寒地凍，我是“心誠(chéng)則靈啊”！
規(guī)格：100×68cm 紙本設(shè)色 2006年創(chuàng)作）
[poetry]: The wandering bodyfreely in the mountains to visit the mountains, And everywhere is their holyplaces, why can't return? The evening went to the temple to the cold forest,Snow filled the paddy field. - Tang - Xiong Rudeng "Send monks visit the mountainsto"
[Appreciate]: The poems ofdeep of rich Buddhist Charm The Buddhist thoughts like clouds, From the freedomof a mountain and a mountain to fly, And everywhere is their holy places whycan't return?? I went to the temple "pilgrimage", in the snow in theevening through the cold forest; cold wind mixed with snow, mercilesslyslapping me in the face and body, but also got into my collar and cuffs, andthe ice snow covered with my "paddy" clothes; so very cold. I am onlywhen one believes "work in it sincerely"!
Specification: 100 * 68cmpaper colors created in 2006)
筆者也在“自畫像”中這樣題道：“儒世家門墜一瓜，閻羅殿上險(xiǎn)遭殺。翰林府第三敬履，蟾桂宮前四獻(xiàn)花?！眥筆者本人路遇車禍、險(xiǎn)喪性命；康復(fù)后，又就讀于中國(guó)書協(xié)書培中心之高級(jí)書法班時(shí)寫的一首《感遇》詩(shī)。釋義：書香世家生了一個(gè)男孩，閻王殿上險(xiǎn)些被殺害。（在）翰林學(xué)府（書法培訓(xùn)中心）里，要象張良當(dāng)年求學(xué)時(shí)①（注①：韓信當(dāng)年求學(xué)時(shí)，其師試他的誠(chéng)心與決心，過橋時(shí)有意將鞋子失落于橋下，張良當(dāng)即將老師鞋子拾回，并雙手敬奉給老師；如此三次，皆如此。其師為之所動(dòng)，遂授兵書三卷，并予以指點(diǎn)，終使張良能成大業(yè)。這就是“遺橋三敬履”的歷史故事），有誠(chéng)心與決心刻苦學(xué)習(xí)；學(xué)成后一定以優(yōu)異的成績(jī)報(bào)效祖國(guó)。}。一幅畫畫得再好它所反映的物象、表現(xiàn)的空間是有限的，只有詩(shī)畫并舉，才能表現(xiàn)時(shí)空、寓意深刻。
The author is "selfportraits" in this title: "A child born in Confucian family,Yanwangdian almost killed. The highest institution of Chinese Calligraphy Studycarefully, After studying some excellent results to repay the state andsociety."{The author in the College Road, was hit by a car, Almost lostlife; after rehabilitation, and attended Chinese Shuxie training centre on thehigh calligraphy class to write a song "Ganyu poem". Interpretation:the literary family gave birth to a boy, Yanwangdian almost killed. (in) HallymUniversity (calligraphy training center), like Zhang Liang in the year to studyat (Note: Han Xin was in school, the teacher tries his sincerity anddetermination to put shoes lost in the bridge under the bridge, when theteacher Zhang Liang will pick up shoes, hands and worship for the teacher; sothree times so, all. The division by the move, and grant three volumes, and toguide, so that Zhang Liang can end the big industry. This is the "On thebridge three times to help the teachers wear shoes allusions"), historicalstories are sincere and determined to study hard; some after graduation withhonors to serve the motherland. }. A picture of a good image, it reflects thespace is limited, only poetry and painting simultaneously, to display the time,entertain a thought deeply.
白石老人一幅條幅，畫的下方只畫了三只小雞。其余全是空白，只是在右上方題了長(zhǎng)款，計(jì)白當(dāng)黑，虛實(shí)結(jié)合，詩(shī)畫互補(bǔ)，相映生輝，別有一番趣味。題畫詩(shī)，還可以使畫家愛、憎、悲、愁、褒、貶、揚(yáng)、棄等多種情感更加強(qiáng)烈地傾注于畫面。再如在畫作《不倒翁》上題道：“烏紗白扇儼然官，不倒原來(lái)泥半團(tuán)，將汝忽然來(lái)打破，通身何處有心肝。”這樣的題跋使一幅簡(jiǎn)單的不倒翁畫變得意境深遠(yuǎn)，意義不凡。如果不是這首詩(shī)，畫中的不倒翁就顯得毫無(wú)意義。
A Qi Baishi painting scroll,painted just below the painting of the three chicks. The rest is blank, just inthe upper right of the long paragraph, reckon blank as inked, selective focus,Poetry painting each other, Complement each other, do not have some fun. PoemsInscribed on paintings, so that artists can also love, hate, sadness, sorrow,derogatory and commendatory, Yang, abandoned and other emotions more stronglyinto the picture. Another example is in the works of "Tumbler" on thetitle: "Black gauze cap, white fan is very much like the official, Thereason for not falling is Half sludge Hereunder Will you, suddenly break, Theupper and lower body where there is a heart?." This preface andpostscript; make a simple painting changed Bu Daoweng mood in the far-reachingsignificance. If it weren't for the poem, the Tumbler in the painting would bemeaningless.
白石老人《不倒翁》的題畫詩(shī)對(duì)那種道貌岸然、久居高位，卻無(wú)任何修養(yǎng)，只會(huì)欺壓百姓的飯桶草包官給予了有力的鞭笞。畫家愛什么，恨什么，旗幟非常鮮明，感受常強(qiáng)烈。如徐渭的題葡萄詩(shī)，鄭板橋的題竹詩(shī)都傾注著畫家強(qiáng)烈的思想感情。畫家融情于畫，更借詩(shī)直抒胸臆?？粗?，讀著詩(shī)，使觀畫者受到強(qiáng)烈的感染。畫因詩(shī)而更具情感魅力；詩(shī)因畫而更加意義不凡。詩(shī)畫相得益彰，類似這樣好的題畫詩(shī)在當(dāng)今畫壇也并不鮮見。因而構(gòu)成了中國(guó)畫獨(dú)有的藝術(shù)特色，達(dá)到一個(gè)高層次的美學(xué)水平，這是其它任何藝術(shù)所不能比擬的。有詩(shī)言：又如有山不宜平?！弊鳟嬕嗳弧?/span>
Qi Baishi's "tumbler"poems inscribed on paintings, that pose as a person of high morals, without anytraining, only the oppressed people of Idiot Officer to give a powerful Lash.What artists love, hate what, the flag is very bright, often strong feelings.Such as Xu Wei's question Grape poetry,'s bamboo poems are devoted to theartist's strong feelings. The artist emotion in painting, by expressingthoughts or feelings deep in poem one's heart. Look at the picture, read thepoem, so that the painter was a strong infection. The painting is moreemotional because of poetry; poetry is more meaningful than painting. Poetryand Chinese painting complement each other complement each other, PoemsInscribed on like this good paintings in today's art world is also not uncommon.Thus constitute the unique artistic features of Chinese painting, to achieve ahigh level of aesthetics, which is any other art, can not be compared. There isa poem: And if mountain is not the flat." Painting is also.
中國(guó)園林講究以“曲徑通幽”式的廊回路轉(zhuǎn)、流水小橋分割空間，制造出一種視覺上的隱蔽迷離之美。中國(guó)畫亦常在筆墨境象的模糊中追求亦此亦彼、非此非彼，超以象外、得其環(huán)中的藝術(shù)效果。其魅力之所在，正是借助于形式與精神的詩(shī)意化氣質(zhì)，引發(fā)人們對(duì)有限物象的聯(lián)想，使畫中最難表達(dá)的意態(tài)與神采轉(zhuǎn)化為弦外之音的回響，使欣賞者能夠在瞬間獲得一個(gè)整體的對(duì)繪畫時(shí)空觀的認(rèn)知與把握。這種認(rèn)知通常是一個(gè)關(guān)于審美對(duì)象模糊的整體圖景的顯現(xiàn)，并不拘泥于某一細(xì)節(jié)。
China landscape "Thewinding path leads to a secluded quiet place" type, water bridge divisionspace, creating a visual blur the hidden beauty. China painting is often in Thecultural environment of Writing brush and ink fuzzy pursuit in both this andthat, this is not out of the ordinary, the ring, artistic effect. The charm ofpoetic temperament, it is with the help of form and spirit, lead people tothink of the limited object, and will look to the most difficult to expressinto overtones response, so that the participants can in an instant access to adrawing on the overall understanding and grasp of space and time. This kind ofcognition is usually a manifestation of the overall picture of the vagueaesthetic object, and is not restricted to a particular detail.
而卻更多地關(guān)注著諸如委婉、含蓄、一波三折的情境語(yǔ)言的運(yùn)用；關(guān)注虛空、澄明、言外之意、象外之聲的經(jīng)營(yíng)構(gòu)思謀略；張彥遠(yuǎn)在《歷代名畫記》中所講“意在筆先，畫盡意在”，寫意自古就是民族藝術(shù)觀，也是中國(guó)繪畫藝術(shù)的美學(xué)原則所謂“一枝一葉總關(guān)情”，我們所畫的植物，它既無(wú)感情，也無(wú)思想，而畫家們往往賦予它們某種含義，即畫家立意的主觀作用自然美的特征觸動(dòng)了畫家的某種情感，從而“借景抒情，以物言志”畫家們正是以自己獨(dú)特的視角及感覺確定自已的“立意”，以表達(dá)自己的感情，“立意”不是純主觀的臆造，它是畫家體驗(yàn)認(rèn)識(shí)生活的結(jié)果它是一種美的理解和認(rèn)識(shí)，它還包括了人的思想、感情、理想、修養(yǎng)在里面。通過“外師造化，中得心源”，也就是通過向客觀事物要感覺之后形成和發(fā)現(xiàn)不同一般的認(rèn)識(shí),這才是----“意”也可以說(shuō)“意”足一切藝術(shù)作品的靈魂：只有在感情和認(rèn)識(shí)的基礎(chǔ)上半場(chǎng)提煉、概括、升華而形成的“立意”，才是繪畫作品所需的應(yīng)該說(shuō)“意”足情的升華情是“意”的基礎(chǔ)。
And is more concerned aboutthe use of situational language such as tactful and reserved, the void,striking one snag after another; focus on clarity, implication, as the voice ofthe business concept of strategy; Zhang Yanyuan in "The famous paintingsthrough the ages" mentioned in the "work out the plot before puttingpen to paper, Chinese painting finished Significance in" that is theancient folk art freehand concept is China painting art aesthetic principles ofthe so-called "A branch, a leaf is always related to affectionateexpression", we are painting plants, it has no feelings, no thoughts, andartists often give them a meaning, namely the characteristics of subjectiveconception of the natural beauty of the artist role touch a painter's emotion,thus "lyric by King, to express" artists are in their own uniqueperspective and feel it Set their own "conception", to express theirfeelings, "make up one's mind" is not a purely subjective conjecture,it is the artist experience life and it is a kind of beauty and understanding,it also includes people's thoughts, feelings, ideals, culture inside. Throughthe "The study of nature Get your own knowledge", that is, through tothe objective things to feel, formed and found different understanding ingeneral, this is the "meaning", also can say "meaning" allthe soul of Art: only based on emotion and recognition in the first half,refining summary and sublimation and the formation of "make up one'smind", is the painting required should be said that the"meaning" foot the sublimation of love love is "meaning"basis.
《羅丹藝術(shù)論》中曾說(shuō)過“藝術(shù)就是感情”，沒有感情基礎(chǔ)的藝術(shù)，也就是說(shuō)連自己都不感動(dòng)的東西史無(wú)法打動(dòng)別人的我們欣賞畫時(shí)，時(shí)為其內(nèi)含的藝術(shù)魅力所吸引，畫有十分意趣、主觀思想相互交融；為畫外之意，弦外之情所打動(dòng)、所陶冶、所感染，這就是“意境”作用…：“意境”是藝術(shù)的靈魂，是客觀事物精華部分的集中，加上人的思想感情的陶鑄，經(jīng)過高度藝術(shù)加工達(dá)到情景交融，借景抒情，從而表現(xiàn)出來(lái)的藝術(shù)境地是鮮活的、生動(dòng)的。
"Luo Dan arttheory" said "art is emotional," not based on feelings of theart, that is to say if you don't move things to impress others and weappreciate the history of painting, attracted by the artistic charm of itsimplicit, painting a very interest, subjective thinking of mutual exchanges;Beyond painting Significance String, outside friendship, moved by the mould,the infection, this is the "artistic conception"... "Artisticconception" is the soul of art, is part of the essence of things, coupledwith people's thoughts and feelings of the Tao Zhu, after the height reached Isa fusion of art feelings with the natural setting, take advantage of a scene toexpress one's emotion, which showed the state of the art is fresh and vivid.
白居易認(rèn)為學(xué)無(wú)常師，故其指一意狀一物，往往運(yùn)思中與神會(huì)”。他在《畫竹歌》中寫道：“不根而生從意生，不筍而成由筆成（不是根而生出與根相同的意義的生命，不是竹筍而制成的筆成為很好的筆…）……舉頭忽看不似畫，低手靜聽疑有聲?！彼坪踉缫盐虺隽酥袊?guó)畫“妙在似與不似之間”的真諦。中國(guó)畫家與詩(shī)人“游心之所在”（游離、創(chuàng)新的思想之所在），就是自身對(duì)造化自然獨(dú)特感悟的美境，創(chuàng)造的意象。這電決定了中國(guó)畫自始至終的浪漫主義情結(jié)和詩(shī)性的內(nèi)質(zhì)。董其昌說(shuō)得好：“詩(shī)以山川為境，山川亦以詩(shī)為境。（詩(shī)情是以山川為境界，山川也是以詩(shī)意為境界?！保彼囆g(shù)家稟賦的詩(shī)心，映像著天地萬(wàn)物的詩(shī)心，山川大地是宇宙詩(shī)心的影現(xiàn)（藝術(shù)家充滿詩(shī)意的情懷，表現(xiàn)著喜愛大自然萬(wàn)物的詩(shī)意，山川大地是宇宙詩(shī)心的影現(xiàn)）；畫家詩(shī)人的心靈活躍，本身就是宇宙的創(chuàng)化，它的卷舒取舍，好似太虛片云、寒塘雁跡，空靈而自然。中國(guó)畫家詩(shī)人“跡化自然，因心造境，曲盡蹈虛揖影之妙”(“一切痕跡的表現(xiàn)，都是來(lái)源于自然，因?yàn)樗囆g(shù)家的心境而造出畫境來(lái)，這一切音樂、舞蹈都是空的、虛的，只是藝術(shù)家發(fā)揮自己想象而表現(xiàn)出的漂亮的畫”宗白華語(yǔ))，可以說(shuō)是中國(guó)詩(shī)畫的基本特征。也是崇尚“虛空”之美的寫意型的中國(guó)畫與以“實(shí)”為本(巴門尼德的Being)的西方古典繪畫在創(chuàng)作觀念上的最大區(qū)別。
Bai Juyi thinks that Alearner has no need of a constant teacher So one idea Describe an object,thought with God". He wrote in "Bamboo song": "Not from theroots and from the meaning of life, Not grown from bamboo shoots, is formed byWriting brush (not the root and root and give birth to the same meaning oflife, not the bamboo shoots and made a good pen pen...)...... Raise the headlook like painting, Listen to sound of suspected the me Suddenly no." Itseems to have realized the true meaning of Chinese painting "Be SubtleArtistically to be Both Real and Unreal" in Depicted. Chinese painter andpoet "Wandering thoughts Where" (free, innovative ideas, where) isits own unique insight on the nature of natural beauty, to create the image.This power determines the romantic complex and poetic nature of Chinesepainting from beginning to end. Dong Qichang said: "poetry in themountains and rivers for the environment, the mountains and rivers are alsopoetry for the environment. (poetry in the mountains and mountains with poeticrealm, but also for the realm. ")" Artist endowment heart of thepoem, the image of all things of the heart, mountains and the earth is theuniverse is the impact of heart Poetry (artist full of poetic expression,poetic nature of things, like mountains and the earth is the universe is theimpact of heart Poetry); the painter poet's mind active, is the founding of theuniverse, it the Roll up and unfold, Admission and renunciation, A cloud in theuniverse, like Cold pond, The wild goose footprint, ethereal and natural.Chinese painter and poet "traces of natural Thought, creating environment,Best song and dance, seize the wonderful virtual shadow" ("all tracesof the performance are derived from nature, because the mood of the artists tocreate painting, music and dance are all empty, empty, only artists play theirown imagination show the beautiful picture in Chinese), white can be said to bethe basic characteristics of China poem. It is also the biggest differencebetween the freehand brushwork of Chinese painting and the western painting of"reality" (Ba Mened's Being).
在美術(shù)史上，自古以來(lái)就有兩種完全不同的表現(xiàn)方式：一種是以再現(xiàn)客觀世界為主的寫實(shí)型藝術(shù)，它以西方古典油畫為代表；一種是以表現(xiàn)主觀心緒與情感為主的浪漫、表現(xiàn)型藝術(shù)。中國(guó)畫就是以后者為其基本特征的。浪漫、表現(xiàn)性繪畫，早在戰(zhàn)國(guó)時(shí)代的楚墓帛畫《人物夔鳳圖》
及西漢馬王堆幡畫中就已初露端倪。
自唐朝文人畫初創(chuàng)以來(lái)，中國(guó)繪畫則更加注重托物抒情、以畫寄樂的表達(dá)方式的運(yùn)用。而“繪畫以形似，見與兒童鄰（繪畫如果以畫得“形似”而判定好與壞，他的見識(shí)與兒童一樣）”也正是蘇軾對(duì)先賢們藝術(shù)實(shí)踐的理論總結(jié)。它之所以能夠存在，并且，具有旺盛的生命力，一直被文人們捧為繪畫的至理，原因是離不開在中國(guó)哲學(xué)虛空的宇宙觀(老子“萬(wàn)物生于有，有生于無(wú)”)影響下藝術(shù)家對(duì)詩(shī)化的精神內(nèi)質(zhì)與詩(shī)意的形式外觀的永恒追求。的確，中國(guó)繪畫的這種觀念也正是把握了中國(guó)藝術(shù)的精神實(shí)質(zhì)，把握了中國(guó)藝術(shù)詩(shī)性的品質(zhì)特點(diǎn)，才經(jīng)受住了時(shí)間風(fēng)雨的考驗(yàn)，并一直影響至今。宋代哲學(xué)家程伊川說(shuō)過：“沖漠無(wú)朕（天地未判時(shí)的宇宙原始狀態(tài)），而萬(wàn)象昭然已具?！闭讶蝗f(wàn)象以沖漠無(wú)朕（天地未判時(shí)的宇宙原始狀態(tài)）為基礎(chǔ)，使實(shí)中有虛、虛中生實(shí)，空外余波，裊裊不絕，“無(wú)畫處皆成妙境”(笪重光語(yǔ))，這便是中國(guó)畫在對(duì)意境美的追求中最不可言傳的精神所在。
In art history, since ancienttimes are two completely different performance: a realistic reproduction of theobjective world of art mainly, it to Western classical paintings asrepresentatives; performance is a subjective mood and emotion as romantic,expressive art. Chinese painting is the basic feature of the later. Romantic,expressive painting, as early as the Kingdoms Period (475-221 B.C.) Chu tombpaintings (People Kui picture) and the Western Han Dynasty Mawangdui bannerdrawing has been show the initial symptoms Warring. Since the beginning of theTang dynasty literati painting, Chinese painting is more emphasis on Use imagesemotion Express, the use of painting to express the expression of music."Painting to the shape, see neighbors and children (if the paintingpainted" shape "and whether good or bad, his insight, and like otherchildren)" Su Shi is also summed up the sages who practice the art of. Itcan exist, and has strong vitality, the text has been praised for painting. Thereason is, cannot do without in the void China philosophy of the universe (LaoTzu "was born in all things, from nothing") under the influence ofthe eternal pursuit of poetic spirit and artist of poetic form appearance.Indeed, the concept of Chinese painting is to grasp the spirit of Chinese art,grasp the quality of Chinese art poetry characteristics, only to withstand thetest of time and wind, and has been affected so far. The Song Dynastyphilosopher Cheng Yichuan said: "Primitive universe (world is notsentenced the original state, and has been Zhaoran Vientiane)." ZhaoranVientiane Primitive universe (world is not sentenced the original state) basedthe virtual and virtual reality in the air, Yu Bo, "No painting allNiaoniao. Into Wonderland (Da Zhongguang), which is the most Chinese paintingin the pursuit of artistic beauty can only be sensed. Spirit.
3、 傳說(shuō)、典故、神話
3, legends, allusions, myths
① 考畫院的傳說(shuō)
中國(guó)畫十分講究“藏”與“露”的關(guān)系，特別講究如何“藏”的韻味。宋代的皇帝趙佶（徽宗）雖不善治國(guó)以至“靖康之恥”，他卻能書善畫，詩(shī)詞功夫也非同一般；他自創(chuàng)“瘦金體”的書法和形象細(xì)膩的畫鳥畫流傳至今，堪稱一代大師。據(jù)說(shuō)宋代的考宮廷畫師時(shí)出了這樣的幾道題：“踏花歸去馬蹄香”、“深山藏古寺”、“萬(wàn)綠叢中一點(diǎn)紅”。
平庸的畫師們將“踏花歸去馬蹄香”的畫面表現(xiàn)為：一匹飛馳的駿馬，跑過花園……；將“深山藏古寺”的畫面表現(xiàn)為：殘銹班駁的佛堂被高聳云天、粗壯的古榕樹所“半遮半現(xiàn)” ……將“萬(wàn)綠叢中一點(diǎn)紅” 的畫面表現(xiàn)為：一片綠茵茵的雜樹林里，一枝紫紅色的美人蕉在一枝獨(dú)繡地綻放……。
應(yīng)考畫師夏珪將“踏花歸去馬蹄香”畫為：初雨天晴，林間小道上，由遠(yuǎn)及近、稀稀地零落一行馬蹄?。辉谧罱鸟R蹄印上有三只蜜蜂，兩只在蹄印上盤旋準(zhǔn)備采蜜，而另一只沿著“香路”一直向前飛去……；在“深山藏古寺”中，他將畫面畫成：在飛巖絕壁、蜿蜒的石磯小道上兩名步履蹣跚的老和尚，正吃力地抬著一桶水向山上走去，一旁是云霧繚繞的林海……；而在“萬(wàn)綠叢中一點(diǎn)紅”的畫面是：在一望無(wú)垠的綠色叢林與稻田間，一位紫衣少女雙手分別拎著給親人送午餐的飯籃與陶瓦罐；那迎面拂面而來(lái)的山風(fēng)，吹動(dòng)著紫衣顯現(xiàn)少女婀娜的身影，吹開少女的烏發(fā)露出美麗的臉龐——蛾眉鳳眼、粉腮朱唇，透出春的氣息……。夏珪終因很好地處理了“藏”與“露”的關(guān)系而考上了畫師。即：“踏花歸去馬蹄香”、“深山藏古寺”分別隱藏了“馬”與“古寺”；第一：用“馬蹄印”來(lái)表現(xiàn)馬，用蜜蜂來(lái)反映畫面的主題——香；第二：用了“兩名步履蹣跚的老和尚”來(lái)表現(xiàn)這個(gè)藏著的“古寺”，達(dá)到了“含而不露、回味無(wú)窮”之目的。而在“萬(wàn)綠叢中一點(diǎn)紅”中通過“綠色叢林”與“紫衣少女”刻畫，露出了大自然和人間兩種“春意”。
① The academy examination legend
Chinese painting is veryparticular about the "hidden" and "dew" of therelationship, especially pay attention to how the "Tibetan" charm.The Song Dynasty emperor Zhao Ji (Huizong) although the country and the poor"Jingkang the shame", he was able to book good painting, poetry isextraordinary effort; he created "style of Chinese calligraphy originatedby Emperor Huizong of the Song Dynasty (Zhao Ji), characterized by slim yetsturdy strokes" the image of delicate calligraphy and painting birdpainting spread so far, may be called a generation of master. It is said thatthe Song Dynasty court painter made a few test questions like: "Flowerguiqu horseshoe riding", "the Old Temple The mountains hide" and"a single red flower in the midst of thick foliage".
Mediocre portrait masterswill "Flower guiqu horseshoe riding" for the screen performance: aspeeding horse, running across the garden...... "The Old Temple; Themountains hide" for the screen performance: Residual rust Banbo Toweringinto the sky, the temple was thick ancient banyan tree "Half cover Halfnow"...... "A single red flower in the midst of thick foliage"for the screen performance: a mixed forest green, a purple red canna bloom in asingle embroidery.......
An artist Xia GUI will Flowerguiqu horseshoe riding "for the painting: the early rain, forest trails,from far and near, thin to scattered line marks; there are three bees in therecent marks, two in the hoof circling for Caimi, and another along the"fragrant Lu always fly forward...... In "the Old Temple; The mountainshide", he painted pictures: the old monk in two teeter flying rockscliffs, winding the rocky path, trying to carry a bucket of water to go to themountain, one side is the misty forest...... In "a single; red flower inthe midst of thick foliage" the picture is: in the green forest and paddyboundless between a purple dress young girl hands were carrying to relatives tosend lunch lunch baskets and pottery jar; the face feels to mountain breeze,blowing purple show girl graceful figure the girl's hair, blowing open abeautiful face, Crescent crassipes, Pink gills, with the breath ofspring....... Xia GUI the end result well with the "Tibet" and"open" and admitted the artist. Namely: "Flower guiqu horseshoeriding", "the Old Temple The mountains hide" hidden"horse" and "Temple"; first use "Hoof print" toshow horses, bees to reflect the subject of the picture - incense; second: the"two Teeter of the old monk" to the performance of this hidden"Temple", to "contain but not exposed, to lead a person toendless aftertastes". In the "a single red flower in the midst ofthick foliage" in the "green forest" and "purple girl"depiction of human nature and exposed the two spring".
② 人們喜愛的“吉祥畫”
如：《三羊開泰》、《福壽圖》、《前程萬(wàn)里》、《吉利全家》、《上山虎》等。
⑴《三羊開泰》：癸未年已至，又是一個(gè)羊年。羊通“祥”，又與“陽(yáng)”諧音，故羊兒歷來(lái)被人們視為吉祥的象征。三只羊在—起寓意“三陽(yáng)開泰”，取冬去春來(lái)，陰消陽(yáng)長(zhǎng)之意。故每逢羊年，畫家中以此為題材作畫者甚多。（寓意：喜則升陽(yáng)古人說(shuō)，喜則陽(yáng)氣生。只生歡喜不生愁的人，在古代就被稱為神仙。喜是人生的一種大境界，能夠保持一顆歡喜心，對(duì)身體的滋養(yǎng)是比吃什么靈丹妙藥都管用的。）
⑵《福壽圖》：畫面上都是吉祥的象征——長(zhǎng)壽的綬帶鳥（綬：與壽諧音，即：長(zhǎng)壽的意思。）、壽桃、仙果（佛手）等。
⑶《前程萬(wàn)里》：古錢、拂塵、萬(wàn)年青、李子（一種水果），擺在“乳臭未干”的孩子身邊；以示“前程萬(wàn)里”。（錢：“前”的諧音字、塵“程” 的諧音字、李“里” 的諧音字。）
② The lucky painting"
Such as: "Three RamsBliss", "Blessing Longevity", "His future will begreat", "Geely family", "Geely tiger" and so on,"Bring".
⑴ The "Three Rams Bring Bliss": ramhas to, but also a year of the goat. Sheep - "Xiang", and"Yang" homophonic, Yanger has always been regarded as a symbol ofgood luck. Three sheep in the meaning of "Three Rams Bliss", take thewinter to spring, Yin deficiency Yang growth meaning and. Therefore, during theyear of the sheep, the painter takes this as the theme of painting a lot.(meaning: joyful, Sun Microsystems, this is the ancients said, joyful Yang ofhealth. Only those who are born without joy or sorrow are called gods inancient times. Joyful is a kind of realm of life, to keep a happy heart, iseffective than what to eat for the body to nourish a ready-made panacea.)
⑵ The "BlessingLongevity": the screen is emblem, of good fortune Paradise Flycatcher(Shou: longevity and Sau euphony, namely: the meaning of longevity.) ,Peach-Shaped Mantou, Ambrosia (fingered citron), etc..
⑶ The "His future careerwill be great": old coins, whisk, evergreen, plum (a fruit), placed in the"young and ignorant" children who show a promising future"". (money: "before" homophonic words, "Chengdust" homophonic words, "Li" homophonic words.)
⑷中國(guó)山水詩(shī)意畫——《吉利全家》
【原詩(shī)】小雞竦而待，貴似荔枝來(lái)。利爪削黃金，云林謝家宅。 規(guī)格：68×136 ㎝ 紙本設(shè)色 2012年10月創(chuàng)作
【欣賞】小雞在父母的呵護(hù)下，茁壯成長(zhǎng)；這一天，小雞們“畢恭畢敬”地等待著父母喂食。不一會(huì)，父母把小雞們帶到荔枝樹下，那些珍貴的荔枝好像知道它們要來(lái)，稀疏的散落在地上；父母用大而有力的利爪削開那些黃金般珍貴的荔枝，給小雞們品嘗……；在云林深處，“舊時(shí)王謝”家宅里，小雞一家無(wú)憂無(wú)慮地生活著。
⑸《上山虎》：上山虎寓意做任何都是“上升、吉利、威猛”等；故，做官、做生意（特別是做股票）的都要“討個(gè)吉利”，因此，“上山虎”（如：本文介紹的《雪谷傳嘯聲》）就是中國(guó)百姓所喜愛的。
⑷ The Chinese poetic landscapepainting - "auspicious family"
The chick to wait her,Waiting for parents to feed under the lychee tree the (neck). The chicken clawsopen gold litchi the chickens, The clouds, trees are with ordinary but happyFeed home covered cut parents. Specification: 68 * 136 cm of paper colors createdin October 2012
[appreciation] chicken in thecare of their parents, to thrive; this day, the chicks "waiting forparents to feed reverent and respectful.". After a while, the chicks withparents to lychee trees, those precious lychee seems to know they are coming,sparsely scattered on the ground; the parents with large and powerful claws cutthose golden lychee, to taste the chicks...... ; in the depths of Yunlin,"old Wang Xie" home chicken, a light of heart from care to live.
⑸ The "Geely tiger":the meaning of any tiger is "rising, Geely, the mighty"; therefore,an official, to do business (especially the stock) are "luck",therefore, "Tiger Mountain" (such as: the "Snow Valley Tigerroar") is in people in love.
③ 典故
⑴劉奎齡的《忠孝節(jié)義》
以典故入畫的代表性——《忠孝節(jié)義》中，劉奎齡仍舊采取自己最熟悉的動(dòng)物題材來(lái)表現(xiàn)中華民族的四種傳統(tǒng)美德-犬在我們的傳統(tǒng)中—一向是“忠”的代表；而羊與“孝”也有著緊密的聯(lián)系，《增廣賢文》中有“羊有跪乳之恩，鴉有反哺之義”的句子，羊是吉祥的動(dòng)物，吃奶時(shí)又都是跪著，因此被古人視為感恩、孝順的象征；牛吃苦耐勞，在古人心目中地位很高，至今很多地方仍流傳著各種“義牛傳”的故事，因而用牛來(lái)作“義”的代名詞也很貼切；至于劉奎齡用馬來(lái)表現(xiàn)“節(jié)”則源于鴉片戰(zhàn)爭(zhēng)中的一個(gè)故事。1841年1月，英軍攻占了虎門海口的沙角炮臺(tái)，守將陳連升犧牲，他的戰(zhàn)馬被英軍擄至香港。這匹馬性情剛烈，英人喂之不食，騎之則摔，近之則踢，惟獨(dú)華人手捧食料喂它，它才肯吃，只要一提到陳連升的名字它就流淚不止。有人說(shuō)要把它送回虎門，它便搖尾相隨，但它最終還是未能回去。后來(lái)它日夜在高崗上不吃不眠，望北而嘶，最終餓死在香港，被譽(yù)為“節(jié)馬”。當(dāng)時(shí)很多人都作了“節(jié)馬詩(shī)”、“節(jié)馬圖”來(lái)紀(jì)念它。（劉奎齡(1885—1967)，現(xiàn)代畫家。字耀辰，天津人。曾任中國(guó)美術(shù)家協(xié)會(huì)天津分會(huì)副主席。他善畫動(dòng)物、花鳥，尤以獅虎見長(zhǎng)，此外也能作山水人物。《忠孝節(jié)義》四屏條的名字很容易讓人認(rèn)為是人物畫。）
③ literary quotation
⑴ "Liu Kuiling's"Loyalty, filial piety, chastity and righteousness "
On behalf of: "Loyalty,filial piety chastity and righteousness story painting," Liu Kuiling,still take their most familiar animal theme to represent four traditionalvirtues of the Chinese nation - dogs in our tradition, has always been"loyalty"; sheep and "filial piety" is closely "To thegeneral, public Behave oneself Canonical essay" in the "Sheep havethe grace to kneel, crow has feedback of righteousness" in the sentence, thesheep is an auspicious animal, when infants are kneeling, it was viewed as asymbol of gratitude and filial piety; Endure hardships and be capable of cattlehard work, very high status in the eyes of the ancients, has many places arestill spread all kinds of "cattle justice" story, synonymous andcattle to "justice" is also appropriate for Liu Kuiling; The"performance" of the Malay age is derived from a story in the Opiumwar. In January 1841, the British captured Humen Haikou Shajiao fortress, ChenLiansheng will keep his sacrifice, the horse was taken to the British Hongkong.This horse temperament staunch, British people do not eat feed, Mount a horseand fall off, Approaching horse Kicking, but with Chinese food to feed it, itwill eat, as long as the mention of Chen Liansheng's name it tears. Some peoplesay that to send it back to Humen, it will shake tail, but it still can not goback. Later in the evening it did not take on Mian Gao Gang, Wang North Sima,eventually starve to death in Hongkong, known as "Ma day". At thattime many people have made a "Poetry Festival Ma," "daymap" to commemorate it. Liu Kuiling (1885 - 1967), modern painter. WordYao Chen, Tianjin people. Former vice chairman of Tianjin branch of Chineseartists association. He is good at painting animal, flowers and birds,especially Shihu Kyo, in addition to landscape character. "Loyalty, filialpiety, chastity and righteousness four" the name of a set of hangingscrolls people think it is very easy to figure painting).
⑵《八駿圖》與陳英泉
以畫明志的代表性——《八駿圖》。1945年暮春，“甲午同庚會(huì)”中的著名畫家鄭午昌、汪亞塵、吳湖帆、楊清磬，戲劇家梅蘭芳、周信芳、洪警鈴，文學(xué)家范煙橋等八人按“周穆王有八駿”的故事，約請(qǐng)當(dāng)時(shí)海上畫壇八位畫馬高手合作《八駿圖》，由“甲午同庚會(huì)”八位同仁在圖上簽署，以表心跡。參與創(chuàng)作此圖的畫家為：熊松泉、趙敬予、戈湘嵐、殷梓湘、謝之光、謝碧月、陳英泉、徐韶九。他們各繪一駿，以象征“甲午同庚會(huì)”中八位志士。此圖由書法家馬公愚題簽。題跋者尚有書畫家王福庵、張大干、馮超然、沈尹默、張谷年、潘勤孟及吳稚暉、李石曾等一大批名流。此圖是—幅“圖存八駿，志勵(lì)千秋”的藝術(shù)珍品。
這件《八駿圖》，曾在1985年《西泠藝報(bào)》創(chuàng)刊號(hào)上刊載過，這件事遂在當(dāng)代藝苑引為美談。然而，鄭午昌等八位名士俱已作占，畫馬高手熊松泉、趙敬予、戈湘嵐、殷梓湘、謝之光五位也已相繼去世，其中的謝碧月、徐韶九兩位現(xiàn)在的情況不明，倘若健在的話，當(dāng)也均是耄耋老人了。所幸其中的陳英泉先生至今仍活躍在姑蘇藝苑。
⑵ The "Eight finehorses" and Chen Yingquan
On behalf of Eight finehorses -- "Ming" painting. In the late spring of 1945, "the 1894g" of the famous painter Zheng Wuchang, Wang Yachen, Wu Hufan, YangQingqing, Mei Lanfang, Zhou Xinfang, Hong dramatists bell, literary van Bridgeeight people to smoke "Mu Wang Bajun" story, then invite eight horsesin the high sea painting "Eight fine horses" in military cooperation,signed by "the 1894 g" eight colleagues on the map, in their minds.Participate in the creation of this figure painter: Xiong Songquan, ZhaoJingyu, Ge Xianglan, Yin Zixiang, Xie Zhiguang, Xie Biyue, Xu Shaojiu, ChenYingquan. They painted a horse, with a symbol of "the 1894 g" in theeight person. This picture is composed of calligrapher Ma Gongyu name. Were thepainter Wang Fuan, and Zhang Dagan, Feng Chaoran, Shen Yinmo, Zhang Gunian, PanQinmeng and Wu Zhihui, Li Shi had a large number of celebrities. This figure isa "Picture eight horse, Ambition inspired Millennium" art treasures.
This "Eight finehorses", was published in 1985 on the first issue "Xiling artsnewspaper", it was cited as well in contemporary art. However, ZhengWuchang and other eight celebrities have made for Xiong Songquan, Zhao Jingyu,Ma painting master, Ge Xianglan, Yin Zixiang, Xie Zhiguang five have died,including Xie Biyue and Xu Shaojiu two are unknown, if alive, when are old.Fortunately, one of Mr. Chen Yingquan is still active in Suzhou yiyuan.
待續(xù)
To be continued
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