On Chinese painting essence Two

顧紹驊

Gu Shaohua writes

【編者按】國學(xué)大師季羨林的高足復(fù)旦大學(xué)歷史系教授錢文忠說（錢文忠教授：中華民族的傳統(tǒng)文化在哪里）：我們在文化上取得的成就，遠遠不能和我們在經(jīng)濟方面所取得的成就相匹配??！現(xiàn)在國際社會拿什么東西來賺我們的錢？拿文化啊！比方說，LV一個包，路易威登的包，一萬塊錢一個，入門級---，在上海街上，馬上有人問你同樣“水貨”五百元一個，如果去義烏會更加便宜，二百塊三個還要送其他商品，并且，中國人制作的，保證質(zhì)量，然而你卻只要正宗的；這就是文化的價值體現(xiàn)??！為此，我在中國畫的論文中呼吁：“舍棄坐擁博大精深的優(yōu)秀歷史傳統(tǒng)文化的“先天人文優(yōu)勢”，拋棄白描學(xué)素描，追求光影效果，只見技法，不見思想乃是本末倒置！（復(fù)興中華，呼喚民族文化品牌！）

[Abstract]Ji Xianlin, a master of Chinese culture The His Student Qian Wenzhong, (Professor Qian Wenzhong said: the traditional culture of the Chinese nation where): we have made in the cultural achievements, and far from our achievements in economic terms, ah! What does the international community use to make our money? Take culture! For example, a LV package, the package of Louis Weedon ten thousand dollars an entry level, in the streets of Shanghai, immediately someone asked you the same "smuggled goods" five hundred yuan a, if it will be much cheaper to go to Yiwu, but also to send two hundred blocks of three other commodities, and quality assurance Chinese production however, as long as you have the authentic; this is the cultural value! To this end, I called in China painting paper: "abandon the excellent traditional culture broad and profound with the innate cultural advantages, abandon the pursuit of science drawing sketch, lighting effects, and techniques, not thinking, is to have the order reversed! (rejuvenation of China, calling for national cultural brand!)

西方繪畫的寫實性，是其存在的主要功能；其中自2000年代早期以來，美國照相寫實主義畫家丹尼斯·彼得森（Denis Peterson）的開拓性超級寫實主義(Hyperrealism，又稱高度寫實主義)，是繪畫和雕塑的一個流派，其風(fēng)格類似高分辨率的照片。作者稱其為傻瓜藝術(shù)(冷冰冰的機械制圖，除了一覽無余的直白表現(xiàn)外，沒有人文性、思想性，只有“看圖識字”的功能，這種與數(shù)碼相機爭高下的類別，遂稱其為～)。

Realism of Western painting, is the main function of its existence; and since the early 2000s, the United States photorealist painter Dennis Peterson (Denis Peterson) and super realism (Hyperrealism, also known as high realism), is a school of painting and sculpture, its style is similar to the high resolution photos. The author called it "the fool art" (cold mechanical drawing, in addition to the Take in everything in a glance straightforward , there is no humanistic, ideological, only "children figure literacy" function, this kind of competition with the digital camera category, called it ～.

如今，追求細膩風(fēng)格、寫實性的當(dāng)代“中國畫”，鋪天蓋地地充斥著我們的眼簾；西方繪畫構(gòu)圖、西方繪畫素描、西方繪畫色彩、西方繪畫透視……；我想，徐悲鴻在世，恐怕也不愿意看到這樣的“中國畫”吧！這樣被“奴化”的中國畫，除了使用的材料、工具還是老祖宗留下的以外，思想、形式等等已經(jīng)變質(zhì)了，已經(jīng)沒有了中華傳統(tǒng)文化的味道了；這樣的“中國畫”作品是少數(shù)？我們認(rèn)為是在“創(chuàng)新”，不幸的是，這已是普遍的現(xiàn)狀；這種被“奴化”的中國畫，是民族文化不自信的表現(xiàn)。一些有識之士紛紛撰文批判這一危險傾向：“經(jīng)濟發(fā)展是手段，我們的目的是讓我們的文化成就輝煌燦(請打開鏈接)，《當(dāng)下中國畫缺少精神內(nèi)涵》、《中國畫患“文化貧血癥”？李苦禪之子撰文批駁》、《當(dāng)代中國畫缺什么》、《毫不客氣地講，當(dāng)下寫意花鳥畫的發(fā)展呈衰微態(tài)勢，很不樂觀！》”這些觀點都反映：當(dāng)代中國畫缺文化、被西化這個非常嚴(yán)重的問題！各個畫種都有自己的特點，而代表中國民族文化的中國畫是具有“詩、書、畫”等中國民族文化特征，這是中國畫的根本；其最高境界就是“詩情畫意”。

顧紹驊的藝術(shù)感悟：一件藝術(shù)品需要彰顯獨特的藝術(shù)個性，具有時代精神，催人向上或積極進??；不是簡單地“對客觀事物的描摹中”，否則，藝術(shù)品的價值等同于“數(shù)碼照片”（甚至于沒有數(shù)碼照片的“清晰度”）。

Gu Shaohua's view of Art: a piece of art to highlight the unique artistic personality, with the spirit of the times, upward or aggressive; instead of a simple "description of objective things, otherwise, the value of art is equivalent to the" digital photos "(or even no digital photos of the" definition ").

 被“奴化”的中國畫舉例：

 "Enslavement" Chinese painting Give an example： 

     

  

在世界面前，能夠代表中國的美術(shù)就是中國畫。它是我們中華民族的優(yōu)秀傳統(tǒng)，精英文化，是國粹，是中國美術(shù)的核心主體。幾年前，遇到一個搞國學(xué)的長者，問：“是畫家嗎？”“是。”“畫什么畫？”“中國畫?！薄鞍ΓF(xiàn)在哪還有中國畫，都成洋垃圾了?！笔煮@詫。讀《陳綬祥：中國畫并非水墨畫》，文中提到：“當(dāng)前的繪畫，非常簡單，不中不西，沒有準(zhǔn)則，沒有目的?！边@“不中不西”說明現(xiàn)在的中國畫，已不是真正意義上的中國畫了。著名藝術(shù)收藏者郭慶祥大喊“中國當(dāng)代藝術(shù)就是一堆垃圾”。 2014年的全國第十二屆美展觀者如云，嘆息聲聲，更多的是悲哀和迷茫。因為這已經(jīng)不是一個中國畫展了，有人說最多算一個“山寨版的中國畫展”，也有人說可算“半個山寨版的西洋畫展”。整個展覽入選作品近600幅就有近500幅工筆畫，一個全國中國畫展竟成了一個全國工筆畫展。是工筆畫便于造型更接近西畫的感覺？誰都知道中國畫以寫意畫為主體，工筆只是一個基礎(chǔ)畫科，再好的一幅工筆畫都無法代表中國畫的最高水平。從整個展覽的作品來看，有如下幾個特點：第一無論是工筆還是寫意都立足于物象的素描立體造型。第二都注重于人工制作，甚至拼貼和機械打造。第三追求畫幅大、畫面滿，甚至堆砌，一味追求畫面視覺沖擊力。第四不講究筆法和墨法，也就是不要筆墨。第五，互相照抄照搬，多人一面，部分抽象作品直接搬襲西方。近600幅大作，浩浩蕩蕩，展線數(shù)千米，一小時路沒走完畫已看完。想一想曾于美術(shù)館看一幅黃秋園的扇面都要駐足數(shù)小時之久，原因也只有一個，一個是表象，一個是內(nèi)在。

 In front of the world, the art that represents China is Chinese painting. It is an excellent tradition of our Chinese nation, an elite culture, a quintessence of Chinese culture, and the core of Chinese art. A few years ago, met a senior Chinese scholar, asked: "is it a painter?"" "Yes."." "What's the picture?"" Chinese painting." "Well, there are Chinese paintings now. They're all foreign garbage." Very surprised. Reading "Chen Shouxiang: Chinese painting is not ink painting", the article said: "the current painting is very simple, not in the west, there is no criterion, no purpose." This "no difference between the West and the west" shows that the present Chinese painting is no longer a true Chinese painting. Guo Qingxiang, a famous art collector, shouted, "Chinese contemporary art is a pile of rubbish."". In 2014 the Twelfth National Art Exhibition crowd of spectators, what sighs is more sad and confused. Because this is not a Chinese painting exhibition, some people say that at most a "Shanzhai version of the Chinese Painting Exhibition", some people say that can be regarded as "half a cottage version of Western painting exhibition."". There are nearly 500 paintings in nearly 600 works, and a national Chinese painting exhibition has become a national fine brushwork exhibition. Is the painting for other closer to Western feeling? Everyone knows that Chinese painting takes freehand brushwork as the main body, fine brushwork is only a basic painting subject, and a fine painting can not represent the highest level of Chinese painting. From the works of the exhibition, there are several characteristics as follows: first, both fine brushwork and freehand brushwork are based on the image of the sketch, three-dimensional modeling. Second are focused on artificial production, and even collage and mechanical creation. Third pursue large picture, full screen, even stack, blindly pursue the visual impact of the screen. Fourth, do not pay attention to brushwork and ink, that is, no pen and ink. Fifth, copy each other, many people, part of the abstract works directly moved to the west. Nearly 600 paintings for exhibition line several kilometers, go forward with great strength and vigour, an hour did not finish the painting has finished. Want to have a look at Art Museum of Huang Qiuyuan fan surface be stopped for several hours, there is only one reason, one is an internal representation.

任何人文藝術(shù)的表達方式有兩種：一、思想愿望（中心思想）；二、藝術(shù)情趣——技術(shù)語音，在這里是指技法（繪畫語言）。如果不清楚其本質(zhì)（方向）的話，就會“下筆千言，離題萬里”！

There are two ways to express any art: an ideological desire (the central idea); two, art -- speech, here refers to techniques (painting). If you do not know the nature (direction) it will "lead remote from the subject"!

中國畫的本質(zhì)是中華傳統(tǒng)文化底蘊（借景抒情、托物言志）與筆墨線條（書法表現(xiàn)）的結(jié)合！這樣，內(nèi)容(思想內(nèi)涵、書法字跡)、表現(xiàn)形式(大小寫意、工筆)的二者統(tǒng)一，缺一不可才能稱得上中國畫。顧紹驊的藝術(shù)思想：中國畫的發(fā)展必須依照“中國方式”——集中國傳統(tǒng)文化底蘊（詩、書、畫）為一體的觀點——“詩情畫意”是中國畫的靈魂和中國畫發(fā)展方向；同時，也是世界美術(shù)作品的發(fā)展方向！

The essence of Chinese painting is the traditional Chinese culture (lyric, etc.) and ink lines (calligraphy) combination! In this way, the content (ideological content, calligraphy handwriting), the form of expression (size, freehand brushwork, fine brushwork) of the unity of the two, indispensable, can be called Chinese painting. Gu Shaohua's art thought: the development of Chinese painting must be in accordance with the "Chinese" - in China traditional culture (poetry, calligraphy and painting) as one of the "poetic quality Chinese - Painting" is China painting soul and China painting development direction; at the same time, which is the trend of the world of art works!

中國畫的特征是托物言志，借物抒懷（書法表達）；因此，“言志、抒懷”是中國畫表現(xiàn)的中心；中國畫非常強調(diào)意境。筆者認(rèn)為：從一般技法表現(xiàn)上講，難以體現(xiàn)中國畫的內(nèi)含（中國畫的這一優(yōu)秀傳統(tǒng)文化藝術(shù)瑰寶之精髓）。詩 、書 、畫溶為一體，這才是中國畫的真諦，是國學(xué)（國萃），以詩為魂，詩畫相濟，相輔相成，相得益彰的傳統(tǒng)文化樣式，已成為經(jīng)典，是中華民族的驕傲?。ㄔ绞莻鹘y(tǒng)的，就越具有民族性；越是民族的，就越具有世界性。）中國畫對畫家有人文要求，要“人”、“文”雙修，對欣賞者的要求同樣也要有“文”的要求；“文”是進入中國畫創(chuàng)作和欣賞的門檻，也是溝通畫家和社會的橋梁；“當(dāng)代漂亮的中國畫”，當(dāng)然不是真正的中國畫，只配稱做“被奴化的中國畫”！

The characteristics of Chinese painting is ", borrow Shuhuai (calligraphy expression); therefore," expressing feelings, "is China paintings China painting center; great emphasis on artistic conception. The author thinks: from the general technical performance, it is difficult to embody the connotation of Chinese painting (the essence of Chinese traditional culture and art treasures). Poetry, calligraphy and painting as one solution, this is the true meaning of Chinese painting, is Ancient Chinese Literature Search (China Chinese painting takes poetry extract), as its soul, Combination of poetry and painting, complement each other's traditional culture style, has become a classic, is the pride of the Chinese nation! (the more traditional, the more national; the more ethnic, the more cosmopolitan) China painting humanistic requirements of the painter, "the character of Chinese traditional culture, to" double, on the appreciation requirements also have "Chinese traditional culture"; "Chinese traditional culture" is entering the creation and appreciation of the China painting is the painter and the social communication barriers, the bridge; "contemporary beautiful of course, Chinese painting" is not really China painting, only to be enslaved China painting"!

而現(xiàn)在(修養(yǎng)不足)，中國畫與書法的關(guān)系已經(jīng)不像古代繪畫那樣緊密，中國畫對于書法基礎(chǔ)的依賴也不像古代那樣成為一種必須，中國畫不僅在基礎(chǔ)上游離于書法之外，而且在審美上、品評上也脫離了書法的規(guī)范。中國畫在20世紀(jì)的發(fā)展逐漸西方化的過程中，伴隨著書法在當(dāng)代失去公眾性的整體走向，也逐漸脫離了書法的基礎(chǔ)，而由此建立起了一種與當(dāng)代審美相應(yīng)的造型的基礎(chǔ)。由于很多畫家的目光短淺、修養(yǎng)淺薄，有的雖然技法爐火純青，卻達不到文人畫直抒胸臆的境界，東拼西湊的題跋更讓作品多了俗氣。

Now (on the Chinese traditional culture of learning is not enough), the relationship between China painting and calligraphy is not ancient painting so closely, Chinese painting to calligraphy based Interdependence, unlike the ancient that has become a must, China painting not only on the basis of not in calligraphy, but also out of calligraphy in the aesthetic standard, comment on. In the process of the gradual development of Chinese painting in the twentieth Century, with the loss of the overall trend of the public in contemporary calligraphy, calligraphy gradually broke away from the basis of calligraphy, and thus established a foundation of the corresponding form of contemporary aesthetics. Because many painters shortsighted, cultivation of shallow, although some consummate techniques, but not up to the literati painting straight from the heart realm, the more let works put all sorts of things together and the vulgar.

其余的原因還有：

1、畫家已經(jīng)不擅書法；

2、以西方繪畫為結(jié)構(gòu)方式的畫面中已經(jīng)不容書法的加入；

3、不求意境的當(dāng)代國畫審美也不需要“畫之不足，題以補之”。

因此，當(dāng)代中國畫的主流樣式中，題款的方式已經(jīng)退居到次要的地位。書畫在歷史上同源、同法，現(xiàn)在已經(jīng)分道揚鑣。

西方的優(yōu)秀文化要吸收，但并不是說每個西方人都是和善的。不然的話，也就不會出現(xiàn)布魯諾為了堅持當(dāng)時的真理-“日心說”，而被用“地心說”來進行統(tǒng)治的教會用火活活燒死；也不會出現(xiàn)一個德國教授在大教室里洋洋自得地說：我們20%的人口使用80%的能源，你們80%的東方人只使用了20%的能源。他不是在思考怎樣去幫助80%的東方人去使用更多的能源。

The good culture of the West needs to be absorbed, but not every Westerner is kind. Otherwise, it will not appear when the truth of Bruno in order to adhere to the "heliocentric", and used the "geocentric" rule, the church put him to death by fire; there will not be a German professor in the big classroom very pleased with oneself: 20% of our population using 80% energy, you use only 80% of those in the East 20% of energy. He's not thinking about how to help 80% of the Orientals use more energy.

“當(dāng)代中國畫”在西方繪畫的特性下，只有客觀物象性，即：形象科學(xué)、設(shè)色自然，的光影效果，而缺乏中國畫“與生俱來”的人文性，即：詩、書、畫于一體；偉大的教育家蔡元培指出：“西畫近建筑（理性的，以描摹客觀物象為重點），中國畫近文學(xué)（感性的，以借物抒懷、詩情畫意為本源）?！奔矗何鞣降睦L畫近似建筑一般的理性——寫實性強；是客觀事物的模仿（描?。?。而中國畫是近乎文學(xué)作品一般的個性強烈，藝術(shù)化的客觀事物（超然物外、不受具體物象的束縛），因而達到“借景抒情、托物言志”的目的——來源于生活，而高于生活（是生活的提煉，是情感的宣泄）。因而，會按照中國傳統(tǒng)文化的方式來表現(xiàn)。

"Contemporary Chinese painting" in the characteristics of the western painting, only the object, namely: image science, natural color, lighting effects, "China contemporary painting", the lack of Chinese painting "innate" humanities, namely: poetry, calligraphy and painting in one; the great educator Cai Yuanpei pointed out: "western painting (near the building is rational, to describe the object as the key), Chinese Painting (close to the literature is emotional, with To express feelings with the description of objects, poetic quality Chinese painting source)." That is to say, the western painting is similar to the general rationality of Architecture - realism is strong; it is the imitation of objective things (description). The China painting is almost a general literature strong personality, artistic (objective things, bound not to be free from things of the world of specific objects, thus achieving) "lyric by King", "the purpose comes from life than life (which is a refinement of life, emotional catharsis). Therefore, it will be expressed in the way of Chinese traditional culture.

入"中和"(綜合)之境·恢復(fù)本心、自在自然·天人合一。考察中國美術(shù)史，北宋以前的作品多是窮款，名字藏于樹石不易看到之處，完整的題跋始于北宋的文人畫家，如蘇軾、文同、米芾。此后，畫家在作品上不僅題款，且加詩跋，“題”在前，“跋”在后。而當(dāng)時皇家畫院中御用畫家的作品多是窮款。古代畫家把詩文題在畫面上，使詩、書、畫三者之美巧妙結(jié)合，相互生發(fā)，畫面更富形式美感，逐漸形成了中國畫的藝術(shù)特色。目前中國畫窮款多的原因有三點：“一是很多畫家肚子里墨水少，寫不出詩詞來，或者書法水平不行，有的甚至照抄唐詩宋詞都出錯，那還不如沒有題款。二是當(dāng)前有一種比較時髦的畫法，就是畫得滿、畫得黑，再題款就喘不過氣來了。有些人強題，是對畫面的一種破壞，還不如不題。三是新水墨，難用傳統(tǒng)的要求來衡量它，因為它的畫法、構(gòu)圖吸收了外來的東西，與我國傳統(tǒng)的題款格格不入，反而不可題款?！?/span>

Enter the "Avoid leaning to either side，keep cool;"   (integrated) environment, nature, conscience, restoration of harmony between man and nature. Study Chinese art history, the previous works of the Northern Song Dynasty is The composition of Chinese painting, the final signature, the artist name, hidden in the trees in the stone, is not easy to see where the complete short comments, annotations etc., on a scroll began in the Northern Song dynasty literati painters, such as Su Shi, Wen Tong, Mi Fei. Since then, painters on the work not only In the China painting inscribed Chinese characters, and use Poetry To explain The meaning of picture, "To explain" in front of, Write the words in the book after. At that time, the Royal painting academy, the painter's works are mostly The composition of Chinese painting, the final signature. Ancient artists put poems and prose on the screen, making poetry, books, paintings of the three beautiful combination, mutual production, the picture is more formal aesthetic, and gradually formed the artistic characteristics of Chinese painting. At present, there are three reasons for poor Chinese paintings: "first, many painters lack culture, can not write poetry, or calligraphy level is not good, and some even copy the poetry of the Tang Dynasty and Song Dynasty all wrong, that is not as good as no questions.". Two, there is a more fashionable painting, that is, the painting is too full, painted black, and then Writing Chinese characters on Chinese paintings out of breath. Some people strongly question, is a destruction of the picture, not as good as not short comments, annotations, etc. on a scroll. Three is the new ink painting, difficult to use the traditional requirements to measure it, because it's painting, composition absorb foreign things, and our traditional questions, but not the question."

“高情逸思，畫之不足，題以發(fā)之。” 清代方薰在《山靜居畫論》中強調(diào)題跋不僅可以補充畫面的構(gòu)圖布局，寫出畫家的畫外之意。題跋與繪畫內(nèi)容要相互補足、相得益彰才算完美。

"The feeling of elegance, elegant thought, in the picture can not fully express, Writing Chinese characters on Chinese paintings to express." In the Qing  Dynasty Fang Hsun,in the "Quiet life in party and the mountains Painting theory Writing Chinese characters on" that Chinese paintings can not only increase the picture composition layout, write the painter's painting. Writing Chinese characters on Chinese paintings and the content of painting to complement each other, complement each other to be perfect.

中國畫的題跋按字?jǐn)?shù)長短，大致可分為三類：長款、窮款和藏款。歷代在畫面上落長款的名家中不乏高手，他們不僅文采驚人，其書法更是了得。如:1、徐渭在《葡萄》上的題詩：“半生落魄已成翁，獨立書齋嘯晚風(fēng)，筆底明珠無處賣，閑拋閑擲野藤中。”如果拋開這首詩，只是—串葡萄而已，還有何意義。 

  

 2、“揚州八怪”之一的鄭板橋一生愛竹、畫竹他在《竹石》詩中寫道：“咬定青山不放松，立根原在破巖中；千磨萬擊還堅勁，任爾東西南北風(fēng)?！彼灾褡杂?、剛直不阿?？梢?，好的題畫詩可以使畫的意境更加深邃，主題更加突出有意義，甚至達到點石成金、化腐朽為神奇的作用。 

  

 3、再如齊白石畫作《不倒翁》上題道：“烏紗白扇儼然官，不倒原來泥半團，將汝忽然來打破，通身何處有心肝?！边@樣的題跋使一幅簡單的不倒翁畫變得意境深遠，意義不凡。如果不是這首詩，畫中的不倒翁就顯得毫無意義。 

 （摘自《中國畫的本質(zhì)探 下》）

Chinese painted Writing Chinese characters on Chinese paintings as words of length, can be divided into three categories: long and short style style and hidden style. There are many masters in the history of the long drop of pictures on the screen, they are not only amazing literary talent, calligraphy is terrible. Such as: 1, 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 put aside the" you poem, just a bunch of grapes. Still What meaning, "One of? 2 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 turn the foul wonders, and rotten into the rare and ethereal turn bad into good the role of. - 3, for example, Qi Baishi painting "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 such a simple" make 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.  from "Chinese painting A probe into the nature of "）

現(xiàn)在，中國畫家題跋能力和水平越來越弱，是從何時出現(xiàn)端倪的呢?大約可以追溯到晚清政治的腐朽，國力的積貧積弱，導(dǎo)致中國人不自信的自卑心態(tài)越來越重；“五四”新文化運動，之后古體詩衰微，白話文流行，魯迅曾講過諸如“米芾山水畫毫無用處”的話，畫家們從那時起已經(jīng)出現(xiàn)不注重詩詞能力的傾向。當(dāng)代有的畫家書法很差而不自知，連打油詩也寫不好卻敢于題寫長款;有的畫家自稱為“文人畫家”，自己卻腹笥空空，亂題一氣，不知所云，顯得不倫不類。

Now, Chinese painter Writing Chinese characters on Chinese paintings ability and level is more and more weak, from when to start? About can be traced back to the late Qing Dynasty, because of the political corruption, the strength of the poor and weak, leading to Chinese self inferiority complex is more and more heavy; "54" new culture movement, after the ancient poetry recession, popular vernacular Lu Xun said, such as "Mi Fu landscape painting useless", painters have emerged tendency ability since then focus on poetry. Some contemporary painter calligraphy is very poor and not knowing, even Limerick would not write long but dare to wrote some artists called "; literati painters", have no Chinese traditional culture,  the empty abdominal organs, a Do not know chaos problem, what oneself or others are talking about, fish nor fowl is Neither.

多位學(xué)者表示，當(dāng)代畫家普遍缺乏古典文化的修養(yǎng)，這是當(dāng)下題跋少、爛的主要原因。近百年來中國社會發(fā)生巨變，國粹少有繼承，進入新時期，許多年輕人熟練掌握外語，卻不認(rèn)識繁體字，讀不了古文，對于中國畫的內(nèi)在精神，對于文人畫獨特的發(fā)展脈絡(luò)沒有清晰的認(rèn)識。想要畫好中國畫的年輕畫家，應(yīng)該自覺從古文、詩詞、書法入手開始補課，加強文化修養(yǎng)，在題跋上也要下功夫。

 Many scholars have said that the contemporary artists lack classical cultural accomplishment, now, in the China painting writing Chinese characters, explain the painting, mainly due to fewer words, the level of poor. The changes of social China over the past hundred years, the quintessence of rare inheritance, in the new period, many young people, although master a foreign language, but do not know traditional Chinese characters, read classical literature, the inner spirit of Chinese painting, literati painting for the development of unique is not clearly understood. Want to draw good Chinese painting, young artists, must consciously from classical literature, poetry, calligraphy began to make up lessons, strengthen cultural accomplishment, in the Writing Chinese characters on Chinese paintings also work hard.

當(dāng)代中國畫的主流已經(jīng)不講究書法的基礎(chǔ)、書法的功力、書法的水平，那么，我們來看當(dāng)代畫家的書法，已經(jīng)很難有上一代畫家那樣的整體水平。現(xiàn)實的警示，也是一種現(xiàn)實的反思。各個畫種都有自己的特點，而代表中國民族文化的中國畫是“形而上”的，是中國傳統(tǒng)文化底蘊的厚積薄發(fā)；并非歷史圖片、寫真照片；潘天壽指出：科學(xué)固然是對的，但絕對科學(xué)卻不是藝術(shù)，而成自然主義，成了照相了。從根本上來講，藝術(shù)家仍然要憑自己的眼睛、自己的情感來作畫，不作造化的奴隸，而要造化在心，變化在手，能察自然變化之神奇，有化天地萬物之手段。畫家程十發(fā)說：“作畫追求和真的一樣，那不是藝術(shù)家而是科學(xué)家！”

 The mainstream China painting contemporary, does not pay attention to calligraphy calligraphy, calligraphy, basic skill level, so we look at contemporary painter calligraphy, has been difficult to have on the generation of artists that the overall level of. The warning of reality is also a kind of realistic reflection.Each painting has its own characteristics, and on behalf of the national culture Chinese Chinese painting is "metaphysical", is China traditional culture accumulate steadily;Chinese painting is not historical picture, portrait photo;Pan Tianshou pointed out that science is right, but absolute science is not art, and naturalism becomes photography. Fundamentally speaking, artists still have to depend on their eyes, their feelings to paint, not slaves to nature, nature in heart, changes in hand, can observe changes of natural magic, a means of the world. Artist Cheng Shifa said, "painting is the pursuit of truth. It is not an artist, but a scientist."!"

本文參考文獻:1、《寫不好書法，就不是好畫家》2、《為何把全國美展辦成了工筆畫展？》陳迪和

 This paper reference literature: 1, "write good calligraphy, it is not a good painter", "why the 2 National Art Exhibition into the painting exhibition? Chen Dihe

 二〇一七年十一月十一日星期六

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