诗情画意再探
Discussed again poetic Chinese painting
------浅谈中国山水画中的诗情画意
On the poetic Chinese landscape painting
中国书画作为中国文化精髓，给予中华民族以极其高尚的精神享受，笔精墨妙是人生一乐。在中国文化史上，绘画是一个重要组成部分，如西晋时期的文学家、书法家陆机所言： “宣物莫大于言，存形莫善于画”（ 介绍事物没有比语言更好的方法了，介绍形状没有比画画更好的方法了）。
As the essence of Chinese culture, Chinese calligraphy and painting, to give the Chinese people to enjoy the most noble spirit, pens, ink magic essence is a happy life. In Chinese culture, history, painting is an important part, such as the Western Jin Dynasty writer, calligrapher Lu said: "propaganda material is greater than words, keep good form Mo Painting" (description of things no better way than words , describes the shape of no better way than painting).
中国民族绘画著重达意畅神与线条造型，以结构组织为主，色彩明暗辅，诗、书、印、款识与画相结合为艺术特征——“诗情画意”，中国书画在满足人们视觉享受的同时，更能启人智蕊，怡人心神。中国画强调“外师造化，中得心源”（ “外师造化，中得心源”这句话，出自唐朝的画家张璪，是中国绘画史上的不朽名句。
Chinese National Painting Praising God with emphasis on expressive line shape, structural organization mainly auxiliary light and dark colors, poetry, books, printing, inscription and painting combination of features for the arts - "poetic Chinese painting," the Chinese painting and calligraphy to meet the visual enjoyment the same time, more inspired wisdom, nice mind. Chinese painting emphasizes "nature outside, in the heart of source" (in "Nature" as a teacher, summed up his approach) these words, from the Tang Dynasty painter Zhang Zao, is the story of the history of Chinese painting.
简单的说，“造化”是指大自然，“心源”指的是内心的感悟。意指画家应以大自然为师，再结合内心的感悟，然后才可创作出好的作品。）也就是说艺术家通过对天地的热爱、观察、感悟，用“笔墨纸砚”作为载体，讴歌、抒发或宣泄自己的情怀。古往今来，无论是“士大夫”或今天的普通百姓，在面对美景时，总是想通过自己的画笔或相机，将其“美景”保留下来，再题上“四言八句”（ 言简意赅的文字）——诗情画意。这是中国文化的表现形式之一，也是中国人民的文化追求。
Put simply, "zhao hua" is natural, "mind the source" refers to the inner perception. Means the artist should be natural for the teacher, combined with inner perception, and can create good work. ) Means that the artist's love through the world, observing, understanding, and using "pen and ink, paper and ink," as the carrier, Acura, express or express their feelings. Throughout the ages, whether it is "elite" or today's ordinary people, in the face of beauty, you always want your brush or camera, to its "beauty" be retained, and another question on the "four words 8" (concise text ) - poetic. This is one of the manifestations of Chinese culture, the pursuit of the Chinese people's culture.
我国的书画艺术在长期的历史发展中形成了在世界上独树一帜的民族艺术，具有鲜明的特色和深厚的传统，这与我国的社会发展、民族欣赏习惯，以及传统的学术思想，有着密切关系。中国山水画是中国人所特有的一个文化概念。中国人的中国山水画不同于外国人的风景画，它不是再现自然景观，而是通过自然景观的表现，赋予自然以文化的内涵和审美的 观照。天人合一——人与自然的亲和，是中国山水画的基础。春夏秋冬，朝暮白昼，风霜雨雪，山水表现出了不同的面貌，体现了生命的意义。
The painting and calligraphy in China's historical development in the long formed the world's unique folk art, with distinct characteristics and a strong tradition, that with China's social development, Minzu Appreciation Convention as well as traditional academic thinking, closely related. Chinese landscape painting is a unique Chinese cultural concept. Chinese landscape painting Chinese landscape painting is different from the foreigners, it is not a reproduction of the natural landscape, but through the natural landscape of the performance, given the natural meaning of culture and aesthetic contemplation. Heaven - the affinity between man and nature is the basis of Chinese landscape painting. Seasons Zhaomu day, wind, frost, rain, snow, mountains and rivers showed a different face, reflects the meaning of life.
山水和人一样具有内在的生命运动和精神力量。中国人关于山水的观念，源于原始的宗教。对山灵的崇拜，对水神的敬畏，人们在这种崇拜和敬畏之中经历了漫长的历史过程。在神统治的社会里。一切神灵无不隐匿于山水之中。山水是神灵之母。山之高，水之深；山之广，水之渺，蕴涵了天体宇宙的无限奥妙。
Landscape and human life as inherently movement and spiritual strength. Chinese concept of landscape, from the original religion. The mountain spirit of worship of God and of the water, people in worship and awe of this experience of a long historical process. God rule in society. All the gods are all hidden in the midst of the landscapes. Landscape is the mother of the gods. High mountains, deep water; mountain wide, water vague, implies the celestial wonders of the universe's infinite.
为了表示对山水神灵的崇拜和敬畏，人们刻画山水神灵的形象，用于祭祝或瞻仰。神话或神画启发了中国山水画的独立成形。中国山水画是画家对祖国大好河山无比崇敬、无限热爱的一种激情，将这种激情表现出来（记录下来），这种表现出来的作品是“源于生活而高于生活”的，是画家“心画”——对美好生活的提炼，用笔墨、色彩等绘画语言来描述“理想中的”青山绿水、小桥人家等等；若再题上诗句就是典型的“诗情画意”了。
In order to express the worship of mountain gods and fear, it depicts the image of mountain gods, I wish to sacrifice or pay their last respects. Myth or God inspired the Chinese landscape painting independent shape. Chinese landscape painting is the painter of the immense respect the motherland's great rivers and mountains, boundless love as a passion, this passion will be shown (recorded), this show works out "from life than life", a painter " pictures of the heart "- refining the good life, with ink and color painting language to describe the" ideal "mountains, bridges and people and so on; Ruozai title on the line is a typical" poetic Chinese painting "the.
而西方的风景画是“某一时段”——条件色彩下的某处照片式的真实描绘。因此，笔者认为：中国中国山水画是理想的、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。而风景画是客观现实的反映，他是相对静止的（犹如风景照片一般），物质的。
The Western landscape is "a time" - somewhere under the conditions of color photographs depict the true style. Therefore, I believe: China Chinese landscape painting is an ideal, romantic, a painter focused on the beauty of nature through the art of "purification" and "reflects the results"; and "poetic Chinese Painting" has broken through the shackles of time and space, the visual arts into a spiritual pursuit, opening people's truth, goodness and beauty (ideal world) - "Xanadu" (harmonious society) desire and pursuit; sense: "poetic Chinese Painting" is Smart is "living" and the immortal; his roots As each loved Chinese culture into people's thinking. The landscape is a reflection of objective reality, he is relatively static (like landscape photos General), substances.
刻画中的“日月山”，表现的既是一个自然的观念，又是一个历史的时期。人们能够将它们合为一体，就已经表明了对自然的独特的认识方式。中国艺术中关于自然的观念可以说是先天的，这种先天的因素是精神高于物质、思维高于存在。
Portray the "Riyue" performance is a natural idea, it is a historical period. People to them as one, had already demonstrated a unique understanding of the natural way. Chinese art in the concept of nature can be said to be innate, inherent factors such spirit than substance, more than thinking there.
哲学方式决定了中国人关于自然的定义，宗教则为哲学方式增添了生命和精神。天地与我并生，天地与我合一，庄子打开了人与自然之间的屏障，人开始与天地精神往来。“仁者乐山，智者乐水”。
Determined by the Chinese philosophy on the nature of the definition of philosophy of religion was a way to add life and spirit. World and I, and Health, World and I one, Chuang open the barriers between man and nature, people started to contact the spirit world. "Others Mountain, the wise man happy water."
山水“质有而趣灵”（ 质有，形质是有。趣灵，其趣向，趣味，则是灵。与道相通之谓灵。），因此，圣人、贤者、高士必有山川之游，轩猿、尧、孔无不如此。而崆峒、具茨、藐姑、箕首、大蒙等名山又演绎了千古佳话。“优游”是生活也是文化，他体现了中国人对自然的爱好，也表现了中国人特有的联结自然与文化的方式。眷念庐衡，契阔荆巫，山水的价值得到了历史的确认。
Landscape, "the quality of the spirit and interest" (the quality of the, form of quality is. Interesting spirit, its help one to fulfill, interesting, it is spiritual. And that the spirit of Taoism.), So people must have learned the action around mountains , good ancient emperor, Confucius, just a few. The Kongtong, with Heights Hill, despise Gushan, Kei first mountain, mountains and other large Mengshan another interpretation of the eternal stories. "A good tour great mountains and rivers" is also a culture of life, he embodied the Chinese people's love of nature, but also demonstrated the unique Chinese way of linking nature and culture. Miss Mountain, Hengshan, Jingshan, Wushan, so the value of the landscape has been confirmed by history.
含道应物，澄怀味象。在以精神为第一性的山水里，人们并不关注所显之象，而是重视所含之道。形而上的道弥补了生活中的诸多缺陷和不足，故“以形媚通”成了中国人的一种生活哲学。
To the corresponding changes in the nature of things, the truth of things is clear. First in the spirit of the landscape with, people do not pay attention to the signs of obvious, but attention to the truth contained. Metaphysical truth, make up the life of the many defects and deficiencies, so "in order to explain the shape of things" has become a kind of Chinese philosophy of life.
庄子对老子提出的“涤除玄鉴”的美学命题作了极丰富的发挥。老子指出：“涤除玄鉴”是把握“道”的根本途径。也就是说，观照“道”必须有一个虚静空明的心境，即主体必须有一个审美心胸。
Laozi Zhuangzi's "eliminate Yuen Kam," made a very rich aesthetic proposition to play. I said: "eliminate Yuen Kam," to grasp the "Tao" a fundamental way. In other words, contemplation of "Tao" must have a clear state of mind xujing empty, that there must be a subject of aesthetic mind.
庄子对此的发挥是提出了“坐忘”，“心斋”等一系列的美学命题。诚然，这种虚静空明的心境对后世人们欣赏自然山水时审美意 象得以产生，其影响是极至深远的。而“涤除玄鉴”、“心斋”、“坐忘”——即建立审美心胸，这一核心范畴被引入绘画领域并且有重大贡献的美学家始于魏晋南北朝时期的宗炳。诚然，这与魏晋玄学之兴起有极密的联系。
Zhuangzi this play is to propose a "sitting forgotten," "inner world" and a series of aesthetic propositions. Indeed, this Xujing air out of mind on the future generations to appreciate the natural landscape can be generated when the aesthetic image, the impact is extreme far-reaching. And "eliminate Yuen Kam," "sitting forgotten," "inner world" - that is to establish aesthetic mind, the core category was introduced and there is a significant contribution to painting in the field of aestheticians began Wei, called Bing's people. Admittedly, this is Wei "divination, astrology," the rise of a very close contact.
艺术无疑是以表现人生，表现人之心灵世界，表现宇宙万象作为对象和目的的。至魏晋南北 朝，老、庄之学大兴，不管是在诗歌领域，还是在书画领域都纷纷地倾向于“师法自然”，“表现性情”，以通向对“道”的观照和把握这一特点。从而把自然当作至美，至真的对象来如以描述和表现。庄子云：“天地有大美而不言，四时有明法而不议，万物有成理而不说。
Art is no doubt that life, showing people the spiritual world, the entire universe as the object and purpose of Vientiane. To the Wei and Jin, old science of Tai Hing Chuang, whether in the field of poetry, or in the fields of painting and calligraphy have to tend to "Nature as Teacher," "performance temperament" to lead to the "Road" in contemplation and understanding this a feature. To the natural as to the United States, to really object to such descriptive and performance. Zhuangzi Yun: "Heaven and earth have made great beauty, four seasons have clear without proposed, does not talk contribution has everything.
魏晋玄学推演了山水观念的转换，迁想妙得使山水获得了新的美学意义。庄老告退，山水方滋。神超形越之外，玄对山水，自然的山水成为山水的自然。
Metaphysics deduction of the landscape transformation of concepts Fruitful Imagination to get a new landscape aesthetic significance. Chuang old retire and live a better place in Yishanbangshui life. God, the more ultra-shaped, the fortune-telling, science on the landscape, natural landscape into the natural landscape.
人们关注山水，寄希望于山水的表现，扩展自己的生活空间——“嵩华之秀，玄牝之灵，皆可得之于一图”。为了实现这时代的理想，时尚澄怀清谈的魏晋圣贤又发明了“卧游”的方式。这种具有理想色彩和积极意义的方式，促进了中国山水画的独立和发展。
People concerned about the landscape, landscape performance hopes to expand their living space - "Song of China the show, mysterious female spirits may apply purest a map." To achieve this the ideal time, when the talk Shangcheng Huai Wei Jinsheng Xian has invented a "spiritual travel" approach. This is the ideal color and positive way, promoting independence and development of Chinese landscape painting.
宗炳发前人所未言，给中国山水画的成因以一个合乎实际的诠释：“夫昆仑山之大，瞳子之小；迫目以寸，则其形莫睹；迥以数里，则可围于寸眸。诚由丢之稍阔，则其见弥小。今张素以远映，则昆仑之形，可围于方寸之内。”
zong-bing predecessors did not tell the truth to say to the reasons for the formation of Chinese landscape painting, with a realistic interpretation: "The great Kunlun Mountains, the small pupil; forced to look to look down upon the large, its shape is to look at incomplete; is walking a few years, we can only see a small area. It is true that because he discarded (not refined) in the "big", but it can see the exquisite "little." (then) Su-use "Three Perspectives," the painting to draw the shape of the Kunlun Mountains, you can draw a very small range. "
宗炳的思想建立在中国山水画发展的过程中，他把以往过于精神化的山水理念，引向到视觉的理念之中，从而为山水成“形”作出了前所未有的贡献。宗炳还提出了“应目会心”、“ 应目感神”、“神超理得”，这是他对中国山水画作出的具有本质意义的界定。千年以后，画家百代，然中国山水画的准则却千古不移。
zong-bing ideas based on the process of development of Chinese landscape painting, he has the spirit of the landscape over the past concept leads to the idea of being visual and thus landscape into a "form" made an unprecedented contribution. zong-bing also proposed "to see the experience in the heart", "will see a reflection of the spirit", "will this spirit into a theory", which he made on the Chinese landscape painting with the definition of essential meaning. Years later, EMI artists, however the criteria for Chinese landscape painting is eternal.
山水脱离了宗教的神，中国山水画引入了人的神，自然在神会之中体现了文化的意义，这是历史的飞跃。“神飞扬”，“思浩荡”，山水激发了人的精神，中国山水画实现了人的生活理想、扩展了人的生活空间——“披图幽对，坐究四荒”。
God from the religious landscape, the Chinese landscape painting into a people of God, God will naturally is reflected in the meaning of culture, this is a historical leap. "God flying", "thinking graciousness", landscape inspire the human spirit, the Chinese landscape painting to achieve the ideal of human life extends the life space - "Phi Figure quiet right, sitting four study shortage."
唐代始于吴道子，成于李思训、李昭道的“山水之变”，其本质是由山水精神的追求转向山水意境的表现。王维以诗人的学养发挥画家的气质，在文学和绘画领域揭示了诗与画的关系，从而提出了中国山水画意境表现中的一个准则——画中有诗（诗情画意）。由精神而意境，不是垂直的历史线索的过渡，而是一个线索的分枝，是美学上的平行关系。中国山水画中意境问题的提出，是中国山水画在发展过程中侧重点的转变，是在美学上的完善。
Tang began Wu Daozi, as in Li Xun, Li Zhao Tao's "Landscape Change", its essence is the spirit of pursuit by the landscape turned to landscape Artistic Conception. Educated poet Wang Wei to play the artist's temperament, in the field of literature and painting reveals the relationship between poetry and painting, which made the performance of Chinese Landscape Paintings in a guideline - painting in poetry (poetic Chinese painting). Conception by the spirit, not the historical clues vertical transition, but a clue to the branch, is the aesthetic parallel relationship. Chinese Landscape Painting in the conception of the problem is that the Chinese landscape painting in the development process focused on the changes in the aesthetic perfection.
北宋时期的郭熙说道：“君子之所以爱夫山水者，其旨安在？丘园，养素所常处也；泉石，啸傲所常乐也；渔樵，隐逸所常适也；猿、鹤，飞鸣所常亲也。尘嚣缰锁，此人情所常厌也．．．烟霞仙圣，此人情所常愿而不得见也。然则林泉之志，烟霞之侣，梦寐在焉，耳目断绝，今得妙手郁然出之，不下堂筵，坐穷泉壑，猿声鸟啼依约在耳，山光水色晃漾夺目，此岂不快人意，实获我心哉，此世之所以贵夫画山之本意也。”（解释为：北宋时期的郭熙说道：“君子之所以非常喜爱山水，是为什么呢？丘园，是我修身养性的好地方，我常常来此；泉石（泉石：指山水、泉石名胜之处），山泉飞泻、风啸森林的声音是很美妙的，所以我常常感到快乐呀；渔夫、樵夫他们自由自在的隐居在此，很快乐呀；猿猴、飞鹤它们与人们和谐地生活在一起，自由自在地飞翔、鸣叫，是人们感到亲密呀。尘世间的喧嚣和缰死的关系，象锁一样禁锢着我们的心灵，这是人们所非常讨厌的呀．．．云烟环绕、彩霞升起的仙境、圣地，是人们非常想去的地方，但是，却是看不见的呀。然而，人们向往山林、泉石的志向，追求与云烟环绕、霞光万道的仙境相伴，是梦寐以求的，这些是耳听不到，眼看不到的呀；现在幸亏有绘画高手，（他们）经过非常艰苦的训练才能画出中国山水画，（他们）没有时间去休息，甚至吃饭都是很简单，（他们）一天到晚坐在那里努力地画着泉石与沟壑，（他们画得非常形象）猿声鸟啼好像是在耳边响起，山光水色晃漾夺目，看了这些画怎么不让人赏心悦目、非常快乐呢？这些画让我称心如意呀，是世上非常难得的，因此，这才是画中国山水画的本意呀。”）
Guo Xi Northern Song Dynasty said: "The reason why a gentleman was very fond of landscape, because it? Kew Gardens, is my self-cultivation as a good place, I always come here; Tanzanite (Tanzanite: refers to landscapes, Tanzanite spot it), spring plunging, Feng Xiao forest is very beautiful sound, so I often feel how happy; fisherman, woodcutter who lived in this carefree, happy Yes; apes, flying crane with the people they are living together in harmony, free free to fly, tweet, is that people feel close ah. earthly death of the relationship between noise and bridle, the same as the lock confined to our minds, this is very annoying that people ah ... clouds around, Choi Ha rising paradise , Holy Land, where people are in want, but it is invisible Yeah. However, there is longing for the mountains, Tanzanite's aspirations to pursue with clouds around, accompanied by Xiaguang 10,000 wonderland is dream, these are the ears less and watch less than the ah; now thanks to a painting master, (they) been training very hard to draw the Chinese landscape painting, (they) do not have time to rest, and even food are very simple, (they) spend all day sit hard painted Tanzanite and ravines, (they paint a very vivid) monkeys sound like robins in the ears, Hongya Huang Yang brilliant, saw how these paintings are not looking, very happy it ? These paintings make me agreeable Yeah, the world is very rare, so this is the intention of Chinese landscape painting ah. "
五代宋初的荆浩、关仝、董源、巨然、李成、范宽，完善了中国山水画的艺术表现，并把中国绘画中的中国山水画推向了一个历史的高峰。中国山水画在这一时期成为时代的主流 艺术。被称为“百代标程”的五代宋初中国山水画，在表现领域中将山水的物理和技巧结合起来，又提出了一个新的历史话题，传统中国山水画对精神和意境方面的关注经此而转向于技术层面——形式（诗情画意）。
Five Dynasties and Song of Jing Hao, Guan Tong, Dong Yuan, Ju Ran, Li Cheng, Fan Kuan, perfected the art of Chinese landscape painting performance, and to Chinese painting in the history of Chinese landscape painting into a peak. Chinese landscape painting during this period to become the mainstream art of the times. Known as the "100 generation of standard process" of the Five Dynasties Song Dynasty Chinese landscape painting, landscape painting in the performance area will combine the physical and skill, but also proposed a new historical subject, the traditional Chinese landscape painting on the spirit and the mood of concerns but by this Turn on the technical level - form (poetic Chinese painting).
“元四家”不仅完善了中国山水画的水墨技法，而且因为时代的特点，为中国山水画在审美范畴内增添了“逸”的概念。这种具有明显时代特点的审美时尚，虽然有审美之外的社会原因，但却因为这一契机在中国山水画意境的领域内创造了一个新的标准——“诗情画意”，后世则将此推为最高的准则。
"Element 4" is not only perfected the technique of Chinese ink painting, but also because the characteristics of the times, as in the aesthetic context of Chinese landscape painting to add a "leisurely, more than a general" concept. This has the obvious characteristics of the times of aesthetic fashion, although there are social reasons other than aesthetic, but because of the opportunity in the field of Landscape Painting in the creation of a new standard - "poetic Chinese painting", while later this to promote the highest standards.
尽管文人画鄙薄技艺，但文人画在山水领域所提出的依附于“笔墨”的审美准则，却不能脱离一定技术的规范。绘画的形式与山水的程式，都建立在一定的技术基础上，所以在南北分宗时，人们对它的划分与解释，也是以技术的标准来树立南宗的美学规范。
Although the skills paintings scorn, but the landscape paintings in the area of the proposed attached "pen", the aesthetic criteria, but not out of certain technical specifications. And landscape painting in the form of programs that are built on the basis of a certain technology, so in North and South sub-cases, people explained it, is to establish technical standards to the aesthetic norms Southern Sect.
中国山水画发展过程中的南北分宗，是一定历史时期的必然，也是中国山水画发展史上的重要事件。以新的技术标准和美学规范来疏导发展过程中的无序状况，回归历史的传统，实际上已经表现了中国山水画的衰落。董其昌对现世的感叹，说明了其中的许多道理。
Chinese Landscape Painting in the development of North-South sub-cases, is bound to a certain historical period, China is an important event in the history of landscape painting. With new technical standards and aesthetic norms to ease in the development of disordered state, return to the historical tradition of landscape painting in China has actually shown a decline. Dong Qichang on secular laments, illustrates many of the reasons.
明清两代在山水的精神和意境方面已无能为力，在宋元的峰巅面前人们只有景仰和赞叹。为了挽回历史的颓势，董其昌打出了“复古”的旗帜。在一个过于强调笔墨和程式的时尚中，画家们只有穷毕生的精力“血战宋元”，人们只有通过“临”、“仿”、“抚”、“摹”来标识自己的传统渊源，确立自己的艺术价值。“四王”在中国古代绘画史上为中国山水画创造的最后的辉煌，最终消失在晚清的暮色中；只有“诗情画意”这样最能体现中国文化精髓的艺术形式能够流芳百世。
Ming and Qing dynasties in the landscape of the spirit and mood has been powerless in front of people in the Song of the hilltops only admire and praise. In order to restore the historical decline, Dong Qichang hit the "retro" banner. In a pen and programs too much emphasis on fashion, the artists only spending a lifetime of effort "bloody Song", it is only through "temporary", "imitation", "ask", "copy" to identify their traditional sources, to establish their artistic value. "Four Wangs" in the history of ancient Chinese painting Chinese landscape painting to create the final glory, finally disappeared in the late Qing Dynasty in the twilight; only "poetic Chinese Painting" This can best embody the essence of Chinese culture and art form to remain immortal.
然而，“艺术当随时代走”、“与时俱进”和创新是永恒的话题，没有创新和发展，就没有生命。但需要把握的是：一定要取于传统，因为离开传统就是“无根之花、无源之水”。
However, "When the arts go with the times", "Times" and innovation is the eternal subject, no innovation and development, there is no life. But needs to grasp is this: we must take on the tradition, because tradition is to leave "no roots, flowers, water without a source."