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中国书画之高妙,自然在精神境界之超越。魏晋之简约玄淡,已经开启写意精神的先河;到唐代王维的水墨境界,显示出禅宗思维的导向;至宋代苏轼、米芾等奠定文人书画“遗貌取神”的传统,为中国士人找到了精神的家园。没有思想的艺术是苍白虚弱的,没有超越的境界则是贫乏惨淡的。以一管之笔,拟太虚之体,外师造化,中得心源,追求天人合德、物我同一,是一种更崇高的目标。从陈淳、徐渭的水墨恣肆,以虚写实;到齐白石、陈子庄的以拙胜巧,酣畅淋漓,无不体现出文人雅士的高妙意趣和精神祈向。书画者,国人之魂也。
Chinese painting and calligraphy of the wonderful, naturally in the spiritual realm beyond. The simplicity and profoundness of the Wei and Jin dynasties have opened the precedent of freehand spirit. To the ink-and-wash state of Wang Wei in the Tang Dynasty shows the orientation of the Zen thinking. To the Song Dynasty, Su Shi and Mi Miao laid down the tradition of literati painting and calligraphy, Chinese scholars found spiritual homeland. The art without thinking is pale and weak, and the state without it is poor and bleak. In a pipe, the body is intended to be too empty, outside the good fortune, in the heart of the source, the pursuit of harmony between man and nature, the same thing, is a more noble goal. From Chen Chun, Xu Wei’s unbridled ink and wash, with virtual reality; to Qi Baishi, Chen Zizhuang to clumsy, hearty, all reflect the gentleman of gentleman interesting and spiritual prayer. Painters, the soul of the country also.