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“以书法透入于画,而画无不妙;以画法参入于书,而书无不神。古曰:善书者必善画,善画者亦必善书。向来书画兼善者,有若米襄阳,有若倪云林,有若赵松雪,有若沈石田,有若文衡山,有若董思白。其书与画类能运用一心,贯穿道理,书中有画,画中有书,非若后人之拘行迹以求书,守格辙以求画也。”——清道光周星莲《临池管见》自宋代倡导文人画以来,书法就是绘画题词的一部分,至元明,书与画形成真正的合一,双修并举、互相渗透、相得益彰。在纪念书法创造历史进程的庙堂上,不少为后人所供奉的创作者,是以画家身份被列入其间的,虽然其中许多人在当时以画名闻名,然而优秀画家对视觉形式、艺术高度、空间造型、笔墨意象和自然物
“To calligraphy into the painting, and the painting is not a bad idea; to join the book in the method of painting, and the book without exception. Ancient saying: Good book will be good painting, good painter also good book. If the meter Xiangyang, if the Ni Yunlin, if the Zhao Songxue, if the Shen Shitian, if the text Hengshan, there is Ruo Dongsi white book and painting class can use one heart, through the truth, there are paintings in the book, there are books in the painting, non If the descendants of detention in order to find a book, keep the track in order to seek painting too. ”-“ Qing dynasty Zhou Xinglian ”Linchi Guan Jian" Since the advocacy of literati paintings in the Song Dynasty, calligraphy is part of the painting inscription, to Yuan Ming, books and paintings Form a true unity, double repair simultaneously, mutual penetration, complement each other. Many of the creators dedicated to future generations were included as painters in the temple dedicated to commemorating the history of calligraphy. Although many of them were famous for their names at that time, Height, space modeling, ink images and natural objects