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清恽南田在其《南田画跋》中有云:“写意画两语最微,而又最能误人。不知如何用心,方到古人不用心处。不知如何用意,乃为写意。”由于多数人不悟“写意”之“最微”处,故常为其所“误”。他们错误地认为:“写意”即随其意想,信手为之,不问笔墨之基硎,构思之深度,亦不问修养之高低,人品之优劣。这岂不是人人均可“写意”、人人都是画家? 其实,“写意”之内涵极为精奥微妙,它是画家进入高层次的、独抒已意的、自由自在的创造。它像孔子所说的“游于艺”(《论语·述而》),庄子所说的
In his “Nantian Painting Postscript”, Qing 恽 Nantian said: “There are two kinds of freehand brushwork in the world, but the most misunderstood one.” I do not know how to work hard to prevent the ancients from paying any attention to them. People do not understand “freehand” the “most micro” Department, so often for their “mistake.” They mistakenly believe that “freehand brushworking” refers to the idea of “freehand brushworking”, and does not ask about the basics of brushwork, the depth of conception, nor the level of self-cultivation nor the merits of character. In fact, the meaning of “freehand brushwork” is extremely delicate and subtle. It is a painter’s entry into a high-level, independent expressive and free creation. It is like what Confucius said “in art” (“Analects of Confucius”), as Zhuang Zi said