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在中国文化中,自古就有诗书画同源之说,诗中有画,画中有诗;诗写变化,画写定型,二者是相通的,它们都是艺术家言情状物、表达心声的写照。同样,书法家在书法当中的用笔和所赋予的才情,又和诗情相类通。三者相辅相成的关系是显然易见的。功夫在诗外,这句话同样也可以扩展为功夫在书外、功夫在画外,强调的就是文化修为的重要性。本期之所以刊发访谈《从长安到陇南》,正是因为它不仅仅是就画论画,而是一种特殊的诗画对话,是一种重返神性与诗性生命意识的对话。它不仅探讨了诗与画在表面上的同根性,更是将思辨的触角伸入到传统文化遗脉与当代文化语境的摩擦与纠结上,为我们展示了当代西部艺术家的艺术遵循与坚守。所谓触类旁通、举一反三,即便是我们的作家,尤其是我们的西部作家,在阅读了这篇访谈文章之后,该是大有裨益和收获的吧。这正是本刊的用心和初衷。
In Chinese culture, since ancient times, poetry and calligraphy and painting have the same origin, there are paintings in the poem, there are poems in the paintings; changes in poetry, painting and writing stereotypes, the two are interlinked, they are the artist romance, expression of aspirations Portrayal In the same way, the calligrapher and the gift of calligrapher in calligraphy are analogous to poetry. The three are mutually reinforcing relations is obvious. Kung Fu in the poem, this sentence can also be extended to Kung Fu outside the book, Kung Fu painting, the emphasis is on the importance of cultural cultivation. It is precisely because it not only draws novels, it is a special kind of dialogue between poetry and painting and it is a kind of dialogue to return to divinity and poetic consciousness of life . It explores not only the same root nature of poetry and painting but also the speculative tentacles into the friction and entanglement between the traditional cultural relics and the contemporary cultural context. It shows us that the art of the contemporary western artists follows and persevered . By analogy, one of the best of both worlds, even our writers, especially our western writers, would have great benefit and gain after reading this interview article. This is precisely the intention and original intention of this publication.