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书与画皆为心画,皆为内在灵性的呈现,是生命才情的写照。书与画的本质都是写心,“画乃吴画,书乃吾书”是此真实写照。可以说,真正绘画之境,不在形而在神,以形传其神,取其意略其迹。给的笔墨都是一画的集合,线条的运用,神在灵府而不在感官耳目,灵在其心而不在规格法度,因而书与画是灵性风神的表现,而不是孜孜以求的工细形似。从美术史角度看,书画家认为书法与绘画相通,各种书体所体现的审美理想,如龙跳虎跃,戏海游天等境界更是书画相通。书画笔墨技巧相通,取境造韵相类,以画寄托情怀,以书抒情写意,意在未说,笔为之开,逸笔草草,得其意趣。
Both the book and the painting are heart paintings, all of which are inherent spiritual manifestation and a portrayal of life talent. The essence of the book and painting are heart, “painting is Wu painting, book is my book ” is the true portrayal. Can be said that the real painting of the scene, not in form and in God, in order to convey their gods, whichever is the meaning of traces. The brushstrokes are all a collection of paintings. The use of lines, the use of lines in God’s house rather than the sensual eyes, the Spirit in the heart, not the norms of law, so that books and pictures are the manifestation of spiritual gods rather than the shape of the assailants. From the perspective of the history of art, calligraphers believe that calligraphy and painting are interlinked, and the aesthetic ideals embodied in various kinds of calligraphies, such as the legendary jungle and the drama of the sea, are even more similar to calligraphy and painting. Painting and calligraphy and writing skills are similar, take the territory of similar rhyme, to seduce the feelings of the painting, the book lyrical freehand, intended not to say, the pen is open, elegant pen, its interesting.