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诗书画印的融通是中国文化艺术的重要特性。吴昌硕的艺术成就得益于诗书画印的融通观念,无论从艺术观念上,还是艺术实践上,他将四者融于一炉,形成诗书画印互通、共生与共进的格局。诗书画印兼能与互融即为吴昌硕主张的“通会之境”。“通会”是诗书画印等文学艺术形式的横向融合,也是金石、学养、品格、阅历等人生因素的化合,对当下书坛有重大的现实意义。
The integration of poetry, calligraphy and painting is an important feature of Chinese culture and the arts. Wu Changshuo’s artistic achievement benefited from the concept of poetic painting and calligraphy and merging, both in artistic conception and artistic practice, he put the four into one furnace and formed a pattern of interlinking, symbiosis and coexistence of poetry, painting, printing and printing. Poetry, calligraphy and painting and mutual melting and harmony that Wu Changshuo advocate “Tong Hui of the environment.” “Tonghui ” is a horizontal integration of literary and art forms such as poetry, calligraphy, painting and printing, and is also a combination of life factors such as stone, education, character and experience, which is of great practical significance for the present book industry.