《笔墨写生及道脉回溯》由陈永怡策划的“潘天寿写生研究展”引端,涉及笔墨、写生、中国画传统、中西绘画比较等诸多问题,思考很有深度。以下是读后所感。较为粗略,算作参与讨论。一、对景写生与默识心记中与西的写生,确有共性的要求:都是为了理解物象,作为创作与表达的前期准备。但中与西,出发点不同,关注点不同,理论观念不同,侧重点不同,所获也不同。问题是,这些不同有什么价值?真那么重要吗?值得去继承执守这些不同吗?自然,我的回答是肯定的。二、线条/构图与笔线/章法近百年来,线条与构图这两个西式概念一直泛泛使用。但细究起来,它和笔线与章法的涵义确有诸多内在区别。在当代中国画教学中,既要思考二者之同,更要思考二者之异。问 “Pen and Ink Painting and Tao Tracing Back” By Chen Yong-Yi, “Pans Tien Shou Sketch Research Exhibition” is a pioneer and involves many issues such as brush and ink, sketching, traditional Chinese painting and comparison of Chinese and Western painting. The following is the feeling after reading. Rough, counted as participation in the discussion. First, the sketch sketches and the tacit understanding mind and the sketch of the West, there are indeed common requirements: all to understand the image, as the preparation and presentation of the early preparation. However, different from the starting point and from the west, the focus is different, different theoretical concepts, different emphases, and different gains. The question is, what is the value of these differences? Is that really so important? Is it worth taking up these differences? Naturally, my answer is in the affirmative. Second, the lines / composition and pen / Chapter law Nearly a hundred years, lines and composition of these two Western concepts has been widely used. However, fine study, it and pen line and the meaning of the chapter does have a lot of internal differences. In contemporary Chinese painting teaching, we should not only think about the same thing but also think about the difference between them. ask