论文部分内容阅读
诗意与中国画之渊源中国画,自古以来便与诗有不解之缘。赵孟(?)在《论画品》中所说“画谓之无声诗”,一语道出了诗与画之间鱼水般的密切关系。因此,中国画一直追求诗的意境,谓之“诗中有画,画中有诗”,甚至在诗与画各自的评论标准上,也颇有相近之处。如上文“画谓之无声诗”的下句,便是“乃贤哲寄兴,有神品,有能品,神者才识清高,挥毫自逸,生而知之者也”。能者,源流传授,下笔有法,学而知之者也。而严羽的《沧浪诗话·诗辨》中说：“夫诗有别才,非关书也,诗有别趣,非关理也,而古人未尝不读书,不穷理,所谓不穷理路,不落言筌者,上也。”二者对诗与画的评判标准,均是以是否能妙得天然之趣为至上,而死抠书,硬用功而成的能品之才则不得不屈居其下。
The origins of poetic Chinese painting and Chinese painting, since ancient times they have indissoluble bound with poetry. Zhao Meng (?) The “silent painting of poems” in The Art of Painting says the close relationship between fish and water in poetry and painting. Therefore, Chinese painting has always pursued the artistic conception of poetry, which means “there is a painting in the poem and a poem in the painting”, even in the respective evaluation criteria of poetry and painting. As the sentence above, “The Silent Poem of the Painting,” is the “Sentimentalism and the Spiritual Creation, a God-given Item, a God-given Spirit, and a Celestial Being.” To those who teach the origin, under the law, learn and know who too. Yan Yu’s “Canglang poetry poetic distinction” said: "There are different geniuses husband, non-related books, poetry have fun, non-care also, while the ancients did not fail to study, not poor management, the so-called not poor The principle of judging poetry and painting are based on whether the natural interest is supernatural, while those who die of meddling in hard-working books are hard to use Had to stand it.