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“意境”常常是人们评论、鉴赏、判定一幅山水画作品优劣的最高准则,“意境”也是画家们在创作时所孜孜追求的最高理想。古人曰“吐胸中之造化”(《董其昌容台集·引明杜琼语》)、“写胸中之丘壑”(《莫是龙·画说》),这两句话真实地反映了艺术与自然(真实)的关系。近人黄宾虹又云“造化入画,画夺造化”,正所谓造物主创造了世界,画家们又创造了一个世界,这是两个不同的世界,而又是两个相通的世界,这“不同”与“相通”之处正是我们今天讨论“意境”这一问题的出发点。
“Artistic conception” is often the highest criterion for people to comment, appreciate, and judge the merits and demerits of a landscape painting. “Artistic conception” is also the highest ideal that painters diligently pursue in their creation. The ancients called “Toto in the chest” (“Dong Qichang Rongtai set cited cited Du Qiong language”), “write the chest Qiu He” (“Mo is the dragon painting”), these two words truly reflect the art Relationship with nature (real). In recent years, Huang Binhong and his younger brother Yun Bin, “made art into paintings and pictures, won the deification.” As the so-called Creator created the world, the painters created a world again. This is a world of two different but two connected worlds. This “different” It is the starting point for us today to discuss the issue of “artistic conception” with the “connection”.