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潘天寿先生曾说:“中国画创作不易做到诗书画印四精,但要做到四全。”这一画论无论从形式还是从内涵上都对中国画做了最好的诠释。同时这一理论影响和造就了一批著名画家。然而随着“西风东渐”的盛行,这一理论似乎正为国人所淡忘。环顾中国水墨画坛,画家兼诗人者,或说诗画俱佳者屈指可数,暂且不比清代八大、郑板桥那样能即兴创作格律诗的高手,能搞清
Mr. Pan Tianshou once said: “It’s hard to make poems, calligraphies, and paintings in Chinese painting, but we need to be able to do all kinds of things.” This painting has made the best interpretation of Chinese painting in both form and connotation. At the same time this theory has influenced and created a group of famous painters. However, with the prevalence of “westerly eastward”, this theory seems to be forgotten by the people. Looking around the Chinese ink painting, painter and poet, or poetry and art are few and far between, but not as good as the Qing dynasty, Zheng Banqiao as impromptu master of metrical poetry, to find out