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遥想当时,泛舟湖上的董其昌,应该触景生情,体味到倪瓒离家索居的凄苦心境。看董其昌的《高逸图》,总抹不去元人倪瓒的影子。一样的“一河两岸”式构图,一样的枯淡萧索的景象。远处的山,巨石嶙峋,迤逦远去。苍郁简淡的笔墨,传达出萧散淡远的意境。不一样的是,倪瓒的画是枯寂的,有的画甚至连一个茅亭都没有。而董其昌的画中,始终是有生机的,是有人烟的。
Looking back at that time, Dong Qichang on the boating lake, should be touching the scene, appreciate Ni 瓒 home away from home miserable state of mind. To see Dong Qichang’s “high Yat-map”, always wipe out the shadow of Yuan Ni Ni. The same “a river ” style composition, the same bleak scene. Distant mountains, boulders 迤 迤, 迤 逦 away. Cang Yu simple pen and ink, to convey the artistic conception of Xiao casual. The difference is that Ni Zan’s paintings are dead, and some even do not have a painting. In Dong Qichang’s paintings, there is always life, there are people.