我有个习惯,随便翻看一本画集,首先要看题、看题跋,然后再看画。可现在的画集上有题跋的画太少了,画家似乎忘了题画艺术,都是画得满满实实的,看罢总觉得还差一点什么。 中国画题跋原是中国文人画充分发挥个性的体现,文人画之前,画家是不敢在画上题字的。题与画的结合,开拓了画的容量,对画家的要求便又多了书法、诗文甚至治印。这难度和深度画家毕其一生也不大可能尽善尽美,这也正是它的生命力所在。长期以来,这种形式已成了中国画的一个特色,是西洋画所不能为的。现在有人谈中国画与世界接轨问题,要把中国画的“文”去掉(也包括书法)划入另类,这时,固守的一方在现代大潮的冲击下仅提出形式美是不够了,关键是要分清这种形式是不是进步的?题画的目的是什么?它的意义何在? I have a habit, casually look at an artwork, first of all to see the title, see inscriptions, and then see the painting. However, there are too few inscriptions on the current paintings, and the painters seem to have forgotten the art of painting. All of them are completely painted. Chinese painting inscriptions is a manifestation of Chinese literati painting giving full play to individuality. Before the literati painting, the painter did not dare to paint the inscription. The combination of the title and the painting opens up the capacity of the painting and calls for more calligraphy, poetry and even the seal of the artist. This difficulty and depth painter life is unlikely to perfect, which is where its vitality. For a long time, this form has become a feature of Chinese painting, which Western painting can not do. Now some people talk about the issue of connecting Chinese painting with the world. We should remove (also include calligraphy) the “writing” of Chinese painting and put it in another way. At this time, it is not enough for the sticking party to propose formal beauty only under the impact of the modern tide. The key point is to distinguish This form is not progress? What is the purpose of the title? What is the significance of it?