苏轼在《文与可墨竹屏风赞》一文中,借评文同之画而将德、文、诗、收、画五者的关系及重要性作一明晰的排列:“与可之文,其德之糟粕;与可之诗,其文之毫末。诗不能尽,溢而为书,变而为画,皆诗之余。其诗与文,好者皆寡,有好其德,如好其画者乎?”苏轼对人们只知赞扬文同的画而不知道他更好的是诗与文,最重要的又是“德”提出了批评。或许这只是他褒扬文同绘画的一种巧妙方式;汝之悦仅为末技,众不识君之根本。但我以为,这段话不仅表达了苏轼个人的观点,更在某种程度上体现了主流的传统文人画思想。这五者可略作合并,即德、文、书画三个层次:“德”是对“人”的总括性要求,具有决定性的作用:“文”则是对知识分子的纲领性要求,以定其类别层次;而“溢出”的“书画”是补充性的才华表现,以彰显其个性。换言之,书画只 Su Shi in the “Wen and ink bamboo screen like” a article, by the commentary with the paintings and the German, Wen, poetry, collection, painting the relationship between the five and the importance of making a clear arrangement: “and can the text, The dross of virtue, the poem of poem, and the text of this poem. The poem can not do, overflow and book, change for the painting, are poetry apart from the poem and the text, all good, have good virtue, such as What does his painter care? ”Su Shi criticized people only for praising Wen Tong’s paintings without knowing that he was better at poetry and writing, and most importantly,“ virtue. ” Perhaps this is only an ingenious way for him to compliment Wen Tong’s painting; But I think this passage not only expresses Su Shi’s personal point of view, but also to some extent embodies the mainstream thoughts of traditional literati painting. These five can be slightly combined, that is, three levels: German, Chinese, and calligraphy. “Morality” is a general requirement of “man.” It has a decisive role: “Wen” is a programmatic requirement for intellectuals. Set its category level; while “overflowing” “calligraphy and painting” is a complementary talented performance in order to highlight their personality. In other words, calligraphy and painting only