西人之刀叉与华人之筷子乃彼此用餐工具之不同或谓之特色者,盖因习惯与喜好所致。好使刀叉者又无须斥筷子为“零”!君不见筷子有多大的灵活性与随意性?这些都需实践方知的事,嚷嚷者则纯属无知矣!又何况工具者必有所用也,因而并无不代表任何用途之筷子的。此亦即中国画“笔墨”之特殊定义者也,是无须多议(疑)的。自古,中国画乃依特定之毛笔作画.它不似传统西画之务必逼真地表述对象之光、色、体和依承“五调子”之物理。而这些看似均不为中国画之所必需。中国画往往仅表述客观世界之总体印象与特征而不为细节所困。诚然,此总体印象中也必然包含着西画(客观世界)中之光、色、体乃至“五调子”之因素,只是它不作直接之表述而已。 Western knife and fork and Chinese chopsticks are different from each other or the characteristics of dining tools, cover due to habits and preferences due. So that knives and forks do not need to exclamation chopsticks for “zero ”! Do not you see how much flexibility and randomness of chopsticks? These need to know the facts of the side, who yells are purely ignorant! Moreover, the tool will be There is also used, and therefore does not represent any purpose of chopsticks. This is also the special definition of Chinese painting “Pen and Ink ”, there is no need to talk more (doubt). Since ancient times, Chinese paintings have been painted according to certain brushstrokes, and unlike the traditional Western paintings, they must vividly represent the objects’ light, color, body and the “five-tone” physics. These seemingly are not necessary for Chinese painting. Chinese painting often expresses only the general impression and characteristics of the objective world without being trapped by details. To be sure, this general impression necessarily contains the light, color, and even the “melody” of the Western painting (the objective world), except that it is not directly stated.