中国画欣赏新译 2

2、        诗情画意与中国画的意境：
2, poetic and artistic conception of Chinese Painting:
“无诗不能成画、无画不能为诗”（没有不能成为画的诗，也没有不能写成诗的画）。画家在画作上题以诗文，或记下创作背景，或只写一个言简意赅的画题，通过这样的题跋，—方面表达自己的思想，抒发自己的情感；另一方面，也使画的意境更加深邃，主题更加突出，布局构图更加完善，如果题跋又是精美的书法，那么观者在赏画的同时，还可得到书法的美感享受，这幅画作岂不是更加完美?
"No poetry can not be a painting, not painting can not be poetry" (without the poems can not be a painting, nor did the painting can not be written poems)。 Artists in the paintings on the title to poetry, or a note of creative background, or just write a concise and clear that the paintings, by such Tiba, - express their ideas, express their feelings on the other hand, also painted the Mood More profound, more prominent theme, layout composition more perfect, if Tiba is the exquisite calligraphy, in Shanghua guests at the same time, but also get to enjoy the beauty of calligraphy, paintings of this is not a more perfect ?
诗情画意是中国画所追求的最高“境界”；并且诗、书、画、印堪称“四绝”。这是因为诗、画都是写人绘景；诗画并举，相映生辉，形成中国画一道亮丽的风景。由此可见，它们之间的关系应是有机结合的，不能把诗文视为多余。大画家黄宾虹曾说：“中国画有三不朽”，其中就有“诗书画合一不朽也”。
Chinese paintings by the poetic is the highest pursuit of the "realm" and poetry, books, paintings, India is known as the "four no。" This is because the poetry and painting are people drawn to write King; poetry and painting simultaneously, Xiangying Shenghui, a Chinese painting a beautiful landscape。 Clearly, the relationship between them should be organically integrated, and can not be seen as superfluous to poetry。 The painter Huang Binhong once said: "Chinese paintings are San Buxiu", including the "One immortal poem painting also。"
事实上，自古以来，将诗书画结合巧妙的人大有人在。比如：徐渭在《葡萄》上的题诗：“半生落魄已成翁，独立书斋啸晚风，笔底明珠无处卖，闲抛闲掷野藤中。”如果抛开这首诗，只是—串葡萄而已，还有何意义。郑板桥一生爱竹、画竹他在《竹石》诗中写道：“咬定青山不放松，立根原在破岩中；千磨万击还坚劲，任尔东西南北风。”他以竹自喻、刚直不阿。可见，好的题画诗可以使画的意境更加深邃，主题更加突出有意义，甚至达到点石成金、化腐朽为神奇的作用。画友在一幅山水画中题跋道：“乱石堆中水一泓，草舍置于野林中，远离尘器听鸟语，管他春夏与秋冬。”在《农家之秋》中题曰：“谁说秋天气萧森，经霜红叶更精神，农夫收禾不在家，寻亲访故莫敲门。”在一幅《瀑布图》中题道：“清泉出山不停息，人生苦短自奋蹄。”在另一幅山水中题曰：“岸边房舍绿荫浓，船泊碧水一江中。静看云起云又落，闲坐船头作渔翁。”这是画家思想情感的自然流露，写景抒情朴实宛如“绿色食品”一样。
In fact, since ancient times, the ingenious combination of poetry paintings of many people。 For example: wei-xu artists in the "grape" on the Tishi: "Lapo is a half-Weng, independent Den Xiao Wan Feng, have nowhere to sell T at the end of Pearl, left idle in the leisure throwing Ye Teng。" Cast aside if this poem , The only - only string of grape, what significance。 Painter banqiao-zheng life love bamboo, Huazhu his "Zhu Dan," the poem says: "Castle Peak Yaoding not relax, rooted in the rock-breaking; grinding 000-1000 Kennedy also strong, Seoul, the South and the North East and West Wind。" He Bamboo self-evident, Gangzhi integrity。 Clearly, good poetry can make paintings that draw the mood even more profound, more prominent themes meaningful, even to Diandanchengjin, decadent to the magic of the role。 Friends in a painting landscapes in Tiba: "stoning pile water Yihong, Cao She placed wild forest, away from dust-listen Niaoyu, of his spring and summer and autumn and winter。" "Autumn farmers" in the title Said: "Who says Xiaosen autumn weather, the more the spirit of cream colored leaves, do not at home at Wo, Xunqin visit so-knock on the door。" In a "waterfall map" in the title: "Chingchuankang Chushan kept interest rates, short life hard Since Fenti。 "In another in a landscape that said:" shore premises dense shade, Chuan Bo Jiang in a clear water。 Static view from the clouds and cloud-to sit bow to Fisherman。 "This is the artist thinking of emotion Of something very natural to us, Xie Jing lyric like a simple "green food"。
（例如：顾绍骅创作的中国山水诗意画——《送僧游山》 Chinese landscape poetry painting-《send to a monk to swim mountain 》
【原诗（词）】：云身自在山山去，何处灵山不是归。——唐朝·熊孺登明《送僧游山》诗意【Original poem translation 】the white cloud at liberty flies around in the top of hill, where beautiful mountain again isn't "Buddhism" to practice moral teachings the best dwelling place?
【赏析】：诗意深富禅趣——禅心如云，自自在在的向着一山又一山飞去，又有何处的灵山不可归去呢？
【Analyze 】:The poetry deeply enriches a Chan interest-the Chan heart be like cloud, from comfortable at of facing one mountain another mountain fly to, and then have work properly of place mountain can't return?
规格：100×68cm       纸本设色  2006年创作）
笔者也在“自画像”中这样题道：“儒世家门坠一瓜，阎罗殿上险遭杀。翰林府第三敬履，蟾桂宫前四献花。”{笔者本人路遇车祸、险丧性命；康复后，又就读于中国书协书培中心之高级书法班时写的一首《感遇》诗。释义：书香世家生了一个男孩，阎王殿上险些被杀害。（在）翰林学府（书法培训中心）里，要象韩信当年求学时①（注①：韩信当年求学时，其师试他的诚心与决心，过桥时有意将鞋子失落于桥下，韩信当即将老师鞋子拾回，并双手敬奉给老师；如此三次，皆如此。其师为之所动，遂授兵书三卷，并予以指点，终使韩信能成大业。这就是“一桥三敬履”的历史故事），有诚心与决心刻苦学习；学成后一定以优异的成绩报效祖国。}。一幅画画得再好它所反映的物象、表现的空间是有限的，只有诗画并举，才能表现时空、寓意深刻。
The author (shaohua-gu) is "self-portraits" in this title: "Confucian family door catch a melon, Yan Luodian on Xianzao killing。 Hanlin House Third Lu Jing, Gui Palace toad first four victims。" I (author Lu Yu Accident, and risk the lives of mourning; after rehabilitation, and education in China Shuxie training centre on the High calligraphy class, written by a "flu case of" poetry。 Interpretation: Shuxiang family of a boy of Health, Yan Wangdian on nearly been killed。 (In) Hallym University (Calligraphy Training Centre), as the Hanshin year to study at ① (Note ①: Hanshin school year, the division test his sincerity and determination, when the bridge will be interested in the shoes lost underneath, Hanshin to be teachers when Shihui shoes and hands Jingfeng to teachers so three times, all this。 The division moved by it, then granted Bingshu three volumes, and to guide, National Cheng Kung University to end the Hanshin industry。 This is "a bridge 3 King fit the shoes "of the historical story), a sincere and determined to study hard; Xuecheng Hou some outstanding achievements to serve the motherland。 )。 A painting in it no matter how good the images reflect the performance space is limited, only poetry and painting simultaneously, to performance time and space, Yuyishenke。
白石老人一幅条幅，画的下方只画了三只小鸡。其余全是空白，只是在右上方题了长款，计白当黑，虚实结合，诗画互补，相映生辉，别有一番趣味。题画诗，还可以使画家爱、憎、悲、愁、褒、贬、扬、弃等多种情感更加强烈地倾注于画面。再如在画作《不倒翁》上题道：“乌纱白扇俨然官，不倒原来泥半团，将汝忽然来打破，通身何处有心肝。”这样的题跋使一幅简单的不倒翁画变得意境深远，意义不凡。如果不是这首诗，画中的不倒翁就显得毫无意义。
Painter baishi-qi a banner, painted just below the painting of the three chicks。 All the rest is blank, just in the upper right, that the long, black or white when, with actual situation, Poetry and complement each other, Xiangying Shenghui, do not have some fun。 Painting poetry, so that artists can also love, loathe, grief, worry about, pao, derogatory, Yang, disposable, and other emotions more strongly into the picture。 Another example is in the works, "Bu Daoweng" that: "The fans like white yarn Ukrainian officials, not the original mud inverted half-Mission, RU to break all of a sudden, Tongshen where a heart and liver。" Tiba make such a simple painting changed Bu Daoweng Mood in the far-reaching significance extraordinary。 If not this poem, painting in the Bu Daoweng it is meaningless。
白石老人《不倒翁》的题画诗对那种道貌岸然、久居高位，却无任何修养，只会欺压百姓的饭桶草包官给予了有力的鞭笞。画家爱什么，恨什么，旗帜非常鲜明，感受常强烈。如徐渭的题葡萄诗，郑板桥的题竹诗都倾注着画家强烈的思想感情。画家融情于画，更借诗直抒胸臆。看着画，读着诗，使观画者受到强烈的感染。画因诗而更具情感魅力；诗因画而更加意义不凡。诗画相得益彰，类似这样好的题画诗在当今画坛也并不鲜见。因而构成了中国画独有的艺术特色，达到一个高层次的美学水平，这是其它任何艺术所不能比拟的。有诗言：又如有山不宜平。”作画亦然。
Painter baishi-qi "Bu Daoweng" the poetry of that painting that Daomaoanran, Hisai high, the lack of any self-cultivation, it will only oppress the people of Fantongcaobao official to give a strong lashes。 What artists love, hate what the banner is very clear, strong feelings often。 Xu Wei that grapes such as the poetry, Zheng Banqiao's poems that are at the painter strongly into the thoughts and feelings。 Painter financial situation in painting, poetry speak by Xiong Yi。 See the paintings, Duzhe poetry, painting to be strongly of the infection。 Painting and poetry for a more emotional appeal; painting and poetry for more extraordinary significance。 Poetry and complement each other, similar paintings that good poetry in the contemporary art world is also not uncommon。 Chinese painting thus constitutes a unique artistic features, to a high-level aesthetic level, this is not by any other comparable to the art。 There are poems: and if it is not appropriate-Hill。 "Chinese painting is the theory of the case。
中国园林讲究以“曲径通幽”式的廊回路转、流水小桥分割空间，制造出一种视觉上的隐蔽迷离之美。中国画亦常在笔墨境象的模糊中追求亦此亦彼、非此非彼，超以象外、得其环中的艺术效果。其魅力之所在，正是借助于形式与精神的诗意化气质，引发人们对有限物象的联想，使画中最难表达的意态与神采转化为弦外之音的回响，使欣赏者能够在瞬间获得一个整体的对绘画时空观的认知与把握。这种认知通常是一个关于审美对象模糊的整体图景的显现，并不拘泥于某一细节。而却更多地关注着诸如委婉、含蓄、一波三折的情境语言的运用；关注虚空、澄明、言外之意、象外之声的经营构思谋略；张彦远在《历代名画记》中所讲“意在笔先，画尽意在”，写意自古就是民族艺术观，也是中国绘画艺术的美学原则所谓“一枝一叶总关情”，我们所画的植物，它既无感情，也无思想，而画家们往往赋予它们某种含义，即画家立意的主观作用自然美的特征触动了画家的某种情感，从而“借景抒情，以物言志”画家们正是以自己独特的视角及感觉确定自已的“立意”，以表达自己的感情，“立意”不是纯主观的臆造，它是画家体验认识生活的结果它是一种美的理解和认识，它还包括了人的思想、感情、理想、修养在里面。通过“外师造化，中得心源”，也就是通过向客观事物要感觉之后形成和发现不同一般的认识,这才是----“意”也可以说“意”足一切艺术作品的灵魂：只有在感情和认识的基础上半场提炼、概括、升华而形成的“立意”，才是绘画作品所需的应该说“意”足情的升华情是“意”的基础。
Chinese garden stress "Qujingtongyou" type of circuit to the gallery, the water bridge division of space, creating a visual blur the hidden beauty。 Chinese ink painting in Yichang, as the habitat in pursuit of fuzzy He also vital, non-Feibi this, as the super-to, the artistic Deqi ring in effect。 Its charm lies precisely with the help of the spirit of the form of poetic temperament, triggered images of people on limited Lenovo, the most difficult painting to express the Italian state into overtones and look good response, so that appreciation can in an instant access to a Drawing on the overall understanding and grasp of Space and Time。 Such awareness is usually a fuzzy object on aesthetic of the overall picture of the show, not rigidly adhere to certain details。 And is more concerned about, such as tactful, subtle and were plagued with setbacks context of the use of language; concern and joy, clarity, meaning, as the voice of the business concept of strategy; Zhang Yan Yuan "art history in mind" in stresses "the intention of T first , The painting was intended to do, "freehand brushwork is the ancient concept of national art, Chinese painting art is the aesthetic principles of the so-called" one leaf of customs intelligence, "we are paintings of plants, it no feelings, no ideology, and artists often Give them some kind of meaning, that is, the artist shows the characteristics of natural beauty subjective role of the painter's touch some emotion, "by King lyric, of words-" the painter who is in their own unique perspective and determine their own sense of "purposive "To express their feelings," conception "is not a purely subjective minds, it is the painter's life experience understand it is a result of the understanding and awareness of the United States, it also includes the people's thinking, feelings, ideals, cultivation inside 。 Through the "division of good fortune, in the heart of the source," that is passed to the objective things to feel different after the formation and found that the general awareness of this is intended ----" "can also say" Italy "full of all works of art Soul: Only in the feelings and understanding of the basis for refining the first half, summed up, and a distillation of the "conception", is the paintings should be said that the "intention" into the full intelligence situation is "intended" basis。
《罗丹艺术论》中曾说过“艺术就是感情”，没有感情基础的艺术，也就是说连自己都不感动的东西史无法打动别人的我们欣赏画时，时为其内含的艺术魅力所吸引，画有十分意趣、主观思想相互交融；为画外之意，弦外之情所打动、所陶冶、所感染，这就是“意境”作用…：“意境”是艺术的灵魂，是客观事物精华部分的集中，加上人的思想感情的陶铸，经过高度艺术加工达到情景交融，借景抒情，从而表现出来的艺术境地是鲜活的、生动的。
"Art of Rodin" said "Art is emotional," not based on feelings of the art, that is not touched by their own history can not be moved by the things we appreciate other people's paintings, when the artistic charm of its implicit Attracted by painting a very Interest, subjective thinking of mutual exchanges; painting, for the meaning of string, moved by feelings, the mould, by infection, which is the "mood" in…: "Mood" is the soul of art, is an objective Part of the concentrated essence of things, coupled with people's thoughts and feelings of the Tao Zhu, after processing to achieve a high degree of artistic integration scenario, lyric by King, demonstrated by the state of the art is fresh and vivid。
白居易认为学无常师，故其指一意状一物，往往运思中与神会”。他在《画竹歌》中写道：“不根而生从意生，不笋而成由笔成……举头忽看不似画，低手静听疑有声。”似乎早已悟出了中国画“妙在似与不似之间”的真帝。中国画家与诗人“游心之所在”，就是自身对造化自然独特感悟的美境，创造的意象。这电决定了中国画自始至终的浪漫主义情结和诗性的内质。董其昌说得好：“诗以山川为境，山川亦以诗为境。”艺术家禀赋的诗心，映像着天地万物的诗心，山川大地是宇宙诗心的影现；画家诗人的心灵活跃，本身就是宇宙的创化，它的卷舒取舍，好似太虚片云、寒塘雁迹，空灵而自然。中国画家诗人“迹化自然，因心造境，曲尽蹈虚揖影之妙”(宗白华语)，可以说是中国诗画的基本特征。也是崇尚“虚空”之美的写意型的中国画与以“实”为本(巴门尼德的Being)的西方古典绘画在创作观念上的最大区别。
The great ancient poet juyi-bai that the division of impermanence, it refers to its one-one of Italy, are often transported in and God will think。 "In his" Huazhu Song "wrote:" The roots from the Italian Health and Health, bamboo shoots Formed by the T-…… Mandrax do not give it the first painting, low listened suspect hands with sound。 "China seems to have already realize the painting," Miao-like and not like in between "the real Dili。 Chinese painters and poets" You heart lies ", that is its own unique sentiment of the good fortune of U。S。 natural habitats, to create the image。 This decision, Chinese painting throughout the complex and the Romantic poetry of the ER。 Dong Qichang was right when he said: "Poetry for Habitat to the mountains and rivers, mountains and rivers also poems for Habitat。 "Artist Endowment heart of the poem, the image of all things poetry heart, mountains and the earth is the universe is the impact of heart poetry, poet, painter of the soul active, is itself the founding of the universe, its volume Shu choice, Taixu-like clouds, Han Tang Yan tracks, Kong Ling and natural。 Poet, painter China "traces of natural habitats due to heart-made, to dance song wonders of virtual Yi Ying" (Zong Baihua language), can be said to be the basic features of Chinese poetry and painting。 Is also advocating " And joy, "the beauty of the freehand brushwork of the Chinese paintings and a" solid "-(Parmenides of Being) of the Western classical painting in the creative concept of the biggest difference。
在美术史上，自古以来就有两种完全不同的表现方式：一种是以再现客观世界为主的写实型艺术，它以西方古典油画为代表；一种是以表现主观心绪与情感为主的浪漫、表现型艺术。中国画就是以后者为其基本特征的。浪漫、表现性绘画，早在战国时代的楚墓帛画《人物夔凤图》及西汉马王堆幡画中就已初露端倪。自唐朝文人画初创以来，中国绘画则更加注重托物抒情、以画寄乐的表达方式的运用。而“绘画以形似，见与儿童邻”也正是苏轼对先贤们艺术实践的理论总结。它之所以能够存在，并且，具有旺盛的生命力，一直被文人们捧为绘画的至理，原因是离不开在中国哲学虚空的宇宙观(老子“万物生于有，有生于无”)影响下艺术家对诗化的精神内质与诗意的形式外观的永恒追求。的确，中国绘画的这种观念也正是把握了中国艺术的精神实质，把握了中国艺术诗性的品质特点，才经受住了时间风雨的考验，并一直影响至今。宋代哲学家程伊川说过：“冲漠无朕，而万象昭然已具。”昭然万象以冲漠无朕为基础，使实中有虚、虚中生实，空外余波，袅袅不绝，“无画处皆成妙境”(笪重光语)，这便是中国画在对意境美的追求中最不可言传的精神所在。
In art history, since ancient times are two completely different performance: a reproduction of the objective world of art consisting mainly of realism, which to Western classical paintings as representatives; performance is a subjective and emotional-based Xinxu Romantic, performance-based art。 Chinese painting is the latter its basic characteristics of the。 Romantic, performance of the painting, as early as the Warring States Period, Chu Tomb of the Bohua "People Kui-feng map" and the banner painted in Mawangdui Han Dynasty have been emerging。 Since the start of the Tang dynasty literati paintings, Chinese painting is more emphasis on care of lyric and music to painting send the use of means of expression。 "Painting to the shape, see neighbors and children," Su Shi is also the sages who practice the art of summing up。 It has been able to exist and has strong vitality, the text has been painting for the people want to arguments, the reasons for the Chinese philosophy is inseparable from the joy of the universe (Laozi, "all things are born, not born") impact The artists of the spirit of poetry, in the form of poetic quality and appearance of the eternal pursuit。 Indeed, Chinese painting of this concept is exactly grasped the essence of Chinese art, poetry grasp of the Chinese art of the quality characteristics, it has withstood the test of time wind and rain, and have been affected so far。 Song Dynasty philosopher Cheng Yichuan, said: "No-I Jammu, and has a Zhaoran Vientiane。" Zhaoran Vientiane to desert no-I-based, so that it is in a virtual, it is false in health, air, the aftermath, not absolutely Niaoniao , "The paintings are not as Miaojing" (Qing Dynasty literary critics chongguang-da (1623-1692) the phrase), this is the Chinese paintings in the United States and the mood in the pursuit of the spirit of the non-Yan Zhuan。