【原】雙語(yǔ)版·中國(guó)畫(huà)的本質(zhì)探 下篇

雙語(yǔ)版·中國(guó)畫(huà)的本質(zhì)探    下篇

Chinese English   comparison The essence of Chinese painting seek  Part two

唐·司空?qǐng)D《詩(shī)品·雄渾》所說(shuō)“返虛入渾（指詩(shī)作空靈，入于渾然之境。）”，意即返虛方能入渾。這個(gè)“渾（“全部、滿是”之意也）”，而是更高級(jí)的無(wú)所不包極端復(fù)雜之渾?！皩?shí)”就在眼前一覽無(wú)余，最大也是有邊際的，最滿也是有限度的。只有返虛入渾，方能無(wú)邊際，其大無(wú)外，其小無(wú)內(nèi)。如李煜詞句：“問(wèn)君能有幾多愁？恰是一江春水向東流。”他不實(shí)答，卻一下使你面對(duì)滔滔東流的大江。如果只是一實(shí)，還能有那樣豐富的含義，那樣闊大的境界嗎？詩(shī)情畫(huà)意是時(shí)空的融合，因此，“沒(méi)有最好，只有更好”令欣賞者沒(méi)有統(tǒng)一“標(biāo)準(zhǔn)”，并且，在創(chuàng)作與欣賞中需要有一定的中國(guó)傳統(tǒng)文化素養(yǎng)。雖然，少了西畫(huà)那樣的“清晰、一覽無(wú)余”卻存有東方審美特有的含蓄、朦朧，甚至有些模糊、迷離……；這也有了“神秘感”，增強(qiáng)了“想象空間”，猶如：“隔紗觀美景、月下看美人——越看越喜歡”，在理解“詩(shī)情”后，更能了解“其中味”。這是西方繪畫(huà)所望塵莫及的。欣賞中國(guó)畫(huà)當(dāng)以：“兩情若是長(zhǎng)久時(shí) 又豈在朝朝暮暮”（ 釋文：只要兩情至死不渝，又何必貪求卿卿我我的朝歡暮樂(lè)呢。）的心態(tài)“慢慢品味”；而不是當(dāng)下漂亮的“中國(guó)畫(huà)”只有技法，不見(jiàn)文化，如同無(wú)根花、無(wú)源水，和當(dāng)下青年人的“閃婚”一樣，來(lái)得快，去得也快。

Tang Sikong Tu "Poetry·Forceful Said Returning to the world of pristine nature(referring to the ethereal poems, returning to the world of pristine nature into vigorous territory.)" Return to Can void enter the Heaven and earth turbid (the). This "muddy" (full, full of "meaning"), but more advanced all inclusive extremely complex muddy. "Real" in front of a glance, the largest and most marginal, full is limited. Only Returning to world of pristine nature, the square can not be marginal, its great no outside, its small inside. As Li Yu said: "Best Blues Guitars? A river spring water towards the rolling of east." He did not answer, but let you face the surging East river. If only one, can have so rich meaning, so broad realm? Poetic Chinese painting is the integration of space and time, therefore, "there is no best, only better" so that the viewer has no unified standard, and, in the creation and appreciation of the need to have some of the qualities of traditional culture China. Although less Western painting as "a clear, Take in everything in a glance implicit," there is a unique Oriental aesthetic obscure, and even some vague, Blurred...... This also; with "Mystique", enhance the imagination, like: "Pass through mosquito net see Beautiful scenery, under the moonlight See beauty, more and more love", in the understanding of "poetry", a better understanding of "one flavor". This is the western painting as far behind. Enjoy China painting: "Durable love keekps the without living together day and night." (text: as long as two love will never change until death, why lust affectionate gay all day.) The mentality of "taste"; instead of "China present beautiful painting techniques only, no culture, like Rootless flower, Passive water, and the young people's" Flash marriage ", come and go.

筆者認(rèn)為：中國(guó)畫(huà)的發(fā)展必須依照“中國(guó)方式”——集中國(guó)傳統(tǒng)文化底蘊(yùn)（詩(shī)、書(shū)、畫(huà)）為一體的觀點(diǎn)——“詩(shī)情畫(huà)意”是中國(guó)畫(huà)的靈魂和中國(guó)畫(huà)發(fā)展方向!中國(guó)畫(huà)是中國(guó)傳統(tǒng)文化的厚積薄發(fā)！歷來(lái)有詩(shī) 、書(shū) 、畫(huà)同源之說(shuō) ，三者的最高境界是 “詩(shī)情畫(huà)意”；都是寫(xiě)心 、寫(xiě)思想 、抒發(fā)感情的。自唐代以來(lái)，以王維為首的中國(guó)文人介入繪畫(huà)。詩(shī)和畫(huà)的兼收并蓄構(gòu)成一種高超的藝術(shù)境界。蘇東坡評(píng)價(jià)王維的詩(shī)畫(huà)：“味摩詰之詩(shī)，詩(shī)中有畫(huà);觀摩詰之畫(huà)，畫(huà)中有詩(shī)”。 “畫(huà)中有詩(shī)”，一方面是指畫(huà)作的含蘊(yùn)深刻，意象幽深，畫(huà)中不單單是物象的客觀再現(xiàn)，而是畫(huà)家主觀意境的揮寫(xiě)，詩(shī)書(shū)畫(huà)印的完美結(jié)合，己成為民族血脈，這需要向真正有民族責(zé)任感和民族文化危機(jī)感的人談?wù)?，繪畫(huà)得力于文化的內(nèi)涵，他的藝術(shù)魅力就被大大的擴(kuò)充了。中國(guó)畫(huà)的根本是借物抒情、托物言志，畫(huà)上題詩(shī)，闡述畫(huà)意，抒發(fā)情感，畫(huà)龍點(diǎn)睛，使詩(shī)情增添畫(huà)意，珠聯(lián)璧合，相得益彰。筆者認(rèn)為：“詩(shī)（詞）的文學(xué)語(yǔ)言內(nèi)含深、寓意廣、言簡(jiǎn)意賅，能使欣賞者浮想聯(lián)翩、遐思無(wú)限。并且這兩種形式可相輔相存、相互轉(zhuǎn)換。即通過(guò)讀畫(huà)而理解、體味產(chǎn)生意境，將讀畫(huà)產(chǎn)生的意境，用言簡(jiǎn)意賅的文學(xué)語(yǔ)言——詩(shī)（詞）記錄下來(lái)?！痹凇豆潘捎^止·第一部分》的《明·藍(lán)瑛的松巖觀瀑圖軸》詞條編輯中寫(xiě)道：“高山飛泉，云煙升騰；古松承浴，雜樹(shù)共歡；焦、濃、淡墨神采飛揚(yáng)，遠(yuǎn)、中、近景層次分明；一高士，入神地仰觀那“飛流直下三千尺”的瀑水，不禁手舞足蹈起來(lái)，嘴里詠誦：“南山之瀑水兮，激石滈瀑似雷驚，人相對(duì)兮不聞?wù)Z聲。翻渦跳沫兮蒼苔濕，蘚老且厚，春草為之不生?！薄暗菑]山，觀瀑布，海風(fēng)吹不斷，江月照還空，余愛(ài)此兩句；”或“桑柘周圍，菅茅低架，且喜水親山近。”-------呵呵，人迷此景，流連忘返；是多么和諧的景象啊！”

The author thinks that the development China painting must be in accordance with the "China" - in Chinese traditional culture (poetry, calligraphy and painting) as one of the "poetic Chinese painting" - is Chinese painting soul and China painting development direction! Chinese China painting is the traditional culture of Accumulate steadily! There has always been poetry, calligraphy, Chinese painting one the same source, the highest level of the three is the "poetic Chinese painting"; are writing heart, writing ideas, express feelings. Since the Tang Dynasty, the Chinese literati led by Wang Wei. The combination of poetry and painting constitutes a superb artistic realm. Su Dongpo and Wang Wei: "Pondering Wang of Wei The poem, Painting-in-poetry watch Wang Wei Chinese; Painting There, is poetry in a painting". "There is poetry in a painting", a possess Profound implication refers to the paintings of Imagery deep, and serene, painting, is not only the objective images reproduced, wrote the play, but the artist's subjective conception of poetry, calligraphy, painting and seal cutting combination, Chinese nation blood vessel in has become which the blood and Qi circulate, which need to talk about to the real Chinese nation National responsibility and Chinese nation National cultural crisis awareness, Cultural connotation due to the painting, his charm was greatly expanded. China painting is borrowing lyrics and Use the at shape of the object to express ambition, describes the painting, painting a poem, to express feelings and Bring the painted dragon to life by putting in the pupils of its eyes, Add mood of a painting Poetry, put pearls and jade together each by association with the - improves other a complement of talents and; abilities to form an advisory board [an Executive Committee, Make the old and new contrast and complement each other. The author believes that: "Poetry (CI) of the literary language contains deep, wide meaning, Concise and comprehensive, can make the appreciation of Thoughts thronged mind, Unlimited reverie. And these two forms can be Phase complementary phase, Interconversion. That is, through the appraise a painting and understanding, Understanding produces conception artistic, these, with Concise and comprehensive language of literature - Poetry (CI) recorded." In "Chinese Painting Ancient Pine Drawing to the end - the first part of the" the "Ming Dynasty Lan ying.The Pines rocks watch Waterfall Figure axis wrote," editor: "Mountain waterfalls cliffside, Mist rising Age-old pine trees in; bath The multifarious trees Common joy; In high, coke, concentrated light spirit, far away in close range, and structured; a goldsmith, seeing then that" Fast Flowing water Fly straight down three thousand feet "dance with joy waterfall, I [excitement] up, mouth said:" Nam Son The waterfall water, The waterfall drop stone like thunder shock, People face each other Do not hear the voice. The water turned over and the foam Wet moss, Moss is old and thick, that was not born." "Climb Mount Lu, view falls, The sea breeze blows continuously, Moonlight in the river Shine The empty world, I love this two;" or "Mulberry around, Kan thatch Cane vine in Low frame, and the pro mountain near water." Oh, People are fascinated by, Indulge pleasures without stop, is how Harmonious scene ah!"

例如：唐伯虎在他的《畫(huà)雞》圖中題了這樣的詩(shī)：“頭上紅冠不用裁，滿身雪白走將來(lái)。平生不敢輕言語(yǔ)，一叫千門(mén)萬(wàn)戶開(kāi)?！比藗兯究找?jiàn)慣的雄雞啼曙，因了這幾句題詩(shī)，雄雞成為了沖破黑暗、迎來(lái)曙色的光明之神，啼聲成了催人奮起的號(hào)角。 

 徐渭在《葡萄》上的題詩(shī)：“半生落魄已成翁，獨(dú)立書(shū)齋嘯晚風(fēng)，筆底明珠無(wú)處賣，閑拋閑擲野藤中?！比绻麙侀_(kāi)這首詩(shī)，只是—串葡萄而已，還有何意義。 

 八大山人朱耷，系明皇室王孫，明滅亡后，國(guó)毀家亡，心情悲憤，落發(fā)為僧。他畫(huà)兩只丑陋的孔雀，蹲在一塊尖而不穩(wěn)的石頭上，孔雀的尾巴上有三根難看的翎毛。題詩(shī)云：“孔雀名花兩竹屏，竹梢強(qiáng)半墨生成。如何了得論三耳，恰是逢春坐二更”。譏諷對(duì)主子奉承拍馬的官員，本該五更上朝，二更就去了。“三耳”，指的就是這些奴才。畫(huà)中的孔雀尾巴長(zhǎng)了三根翎毛，指帽子后面戴著三根“花翎”的高官。那塊不穩(wěn)的石頭，暗喻清朝的江山并不牢固。 

  “揚(yáng)州八怪”之一的鄭板橋一生愛(ài)竹、畫(huà)竹他在《竹石》詩(shī)中寫(xiě)道：“咬定青山不放松，立根原在破巖中；千磨萬(wàn)擊還堅(jiān)勁，任爾東西南北風(fēng)。”他以竹自喻、剛直不阿?？梢?jiàn)，好的題畫(huà)詩(shī)可以使畫(huà)的意境更加深邃，主題更加突出有意義，甚至達(dá)到點(diǎn)石成金、化腐朽為神奇的作用。 

 白石老人一幅條幅，畫(huà)的下方只畫(huà)了三只小雞。其余全是空白，只是在右上方題了長(zhǎng)款，計(jì)白當(dāng)黑，虛實(shí)結(jié)合，詩(shī)畫(huà)互補(bǔ)，相映生輝，別有一番趣味。題畫(huà)詩(shī)，還可以使畫(huà)家愛(ài)、憎、悲、愁、褒、貶、揚(yáng)、棄等多種情感更加強(qiáng)烈地傾注于畫(huà)面。再如在畫(huà)作《不倒翁》上題道：“烏紗白扇儼然官，不倒原來(lái)泥半團(tuán)，將汝忽然來(lái)打破，通身何處有心肝?！边@樣的題跋使一幅簡(jiǎn)單的不倒翁畫(huà)變得意境深遠(yuǎn)，意義不凡。如果不是這首詩(shī)，畫(huà)中的不倒翁就顯得毫無(wú)意義。 

 這樣以詩(shī)為魂，詩(shī)畫(huà)相濟(jì)，相輔相成，相得益彰的傳統(tǒng)文化樣式，已成為經(jīng)典。王國(guó)維在《人間詞話》中指出，“境非獨(dú)謂景物也。喜怒哀樂(lè)，亦人心中之一境界。故能寫(xiě)真景物，真感情者，謂之有境界。否則謂之無(wú)境界?！敝袊?guó)畫(huà)并非歷史圖片、寫(xiě)真照片；倘若離開(kāi)中華傳統(tǒng)文化底蘊(yùn)？就無(wú)從說(shuō)起“中國(guó)畫(huà)”，充其量只能算是漂亮的廢紙。

For example: Tang Bohu this poem in his "chicken" in the picture: "cock head without cutting the red crown, covered with white go in future. Life did not dare light language, called numerous households." It is quite common people for cock crow first light of morning, because of this a few words of poem, rooster became Out of the darkness, In the light of early dawn the God of light, to urge people to cry. Xu Wei in the "grape" in the poem: "half a lifetime abandoned Has become The elderly, one Stand there schoolroom Hear the roar of the wind, use brush drawing grape Nowhere to sell, Idle throw in wild Cane vine Field." If you put aside the poem, just a bunch of grapes, still What meaning? Badashanren Zhu Da, Ming Ming Department of Royal Wang Sun, after the demise of Destroy the country and perish shave one's head, feelings of grief and indignation, and become a Buddhist monk. He painted two ugly peacock, sitting on a sharp and unstable rock, there are three ugly tail of a peacock feathers. Poems: "peacock in The flowers of the two bamboo screen, Bamboo shoots Formation of generate prepared Chinese ink. How terrible to about three TheLocal officials, Seems to just entered spring Sitting in the cold have night talk (the)". Sarcasm to the master obsequence officials, even the court, two more to go. "Three ears" refers to these minions. The peacock's tail in the painting has three feather, referring to the hat behind the wearing of the three peacock on official caps, senior officials. The unstable rock, the metaphor of the Qing Dynasty is not strong. "One of the eight wonders of Yangzhou" Zheng Banqiao life love bamboo, bamboo "bamboo" he wrote in the poem: "Insist not relax Castle Peak, Bamboo root growth In the broken rock Bamboo and rock Friction and; hit a million times also strong, Whatever you Insane TheFrom all sides world Storm." He uses bamboo itself and upright. Therefore, good poems can make the painting more profound, more prominent theme has significance, and even reached touch a stone and turn it into gold be able to perform - wonders, turn the foul and rotten into the rare and ethereal turn bad into good -- the role of. Bai Shi, an old man, a scroll, painted only three chicks under the painting. All the rest is blank, just in the upper right Title length, reckon blank as inked, Emptiness and Material object Combination, Poetry Chinese, painting complement each other, Match each other Produce brilliance, Especially have any fun. Poems Inscribed paintings on, you can also make painters Love, hate, sadness, sorrow, praise, praise, derogatory, abandon and other emotions more strongly into the screen. Another example is in the works "tumbler" on the title: "head mounted a black gauze cap Hand fan Like a officer, The reasons for not falling out to be a Half Mud, all of a sudden Beaten you To break, Where the body had no heart and liver." Tiba make such a simple painting changed Bu Daoweng mood far-reaching significance. If not this poem, the tumbler is meaningless. This poem for the soul, Combination of poetry and painting, Exist side by side and play a part together, Make the old and new contrast and complement each other of the traditional culture, has become a classic. Wang Guowei in the Human notes and on Ci poetry, noted that artistic conception merely appellation Scenery also not world. Emotions, Is one the of people plane attained reached hearts of. Therefore, the portrait scene, the true feelings, that there is a realm. Otherwise there is no realm." Chinese painting is not a historical picture, portrait photos; if left The Chinese Traditional deposits cultural? There is no way to speak of "Chinese painting", at best, can only be regarded as beautiful waste paper.

究根尋源、繼往開(kāi)來(lái)，竊以為：“中國(guó)畫(huà)只有走自身發(fā)展的路才是正道”；因此，顧紹驊在總結(jié)前人的“亮點(diǎn)”后得出《詩(shī)情畫(huà)意》公式， 

 并依此公式創(chuàng)作，得出： 1、詠物抒情部分——“集古句”【依據(jù)畫(huà)面意境來(lái)進(jìn)行挑選最適合、最貼切的詩(shī)句，并且，進(jìn)行重新整合、排列達(dá)到“經(jīng)典”（再創(chuàng)造的高峰）】因?yàn)?，這樣的內(nèi)容是中國(guó)傳統(tǒng)文化底蘊(yùn)的“再現(xiàn)”；這樣的創(chuàng)作現(xiàn)在已經(jīng)中國(guó)畫(huà)家很少“為之”的，也是很高雅的（因?yàn)檫@樣的創(chuàng)作方法，有一定的難度；目前是“高處不勝寒”。）目前，好像是只有我一個(gè)人是這樣“探索”來(lái)創(chuàng)作的。2、畫(huà)面的詩(shī)意表現(xiàn)：傳統(tǒng)山水畫(huà)的“隨類賦彩”的實(shí)際色彩比較“沉悶”，如果繼續(xù)“維”之，就是“食古不化”啦；因此，借西法之“長(zhǎng)”，為我所用，這樣可以“雅俗共賞”！

“顧紹驊的詩(shī)情畫(huà)意”作品舉例(拋磚引玉)： 

顧紹驊提出：“詩(shī)情畫(huà)意”是中國(guó)畫(huà)的靈魂和中國(guó)畫(huà)發(fā)展方向。

“顧紹驊的詩(shī)情畫(huà)意作品”創(chuàng)作含義：1、依據(jù)畫(huà)面意境來(lái)進(jìn)行挑選最適合、最貼切的詩(shī)句，進(jìn)行重新整合、排列達(dá)到經(jīng)典——再創(chuàng)造的高峰，是中國(guó)傳統(tǒng)文化底蘊(yùn)的再現(xiàn)。 2、畫(huà)面表現(xiàn)：傳統(tǒng)山水畫(huà)的隨類賦彩的色彩比較“沉悶”，如果繼續(xù)維之，就太拘泥啦；因此，借西法之長(zhǎng)，為我所用。

顧紹驊的詩(shī)情畫(huà)意作品，雖然缺少通俗淺表的華麗，但因蘊(yùn)含中國(guó)傳統(tǒng)文化藝術(shù)的精髓而載入中國(guó)的國(guó)史網(wǎng)；細(xì)細(xì)品味，您會(huì)發(fā)覺(jué)更多的美，韻含其中！

中國(guó)山水詩(shī)意畫(huà)——《樵》

【題畫(huà)詩(shī)】采樵入深山，能諳白云養(yǎng)。不似名利途，暮帶殘陽(yáng)返。

【欣賞】清晨，采樵的樵夫進(jìn)入深山，樵夫熟悉這山中的一草一木、一山一石、一風(fēng)一云；因此，知道哪里能伐木（建高樓用）、哪里能砍柴（燒飯煮菜用）。不像官場(chǎng)、仕途，宦海沉沉浮浮、曲折迷離、不知進(jìn)退……；還是我樵夫悠然自得，不為人左右；雖然，“晨興理荒穢、帶月荷鋤歸”很辛苦，但是，強(qiáng)筋健骨、心中無(wú)憂的生活，使人長(zhǎng)命百歲！

作品規(guī)格：68×68㎝ 紙本設(shè)色 2013年7月創(chuàng)作

本詩(shī)出處：1、唐·孟浩然《采樵作》詩(shī)的第一句：采樵入深山，2、唐·陸龜蒙《樵人十詠·樵子》詩(shī)的第二句：能諳白云養(yǎng)。3、唐·陸龜蒙《樵人十詠·樵徑》詩(shī)的第七句：不似名利途，4、唐·陸龜蒙《樵人十詠·樵風(fēng)》詩(shī)的第二句：暮帶殘陽(yáng)返。

中國(guó)山水詩(shī)意畫(huà)——《雪霽》

【題畫(huà)詩(shī)】皇穹何處飛瓊屑，日暮詩(shī)成天又雪，梅欲飄零特地香，養(yǎng)氣不動(dòng)真豪杰。

【欣賞】皇天后土、蒼穹茫茫，哪里不是飛舞著晶瑩剔透“美玉的碎屑”，日暮時(shí)分，詠詩(shī)已成，天上又在下雪了；那孤傲的梅花，想隨風(fēng)飄散她迷人的幽香；像她那樣“養(yǎng)天地之氣,法古今完人”，又“金錢(qián)不動(dòng)、寵辱不驚”的人，才是真正的豪杰?。?/p>

規(guī)格：136×68 ㎝ 紙本水墨 2011年 11月創(chuàng)作

附本詩(shī)出處：1、唐·無(wú)名氏《白雪歌》詩(shī)的第一句：皇穹何處飛瓊屑，2、宋·盧梅坡《雪梅》詩(shī)的第三句：日暮詩(shī)成天又雪，3、南宋·陸游《初春感事》詩(shī)的第四句：梅欲飄零特地香。4、南宋·陸游《稽山雪》詩(shī)的第十二句：養(yǎng)氣不動(dòng)真豪杰。

中國(guó)山水詩(shī)意畫(huà)——《集古句·三才子》

【原詩(shī)】水清無(wú)底山如削，枝柯偃后龍蛇老。孟嘉嗜酒桓溫笑，清歌咽處蜀弦高。

【欣賞】本詩(shī)由唐·韓偓《仙山》的第三句，唐·廖匡圖《松》的第五句，宋·蘇軾《太守徐君猷通守孟亨之皆不飲酒以詩(shī)戲之云》的第一句，宋·蘇軾《太守徐君猷通守孟亨之皆不飲酒以詩(shī)戲之云》的第二句，集合成新詩(shī)：水清、水深、水無(wú)底；山秀、山高、山如削（山壁似斧劈）。那茂密的松林里，粗壯的枝干猶如前仰后合、姿態(tài)萬(wàn)千的虬龍或巨蟒——蜿蜒挺拔、蒼勁而不老……。松下是有如孟嘉、桓溫一樣友情的三人聚在一起，他們飲酒、唱歌、彈奏古琴、談書(shū)論畫(huà)等等，他們心遠(yuǎn)灑脫、閑逸超然的情景是我們現(xiàn)代都市人所羨慕的?。。霞危簴|晉時(shí)大將軍恒溫的參軍，倆人關(guān)系密切，情同手足。 并且，孟嘉是陶淵明的外祖父）。

規(guī)格：136×68 ㎝ 紙本設(shè)色 2011年 8月創(chuàng)作

附本詩(shī)出處：1、唐·韓偓《仙山》詩(shī)的第三句：水清無(wú)底山如削，2、唐·廖匡圖《松》詩(shī)的第五句：枝柯偃后龍蛇老 3、宋·蘇軾《太守徐君猷通守孟亨之皆不飲酒以詩(shī)戲之云》詩(shī)的第一句：孟嘉嗜酒桓溫笑 4、唐·杜牧《見(jiàn)吳秀才與池妓別因成絕句》詩(shī)的第二句：清歌咽處蜀弦高。

中國(guó)山水詩(shī)意畫(huà)——《朝霞》

【題畫(huà)詩(shī)】天際何人濯錦歸，人心波蕩猶未回。無(wú)賴年光逐水流，須臾還被老相催。

【欣賞】呵呵，壯哉！美兮！天上何人下凡來(lái)？引來(lái)織錦一樣美麗的霞光，灑滿人間。那美景如夢(mèng)如幻，使我思緒飄渺，浮想聯(lián)翩：人們追求平安、閑適、富足的生活，不就象天上織錦般的彩霞一樣絢爛、光亮嗎？但是，光陰似箭，日月如梭；人生的意義在于“創(chuàng)造”，在于貢獻(xiàn)；不能似水流年、蹉跎歲月！人生苦短，轉(zhuǎn)眼百年；不成就一番事業(yè)，枉過(guò)一生！畫(huà)面中的人物，清晨苦讀，為的就是學(xué)好本領(lǐng)，待他日去 “功成名就”！

規(guī)格：55×100㎝ 紙本水墨 2013年6月創(chuàng)作

本詩(shī)出處：1、唐·徐夤《霞》詩(shī)的第一句：天際何人濯錦歸，2、唐·羅隱《酬丘光庭》詩(shī)的第十六句：人心波蕩猶未回。3、南宋·陸游《年光》詩(shī)的第一句：無(wú)賴年光逐水流，4、唐·方干《感時(shí)三首》詩(shī)的第十六句：須臾還被老相催。

中國(guó)山水詩(shī)意畫(huà)——《破浪》

【題畫(huà)詩(shī)】破浪一帆風(fēng)，濤來(lái)勢(shì)轉(zhuǎn)雄。江流石不轉(zhuǎn)，努力繼前功。

【欣賞】呵呵，好一個(gè)“乘風(fēng)破浪、一帆風(fēng)順”！在行徑的途中，難免有些浪濤漩渦，有時(shí)浪濤的阻力是非常強(qiáng)大的：正如我們的生活與事業(yè)一樣，時(shí)而會(huì)有波瀾、曲折的，如果“平淡無(wú)趣”，會(huì)影響我們的“IQ”的成長(zhǎng)。無(wú)論江流如何急湍、浪高浪大，也不會(huì)撼動(dòng)水中磐石；正如我們強(qiáng)大的事業(yè)心、意志力一樣，任憑外界的“風(fēng)云突變”，也不能改變的“初衷”與目標(biāo)……；只要我們繼續(xù)努力，我們一定會(huì)在前面取得的成績(jī)上繼續(xù)取得更多的業(yè)績(jī)的；成功就在不懈的追求、努力中！

作品規(guī)格：100×55㎝ （三尺整紙） 紙本設(shè)色 2013年6月創(chuàng)作

本詩(shī)出處：1、北宋·黃庭堅(jiān)《次盱眙同前韻》詩(shī)的第七句：破浪一帆風(fēng)，2、唐·宋昱《樟亭觀濤》詩(shī)的第一句：濤來(lái)勢(shì)轉(zhuǎn)雄，3、唐·杜甫《八陣圖》詩(shī)的第三句：江流石不轉(zhuǎn)，4、宋·京鏜《水調(diào)歌頭》詞的最后一句：努力繼前功。

吉祥花鳥(niǎo)詩(shī)意畫(huà)——《吉利全家》

【原詩(shī)】小雞竦而待，貴似荔枝來(lái)。利爪削黃金，云林謝家宅。

【欣賞】小雞在父母的呵護(hù)下，茁壯成長(zhǎng)；這一天，小雞們“畢恭畢敬”地等待著父母喂食。不一會(huì)，父母把小雞們帶到荔枝樹(shù)下，那些珍貴的荔枝好像知道它們要來(lái)，稀疏的散落在地上；父母用大而有力的利爪削開(kāi)那些黃金般珍貴的荔枝，給小雞們品嘗……；在云林深處，“舊時(shí)王謝”家宅里，小雞一家無(wú)憂無(wú)慮地生活著。

規(guī)格：68×136 ㎝ 紙本設(shè)色 2012年10月創(chuàng)作

本詩(shī)出處：1、唐·韓愈《斗雞聯(lián)句》下聯(lián)：小雞竦而待。2、宋·辛棄疾《臨江仙》詞的第五句：貴似荔枝來(lái)。3、唐·徐寅《雞》詩(shī)的第六句：利爪削黃金。4、唐·韋應(yīng)物《送宣城路錄事》詩(shī)的第三句：云林謝家宅

investigate root Find the source, Carry forward the cause pioneered by one's predecessors and forge ahead into the future, I think:"China painting only go their own development road is the right way"; therefore, Gu Shaohua in the previous "bright spot" that "poetic Chinese painting" formula, and this formula works, concluded: 1, chant poems about tangible objects express one's emotion Gather "Ancient Poems sentences" [according to the mood of the picture to select the most suitable, the most appropriate verse, and re integration, arrangement to "classic" (Re creation The peak)] because this is the Chinese traditional culture deposits "reappearance"; this creation has now China "for" little painter that is very elegant (because the creation method, so there is a certain degree of difficulty; the "be too highbrow to be popular . At present, it seems that I am the only one to "explore" to create. Poetic performance 2, the picture: the actual color of the traditional landscape painting "conformity to kind in applying colors" is "boring", if it continues to "dimension", is "Follow the beaten track"; therefore, by the western "long", so you can use, "Suit both the refined and the common people"!

"Gu Shaohua's poetic works" (Throw a brick order to in get a gem):

綜上所述：中國(guó)畫(huà)是筆墨線條與中華傳統(tǒng)文化底蘊(yùn)的結(jié)合！（缺一不可）中國(guó)畫(huà)的特征是托物言志，借物抒懷；因此，“言志、抒懷”是中國(guó)畫(huà)表現(xiàn)的中心；中國(guó)畫(huà)非常強(qiáng)調(diào)意境。筆者認(rèn)為：從一般技法表現(xiàn)上講，難以體現(xiàn)中國(guó)畫(huà)的內(nèi)含（中國(guó)畫(huà)的這一優(yōu)秀傳統(tǒng)文化藝術(shù)瑰寶之精髓）。詩(shī) 、書(shū) 、畫(huà)溶為一體，這才是中國(guó)畫(huà)的真諦，是國(guó)學(xué)（國(guó)萃），是中華民族的驕傲（越是傳統(tǒng)的，就越具有民族性；越是民族的，就越具有世界性。）；因此，我們不能片面追求“形似”，而重在于其作品的思想內(nèi)涵：“思想品格是藝術(shù)的生命”以詩(shī)情畫(huà)意為貴。作為傳統(tǒng)文化的繼承者——書(shū)畫(huà)家，我們必須掌握熟練應(yīng)用“詩(shī)情畫(huà)意”來(lái)多出“精品”，弘揚(yáng)國(guó)萃。我贊同程大利先生總結(jié)得出中國(guó)畫(huà)兩大功能：1、養(yǎng)心修身之術(shù) ，2、知世悟道之功；只不過(guò)：他對(duì)大眾提出了一個(gè)門(mén)檻的要求大眾必須要先改造自己，而不是去改造中國(guó)畫(huà)，中國(guó)畫(huà)，無(wú)論創(chuàng)作者還是欣賞者，它使人進(jìn)而進(jìn)入一種恬淡虛無(wú)，精神內(nèi)守的狀態(tài)，也即“入靜”的狀態(tài)；當(dāng)然它遠(yuǎn)離戰(zhàn)爭(zhēng)，不表現(xiàn)血腥，不表現(xiàn)暴躁，也極少表現(xiàn)焦慮。它追求至靜至遠(yuǎn)，調(diào)和天人，它是通過(guò)內(nèi)省而達(dá)至善；欣賞者與創(chuàng)作者都要把自己提升成有文化的有有境界感的，有操守的人，才能進(jìn)入中國(guó)畫(huà)。

To sum up: Chinese painting is the combination of ink lines and Chinese traditional culture! (Not a single one can be omitted.) Chinese painting is C'mon objective features things Expression Ambition, borrow Objective object unburden one's heart; therefore, "Ambition unburden, one's heart" is Chinese painting center; Chinese painting emphasizes the artistic conception. The author thinks that it is difficult to embody the connotation of traditional Chinese painting, which is the essence of Chinese traditional culture and art. Poetry, calligraphy and Chinese painting an organic [integral] whole, This is the true meaning of Chinese painting, is Ancient Chinese Literature Search (Chinese traditional), is the pride of the Chinese nation (The more traditional, The more Have Multi nationality Nature The more the national culture the, more cosmopolitan:); therefore, we can not be one-sided pursuit of "shape". Heavy is the ideological content of the works: "Ideological character is the life of Art to poetic Chinese painting for your". As the inheritance of traditional culture, calligraphy and painting, we must master the skilled application of "poetic Chinese painting" to "forward national extraction, Carry boutique. I agree with Mr. Cheng Dali concluded that Chinese painting of the two functions: 1, nourishing heart cultivate one's moral character Method, 2, be aware of in the world realize the truth or philosophic theory power; but he proposed a threshold requirement of mass must transform themselves to the public, rather than to the transformation of China painting China, painting, both writers and readers, it makes people and into a tranquilized mind Clearly nothing, keeping a sound mind Inner spirit, also known as the "static" state; of course it is far away from the war, not bloody, not irritable, rarely manifest anxiety. It pursues Arrive quiet Arrive distant Harmony between, heaven and man, Through introspection and it is up to best condition; appreciation and creators should put themselves into a culture to enhance the sense of ethical realm, people can enter the Chinese painting.

任何情況下，總是“適合自身發(fā)展的，才是最好的”。如：中國(guó)特色社會(huì)主義等等，任何先進(jìn)經(jīng)驗(yàn)的借鑒必須有度，否則會(huì)本末倒置；中國(guó)畫(huà)的發(fā)展也一樣，汲取西方繪畫(huà)的“光影效果”，僅限于技法的修飾上借鑒，而主題、整體風(fēng)格上中國(guó)畫(huà)與西方繪畫(huà)是絕然不同的，一味追求西風(fēng)東漸？會(huì)“丟西瓜撿芝麻”，走向歧途。 

In any case, always suitable for their own development, is the best". Such as: Chinese socialism and so on, any advanced experience of Reference must be degree Certain amount Have the order, or reversed; development China painting too, learn from western painting "glight shadow Effect", Be confined only to On the modification of techniques, while the theme and style China painting and Western painting Completely different, a the spread of Western influences pursuit to the East? Will "throw Watermelon up sesame seeds", trend crossroad wrong road pick.

最后，兩首《詩(shī)情畫(huà)意·抒懷》結(jié)束本文；其一：豈為形質(zhì)桎梏禁，紹驊潑墨真性情。東坡長(zhǎng)笑兒童鄰，詩(shī)情畫(huà)意至高境。其二：千種風(fēng)情予知音，雨疏風(fēng)驟昨夜停。詩(shī)情畫(huà)意中華情，紹驊捉筆向丹青。

Finally, the first two "-" the end of a quality suggestive of poetry or painting and poetry; the How can Be forced Status and: texture restrict, The true nature of Gu Shaohua's splash-ink, a technique of Chinese ink-painting tempermament. Su Dongpo jokes If you draw a picture of the "shape" and judge the good and bad, He has the same experience as children, poetic and pictorial splendor (poetic Chinese painting) The highest level of Chinese painting. Second: Thousands of feelings give friend appreciative of one's talents, Rain wind stopped suddenly last night amorous a keenly. Poetic and pictorial Chinese love, Gu Shaohua a brush towards red and hold green Writing splendor.

2017年4月26日星期三

本文用過(guò)的漢英詞語(yǔ)：

the Chinese and English words:

同源:one and the same source 

厚積薄發(fā)：Accumulate steadily

味摩詰之詩(shī)：Pondering Wang Wei The poem

詩(shī)中有畫(huà)：Painting-in-poetry

觀摩詰之畫(huà)：watch Wang Wei Chinese Painting

畫(huà)中有詩(shī)：There is poetry in a painting

含蘊(yùn)深刻：possess Profound implication

意象幽深：Imagery deep and serene

詩(shī)書(shū)畫(huà)?。簆oetry , calligraphy , painting and seal cutting

民族血脈：Chinese nation blood vessel in which the blood and qi circulate

民族責(zé)任感：Chinese nation  National responsibility

民族文化危機(jī)感：Chinese nation  National cultural crisis  awareness

借物抒情：borrowing lyrics

畫(huà)龍點(diǎn)睛：Bring the painted dragon to life by putting in the pupils of its eyes

詩(shī)情增添畫(huà)意：Poetry Add mood of a painting

珠聯(lián)璧合：put pearls and jade together -- each improves by association with the other； a complement of talents and abilities to form an advisory board [an executive committee;

相得益彰：Make the old and new contrast and complement each other

言簡(jiǎn)意賅：Concise and comprehensive

浮想聯(lián)翩：Thoughts thronged one's mind

遐思無(wú)限：Unlimited reverie

相輔相存：Phase complementary phase

相互轉(zhuǎn)換：Interconversion

讀畫(huà)：appraise a painting

體味產(chǎn)生意境：Understanding produces artistic conception

古松觀止：Chinese Painting Ancient Pine Drawing to the end

高山飛泉：Mountain waterfalls cliffside 

云煙升騰：Mist rising

古松承浴：Age-old pine trees in bath

雜樹(shù)共歡：The multifarious trees  Common joy

飛流直下三千尺：Fast Flowing water Fly straight down three thousand feet

手舞足蹈：dance with joy [excitement]