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相对于元四家中的黄公望、王蒙、吴镇,研究倪云林的史料是极其匮乏的。主要原因是囿于倪云林留给后人的书画作品稀少,再加上倪云林为人孤僻猖介的性格以及超脱尘世逃避现实的思想,使得与其并世的学人对其辟之不及。惟其如此,有关他的人生经历、艺术履历也就只能是片言只字了。在笔者看来,任何一个理论观点的诞生,它必须有其长时间的实践体验和感悟,继而将其体验和感悟以一个可以概括其形式和内容的文字形式来表述。倪云林的“逸笔草草”显然是“法尽理无尽,理尽法有生”的产物。
Compared with Huang Gongwang, Wang Meng and Wu Zhen in the four houses of Yuan Dynasty, the research on Ni Yunlin’s historical materials is extremely scarce. The main reason for this is the scarcity of painting and calligraphy left for posterity by Ni Yunlin, the personality of the solitary alienated by Ni Yunlin, and the idea of escaping from reality on his own earth, making it incompatible with his contemporaries. But so, about his life experiences, artistic resumes can only be a word only. In my opinion, the birth of any one theoretical point of view, it must have its long experience of practice and perception, and then experience and insights in a can sum up its form and content of the text to express. Ni Yunlin “Yi pen grass ” is clearly the “law to make the best of the truth, the law to make life ” product.