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他的画虽然还是山水,而且所画景致也多半得之于太湖一带的实际感受,但在行之于笔端时,却不再是对实景的追摹,而是一种山和水的观念合成,即他不再把自然景象本身作为描绘的重点,他着意表现的是一种恒定的秩序、一种特有的心境和一种形象之外的韵味。关于这一点,他自己也有着明确的解说,这便是他那段影响颇大的文字:以中每爱余画竹,余之竹聊以写胸中逸气耳,岂复较其似与非、叶之繁与疏、枝之斜与直哉!或涂抹久之,他人视为麻与芦,仆亦不能强辩为竹,真没奈览者何。(《清閟阁集》卷九《题画竹》)
Although his paintings are still landscapes, and most of the pictures they draw have their actual feelings in the vicinity of Taihu Lake, they are no longer a trace of the real scenery but a combination of the concept of mountains and water , That is, he no longer regarded the natural scene itself as the focus of his depiction. He deliberately expressed a constant order, a unique state of mind and a kind of charm beyond the image. On this point, he himself also has a clear explanation, which is his period of great influence on the text: in each of the more than painted bamboo, Yu Zhizhu chat to write chest avant-garde ear, more complex than its analogy , Fanzhi and sparse, branches of Zhi and Zhizu! Or smear for a long time, others as hemp and asparagus, servant also can not be strongly argued that bamboo, really no-novice who. (“Qing 閟 Pavilion set” Volume nine “bamboo”)