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3秒自动关闭窗口　　Poetic Chinese painting directory of GuShaohua theory　　[Objective] (background)　　Chinese painting is the art treasure house of Oriental Culture in a bright pearl, from ancient to modern times, it has been moving forward, like a long river, althoughsometimes violent rapids, sometimes stagnant gentle, but never happened to flow, it has been in the development of forward, forward, finally into this kind of Art go forward with great strength and vigour of a river, development Chinese painting in the condensation of generations painting to explore the crystallization of this struggle, to learn every one interested in Chinese painting Quest (lovers) value.　　However, Chinese painting in the "make foreign things serve China, make the past serve the present" process, increasing loss of national characteristics. Because of(circle) for the understanding of Chinese painting biased, a considerable number of people think Chinese painting requires "with international standards" (orWesternization)....... A few years ago, had been a painter's "Bumu Chinese paintingoil painting exhibition to be classified matter, shocked the Chinese painting circles......Therefore produce such as "Chinese painting reach the end of the rope," "ink equals zero" pessimism. I say: No, in western culture is higher or lower problem, both of which are the crystallization of human wisdom, art and there is no difference between advanced and backward, only different forms....... Development of everything to followtheir own, can not be one- in the development of Chinese painting, absorbs other artistic merit no ground for blame, but to have, not only in the "art" and "art" ofthinking, and the key is to have the Chinese if there is no theChinese traditional culture, no national characteristics, so Chinese painting and not about the "development", even "survival" therefore, "a quality suggestive of poetry or painting" is the development direction of Chinese painting.Maybe, "the development of a quality suggestive of poetry or painting" will lead the world painting.　　In this paper, the Chinese painting "cognition, creation, development of the" (Series)around this one theme in Chinese painting creation (description), cognitive, discussesthe problem of development.　　The first part of the concept of Chinese painting (four articles)　　I see 1, Chinese calligraphy and painting works of Chinese painting (Paper No. 1)　　2, the Chinese and Western painting (selected) to appreciate and compare differentfirst perspective -- comparison of Western and Chinese landscape paintings, theappreciation (Paper No. 2)　　3, Chinese painting and Western painting (selected) compared to appreciate and compare second attitude thousands -- appreciation of still life painting, Western andChinese flower and bird painting (Paper No. 3)　　4, the Chinese and Western painting (selected) appreciation and comparison of thirddifferent -- Western figure, portrait painting and Chinese painting appreciation,comparative (Paper No. 4)　　The second part of the Chinese painting creation view (three articles)　　1, a quality suggestive of poetry or painting of (Paper No. 5)　　On 2, a quality suggestive of poetry or painting (Paper No. 6)　　3, a quality suggestive of poetry or painting three probe (Paper No. 7)　　The third part of the development of Chinese painting view (two articles)　　1, lack of culture of Chinese painting (Paper No. 8)　　2, Chinese painting is replaced (-- for Western painting aesthetic ideas of "a quality suggestive of poetry or painting caused by") (Paper No. 9)　　Gu Shaohua compiled (compilation) on Friday May 18, 2012
楼主发言：12次 发图：
　　Gu Shaohua of Chinese painting creation, development of cognition, the one (Series)　　I see the appreciation of Chinese calligraphy and painting, the Chinese painting　　Gu Shaohua　　Painting the aesthetic characteristics of China understanding will sharpen ourintuition, when combined with the appreciation of imagination, can appreciate the works of cultural background and artistic conception, Romantic charm, cultivate sentiments. China calligraphy and painting is in a unique and ancient civilization in the environment. For thousands of years, they have gone through from the originator,childish, to mature distillation of change, from the practical to the art of the long journey. It is no exaggeration to say, calligraphy and painting is the most centralized expression of Chinese nation's wisdom and creativity, and in some sense marked thehighest level of Chinese civilization in the field of art of classical culture.China and the eastern world views of the universe of nature, social and personnel onattitude, of beauty and the pursuit of the eternal, all in Chinese painting, has been significant, and through them, and access to the millions of all the children of the Yellow Emperor, Oriental and friends around the world friends agree. All thosechildish or powerful or beautiful Beitie law books, those mysterious or brilliant orelegant paintings pruducts, are our nation -- the essence of painting and calligraphy artists (including unknown folk artisan) to aesthetic way and objectivity of the soul of the world to record the image of the phrase. This kind of language sometimes reach aheight of philosophy, -- "As if sitting, in Like walking, as if, to fly., Seems to be movingin the," between the vertical and horizontal strokes, in the "ink like by Feng,Piaomiao", contains the emotion, also embodies the "Tao", showing the personality of the universe and of life experience.Can say, every piece of word, setting a national painting and have the mentality of the era, steeped in the culture of the national spirit. As art, as the mentality of the crystallization Chinese of painting and calligraphy art, the more don't need to speak.But not everyone is able to enjoy the art of calligraphy and painting at a higher level.It is so rich and long, delicate and marvelous!
　　To understand and feel the mysterious painted pottery, bronze ornamentation Ning Li, solemn Buddha, to ink from the literati paintings and abstract, the flow of calligraphy is zoned structure, we need the knowledge and accomplishment. Enjoy the Chinese calligraphy and painting, asubjective attitude allows holders to enjoy, this requires emotion and imagination.Requires knowledge and judgment, the exact reason. Will two be made one, is the author trying to guide readers of both shows, and on knowledge of the article.The traditional Chinese painting with a brush, ink, mineral pigments, silk, Xuan paper as the tools (raw material) fine brushwork and freehand brushwork paintings from a form. That figure painting "vivid", through the characters facial expressions(especially the eyes of the portrait), body language, and environmental performance,to write to God, prominent figures of the inner world. Landscapes stressed that"poetic Chinese painting" magnificent performance of wild or beautiful hill, wontoncurtain of fog -- the artistic conception that create: the beauty of nature and the literary interests (China Culture) closely together, with Lofty, profound, Pingyuan (or Three far) of the structure of the screen, treatment of White when the black. Painting of flowers and birds is to child care, borrow S life to praise, praise of nature --with "Minded and tolerant". In the ink color stress: 1, style rich, powerful, or infiltration of dignified, or center, or the inverse front, side or front, or drag pen, penor powder. 2, changes in Ink method levels (Five six color ink -- The five ink refers tocoke, thick, heavy, light, clear, this is the ink order, as in music.Six color to black,white, thick, pale, dry, wet, it is the factor of the change of paintingwith ink.), or the accumulated ink, or ink, or ink. 3 colors for the With the type of, colors Ink rhyme,emotional color, be calm (ink color to the main bone, with light color) and meticulous.The pursuit of traditional culture in general (internal) and the line to form the ink interest (explicit) fusion, namely: Poetic Chinese painting and "artistic conception","Romantic charm" performance. Modeling is not rigidly adhere to the appearance of Xiao Si (realistic), and images focused on the internal performance of "artisticconception", "Romantic charm" and the artist "xiongyi" wrote the play (Shu Fa). In composition, perspective on the treatment is different from western painting, a multi angle, multi view (mobile) "Scattered point perspective" to express the painter'ssubjective intention combination of free space. So how do we actually enjoy? The author thinks that can enjoy from the following aspects: China history, culture,literature and art (poetic Chinese painting) and the painting skills and China painting color charm, to taste (appreciate) China painting works.
　　顾绍骅对中国画的认知、创作、发展的浅识（系列）论文
1　　------中国书画作品欣赏之我见之中国画　　顾绍骅著　　对中国画审美特征的理解会敏锐我们的直觉，欣赏时再结合想象，方能领略作品的文化背景和气韵、神韵、陶冶情怀。中国的书法与绘画是在一种特殊而古老的文明环境中产生的。几千年来，它们曾走过了从发端、童稚、成熟到升华变化，从实用到艺术化的漫长路程。毫不夸张地说，书与画是华夏民族的聪慧与创造力最集中的表现之一，并在某种意义上标志着华夏文明在古典文化艺术领域的最高水准。　　中国乃至东方世界对宇宙自然的看法，对社会人事的态度，对美与永恒性的追求，都在中国书画里得到了显化，并通过它们而获得了千百万炎黄子孙、东方朋友乃至世界各国朋友的认同。历代那些稚拙的或者雄健的或者秀美的碑帖法书，那些神秘的或灿烂的或淡雅的绘画名品，都是我们民族的精华——书画艺术家们(包括不知名姓的民间艺匠)以审美方式与主客体世界进行心灵对语的形象记录。这种对语有时达到了哲学化的高度，——在“若坐、若行、若飞、若动”的纵横笔画之间，在“有丰致、有缥缈”的笔情墨象之中，蕴含着情思，也体现着“道”，表现着人格乃至对生命宇宙的体验。　　可以说，每幅字、画都凝结着民族与时代的心态，积淀着民族精神的文化层。作为艺术，作为中国人心理意识结晶的书画艺术，就更不待言了。但不是每个人都能够在较高的层次上欣赏书画艺术。它是如此的丰富而悠久，精致而又神妙！要理解与感受神秘的陶绘，狞厉的青铜纹饰，静穆的佛像，意在笔墨之外的文人画和高度抽象、流动的书法点划结构，都需要一定的知识和修养。欣赏中国书画，允许欣赏者持的某种主观态度，这需要情感与想象。需要理性、确切的知识与判断。将二者合而为一，是笔者试图向读者提供的既引导欣赏，又介绍知识的文章。　　传统中国画以毛笔、水墨、矿物质颜料、绢帛、宣纸等为工具（原料）从表现形式上分工笔画和写意画。人物画强调“传神”，通过对人物面部表情（特别是眼神的刻画）、肢体语言、环境等的表现，达到以形写神、突出人物的内心世界。山水画强调“诗情画意”表现雄壮粗犷或秀丽俊美的山式、云吞雾幕——情景交融的意境创造即：将大自然的美与文人逸趣（中国文化）紧密地糅合在一起，用高远、平远、深远（或合三远）法的结构画面，计白当黑的处理方式。花鸟画则以托物言志、借物抒怀；来赞美生命、歌颂大自然——挥洒“胸臆”。在笔墨色彩上讲究：1、笔法丰富、有力度，或浸润凝重、或枯涩快疾；或中锋、或逆锋、或侧锋、或拖笔、或散笔。2、墨法多层次的变化（五墨六彩——焦、浓、重、淡、清加上纸的颜色），或积墨、或破墨、或泼墨。3、色彩为随类赋彩等感性色彩，讲求墨气、沉着（色彩以墨骨为主，施以淡彩）并有工笔重彩。总体上追求传统文化（内在的）与以线造型的笔墨意趣（外显的）融合，即：诗情画意和“气韵”、“神韵”的表现。在造型上不拘泥于外形的肖似（逼真），而着重表现物象内在的“气韵”、“神韵”与画家“胸臆”的挥写（抒发）。在构图、透视上的处理有别于西方绘画，以多角度、多视点（移动）的“散点透视”来表现画家的主观意图自由组合空间。那幺我们究竟如何欣赏呢？笔者认为可从以下几个方面去欣赏：中国的历史、文化背景、文学艺术（诗情画意）和笔墨技巧以及中国画色彩的魅力等方面去品味（欣赏）中国画作品。
　　One, Chinese painting:　　Chinese painting art, has a long history, surge high and sweep forward, in the history of world art form the most prosperous and a special style of painting system (the more the nation will be a world); Cai Yuanpei advocate "aesthetic and religious," art e originally the palace and the powerful secret art history, alsohave scattered to the folk, then introduced to foreign countries, has attracted worldattention, people praise to study, this situation, in turn stimulate Chinese scholar in modern China, the pain for traditional art research. Birthplace of the world cultural research: Western Italy Peninsula, east of china. Italy absorption of literacy Egypt andCentral Asia ancient civilization, inspired by the Greek, Rome two times, distributed inEurope, transplantation in A China adopt MSO Bada Mia (the ancient Greeks called this area as "MSO Bada mia, meaning" between the rivers of the land, theriver, in present-day Iraq refers to western Asia in the bottom of the Griess River andthe euphrates. This area is not large, roughly equivalent to what is now iraq. ) and irrigation of India civilization, merged into a fountain Ori spread inRyukyu, Japan in the region along the North Korea and China's Taiwan area, paintingalso but this clue. The western painting, with Italy as the base, and the Oriental painting, with China as the ancestor. And Chinese painting by the traditional Chinese culture (Confucianism, Buddhism, Taoism) influence, especially the "golden mean","and" thought -- avoid leaning to either side, ne "without dew" therefore, implicit, Bo Yi i in addition, the use ofdevelopment tools the situation, with the western painting style, the pursuit ofinterests, not the same.　　My own painting since, by the ancients devote oneself heart and soul to explore theevolution and progress, long four, five thousand years, as hand famous, talented people, race each other, and in China, the glorious generation. Such as Gu Kaizhi,Lu Tanwei, Zhang Sengyao, Zhan Ziqian can draw and to the Tang Dynasty, Li Sixun, Wang Wei become the two major north-south sentrepresentatives (style). After that, inheriting the traditional writers such as stormsurges, is beyond count. So for thousands of years of Chinese history of painting, inthe narrative simplicity, can be roughly divided into ancient history, world history,world history, modern history, four, to seek its changes over the traces. Gu Kaizhi"the female official office map",
　　also was retained in the world, sufficient for our reference. This painting had been recorded in the "Xuanhe Huapu", "Mi Fei" painting,"Chen Jiru Minnie ancient recorded", "Zhu Yizun exposed Shuting painting post,"Shiqu Baoji "Zhu shu. At the end of the Qing Dynasty and lost because of the predatory powers, now housed in the British museum. Whether it is a copy, the repair,enough to see Gu (Gu Kaizhi) and the style are similar. Although the style and skillsbetween this aspects, there are multiple changes, such as: the vigorous Pu Hou, the Six Dynasties gradually fine (fine), Sui Dynasty pa howevergenerally are first in line hook contour (line modeling), and then assigned to color,and then both before and after the followed this procedure (system) this method has become a common painting style of the Asian continent. India a near his cave, China's Dunhuang Sarcophagus, mural Japan horyuji Jintang, are all similar tricks.　　After Wei and Jin Dynasties, book of China (calligraphy) development, also started by painting on the effects of calligraphy pen. The Tang Dynasty is more prevalent,greatly play hair stroke line suppression, Yang, meal, defeat the unique taste, Wu Daozi "leaf description" (a eighteen description of the new law, a variable) before Sui Dynasty exquisite, elegant habits, style is the big muddy.
　　　　And by Tang, Song Erdai,Buddhism wind and poetry theory of mutual connection, greatly promoted thedevelopment of Chinese ink painting, and popular landscape, flower and bird paintings, the painting to get the maximum benefit as -- "be good to hear or see";then suddenly became the social (Tang, song) (Shi Shang), the new trend to opened a new era in the history of Chinese painting. Yuan's style, although Tang, song IIbridge of the transition, but largely for the aftermath of the Tang and Song Dynasties,can be included in the "in the world". Ming and Qing two generations, with the exception of the early Ming ink painting studio in vigorous faction, their style can be summed up as "fiber to present its characteristics, dense, light, soft," and there was to change the attitude of the near body. Although, in this period is actually folk paintings (painting) and the rise of western style of input, interaction between the,blend each other, opened at the new face, and showed its changes (so far). However,these changes are part of the small waves. Although, the painting as a kind of art, the evolution of the carriage, always in accordance with the prevailing political,ideological, special education and the environment vary its trend. In China, four years ago, with thoughts of the ups and downs, the frequency of the war, the more councils,would be the most changeful, directly or indirectly im therefore, in the form of painting, drawing and painting style on the content of the various changes and Xingying of pol also is the people often said: "art when thechange with the times".
中国画史：　　中国的绘画艺术，源远流长，波澜壮阔，在世界美术史上形成了最为繁盛而特具风格的绘画体系（越是民族的就越具世界性）；蔡元培倡导“美育代宗教”，美术教育始见重视；原属宫廷和权贵秘藏的历代名画，也已纷纷散至民间，继而介绍到国外，引起了世界人士的瞩目赞叹、争相研究，这情形，又反过来刺激着中国的学者，痛感我国近代对于传统艺术研究之不足。考证世界文化发源地：西方为意大利半岛，东方为中国。意大利吸收埃及与中央亚细亚古代文明之素养，启发于希腊、罗马两时代，分布于全欧洲，移植于美洲；中国则采纳美索八达米亚(古希腊人称这个地区为“美索八达米亚”，意即两河之间的土地,所谓两河，是指在亚洲西部今伊拉克境内的底格里斯河和幼发拉底河。这个地区面积不大，大体上相当于现在的伊拉克。)与印度文明之灌溉，汇成东方特殊系统之泉源；沿朝鲜及我国台湾一带流传于琉球、日本诸域，绘画上亦不外此线索。故西方绘画者，以意大利为母地，而东方绘画者，以中国为始祖矣。而中国绘画受中国传统文化（儒家、释家、道家）的影响，特别是“中庸”、“中和”思想——不偏不倚、不左不右；“含而不露”的人文精神；因此，隐涵、博义是其特点；加之其所用之工具、发展之情况等，都与西方绘画的造型、追求、情趣等不大相同。　　我国自有绘画以来，经古人专心致志的探求，四、五千年间长期的演变和进步，作手名家，人才辈出，你追我赶，且遍布华夏，各发挥一代之光彩。如顾恺之、陆探微、张僧繇、展子虔等都能以画而称为大家；到了唐代，有李思训、王维等成为南北二大派（风格）的代表。之后，继承传统作家如风云涌起，可谓数不胜数。所以说上下数千年的中国绘画史，于叙事上简便起见，大略可分为古代史，上世史，中世史，近世史，四篇，以寻求其变迁推移之痕迹。而顾恺之《女史箴图》，
　　　　亦尚留存于人间，足以供我们参考。此画曾被记录于《宣和画谱》、《米芾画史》、《陈继儒妮古录》、《朱彝尊曝书亭书画跋》、《石渠宝笈》等诸书。因清代末列强的掠夺而散失，今藏于英国博物馆。无论其为摹本，修缮本，都足以窥见顾氏（顾恺之）及当时画风都是与之相似。虽然在此之间的画风及技巧诸方面，有多次的变化，如：两汉的雄浑朴厚，六朝开始逐渐精细（工笔），隋朝就画得很精致华丽了；然而大体都是先以墨线勾轮廓（以线造型），再赋以彩色，并在此前后都是遵循这一程序（系统）来进行的；这种方法成为亚洲大陆共同的绘画式样。印度阿近他窟，我国敦煌石室，日本法隆寺金堂等之壁画，均系类似手法。　　魏晋以后，我国的书学（书法）大发展，绘画上亦开始受书法运笔之影响。到了唐代就更盛行了，大大地发挥毛笔画线上的抑、扬、顿、挫之特有的趣味，开吴道子“兰叶描”（十八描的一种）等诸新法，一变隋陈细润之习，成正大雄浑之风格。
　　　　兼以唐、宋二代，禅风与诗理学之互相因缘，大大地促进了水墨画的发展，与山水、花鸟画之流行，使玩赏绘画者得到最大益处——“赏心悦目”；这样一来顿时成为当时社会（唐、宋）的新趋势（时尚），从而开辟了我国绘画史上的新纪元。元代的画风，虽是唐、宋二世的过渡之桥梁，然而大体上承唐宋之余波，仍可划入于“中世”。明、清二代，除明初画院中的水墨苍劲派外，其画风都可以概括为以“纤、浓、轻、软”呈现其特色，而存在有向近体转变的姿态。虽然，在这期间实际上是风俗画（传统绘画）之兴起与西洋画风的输入，这两者之间相互作用、相互交融，开一时之新生面，而呈现其变革（并延续至今）。然而这些变革的均系局部中之小波澜。虽然，绘画为艺术之一种，其演进之途程，总是依随当时的政治、思想、教育及特殊之环境而异其趋向。我国四、五千年来，随思潮之起落，战争之频发，政局之更易，则变化多端，其直接或间接地影响于绘画；因此，在绘画形式、绘画内容和绘画风格上各具变化与政治是形影之相随；也就是人们常说的：“艺术当随时代变”。
　　For nearly one hundred years, especially the numerous schools of art, with the artistic form in the past twenty years, taking innovation as the purpose of the paintings also frequently appear in our field of vision, it is "contention of a hundred schools of thought, all flowers bloom together". They are: 1, to traditional painting beauty as therepresentative painters of beauty: Qi Baishi,
　　　　Zhang Daqian,
　　　　Tang Yun,
　　　　Pu file, 　　　　.jpg Yu Feian
　　　　, Huang Zhou,
　　　　.jpg Wang Xuetao, 　　　　.jpg Zhu Qizhan, Tian Shiguang,
　　　　Zhang Shijian,
　　　　.jpg Ye Qianyu,
　　　　Bai Xueshi,
　　　　Fu Baoshi,
　　　　song Wenzhi, Ren Suaiying,
　　　　Chen Shiceng etc..
　　　　2, combining traditional painting the representative artists of Western painting of beauty: Xu Beihong,
　　　　Jiang Zhaohe,
　　　　Lin Fengmian etc..
　　近一百年间特别是近二十年来随艺术流派、艺术形式的纷繁，以创新为目的画作也频频地出现在我们的视野里，真是“百花齐放、百家争鸣”。他们是：1、以传统绘画美为美的代表画家：齐白石、
朱屺瞻、田世光、
姚有多、白雪石、
宋文治、任率英、
陈师曾等。　　2、传统绘画美结合西方绘画美的代表画家：徐悲鸿、
林凤眠等。
　　2, poetic Chinese painting and artistic conception of Chinese painting:　　"No poetry can not be a painting, not painting can not be poetry" (the poems can not be a painting, not the painting can not be written poems). In the paintings of the artiston the title to poetry, or a note of creative background, or just write a concise and comprehensive topics, by Tiba, - express their ideas, ex on the other hand, also make the painting more profound, more prominent theme, layoutcomposition more perfect, if the postscript is the exquisite calligraphy, so the viewer inappreciating the painting at the same time, but also get to enjoy the beauty of calligraphy, this painting is not a more perfect?　　Poetic Chinese painting is the highest "level" Chine and poetry,books, paintings, India is known as the "four no.". This is because the poem, painting are people and simultaneously, Xiangying Shenghui, a Chinese painting a beautiful landscape. Thus, the relationship between them should beorganically combined, can not be seen as superfluous to poetry. The painter Huang Binhong once said: "Chinese painting has three immortal", including "one immortal poem painting also".　　In fact, since ancient times, the ingenious combination of poetry paintings of peoplein. For example: Xu Wei in the "grape" onthe Tishi: "LaPO is a half Weng,independent den Xiao Wan, have nowhere to sell pens at the end of pearl, left idle in the leisure throwing Noto Naka." If you put this poem, the only - only string of grape,what significance. Zheng Banqiao life love bamboo, bamboo paintings he wrote in"poetry" in the poem: "do not insist Castle relax, firmly rooted in
a thousand million hit mill is also strong, Seoul, the four corners of the world wind." HeYu, upright bamboo. Visible, good poetry can make the painting more profound, more prominent themes meaningful, even to be able to perform wonders, turn bad into good effect. Friends in a painting landscapes in Tiba: "stoning pile water Yihong,cottage in the wild forest, away from dust listen Niaoyu, tube he spring summer autumn and winter." The title said "autumn farmers" in: "who says Xiao Sen autumn weather, the more the spirit of cream colored leaves, farmers do not at home at WoXunqin visit so don't knock at the door." In a "waterfall" in the title: "Chingchuankang Chushan kept, so since fenti." Said in another in a landscape that: "shore premises dense shade, boating and water in the river. Static view from the clouds and cloud, sit bow to fisherman." This is the artist thinking of emotion nature, scenery Lyric like a simple "green food".　　　　
　　(for example: the creation of Gu Shaohua's poetic Chinese landscapepainting -- "to practice moral"　　[the original poem (word)]: cloud body free hill, where Lingshan is notto. Sunset HanLin Temple, snow flying all over the paddy field. Xiong Rudengmingof the Tang Dynasty -- "to practice moral" poetic　　[]: an appreciation of poetry deeply enriches the Zen Buddhist heart --like clouds,since the ease in toward a mountain another mountain fly to, andcan not go back where Lingshan? I went to the temple "pilgrimage", inthe snow in the evening thr cold wind mixed with snow,fiercely slapping me in the face, body, but also got into my collar, cuffs,and, the ice snow covered with my "paddy" sovery cold, I am"xinchengzeling ah"!　　Specification: 100 * 68cmpaper and writing) in 2006　　14、顾绍骅的中国山水诗意画《送僧游山》68×100cm
纸本设色 拷贝.jpg　　
文化背景　　1、 统文化的融合　　古代文人大多视绘画为余事，同书法一样用来充实自己的精神家园，情感得到宣泄，心灵得到净化。如米芾的画作，水墨点点，视为戏作，是作者随意、自然、不蹈故常的心态写照。也有的画家视绘画为生命，淡泊名利，为艺术而终生求索，同样受到人们的敬重。如清代的石涛，虽出家为僧，但在绘画创作上却倾注了大量的心血和汗水，他在绘画上的标新立异，招致了周围同道们的讥讽和嘲笑。但他不受时风的左右，提倡一画之法，主张画家要借写生抒发真情实感，不要斤斤计较于一点一画的得失，要从全局着眼。因此他的山水、人物画形态恣肆，不拘绳墨。其“墨海中立定精神”的主旨被后人广为传颂。通过上述分析，可给我们以如下三点启示：其一，恰如其分地抒情表意还要以深厚的笔墨功夫和广博的学养为根基。文入画的创作虽然要摆脱纸笔的限制，创造新的意境，一切服从于抒情主题，但有一点必须明确，即扎实的技法是表达情感的基础，熟练畅快地驾驭笔墨丹青，才能卓有成效。文人画家—般都书画兼善，如苏轼、米芾，皆执宋代书坛、画坛之牛耳，是后学效法的楷模。不断地加强自身的修养，澄澈内心也是文入画家的基本功。　　古代文人往往据于儒、依于道、欹于禅，对儒学、道家、禅宗理论浸淫颇深，进而极大地丰富了中国传统文人的文化思想，提高了文人的文化素质，对精神升华也起到了不可忽视的作用，这样他们的画作就体现了多重内涵，具有真正的艺术价值。其二，文人画家不管荣辱得失，始终痴迷于绘事。这固然和文人画特有的寄情功能有关。在—定程度上也反映了文人们对这门艺术的迷恋和热爱，毕生不辍。李苦禅先生在解放前生活困顿，还要经常面对日寇的威逼利诱，即便身陷囹圄仍念念不忘画艺。他笔下的雄鹰，气度超凡，目光炯炯，傲视苍穹，正是先生历万劫而不悔的生动写照。齐白石先生在中国画坛独树一帜，倡导新的画风，但却遭到别人的非议和围攻，但老人却以“不挨骂长不大”坦然应对，他笔下的群虾互相追逐嬉戏，逍遥自在。由画及人，我们可以得知画家内心对艺术的痴迷。其三，创作时要任心态自然流露。画家是绘画艺术王国的主宰，有了精深的笔墨功夫之后，可以暂时忘却一切，全神贯注地用艺术语言记录自己的所思所想。这样的创作过程不需要任何掩饰或是矫揉造作，不做任何名利之想，追求自然、纯真，这才是理想的创作过程：，如此才能创造美好的意境，作品才能成为寄情写志的上乘之作。研究心态与文入画的创作对我们的绘画创作具有重要意义。　　2、
诗情画意与中国画的意境：　　“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?　　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”。　　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。　　　　（例如：顾绍骅创作的中国山水诗意画——《送僧游山》　　【原诗（词）】：云身自在山山去，何处灵山不是归。日暮寒林投古寺，雪花飞满水田衣。——唐朝
熊孺登明《送僧游山》诗意　　【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？ 我去古寺“进香”，在风雪之中的傍晚穿越寒林；凛冽的寒风夹杂着雪花，狠狠地拍打在我的脸上、身体上，同时也钻进了我的领口、袖口，并且，那冰晶的雪花沾满了我的“水田”衣；这么的天寒地冻，我是“心诚则灵啊”！ 　　规格：100×68cm
2006年创作）　　
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