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正如范曾先生所言:“中國畫是哲學的、詩性的和書法的”(《中國畫法研究》p.79,以下只注頁碼),“詩爲畫魂,書爲畫骨”(p.47)。那麼哲學可謂統魂與骨爲一體的精神脊梁。統觀全書,縱論古今,橫比中西,閎中而肆外,其中心主題是中國繪畫藝術的哲學底蘊。“我們談中國畫法必須從形上之學開其端,否則終身勤於斯而不聞道,始於渾噩,終於渾噩”(p.17)。論畫法而不帶匠氣,緊扣哲學的脈絡,此乃范先生該書立意高遠所在。筆者於畫法是門外漢。但掩卷之餘,受范先生弘論啟發,和之以幾點由形而上引發的思考,謹回鳴金玉之言。
As Mr. Fan Zeng said: “Chinese painting is philosophical, poetic and calligraphic” (“Chinese painting research” p.79, only page numbers are given below) (p.47). Then philosophy can be described as the spirit of unity and bone as one of the spine. The whole view of the whole book, a general discussion of ancient and modern, horizontal than in the West, while in the middle, the central theme is the philosophical heritage of Chinese painting art. “We talk about the Chinese painting method must be from the metaphysical school to open its own end, otherwise lifelong industrious but not smell, start with Hunghuagguli, finally muddy ” (p.17). On the art of painting and not with air, closely linked to the context of philosophy, this is Mr. Fan’s book lofty ambitions. The author is a layman in painting. However, while covering up the volume, inspired by Mr. Fan’s theory, and with a few considerations triggered by the metaphysics, I would like to recall the words of Ming Jinyu.