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1985年5月,美国纽约大都会博物馆召开“文字与图像:中国诗、书、画”国际研讨会,特请中国著名前辈学者启功、谢稚柳、杨仁恺三老参加论文。2002年冬,我们在上海博物馆开会,晚上杨老来旅舍跟我畅谈当年国内书画界有“笔墨等于零”和“无笔无墨等于零”的热闹讨论课题。今辽宁省博物馆邀稿,我以此小文纪念当晚一席话。唐代张彦远所谓“书画同体”~1是中国艺术理论中的一个核心命题,也是理解中国艺术史的基本关键。如照西方拼音语言学来说,口语是书面文字的文本;根据语音象征
In May 1985, the New York Metropolitan Museum of Art held the International Symposium on Characters and Images: Chinese Poetry, Books and Paintings, and invited famous Chinese senior scholars Qi Gong, Xie Zhiliu and Yang Renkai to participate in the thesis. In the winter of 2002, we met in the Shanghai Museum. In the evening, the Lao Lailai Hostel talked to me about the lively discussion topic of the domestic calligraphy and painting circles in the past when there were “zero ink” and “zero ink”. Today Liaoning Provincial Museum invited manuscripts, I use this small article to commemorate the night a message. The so-called Zhang Yan-yuan’s “calligraphy and painting” in the Tang Dynasty was a core proposition in the Chinese art theory and the basic key to understanding the history of Chinese art. According to Western pinyin linguistics, spoken language is written text; according to phonetic symbols