2010-09-29  顾绍骅
Discussed again poetic Chinese painting
On the poetic Chinese landscape painting
中国书画作为中国文化精髓,给予中华民族以极其高尚的精神享受,笔精墨妙是人生一乐。在中国文化史上,绘画是一个重要组成部分,如西晋时期的文学家、书法家陆机所言: “宣物莫大于言,存形莫善于画”( 介绍事物没有比语言更好的方法了,介绍形状没有比画画更好的方法了)。
As the essence of Chinese culture, Chinese calligraphy and painting, to give the Chinese people to enjoy the most noble spirit, pens, ink magic essence is a happy life. In Chinese culture, history, painting is an important part, such as the Western Jin Dynasty writer, calligrapher Lu said: "propaganda material is greater than words, keep good form Mo Painting" (description of things no better way than words , describes the shape of no better way than painting).
中国民族绘画著重达意畅神与线条造型,以结构组织为主,色彩明暗辅,诗、书、印、款识与画相结合为艺术特征——“诗情画意”,中国书画在满足人们视觉享受的同时,更能启人智蕊,怡人心神。中国画强调“外师造化,中得心源”( “外师造化,中得心源”这句话,出自唐朝的画家张璪,是中国绘画史上的不朽名句。
Chinese National Painting Praising God with emphasis on expressive line shape, structural organization mainly auxiliary light and dark colors, poetry, books, printing, inscription and painting combination of features for the arts - "poetic Chinese painting," the Chinese painting and calligraphy to meet the visual enjoyment the same time, more inspired wisdom, nice mind. Chinese painting emphasizes "nature outside, in the heart of source" (in "Nature" as a teacher, summed up his approach) these words, from the Tang Dynasty painter Zhang Zao, is the story of the history of Chinese painting.
简单的说,“造化”是指大自然,“心源”指的是内心的感悟。意指画家应以大自然为师,再结合内心的感悟,然后才可创作出好的作品。)也就是说艺术家通过对天地的热爱、观察、感悟,用“笔墨纸砚”作为载体,讴歌、抒发或宣泄自己的情怀。古往今来,无论是“士大夫”或今天的普通百姓,在面对美景时,总是想通过自己的画笔或相机,将其“美景”保留下来,再题上“四言八句”( 言简意赅的文字)——诗情画意。这是中国文化的表现形式之一,也是中国人民的文化追求。
Put simply, "zhao hua" is natural, "mind the source" refers to the inner perception. Means the artist should be natural for the teacher, combined with inner perception, and can create good work. ) Means that the artist's love through the world, observing, understanding, and using "pen and ink, paper and ink," as the carrier, Acura, express or express their feelings. Throughout the ages, whether it is "elite" or today's ordinary people, in the face of beauty, you always want your brush or camera, to its "beauty" be retained, and another question on the "four words 8" (concise text ) - poetic. This is one of the manifestations of Chinese culture, the pursuit of the Chinese people's culture.
我国的书画艺术在长期的历史发展中形成了在世界上独树一帜的民族艺术,具有鲜明的特色和深厚的传统,这与我国的社会发展、民族欣赏习惯,以及传统的学术思想,有着密切关系。中国山水画是中国人所特有的一个文化概念。中国人的中国山水画不同于外国人的风景画,它不是再现自然景观,而是通过自然景观的表现,赋予自然以文化的内涵和审美的 观照。天人合一——人与自然的亲和,是中国山水画的基础。春夏秋冬,朝暮白昼,风霜雨雪,山水表现出了不同的面貌,体现了生命的意义。
The painting and calligraphy in China's historical development in the long formed the world's unique folk art, with distinct characteristics and a strong tradition, that with China's social development, Minzu Appreciation Convention as well as traditional academic thinking, closely related. Chinese landscape painting is a unique Chinese cultural concept. Chinese landscape painting Chinese landscape painting is different from the foreigners, it is not a reproduction of the natural landscape, but through the natural landscape of the performance, given the natural meaning of culture and aesthetic contemplation. Heaven - the affinity between man and nature is the basis of Chinese landscape painting. Seasons Zhaomu day, wind, frost, rain, snow, mountains and rivers showed a different face, reflects the meaning of life.
Landscape and human life as inherently movement and spiritual strength. Chinese concept of landscape, from the original religion. The mountain spirit of worship of God and of the water, people in worship and awe of this experience of a long historical process. God rule in society. All the gods are all hidden in the midst of the landscapes. Landscape is the mother of the gods. High mountains, deep water; mountain wide, water vague, implies the celestial wonders of the universe's infinite.
In order to express the worship of mountain gods and fear, it depicts the image of mountain gods, I wish to sacrifice or pay their last respects. Myth or God inspired the Chinese landscape painting independent shape. Chinese landscape painting is the painter of the immense respect the motherland's great rivers and mountains, boundless love as a passion, this passion will be shown (recorded), this show works out "from life than life", a painter " pictures of the heart "- refining the good life, with ink and color painting language to describe the" ideal "mountains, bridges and people and so on; Ruozai title on the line is a typical" poetic Chinese painting "the.
The Western landscape is "a time" - somewhere under the conditions of color photographs depict the true style. Therefore, I believe: China Chinese landscape painting is an ideal, romantic, a painter focused on the beauty of nature through the art of "purification" and "reflects the results"; and "poetic Chinese Painting" has broken through the shackles of time and space, the visual arts into a spiritual pursuit, opening people's truth, goodness and beauty (ideal world) - "Xanadu" (harmonious society) desire and pursuit; sense: "poetic Chinese Painting" is Smart is "living" and the immortal; his roots As each loved Chinese culture into people's thinking. The landscape is a reflection of objective reality, he is relatively static (like landscape photos General), substances.
Portray the "Riyue" performance is a natural idea, it is a historical period. People to them as one, had already demonstrated a unique understanding of the natural way. Chinese art in the concept of nature can be said to be innate, inherent factors such spirit than substance, more than thinking there.
Determined by the Chinese philosophy on the nature of the definition of philosophy of religion was a way to add life and spirit. World and I, and Health, World and I one, Chuang open the barriers between man and nature, people started to contact the spirit world. "Others Mountain, the wise man happy water."
山水“质有而趣灵”( 质有,形质是有。趣灵,其趣向,趣味,则是灵。与道相通之谓灵。),因此,圣人、贤者、高士必有山川之游,轩猿、尧、孔无不如此。而崆峒、具茨、藐姑、箕首、大蒙等名山又演绎了千古佳话。“优游”是生活也是文化,他体现了中国人对自然的爱好,也表现了中国人特有的联结自然与文化的方式。眷念庐衡,契阔荆巫,山水的价值得到了历史的确认。
Landscape, "the quality of the spirit and interest" (the quality of the, form of quality is. Interesting spirit, its help one to fulfill, interesting, it is spiritual. And that the spirit of Taoism.), So people must have learned the action around mountains , good ancient emperor, Confucius, just a few. The Kongtong, with Heights Hill, despise Gushan, Kei first mountain, mountains and other large Mengshan another interpretation of the eternal stories. "A good tour great mountains and rivers" is also a culture of life, he embodied the Chinese people's love of nature, but also demonstrated the unique Chinese way of linking nature and culture. Miss Mountain, Hengshan, Jingshan, Wushan, so the value of the landscape has been confirmed by history.
To the corresponding changes in the nature of things, the truth of things is clear. First in the spirit of the landscape with, people do not pay attention to the signs of obvious, but attention to the truth contained. Metaphysical truth, make up the life of the many defects and deficiencies, so "in order to explain the shape of things" has become a kind of Chinese philosophy of life.
Laozi Zhuangzi's "eliminate Yuen Kam," made a very rich aesthetic proposition to play. I said: "eliminate Yuen Kam," to grasp the "Tao" a fundamental way. In other words, contemplation of "Tao" must have a clear state of mind xujing empty, that there must be a subject of aesthetic mind.
庄子对此的发挥是提出了“坐忘”,“心斋”等一系列的美学命题。诚然,这种虚静空明的心境对后世人们欣赏自然山水时审美意 象得以产生,其影响是极至深远的。而“涤除玄鉴”、“心斋”、“坐忘”——即建立审美心胸,这一核心范畴被引入绘画领域并且有重大贡献的美学家始于魏晋南北朝时期的宗炳。诚然,这与魏晋玄学之兴起有极密的联系。
Zhuangzi this play is to propose a "sitting forgotten," "inner world" and a series of aesthetic propositions. Indeed, this Xujing air out of mind on the future generations to appreciate the natural landscape can be generated when the aesthetic image, the impact is extreme far-reaching. And "eliminate Yuen Kam," "sitting forgotten," "inner world" - that is to establish aesthetic mind, the core category was introduced and there is a significant contribution to painting in the field of aestheticians began Wei, called Bing's people. Admittedly, this is Wei "divination, astrology," the rise of a very close contact.
艺术无疑是以表现人生,表现人之心灵世界,表现宇宙万象作为对象和目的的。至魏晋南北 朝,老、庄之学大兴,不管是在诗歌领域,还是在书画领域都纷纷地倾向于“师法自然”,“表现性情”,以通向对“道”的观照和把握这一特点。从而把自然当作至美,至真的对象来如以描述和表现。庄子云:“天地有大美而不言,四时有明法而不议,万物有成理而不说。
Art is no doubt that life, showing people the spiritual world, the entire universe as the object and purpose of Vientiane. To the Wei and Jin, old science of Tai Hing Chuang, whether in the field of poetry, or in the fields of painting and calligraphy have to tend to "Nature as Teacher," "performance temperament" to lead to the "Road" in contemplation and understanding this a feature. To the natural as to the United States, to really object to such descriptive and performance. Zhuangzi Yun: "Heaven and earth have made great beauty, four seasons have clear without proposed, does not talk contribution has everything.
Metaphysics deduction of the landscape transformation of concepts Fruitful Imagination to get a new landscape aesthetic significance. Chuang old retire and live a better place in Yishanbangshui life. God, the more ultra-shaped, the fortune-telling, science on the landscape, natural landscape into the natural landscape.
People concerned about the landscape, landscape performance hopes to expand their living space - "Song of China the show, mysterious female spirits may apply purest a map." To achieve this the ideal time, when the talk Shangcheng Huai Wei Jinsheng Xian has invented a "spiritual travel" approach. This is the ideal color and positive way, promoting independence and development of Chinese landscape painting.
zong-bing predecessors did not tell the truth to say to the reasons for the formation of Chinese landscape painting, with a realistic interpretation: "The great Kunlun Mountains, the small pupil; forced to look to look down upon the large, its shape is to look at incomplete; is walking a few years, we can only see a small area. It is true that because he discarded (not refined) in the "big", but it can see the exquisite "little." (then) Su-use "Three Perspectives," the painting to draw the shape of the Kunlun Mountains, you can draw a very small range. "
宗炳的思想建立在中国山水画发展的过程中,他把以往过于精神化的山水理念,引向到视觉的理念之中,从而为山水成“形”作出了前所未有的贡献。宗炳还提出了“应目会心”、“ 应目感神”、“神超理得”,这是他对中国山水画作出的具有本质意义的界定。千年以后,画家百代,然中国山水画的准则却千古不移。
zong-bing ideas based on the process of development of Chinese landscape painting, he has the spirit of the landscape over the past concept leads to the idea of being visual and thus landscape into a "form" made an unprecedented contribution. zong-bing also proposed "to see the experience in the heart", "will see a reflection of the spirit", "will this spirit into a theory", which he made on the Chinese landscape painting with the definition of essential meaning. Years later, EMI artists, however the criteria for Chinese landscape painting is eternal.
God from the religious landscape, the Chinese landscape painting into a people of God, God will naturally is reflected in the meaning of culture, this is a historical leap. "God flying", "thinking graciousness", landscape inspire the human spirit, the Chinese landscape painting to achieve the ideal of human life extends the life space - "Phi Figure quiet right, sitting four study shortage."
Tang began Wu Daozi, as in Li Xun, Li Zhao Tao's "Landscape Change", its essence is the spirit of pursuit by the landscape turned to landscape Artistic Conception. Educated poet Wang Wei to play the artist's temperament, in the field of literature and painting reveals the relationship between poetry and painting, which made the performance of Chinese Landscape Paintings in a guideline - painting in poetry (poetic Chinese painting). Conception by the spirit, not the historical clues vertical transition, but a clue to the branch, is the aesthetic parallel relationship. Chinese Landscape Painting in the conception of the problem is that the Chinese landscape painting in the development process focused on the changes in the aesthetic perfection.
Guo Xi Northern Song Dynasty said: "The reason why a gentleman was very fond of landscape, because it? Kew Gardens, is my self-cultivation as a good place, I always come here; Tanzanite (Tanzanite: refers to landscapes, Tanzanite spot it), spring plunging, Feng Xiao forest is very beautiful sound, so I often feel how happy; fisherman, woodcutter who lived in this carefree, happy Yes; apes, flying crane with the people they are living together in harmony, free free to fly, tweet, is that people feel close ah. earthly death of the relationship between noise and bridle, the same as the lock confined to our minds, this is very annoying that people ah ... clouds around, Choi Ha rising paradise , Holy Land, where people are in want, but it is invisible Yeah. However, there is longing for the mountains, Tanzanite's aspirations to pursue with clouds around, accompanied by Xiaguang 10,000 wonderland is dream, these are the ears less and watch less than the ah; now thanks to a painting master, (they) been training very hard to draw the Chinese landscape painting, (they) do not have time to rest, and even food are very simple, (they) spend all day sit hard painted Tanzanite and ravines, (they paint a very vivid) monkeys sound like robins in the ears, Hongya Huang Yang brilliant, saw how these paintings are not looking, very happy it ? These paintings make me agreeable Yeah, the world is very rare, so this is the intention of Chinese landscape painting ah. "
五代宋初的荆浩、关仝、董源、巨然、李成、范宽,完善了中国山水画的艺术表现,并把中国绘画中的中国山水画推向了一个历史的高峰。中国山水画在这一时期成为时代的主流 艺术。被称为“百代标程”的五代宋初中国山水画,在表现领域中将山水的物理和技巧结合起来,又提出了一个新的历史话题,传统中国山水画对精神和意境方面的关注经此而转向于技术层面——形式(诗情画意)。
Five Dynasties and Song of Jing Hao, Guan Tong, Dong Yuan, Ju Ran, Li Cheng, Fan Kuan, perfected the art of Chinese landscape painting performance, and to Chinese painting in the history of Chinese landscape painting into a peak. Chinese landscape painting during this period to become the mainstream art of the times. Known as the "100 generation of standard process" of the Five Dynasties Song Dynasty Chinese landscape painting, landscape painting in the performance area will combine the physical and skill, but also proposed a new historical subject, the traditional Chinese landscape painting on the spirit and the mood of concerns but by this Turn on the technical level - form (poetic Chinese painting).
"Element 4" is not only perfected the technique of Chinese ink painting, but also because the characteristics of the times, as in the aesthetic context of Chinese landscape painting to add a "leisurely, more than a general" concept. This has the obvious characteristics of the times of aesthetic fashion, although there are social reasons other than aesthetic, but because of the opportunity in the field of Landscape Painting in the creation of a new standard - "poetic Chinese painting", while later this to promote the highest standards.
Although the skills paintings scorn, but the landscape paintings in the area of the proposed attached "pen", the aesthetic criteria, but not out of certain technical specifications. And landscape painting in the form of programs that are built on the basis of a certain technology, so in North and South sub-cases, people explained it, is to establish technical standards to the aesthetic norms Southern Sect.
Chinese Landscape Painting in the development of North-South sub-cases, is bound to a certain historical period, China is an important event in the history of landscape painting. With new technical standards and aesthetic norms to ease in the development of disordered state, return to the historical tradition of landscape painting in China has actually shown a decline. Dong Qichang on secular laments, illustrates many of the reasons.
Ming and Qing dynasties in the landscape of the spirit and mood has been powerless in front of people in the Song of the hilltops only admire and praise. In order to restore the historical decline, Dong Qichang hit the "retro" banner. In a pen and programs too much emphasis on fashion, the artists only spending a lifetime of effort "bloody Song", it is only through "temporary", "imitation", "ask", "copy" to identify their traditional sources, to establish their artistic value. "Four Wangs" in the history of ancient Chinese painting Chinese landscape painting to create the final glory, finally disappeared in the late Qing Dynasty in the twilight; only "poetic Chinese Painting" This can best embody the essence of Chinese culture and art form to remain immortal.
However, "When the arts go with the times", "Times" and innovation is the eternal subject, no innovation and development, there is no life. But needs to grasp is this: we must take on the tradition, because tradition is to leave "no roots, flowers, water without a source."
Here I explore the "poetic" of an apology, I implore you criticize correction:
一、    依画题诗(自作诗)
1, according to Chinese painting poetry (write your own poems)
1、 Chinese landscape painting poetic - "Autumn Xiajiang"

【原诗 (顾绍骅自作诗)】绝壁现帆影,红叶盛崖顶。峡江满秋色,闲翁五言吟。
【欣赏】在陡峭的山峡绝壁中,远处显现帆船的影象;茂盛的红叶树生长在山崖 的顶部,将画面“染红”,好一片秋天丰收的景色充满整个山峡的江山。我看到这样的美丽风光,忍不住把“五言”诗词作。
规格:68×68㎝  纸本设色  2008年10月创作
【Appreciate】Steep gorge in the steep cliffs, the distance of the boat\'s image; lush red long Ye Shusheng top of the cliff, will screen "red" and a good harvest in the autumn landscape is full of the whole of the gorge. I saw this beautiful scenery, could not resist the "Wu Yan" for poetry.
Specification: 67 × 65 cm paper colors created in October 2008
2、Poetic Chinese landscape painting - "Since poetry • Landscape Painting"

【原诗】 不守成法任激趣,五墨六彩①笔情寄;只因②《再探》③少素材,续上七言自惬意。
【释义】没有严格遵照山水画的“勾、皴、点、染”等“程序”来,而 是依照自己“成竹在胸”来抒发激情,追求笔墨意趣;用“五墨六彩”(焦浓重淡清)等笔墨效果来在宣纸上“游戏”。 (这些)是因为《诗情画意再探》缺少素材,(自己)再继续题上七言诗,完成后是多么的惬意啊!
【Appreciate】Not strictly follow the landscape of the "hook, cracked, point, dye" and "procedures" to, but according to his "enlightened approach" to express the passion, the pursuit of ink Interest; with "five-color ink 6" (Jiao Qing strong light) and other words effect to the rice paper on the "game." (These) as "poetic Revisited" lack of material, (their own) and then continue to question the Piece, how comfortable after ah!
【注】①“五 墨六彩” 五墨:焦墨、浓墨、重墨、淡墨、清墨——水墨画的色彩层次;六彩:黑、白、干、湿、浓、淡。
②“只因”二字取与“只因误识林和靖,惹得 诗人说道今”;
【Note】 ① "five-color ink 6" Five Mexican: Mexican coke, the edges of heavy ink, light ink, clear ink - the color ink level; six-color: black, white, dry, wet, thick, pale.
② "just because" taking the word of "false consciousness because Linhe Jing, prompting the poet said this";
③ "Revisited": is this article.
  规格:136×68㎝   纸本设色    创作年代:2010年5月
Size: 136 × 68 cm paper\'s color creation: May 2010
3、Poetic Chinese landscape painting - "Since poetry • Xiashan Love"

【原诗】 云蒸霞蔚写峡山,荆州①江水景泰澜;昔闻太白言孤帆②,时逢盛世作三船③。
【释义】(笔者)怀着对祖国美丽江山的热爱,绘出“心中的壮景” ——象云霞升腾聚集起来。景物灿烂绚丽的峡山;风景如画的母亲河与如斧劈沟壑一般的峡江,浮云环绕,波澜壮阔的江山,景色怡人、美丽激昂、国泰民安;太白 诗仙曾经咏道:“孤帆远影碧空尽,…。”是何等的伤感;如今随着祖国的强大,真是翻天覆地的变化,那些“孤寂、穷困”的朝代已经一去不复返,一片繁荣、和 谐的景色已经“闯入”我们的视野。
【Appreciate】 With beautiful rivers and mountains of the motherland, love, draw the "King Zhuang heart" - like the rosy clouds gathered Ascension. Xiashan brilliant magnificent scenery; picturesque Mother River and Three Gorges, such as ax gully general, clouds, surrounded by magnificent rivers and mountains, scenic, beautiful and passionate, peace and prosperity; Bai Shixian who chant: "The Gu Fan Yuan shadow blue sky to make, .... "What a sad; now with the Motherland, is really earth-shaking changes, those" lonely, poor, "the dynasty has been gone, a prosperous and harmonious scenery has" entered " our vision.
【注】①苏轼诗《荆州十首》有“游人出三峡,楚地尽平川。”句;荆州:古"九州"之一。在荆山﹑衡山之间。汉为十三刺史 部之一。辖境约相当于今湘鄂二省及豫桂黔粤的一部分;汉末以后辖境渐小。东晋定治江陵(现属湖北),为当时及南朝长江中游重镇。明清置府,后废。  2.唐韩朝宗曾任荆州长史,为时人所推重,称韩荆州。见唐李白《与韩荆州书》。后因以"荆州"称己所推重之士。
②“孤帆”:李白诗句有:“孤帆远 影碧空尽,唯见长江天际流。”
③“三船”: 古代的“三、六、九”是吉利数字,“三生有幸、三人为众、三纲五常、三人行,必有我师焉”也是多指数。
【Note】 ① Jingzhou: ancient, "Kyushu" one. Hengshan in between Jingshan ﹑. Department of Chinese and one for the 13 provincial governor. Jurisdiction over this territory equivalent to about two provinces of Hunan, Hubei and Henan part of Guangxi, Guizhou and Guangdong; Han Dynasty after the territory under its jurisdiction gradually smaller. Eastern Sadaharu Gangneung (now part of Hubei Province), for the time and the Southern city of the Yangtze River. Chi Ming and Qing government, after the waste. 2. Tang Han Chaozong former Jingzhou Nagao, too people hold in esteem, Jingzhou Han said. See Don Li Bai "and Han Jingzhou." Later, because of the "Jingzhou", said the thrust-weight people in already.
② "a boat": Li Bai\'s poem are: "a boat to walk very far, just to see the Yangtze River\'s water, all flow of the" horizon "."
③ "Mifune": the ancient "three, six, nine" is a lucky number, "\'ve been looking forward, three for the public, three cardinal guides and the five permanent members, three rows, must be my teacher Yan" is also a multi-index.
规格 68×136cm    纸本设色  创作年代:2010年5月
Size 68 × 136cm paper, ink\'s creation: May 2010
4、Poetic Chinese landscape painting - "Three Gorges of the spring is very beautiful, the spots of green in the red"

【赏析】 取:唐•杜牧的《江南春》 “千里莺啼绿映红”和唐•韦庄的《幽居春思》“绿映红藏江上村” 之意境;以歌颂祖国锦绣河山之壮丽、秀美,大自然的一切,是多么和谐美好啊!
【Appreciate】Take: Don • Du Mu\'s "Jason Jiang", "Journal of Dalian GreenYing-thousand miles," and Don • Wei Zhuang\'s "house arrest two poems,""Green Ying-possession of the river village" mood; "Three Gorges of thespring is very beautiful, green the spots in the red "as a tribute tothe motherland and beautiful land of magnificent, beautiful, all ofnature and how beautiful harmony ah!
规 格:  67.8cm×69cm    纸本设色  创作年代:2008年11月
Size: 67.8cm × 69cm paper, ink Creation\'s: November 2008
二、    依诗作画:
Second, according to Chinese landscape poetry of content creation:
5、 Poetic Chinese landscape painting "beautiful golden autumn leaves"

流水何太 急,深宫尽日闲。殷勤谢红叶,好去到人间。——【唐】宣宗宫人诗意
【赏析】本诗写的是一个失去自由、失去幸福的人对自由、对幸福的向往。诗的前两 句「流水何太急,深宫尽日闲」,妙在只责问流水太急,诉说深宫太闲,并不明写怨情,而怨情自见。诗的后两句「殷勤谢红叶,好去到人间」,运笔更委婉含蓄。 它妙在曲折传意,托物寄情,不从正面写自己的处境和心情,不直说自己久与人间隔离和渴望回到人间,而用折射手法,从侧面下笔,只对一片随波而去的红叶致以 殷勤的祝告。这里,题诗人对身受幽囚的愤懑、对自由生活的憧憬以及她的冲破樊笼的强烈意愿,尽在不言之中,可以不言而喻了。本作品取反义:一艘乘风破浪的 帆船,远行在红叶青山间;它满载着主人对美好生活憧憬,划过“沟沟坎坎、浊浪重重”一直奔向和谐的光明。
【Appreciate】The poem describes a loss of freedom and happiness ofpeople lost their freedom, the yearning for happiness. The first twopoems, "What water too fast, do palace on idle", wonderful in the watertoo fast just scolded, telling palace too busy, not out to write acomplaint, but a complaint from view. After the two poems, "graciousthank leaves, good to go to the earth", the pen moves more euphemistic.It is wonderful twists and turns communication, child care, alwaysfocussed on, not from the front to write their own situation andfeelings, not always say that their long isolation and the desire toreturn with the human world, but with refraction methods, from the sidewrite, but only one with wave extend hospitality to the leaves of ZhuGao. Here, people are seriously humor poem prisoners of resentment,longing to live in freedom and break through the confinement of herstrong will, do not words into, can be self-evident.
I created the painting in the opposite sense: the sailing ship the windand waves, travels between Castle Peak in the leaves; its owner for abetter life filled with longing, across the "Gully sill, heavy turbidwaves" has been toward a bright and harmonious.
规 格:136×68cm   纸本设色    2010年4月创作
Size: 136 × 68cm paper colors created in April 2010
This article References: 1, Chinese classical landscape Sidelights, 2, 3 on nicely, 3, Chinese calligraphy and painting
顾绍骅(QQ:1072494751 欢迎加入)作于2010年5月4日
Shao-Hua Gu for the May 4, 2010

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