韓璐丨中國(guó)寫(xiě)意繪畫(huà)的再思考

中國(guó)寫(xiě)意繪畫(huà)的再思考

韓 璐

Rethinking Chinese Xie Yi Painting

Han Lu

? ??? 提及“寫(xiě)意”一詞，在以普遍慣性思維為主導(dǎo)的藝術(shù)概念認(rèn)知范疇內(nèi)熄驼，其含義并不難理解，往往更多的使人聯(lián)想到中國(guó)傳統(tǒng)繪畫(huà)中的一種繪畫(huà)風(fēng)格樣式揩尸，也就是常說(shuō)的“寫(xiě)意繪畫(huà)”。關(guān)于寫(xiě)意的概念是什么，不能以與寫(xiě)實(shí)相對(duì)應(yīng)的簡(jiǎn)單邏輯思維來(lái)詮釋?zhuān)瑢?xiě)意應(yīng)該有更深邃的內(nèi)涵穆趴。然而即便在《辭焊钊ィ》《辭源》中窟却，也將寫(xiě)意一詞在詮釋的條目中理解為中國(guó)繪畫(huà)的一種表現(xiàn)方法，或以中國(guó)繪畫(huà)中與工筆相對(duì)應(yīng)的粗筆一路加以理解呻逆。這種理解有一定的普遍性夸赫，但就“寫(xiě)意”這一稱謂，抑或叫作繪畫(huà)名詞咖城，從其內(nèi)涵指向而言茬腿，更契合一種源于文明演進(jìn)的文化自覺(jué)和審美崇尚，并通過(guò)各種寫(xiě)意的展現(xiàn)形式反映在社會(huì)生活的方方面面宜雀，這在中國(guó)繪畫(huà)藝術(shù)中尤為凸顯切平，需要進(jìn)一步深入思考和探討。當(dāng)然州袒，關(guān)于寫(xiě)意的感性和理性反思揭绑，并不會(huì)直接影響到具體的繪畫(huà)實(shí)踐，只是換個(gè)角度和維度，去再認(rèn)識(shí)中國(guó)寫(xiě)意繪畫(huà)的人文內(nèi)涵他匪、審美訴求和精神實(shí)質(zhì)菇存。

When it comes to the term?“Xie Yi”[1], it is not difficult to understand in the context of the commonly tradition-driven conception of Chinese art, and is often more associated with a traditional Chinese painting style, which is often referred to as “Xie Yi painting”.The concept of Xie Yi cannot be.The literal translation of the term is to write down the meaning. As Chinese painting uses the same brush and techniques for writing, painting is often referred as writing. In the context of Chinese painting, it refers to the freehand and impressionistic painting style.interpreted in the simple logical way that corresponds to realistic; it should have a deeper connotation.Yet even in the Dictionaries, the term is still interpreted as a method of expression in Chinese painting, with rough brushstrokes that are the counterpart of Fine-line paintings.There is a certain logic in this understanding, but in terms of Xie Yi as ?painting genre, its connotation is more in line with a cultural consciousness and aesthetic reverence that originates from the evolution and is reflected in all aspects of social life through various forms of expression. It is particularly prominent in Chinese painting and requires further reflection and exploration.Of course, the perceptual and rational reflections on Xie Yi do not directly affect any specific painting practice, but only on how to re-understand the humanistic connotation from different perspectives of aesthetic and spiritual essence of Chinese painting.

? ?在當(dāng)代中國(guó)繪畫(huà)中，往往將“寫(xiě)意”與“工筆”相對(duì)應(yīng)邦蜜，這種理解依鸥，基本已經(jīng)成為一種約定俗成的固化概念，甚至有些深諳中國(guó)繪畫(huà)的專(zhuān)業(yè)人士也直接就將寫(xiě)意或工筆作為自身從業(yè)的技藝代名詞悼沈，由此還出現(xiàn)了對(duì)應(yīng)的畫(huà)家及展覽贱迟。當(dāng)然，基于當(dāng)代中國(guó)的大眾文化認(rèn)知和藝術(shù)人文背景狀況絮供，這也是無(wú)可厚非的衣吠，畢竟如果從發(fā)展的眼光來(lái)看待一切事物，為某一名詞注入和擴(kuò)容新的時(shí)代內(nèi)涵壤靶，也不失為一種合理的解釋缚俏。但問(wèn)題出來(lái)了，寫(xiě)意是不是真的就可以用如此顯而易見(jiàn)的概念輕而易舉地從我們的認(rèn)知中一筆帶過(guò)贮乳，不需要再去深層次的反思了忧换？依我看，當(dāng)然不是向拆，關(guān)于寫(xiě)意大有文章可做亚茬。甚至可以說(shuō)，在一定程度上浓恳，我們都或多或少基于某種繪畫(huà)語(yǔ)言的審美直覺(jué)和主觀經(jīng)驗(yàn)刹缝，被集體引入了一個(gè)臆斷的概念誤區(qū)，以致越來(lái)越偏離寫(xiě)意的本質(zhì)內(nèi)涵颈将，從而導(dǎo)致對(duì)一些基本的繪畫(huà)問(wèn)題赞草，出現(xiàn)了理解上的偏頗與誤解，其結(jié)果就是出現(xiàn)針對(duì)中國(guó)繪畫(huà)發(fā)展問(wèn)題上的取向迷茫和硬性嫁接吆鹤。就寫(xiě)意問(wèn)題所連帶出來(lái)的學(xué)術(shù)問(wèn)題，也是當(dāng)今學(xué)術(shù)界爭(zhēng)論和探討的主要問(wèn)題洲守。這里借此機(jī)會(huì)疑务，也談?wù)勛约宏P(guān)于寫(xiě)意的一些想法和認(rèn)識(shí)，語(yǔ)出卮言梗醇，信筆隨思知允，絕無(wú)所指。

In contemporary Chinese painting, the terms Xie Yi and Fine-line are often used in opposition to each other. This proposition has basically become an established concept, with some professionals who are well versed in Chinese painting even directly using Xie Yi or Fine-line as a synonym for their own practices, and further led to the emergence of corresponding names of the painters and exhibitions.Of course, given the state of popular awareness and background in contemporary China, this is no problem. But, if one looks with the lens of the times, it is only reasonable to inject and expand a term with new connotations for its development. But the question arises, is it really possible to use such a concept to pass down the perception without further reflection? In my opinion, of course not. There is much to be said about Xie Yi.It can even be said that, to a certain extent, we have all been led collectively into a conceptual misunderstanding based more or less on our aesthetic intuition and subjective experience of a certain painting language. It has led to an increasing deviation from the essential connotation of Xie Yi, resulting in a biased and misunderstanding of some basic painting issues such as the confused or rigid grafting of ideas in the development of Chinese painting.The problems associated with Xie Yi are also major issues of debate and discussion in academic circles today. I would like to take this opportunity to share with you some of my thoughts and understandings on the subject of painting.The words come out of the goblet and are written as they come to mind. There is no intention to criticize on any specific person.

??作為一名從事中國(guó)繪畫(huà)的教育工作者和實(shí)踐者叙谨，曾在很長(zhǎng)一段時(shí)間里温鸽，都在思考寫(xiě)意和工筆作為對(duì)應(yīng)風(fēng)格稱謂的合理性問(wèn)題。寫(xiě)意和工筆這種稱謂在人物畫(huà)和花鳥(niǎo)畫(huà)中最為普遍，在山水畫(huà)中幾乎沒(méi)有這樣的稱謂或叫法涤垫，當(dāng)然可能也有人喜歡和愿意這樣稱呼姑尺，但皆為個(gè)例，不具有普遍性蝠猬。寫(xiě)意和工筆切蟋，這種稱謂如果是從表現(xiàn)方法和技藝風(fēng)格上來(lái)區(qū)分，本人覺(jué)得用粗獷法和精細(xì)法來(lái)區(qū)別或許更為貼切榆芦。寫(xiě)與工不是對(duì)應(yīng)的關(guān)系柄粹，而是互補(bǔ)的關(guān)系。這種互補(bǔ)關(guān)系用書(shū)法中的“行草如楷匆绣，行楷如草”來(lái)形容或許比較便于理解驻右。如果用圖像來(lái)闡釋?zhuān)部蓮谋彼未薨住峨p喜圖》(圖1)中草木的勾勒方法上獲得些啟迪。大凡從事繪畫(huà)的人都有這樣的體會(huì)崎淳，行筆運(yùn)墨堪夭，既要奔放還要收得住，勾勒設(shè)色既要平穩(wěn)還要甩得開(kāi)凯力，點(diǎn)厾揮寫(xiě)茵瘾，既不肆意妄為，也不謹(jǐn)小慎微咐鹤，而是要張弛有度拗秘，這個(gè)張弛有度，就是“寫(xiě)”祈惶。中國(guó)繪畫(huà)追求以寫(xiě)為上雕旨，并且是在“寫(xiě)”的基礎(chǔ)上進(jìn)行精度制作，這個(gè)制作也是一種寫(xiě)的過(guò)程捧请，是基于畫(huà)面虛實(shí)和主次的深入點(diǎn)染刻畫(huà)凡涩，而不是思維停滯的勾描和涂抹，更不是磨洋工疹蛉。因此活箕，對(duì)勾皴點(diǎn)染而言，都應(yīng)是寫(xiě)的過(guò)程可款，雖不必筆筆有出處育韩，但要處處見(jiàn)法度。再說(shuō)一下“意”闺鲸，意是個(gè)大問(wèn)題筋讨，可以做大文章，但這就先不展開(kāi)了摸恍。僅對(duì)中國(guó)繪畫(huà)而言悉罕，意可以暫且通過(guò)字面的意思來(lái)加以判斷，從意的詞組中，可以先梳理出幾個(gè)關(guān)鍵詞壁袄，譬如意趣类早、意境、意念然想、意圖等莺奔，或者再簡(jiǎn)單直接說(shuō)，意即內(nèi)心的想法变泄、情感令哟、思緒、感受等妨蛹。那么寫(xiě)意的意屏富，和工筆要傳達(dá)的意本身是不是一樣的？我的回答是肯定的蛙卤，工筆也是一種意的表達(dá)方式狠半。由此可見(jiàn)，粗獷的“寫(xiě)意”和精細(xì)的“工筆”只是繪畫(huà)表現(xiàn)方法上和所呈現(xiàn)出來(lái)的視覺(jué)感受上有所不同颤难，但就繪畫(huà)過(guò)程的“寫(xiě)”和最終要獲得的“意”其實(shí)是一樣的神年。從法度上講，沒(méi)有誰(shuí)高誰(shuí)低行嗤。那么既然是一樣的已日，用寫(xiě)意的稱呼和工筆來(lái)對(duì)應(yīng)，顯然是不貼切的栅屏。我們甚至可以說(shuō)飘千，工筆畫(huà)本身也是寫(xiě)意畫(huà)，僅僅是表現(xiàn)技法上有所不同而已栈雳。如果用粗筆與細(xì)筆來(lái)區(qū)分护奈，字面上似乎對(duì)仗了，但似乎又不是這個(gè)筆粗和筆細(xì)的意思哥纫，更不是線條粗細(xì)的概念霉旗。如果用抽象和具象來(lái)表述，也是不合理的蛀骇，因?yàn)樵谛蔚膯?wèn)題上奖慌，粗獷和精細(xì)兩種表現(xiàn)手法最終的繪畫(huà)目的也是一樣的，即“傳神阿睹”松靡。寫(xiě)意不是放任隨意，工筆不是結(jié)板刻意建椰，而同是抒發(fā)情感的不同繪畫(huà)方式雕欺。這個(gè)的確有點(diǎn)糾結(jié)，那到底怎樣的稱謂才算合理，或許暫且將粗獷法稱為意筆屠列，將精細(xì)法稱為工筆啦逆，可能比較合適，在當(dāng)下也比較容易被接受笛洛。但意筆也好夏志，工筆也好，都應(yīng)該統(tǒng)稱為中國(guó)寫(xiě)意畫(huà)苛让，只是描寫(xiě)畫(huà)面意象的方法有所不同罷了沟蔑。這一觀點(diǎn)似乎有點(diǎn)逆天，那我們?cè)賮?lái)繼續(xù)分析一下中國(guó)寫(xiě)意繪畫(huà)的內(nèi)涵狱杰，或許會(huì)有新的意味浮現(xiàn)出來(lái)瘦材。

As an educator and practitioner of Chinese painting, I have for a long time pondered the question of the rationality of the terms Xie Yi and Fine-line as corresponding styles. The term, Xie Yi or Fine-line, is most commonly used in figure painting as well as bird-and-flower painting, but hardly ever in landscape painting. Although there may be people who prefer and are willing to call them that, they are eceptional cases and not common.I think it would be more appropriate to distinguish between the rough and fine methods of expressions in painting techniques. Xie Yi and Fine-line are not exclusive to, but in complementary with each other. This complementary relationship is perhaps better described by the saying in calligraphy “Running cursive script is as regular, running regular script is as cursive)”.Interpreted in pictorial terms, some inspiration can be drawn from the way the grass and trees are outlined in Cui Bai's?Magpies and Hare?(Illustration 1) from Northern Song Dynasty.Anyone who has ever been involved in painting has the experience that the brushwork must be unrestrained, the outline and colouring must be smooth and open. Painting must not be reckless or cautious, but rather relaxed. Chinese painting pursues expressiveness as its top priority, and is done with precision on the basis of “Xie”, which is also a process of writing, based on the depth of dabbing and colouring of the picture, rather than stagnant sketching and coloring, let alone repetition. Therefore, the process of painting should be a process of writing. Although it is not necessary to have a referential for each brushstroke, the intention should be seen clearly. The Yi (意meaning, intention) is a big issue and can be the subject of a great deal of discussion, but I will not expand on this. In the case of Chinese painting alone, Yi can be interpreted by its meaning in the phrases: several key words can be sorted out, such as interest, mood, idea?and intention?. Yi is the inner thoughts, emotions, thoughts and feelings. So is it the same as the Yi imbedded in Fine-line paintings? My answer is yes, Fine-line is also a form of expression. It can be seen that the difference between rough Xie Yi and delicate Fine-line is only in the method of expression and the presented visual experience. The painting process of Xie and the Yi of the painting are in fact the same. In terms of technique, there is no superiority or inferiority.Since they are the same, then, it is clearly inappropriate to use the terms to differentiate the two. We might even say that Fine-line painting itself is also in essentially Xie Yi , merely differing in the expression techniques. If we only use the distinction between thick and thin strokes, it may seem to be literally correct. But it actually does not seem to be of the idea about the lines. It would be unreasonable to use abstract and figurative expressions, because in terms of form, the ultimate aim of painting is the same for both, i.e. to “convey the spirit”. Xie Yi is not arbitrary, while Fine-line is not overly deliberate, they are but different ways of expressing emotion. This indeed is a tricky problem. Perhaps it would be more appropriate to refer to the rougher method as Xie Yi and the finer method as Fine-line. It would be more acceptable for now. No matter Xie Yi or Fine-line, they should be collectively referred as Chinese painting, with only the method of depicting being different. This view seems a little counterintuitive, so let us continue to analyse the connotations of Chinese painting in the sense that new meanings may emerge.

圖1?［北宋］崔白，《雙喜圖》仿畸，絹本食棕，設(shè)色，縱193.7厘米错沽，橫103.4厘米簿晓，臺(tái)北故宮博物院

Cui Bai, Magpies and Hare, 193.7×103.4cm, Northern Song Dynasty,Taipei Palace Museum

? ?中國(guó)繪畫(huà)當(dāng)代被稱為中國(guó)畫(huà)，就中國(guó)畫(huà)這個(gè)稱謂而言千埃，也有些牽強(qiáng)憔儿，具體就不多言了，因?yàn)椴皇沁@里要探討的問(wèn)題镰禾，就暫且用“中國(guó)畫(huà)”這一詞來(lái)特指中國(guó)繪畫(huà)皿曲。首先劃定一個(gè)地域空間，就是以當(dāng)代的中國(guó)疆域包括特別區(qū)域?yàn)榛鶞?zhǔn)吴侦，凡現(xiàn)存的一切平面繪畫(huà)樣式屋休，無(wú)論古今或是否延續(xù)和消亡的人工繪畫(huà)藝術(shù)樣式，都可稱為中國(guó)繪畫(huà)备韧。那么這樣就不難理解了劫樟，中國(guó)繪畫(huà)的范圍非常大，有些以題材樣式劃分织堂，有些以地域民族劃分叠艳，有些以材料質(zhì)地劃分，有些以功能目的劃分易阳，等等附较，可謂包羅萬(wàn)象，但這些繪畫(huà)都具有一個(gè)比較明顯的共性特征潦俺，就是寫(xiě)意性拒课。這個(gè)論斷是不是合理徐勃，接下來(lái)可以嘗試深入探討。

As far as the term Chinese painting is concerned, it is somewhat compromised.I will not say too much about it, as it is not the issue to be discussed here. I will use the term “Chinese painting” to refer specifically to the more general painting in Chinese for the time being.First of all, a geographical space is defined, that is, the contemporary territory of China including some special regions. All existing graphic painting styles in this region, whether ancient or modern, whether still in continuation or extinct, can be called Chinese painting.It is easy to understand, then, that the range of Chinese painting is very large, in its subject matters and styles. The categorization could be done based on their regions and ethnicity, or by the materials and textures used, or by ?the functional purposes. One of the more obvious common characteristics of all these paintings is Xie Yi. Whether or not this assertion is justified? I’ll try to explore in depth.

? ?這里要說(shuō)明一點(diǎn)早像，由于中國(guó)所處的特殊地理位置和所具有的世界文化身份僻肖，中國(guó)繪畫(huà)自然也就有了絕對(duì)的東方繪畫(huà)代表性地位。這種代表東方的寫(xiě)意性繪畫(huà)與西方以寫(xiě)實(shí)性為發(fā)展基礎(chǔ)的繪畫(huà)樣式形成頡頏并峙的關(guān)系卢鹦，逐漸成為一道東方視覺(jué)文化的風(fēng)景線臀脏，散布在東方大地，也影響著東方各個(gè)區(qū)域的繪畫(huà)藝術(shù)發(fā)展冀自，并扮演重要角色揉稚。

It is important to note here that because of China's special geographical location and its global cultural identity, Chinese painting naturally has an absolute representative status in Oriental paintings.This representational style of painting has formed a parallel relationship with the Western style of painting based on realism, and has gradually forged an oriental visual cultural that is influencing and playing important roles in the development of painting throughout the East.

? ?這種與西方寫(xiě)實(shí)性繪畫(huà)相對(duì)應(yīng)的寫(xiě)意性繪畫(huà)，伴隨中國(guó)文化的不間斷性被延續(xù)至今凡纳。從時(shí)間上看窃植，中國(guó)的這種寫(xiě)意性繪畫(huà)遠(yuǎn)遠(yuǎn)要早于西方寫(xiě)實(shí)性繪畫(huà)。眾所周知荐糜，西方寫(xiě)實(shí)性繪畫(huà)的發(fā)軔和成熟期是在文藝復(fù)興時(shí)期巷怜，而中國(guó)繪畫(huà)的成熟期是在唐宋，如果從發(fā)端暴氏，可上溯到兩漢時(shí)期延塑，可參見(jiàn)馬王堆帛畫(huà)，從帛畫(huà)的表現(xiàn)技藝和形式內(nèi)容上看答渔，都呈現(xiàn)了明顯的意象特征关带。而且在兩晉時(shí)期，繪畫(huà)理論已經(jīng)達(dá)到相當(dāng)?shù)母叨日铀海珙檺鹬闹鳌段簳x勝流畫(huà)贊》《論畫(huà)》宋雏，南朝宋宗炳的《畫(huà)山水序》，南齊謝赫的《古畫(huà)品錄》务豺，南北朝時(shí)期姚最的《續(xù)畫(huà)品》磨总，若按照有些文獻(xiàn)著述中的人物記述品評(píng)，時(shí)間還要更早笼沥。從這些重要的繪畫(huà)文獻(xiàn)中蚪燕，我們不難感受到一點(diǎn)，就是先賢對(duì)于繪畫(huà)的理論已經(jīng)有了極高的造詣奔浅，且見(jiàn)解獨(dú)到馆纳，論述精辟，耐人尋味汹桦。在文獻(xiàn)表述中鲁驶，也可以體味到先賢對(duì)繪畫(huà)意象問(wèn)題的真知灼見(jiàn)，以及對(duì)繪畫(huà)“形神”問(wèn)題的闡幽抉微舞骆。由此我們可以得出這樣一個(gè)結(jié)論钥弯，中國(guó)繪畫(huà)就是基于中國(guó)傳統(tǒng)文化思想發(fā)展脈絡(luò)上的壹罚，針對(duì)寫(xiě)形和造境問(wèn)題的寫(xiě)意性繪畫(huà)，這與我們現(xiàn)如今理解的寫(xiě)意指向性概念有些大相徑庭寿羞，寫(xiě)意的內(nèi)涵遠(yuǎn)比我們的理解要廣博深邃得多。寫(xiě)意繪畫(huà)抑或可以成為東方繪畫(huà)的統(tǒng)稱和代名詞赂蠢，遺憾的是绪穆，如今我們把寫(xiě)意這樣一個(gè)宏闊而高級(jí)的名詞內(nèi)涵范圍大大縮小了，這的確有些可惜虱岂。中國(guó)繪畫(huà)或者說(shuō)是中國(guó)畫(huà)玖院，其真正合理的名詞稱謂應(yīng)該是中國(guó)寫(xiě)意畫(huà)，再大些第岖，亦可稱之為東方寫(xiě)意畫(huà)难菌。我相信這樣的提法和對(duì)中國(guó)寫(xiě)意繪畫(huà)的詮釋?zhuān)瑫?huì)得到一些人的贊同，當(dāng)然這需要相當(dāng)長(zhǎng)的時(shí)間來(lái)適應(yīng)蔑滓。

This kind of painting, comparing to Western realistic painting, has been perpetuated to this day along with the uninterrupted Chinese culture. In terms of history, Chinese painting predates Western realistic painting. It is well known that the genesis and maturity of Western realistic painting was during the Renaissance, whereas the maturity of Chinese painting was during the Tang and Song dynasties. If we look at the early origin, we can trace it back to the two Han dynasties, such as the Mawangdui?silk paintings, which, in terms of their expressive techniques and formal content, show a distinctly Xie Yi character. The theory of painting had already reached considerable heights during the Jin dynasty, for example, in Gu Kaizhi's?Introduction to the Famous Wei and Jin Painting,?On Painting, Zong Bing's?(from the southern dynasty Song?)A Preface to Painting Landscapes, Xie He's(from the southern dynasty QiClassified Record of Painters of Former Times, and Yao Zui's(from the southern dynasty Chen)??A Sequel to the Criticism of Painting. If one traces the accounts of some writings in the literatures, the history is even longer. From these important archives, it is easy to see that the literati had already achieved a high level of attainment in painting theories with unique insights that are incisive and intriguing. In the literature, we can also appreciate the literati’s insightful views on the Yi in painting, as well as their interpretation of the “form and spirit” of painting. From this, we can conclude that Chinese painting is based on the traditional Chinese thoughts, and its development addresses the issue of Xie Yi through context. This is somewhat different from our understanding of the concept today. It has a much broader and deeper connotation. Xie Yi painting may as well become a generic term synonym to Oriental painting. Unfortunately, we have now narrowed the scope of such a broad and advanced term. Chinese painting should really be called Chinese Xie Yi painting, or, to put it more generously, Oriental Xie Yi painting. I am sure that such a term and interpretation of Chinese painting will meet with the approval of some, although it will of course take quite some time to get used to.

? ?接下來(lái)再來(lái)說(shuō)一下水墨畫(huà)郊酒。按照上面的結(jié)論，這種繪畫(huà)自然也就毋庸置疑地可以冠之以中國(guó)寫(xiě)意水墨畫(huà)的稱謂键袱。為什么要談水墨畫(huà)燎窘，理由很簡(jiǎn)單。西方基于寫(xiě)實(shí)繪畫(huà)基礎(chǔ)上的最有代表性的繪畫(huà)是油畫(huà)蹄咖，這是從繪畫(huà)材料上講的褐健。那么基于東方寫(xiě)意畫(huà)基礎(chǔ)上的，最具代表性的繪畫(huà)自然就是水墨畫(huà)澜汤，這也是從繪畫(huà)材料上講的蚜迅。另外，這里也要再講一下俊抵，西方的油畫(huà)在發(fā)展過(guò)程中也存在從具象到意象的轉(zhuǎn)捩谁不，這在19世紀(jì)出現(xiàn)的歐洲印象主義繪畫(huà)中可以得到驗(yàn)證；而中國(guó)的寫(xiě)意水墨畫(huà)也存在不同程度的發(fā)展變遷务蝠。特別是在20世紀(jì)拍谐，在西學(xué)東漸和舶來(lái)文化的影響下，中國(guó)寫(xiě)意繪畫(huà)也在發(fā)生著形式表現(xiàn)語(yǔ)言的裂變馏段，在寫(xiě)意造型和造境問(wèn)題上轩拨，也發(fā)生著表現(xiàn)技藝和審美視覺(jué)的轉(zhuǎn)捩。西方寫(xiě)實(shí)繪畫(huà)和東方寫(xiě)意繪畫(huà)都在向著對(duì)方的方向進(jìn)行著潛移默化的融合與滲透院喜，出現(xiàn)東方寫(xiě)意繪畫(huà)的寫(xiě)實(shí)化和西方寫(xiě)實(shí)繪畫(huà)的寫(xiě)意化亡蓉，這種情況在當(dāng)代頻繁的美術(shù)交流展示活動(dòng)中并不難窺見(jiàn)一斑。這已是很正常的現(xiàn)象喷舀，因?yàn)闁|西方文化各自在謀求發(fā)展的過(guò)程中砍濒，伴隨著交往的日益頻繁淋肾，相互影響是正常的。但再怎么滲透和影響爸邢，由文化積淀所形成的文化基因最終還是要顯現(xiàn)出來(lái)的樊卓。繪畫(huà)藝術(shù)個(gè)體探索經(jīng)驗(yàn)的可變性較之整個(gè)民族文化氣質(zhì)的穩(wěn)定性而言，永遠(yuǎn)是弱小的杠河。風(fēng)格樣式的階段性變化并不能代表繪畫(huà)藝術(shù)最終的趨勢(shì)和取向碌尔，這就像我們平時(shí)偶爾也喜歡吃西餐，也去買(mǎi)些西方人的東西來(lái)用券敌，但并不是說(shuō)吃了西餐唾戚，用了西方的東西就變成西方人了。同樣待诅，西方人也一樣叹坦。所以，中國(guó)的寫(xiě)意畫(huà)卑雁，最終還是具有中國(guó)地域和文化性征的寫(xiě)意繪畫(huà)募书。因?yàn)楣亲永锷畈氐纳罘绞胶退季S習(xí)慣，不可能因?yàn)榻梃b而被徹底刪除序厉，即便是淡遠(yuǎn)了锐膜，最終也還會(huì)被召回，這就是中國(guó)人的自我修復(fù)能力弛房。體現(xiàn)在繪畫(huà)藝術(shù)上道盏，就是揮之不去的民族寫(xiě)意精神——一種自覺(jué)的文化本體回歸意識(shí)。

Next, about ink painting. In accordance with the above conclusions, it can naturally and unquestionably be labelled as Chinese Xie Yi ink painting. The reason why we should talk about ink painting is simple. The most representative Western painting based on realism is oil painting, and this is in terms of the material with which it is painted. The most representative painting in Oriental paintings is, based on the material used, ink painting.In addition, it should be noted that Western oil painting also underwent a transition from figurative to abstract, as evidenced by the emergence of European Impressionist painting in the nineteenth century. Chinese ink painting also underwent different degrees of development. In the twentieth century in particular, under the influence of the imported Western culture, Chinese ink painting underwent a shift in the formal languages, the techniques and aesthetic vision.Western realism painting and Eastern Xie Yi painting were subtly integrating and penetrating with each other, see in the realism trend in Eastern Xie Yi painting and the Xie Yi in Western realism painting. It is normal for Eastern and Western cultures to influence each other in the process of development, along with the increasing interaction. However, no matter how much the influence, the inherited genes would eventually emerge from the cultural accumulation. The variability of individual experiences in painting will always be weak comparing to the stability of the entire national cultural temperament. Stages of stylistic changes do not represent the ultimate orientation of painting. We like to eat Western food and buy Western things occasionally, but it does not mean we had become Westerners. Likewise, so do Westerners. Chinese painting is an art form with Chinese regional cultural characteristics. This is because the way of life and habits of thought are deeply embedded in the blood and cannot be completely replaced by borrowing. Even if they faded away, they will still be recalled eventually, such is the self-healing ability of the Chinese culture. Reflected in painting, it is the lingering national spirit of Xie Yi, a consciousness of returning to cultural ontology.

? ?魯迅先生講：“中國(guó)繪畫(huà)文捶，自宋以來(lái)就盛行寫(xiě)意淮逻〔恚”其實(shí)中華民族豈止是從宋開(kāi)始，寫(xiě)意觀念一直就在人們的精神世界里涌動(dòng)，而且延綿不斷孽水。莊子的《逍遙游》蹋砚，其實(shí)就是寫(xiě)意精神的文字化表述腾么。儒家思想的“仁者樂(lè)山拘鞋，智者樂(lè)水”以及繪事后素的美學(xué)思想；道家文化中的“上善若水”“乘物以游心”也帶有明顯的寫(xiě)意意蘊(yùn)射富。還有一些經(jīng)典著述諸如《周易》《道德經(jīng)》《文心雕龍》等膝迎，都能感受到東方寫(xiě)意文化的大氣磅礴與玄妙至美。中國(guó)膾炙人口的四大名著胰耗，都是經(jīng)典上乘的寫(xiě)意之作限次。若說(shuō)繪畫(huà)作品，具有代表性的寫(xiě)意作品信手拈來(lái)，《八十七神仙卷》(圖2)是寫(xiě)意還是寫(xiě)實(shí)的作品卖漫？無(wú)須言表费尽；即便是北宋張擇端的《清明上河圖》(圖3)，也是基于現(xiàn)實(shí)生活的一卷記錄性寫(xiě)意作品羊始；范寬的《溪山行旅圖》(圖4)旱幼，揚(yáng)無(wú)咎的《四梅圖》(圖5)，黃公望的《富春山居圖》(圖6)突委，王冕的《墨梅圖》(插圖7)速警，還有明代徐渭的《墨葡萄圖》(圖8)，都是典型的中國(guó)寫(xiě)意水墨畫(huà)作品鸯两，都用不同的題材和繪畫(huà)風(fēng)格抒發(fā)著作者心中的美好意象和高格意蘊(yùn)。

Lu Xun said, "Chinese Xie Yi painting has been prevalent since the Song Dynasty." In fact, the concept of Xie Yi has been surging in the spiritual world of the people much earlier and it continues to do so.Zhuangzi'sHappy Excursionis in fact a literal expression of the spirit of Xie Yi. In Confucianism, "A benevolent man delights in mountains, a wise man delights in water" and the reductive aesthetic idea of painting; the Taoist culture's “the supreme goodness is like water”and “grasp the order of things so that one’s heart can be free ” also have obvious connotations of Xie Yi. Other classical writings such as the?Book of Changes,?Tao Te Chingand?Dragon-Carving and the Literary Mindare also known for their majestic atmosphere and subtle beauty.The four great classic Chinese novels are all Xie Yi works of the highest quality. When it comes to paintings, representative works of Xie Yi are all available; is?The Scroll of the Eighty-Seven Immortals?(Illustration 2) a work of realism or a Xie Yi one? Even Zhang Zeduan'sAlong the River During the Qingming Festival(Illustration 3), from the Northern Song Dynasty, is a Xie Yi work based on real life. Fan Kuan'sTravellers among Mountains and Streams(Illustration 4); Yang Wujiu'sFour Stages of the Blossoming Plum Trees?(Illustration 5); Huang Gongwang'sDwelling in the Fuchun Mountains(Illustration 6); Wang Mian’sPlum Blossoms(Illustration 7); and Xu Wei'sGrapes(Illustration 8), from the Ming Dynasty, are all typical Chinese Xie Yi ink paintings. They use different subjects and styles of painting to express the beautiful imagery and high meaning in the author's mind.

圖2 ［唐］吳道子（傳）长豁，《八十七神仙卷》钧唐，絹本，墨筆匠襟，縱30厘米钝侠，橫292厘米，徐悲鴻紀(jì)念館

Wu Daozi,The Scroll of the Eighty-Seven Immortals, 30×292cm, Tang Dynasty酸舍，Xu Beihong Memorial Museum

《八十七神仙卷》（局部之一）

The?Scroll of the Eighty-Seven Immortals(detail?No.1)

《八十七神仙卷》（局部之二）

The?Scroll of the Eighty-Seven Immortals(detail?No.2)

圖3 ［北宋］張擇端帅韧，《清明上河圖》（局部之一），絹本啃勉，墨筆忽舟，淡設(shè)色，縱24.8厘米淮阐，

橫528.7厘米叮阅，故宮博物院

Zhang Zeduan, Along the River During the Qingming Festival（detail?No.1）, colored ink on silk, 24.8×528cm , Northern Song Dynasty, the Palace Museum

《清明上河圖》（局部之二）

?Along the River During the Qingming Festival（detail No.2）

《清明上河圖》（局部之三）

Along the River During the Qingming Festival（detail No.3）

圖4 ［北宋］范寬，《溪山行旅圖》泣特，絹本浩姥，墨筆，縱206.3厘米状您，橫103.3厘米 勒叠，臺(tái)北故宮博物院

Fan Kuan ,Travellers among Mountains and Streams,ink on silk,206.3×103.3cm , Northern Song Dynasty, Taipei Palace Museum

圖5 ［南宋］揚(yáng)無(wú)咎，《四梅圖》（局部之一）膏孟，紙本眯分，墨筆，縱37.2厘米骆莹，橫358.8厘米颗搂，故宮博物院

Yan Wujiu, Four Stages of the Blossoming Plum Trees（detailNo.1）,ink on paper 37.2×358.8cm ,?the Southern Song Dynasty , the Palace Museum

《四梅圖》（局部之二）

Four Stages of the Blossoming Plum Trees（detail No.2）

《四梅圖》（局部之三）

Four Stages of the Blossoming Plum Trees（detail No.3）

《四梅圖》（局部之四）

Four Stages of the Blossoming Plum Trees（detail No.4）

圖6 ［元］黃公望，《富春山居圖》（局部之一）幕垦，紙本 丢氢，墨筆傅联，縱33厘米，橫636.9厘米疚察，浙江省博物館

Huang Gongwang,Dwelling in the Fuchun Mountains（detailNo.1）,ink on paper,33×636.9cm, Yuan Dynasty ,Zhejiang Provincial Museum

《富春山居圖》（局部之二）

Dwelling in the Fuchun Mountains（detail No.2）

《富春山居圖》（局部之三）

Dwelling in the Fuchun Mountains（detail?No.3）

《富春山居圖》（局部之四）

Dwelling in the Fuchun Mountains（detail?No.4）

圖7 ［元］王冕 蒸走，《墨梅圖》，紙本貌嫡，墨筆比驻，? 縱68厘米，橫26厘米 岛抄，上海博物館

Wang Mian,Plum Blossoms,ink on paper,?ink on paper,68×26cm ,Yuan Dynasty,Shanghai Museum

圖8 ［明］徐渭 别惦，《墨葡萄圖》軸，紙本夫椭，墨筆掸掸，縱165.4厘米，橫64.5厘米蹭秋，故宮博物院

Xu Wei,Ink Painting of Grapes,ink on paper,165.4×64.5cm,Ming Dynasty ,the Palace Museum

? ?中國(guó)文人畫(huà)家對(duì)于境界的追求扰付，絕非是一種對(duì)景觀和物象的真實(shí)描摹，而是一種感物道情的格物致知和澄懷味象的人生感悟仁讨。他們通過(guò)水與墨的交融與幻化羽莺，用手中的筆，書(shū)寫(xiě)大寫(xiě)的人生希冀洞豁，描繪世間的美善之境盐固。他們用心中的詩(shī)句，抒發(fā)胸中的志向丈挟，紓解懷中的塊壘闰挡。他們用中國(guó)繪畫(huà)獨(dú)特的寫(xiě)意方式，在精神世界和現(xiàn)實(shí)世界中進(jìn)行著意象切換礁哄，最終呈現(xiàn)出一種對(duì)高貴人格的篤守和高雅性情的操守长酗。這不能不說(shuō)是源自對(duì)東方寫(xiě)意精神的深邃解讀，對(duì)天下蒼生桐绒，對(duì)世間百態(tài)夺脾，對(duì)天地道德的真心感悟和智慧升華。

The pursuit of the Chinese literati painters was never a realistic depiction of landscapes and objects, but rather a sense of life that clarifies the mind reflected in the image. Through the interplay and illusion of water and ink, they used the brush in their hands to write down the hopes of life, the ultimate beauty and goodness in the world.They use the poetry of their hearts to express their aspirations and relieve the struggles in their mind. They use Chinese painting's unique way of writing to switch in-between the spiritual and the real world, presenting the sense of commitment to the noble and elegant personality. This is the profound interpretation of the spirit of oriental Xie Yi painting, a sincere perception and sublimation of the wisdom of the world.

? ?對(duì)寫(xiě)意問(wèn)題的思考和詮釋?zhuān)鋵?shí)一直都未曾間斷茉继。宋代韓拙說(shuō)：“用筆有簡(jiǎn)易而意全者咧叭，有巧密而精細(xì)者，前者乃指寫(xiě)意烁竭》撇纾”元代夏文彥在《圖畫(huà)寶鑒》卷三中講：“仲仁以墨暈作梅，如花影然，別成一家婉弹，所謂寫(xiě)意者也睬魂。”清代惲壽平說(shuō)：“宋人謂能到古人不用心處镀赌，又曰寫(xiě)意畫(huà)氯哮。兩語(yǔ)最微，而又最能誤人商佛，不知如何用心喉钢，方到古人不用心處；不知如何用意良姆，乃為寫(xiě)意肠虽。”近現(xiàn)代中國(guó)畫(huà)四大家吳昌碩玛追、齊白石舔痕、黃賓虹、潘天壽豹缀，他們用他們的畫(huà)作，向我們呈現(xiàn)了具有東方神韻和中國(guó)氣派的寫(xiě)意繪畫(huà)作品慨代，值得后人敬仰和深入探討邢笙。

The thinking and interpretation on Xie Yi has, in fact, never ceased. Han Zhuo,from the Song dynasty, said, "There are those who use the brush with simplicity but full of content, and those who use the brush with delicacy and density, the former refers to Xie Yi ?."Xia Wenyan?from the Yuan dynasty said in Volume 3 of his?Precious Mirror of Painting,: "Zhongren?paint plum with ink halo, like the shadow of a flower. His unique approach can be seen as Xie Yi?.” Yun Shouping?from the Qing dynasty says: "The Song people said that they were able to reach the place where the ancients did not put their hearts. They also said this is Xie Yi. The two sayings are the most subtle and misleading, for if one does not know how to heart, one can reach the place where the ancients did unconsciously; if one forget to use the mind, one can Xie Yi ." The four great masters of modern Chinese painting, Wu Changshuo, Qi Baishi, Huang Binhong?and Pan Tianshou?all have in their paintings to presented us with oriental charm and Chinese style, which deserve to be admired and discussed in depth by future generations.

??華夏民族是一個(gè)崇尚寫(xiě)意精神的民族，這種寫(xiě)意精神侍匙，不僅僅存留在中國(guó)繪畫(huà)中氮惯，而是一種融入血脈中的氣質(zhì)。這種氣質(zhì)使我們具有寬容想暗、樂(lè)觀妇汗、堅(jiān)韌、勤勉的秉性说莫，也具有淡然杨箭、從容、灑脫储狭、豪邁的性情互婿。這些寶貴的稟賦，被一代代傳承辽狈，形成一種至尊無(wú)上的大寫(xiě)意精神慈参。或許刮萌，這也是中國(guó)文化自古迄今延綿不斷的真正原因驮配。

Chinese people admires the spirit of Xie Yi, a spirit that is not only present in painting, but also is embedded in the bloodline.This quality gives us the tolerant, optimistic, resilient and diligent nature, as well as breezy, relaxed, spontaneous and bold character. These valuable endowments have been passed down from generation to generation, forming a supreme spirit of Xie Yi. Perhaps this is the real reason for the continuity of Chinese culture from ancient times to the present day.

? ?總之，寫(xiě)意對(duì)中國(guó)人而言，既是一種藝術(shù)樣式壮锻，也是一種生活方式和思維方式琐旁。同時(shí)，寫(xiě)意也是一種基于大千世界林林總總物象存在的意象化詮釋與升華躯保，是用一種“易”的不確定性對(duì)事物變化發(fā)展的訓(xùn)詁旋膳，這種思維詮釋具有鮮明的個(gè)性化和傾向性特征。幾千年來(lái)途事，華夏先民在生產(chǎn)和生活中逐漸形成了具有東方格調(diào)和審美意蘊(yùn)的寫(xiě)意文化验懊，這種寫(xiě)意文化漸而轉(zhuǎn)變?yōu)橐环N文化基因，直接或間接地影響著中國(guó)繪畫(huà)的生成和走向尸变。最終义图，寫(xiě)意繪畫(huà)成為華夏民族在藝術(shù)領(lǐng)域中一道獨(dú)特的風(fēng)景線，并被一代一代傳承和推廣開(kāi)去召烂。

In short, Xie Yi is not only an art style, but also a way of life and thinking. It is also an interpretation and sublimation of imagery based on the existence of a wide range of objects in the world, an exegesis of the changing development of things with the “uncertainty”. It is a way of thinking that is distinctly individual and tendentious.In thousands of years, Chinese ancestors have gradually developed an oriental aesthetic culture from their life, which has gradually transformed into a cultural gene, directly or indirectly influencing the creation and direction of Chinese painting. Ultimately, this painting style has become a unique landscape in Chinese art, and has been passed on and promoted from generation to generation.

? ?以上皆為個(gè)人見(jiàn)地碱工，聊以卮言，一蹴而就奏夫，為期嚶其鳴矣怕篷，求其友聲，僅此擱筆酗昼，與君共勉旃廊谓！

All of the above are personal opinions, finished in one go. For the time, I want to use this voice to seek acquaintances’ voice. I’ll stop here and looking forward to your interactions!

戊戌仲春谷旦于西子湖畔

By West Lake, Spring of 2019

[1]?The literal translation of the term is to write down the meaning. As Chinese painting uses the same brush and techniques for writing, painting is often referred as writing. In the context of Chinese painting, it refers to the freehand and impressionistic painting style.