歐洲時報本篇文章19888字，讀完約50分鐘
為推進世界各國文化藝術的交流與多元發展，踐行中國政府“一帶一路”和“構建人類命運共同體”的倡議，誠邀來自世界各國的眾多藝術家，旨在弘揚中華民族優秀的文化藝術與世界各國的優秀文化藝術，為當代優秀藝術家與藝術愛好者以及世界各國的藝術機構架起一座溝通的友誼橋梁，現特邀華人藝術家汪天壽先生為廣大讀者獻上一部輝煌的藝術盛典。
汪天壽字白云。共產黨員。重慶市木耳鎮人氏。出生于1940年3月7日。1969年畢業于四川大學電機工程系(原成都工學院)。1969年至71年在邛崍7854軍墾農場勞動;1971年至1978年在武勝縣農機廠工作。當過鑄工、車工、鉗工、鍛工、機修工、電工,技術員。1978年至1983年在南充市電機廠工作,任設備科長、工程師、科研室主任。1983年調南充市順慶區交通局工作,任總工程師、副局長。作者2000年退休后開始作畫休閑?，F為南充市美術家協會會員,中國國際書畫藝術研究院終身書畫家,教科文(中國)國際書畫學會會員。中國高級書畫家協會終身會員,中國國際藝術家協會顧問,中華文化研究院院士,全國名人書畫藝術界聯合會委員,中國炎皇藝術協會會員。中國國際現代藝術研究中心高級書畫研究員,中國詩聯書畫院副院長兼書畫專業特級研究員。中國名家畫院院長。
Wang Tianshou is a white cloud. communist. People's family in Muer Town, Chongqing. Born on March 7, 1940. He graduated from the Department of electrical engineering of Sichuan University (former Chengdu Institute of Technology) in 1969. From 1969 to 71, he worked in Qionglai 7854 military reclamation farm; from 1971 to 1978, he worked in wusheng agricultural machinery factory. Worked as a foundry, Turner, fitter, forge, mechanic, electrician, technician. From 1978 to 1983, he worked in Nanchong electric machinery factory as equipment section chief, engineer and director of scientific research office. In 1983, he was transferred to the Transportation Bureau of Shunqing District of Nanchong City as chief engineer and deputy director. After retiring in 2000, the author began painting for leisure. He is now a member of Nanchong Artists Association, a lifelong calligrapher and painter of China International Academy of calligraphy and painting, and a member of UNESCO (China) International Painting and Calligraphy Association. He is a lifelong member of China Senior calligraphers and Painters Association, a consultant of China International Artists Association, an academician of the Chinese Academy of culture, a member of the National Federation of famous calligraphers and painters, and a member of China Yanhuang Art Association. He is a senior researcher in calligraphy and painting of China International Modern Art Research Center, vice president of the painting and Calligraphy Academy of China Poetry Federation and a special researcher of calligraphy and painting. President of the Chinese Painting Academy.
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作品入編《光輝歷程》、《豐碑-藝術49-09》、《名家名作》、《和諧中華》、《書畫英杰》、《世紀風》、《中國美術30年》、《中華名流》、《藝術人生》,《中國輝煌》、《中華英才》、《中國報道文化?？?、《人一生要知道的中國藝術家》、《中國書畫大辭典》、《中國當代藝術收藏指南》、《當代國粹名家》、《走近藝術大師》《民族魂》《中國文藝四十年》,《大中華頌》,《傳承與超躍-當代藝壇典范人物》,《國際華人杰出藝術家》,《2015感動中國藝術人物》,《傳世詩詞三百首》,等書藉。個人作品選集入編《中華傳世名家系列專集》《中國最具魅力藝術家?？穮矔?。
His works have been included in brilliant journey, monument art 49-09, masterpieces, harmonious China, outstanding calligraphers and painters, century wind, 30 years of Chinese fine arts, Chinese celebrities and artistic life, "China's brilliance", "Chinese talents", "special issue of China's report on culture", "Chinese artists to know in one's life", "dictionary of Chinese calligraphy and painting", "collection guide of contemporary Chinese art", "contemporary Chinese quintessence masters", "approaching art masters", "national soul", "40 years of Chinese literature and art", "Ode to the Great China", "inheritance and Transcendence - model figures in Contemporary Art Circles", etc, "International outstanding Chinese artists", "2015 moving Chinese art figures", "300 poems handed down", etc. Selected works of his own have been included in the series of monographs of Chinese famous artists handed down from generation to generation and special issue of China's most charming artists.
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【天地山水】
作者:汪天壽(原創)
余60歲退休,以一生經歷為資,寫小說《平凡人生》以休閑。在電腦上學王碼五筆,兩年打字學會,小說也寫了近百萬字,于是在起點網上試發。上傳到第十三回,傳不上去了,顯示“有非法字符”?？伤植恢甘灸切┳址欠欠ㄗ址?修改困難。煩而不能暢神,乃棄之。轉思作山水畫休閑。于是遍搜古今山水畫論畫法讀之。
前賢山水畫立論可師者,如宗炳的《山水畫序》、荊浩的《筆法記》、王維的《山水決》、《山水論》,韓掘的《山水純全集》、方薰的《靜山居畫論》、鄭績的《夢幻居畫學簡明》、董其昌的《畫禪室隨筆》、石濤的《畫語錄》等等,可以說是致廣大盡精微了。立論之不偏不倚,畫法明細可摸,頗便于學習。?？墒俏覀冏x了還是不會作畫,何也?手藝也。手藝這東西,要么師承,要么自習,均要時日。自習需要有自己的方法。當我們老退才來作畫,已有讀萬卷書行萬里路之經歷,氣韻有資。而形象思維差,即“心中無畫”。我們又沒有時間和興趣臨摩古人來慢慢建立形象思維。如石濤的“一筆法”,固合于道之“一生二,二生三,三生萬物”,但我們畫上一筆,卻不知二筆怎么畫!
于是我們想找一種方法,來彌補形象思維的不足。前人有郭恕洗絹留跡,張大千潑墨潑彩之法,皆為助形象思維之法。又山水畫之法,以法自然為上。余于前人至而不到之處,尋得一法,乃命名為“潑筆畫法”,其法法自然之造化,故名曰“天地山水”。
天地山水者,法天地之造化,仿山川之形勝,造山水于紙上也。不是寫生,也不是寫盡群山打草稿,我們已沒有時間和機會去寫。是效法大自然造山水的方法。
于是我們先來看看大自然是怎樣造山水的:大自然“造山水”,非是“有意”的,而是“隨意”的,“布郎式”的。想那混沌初開,一滴熔漿卷夾水氣,翻滾澎湃,烏煙瘴氣,循道旋轉。途溶異滴若干,混夾裹持,無以名狀。久之,氣漿漸分,漿表凝殼,七孔而八竅,隨紅波而浮沉。又久之,方分天地。水氣凝而塵?；?沉降于溝壑,是為“塵封”。又久之,水澄而泥結,地竅如宮,日精月華,乃孕萬物。又久之,天清而地濁,萬物乃生。而又隕星頻臨,數瓜分而重組。于是天傾西北,地不滿東南,山河江海初定。又頻發地震,山崩而地裂,漿噴而亂凝。地竅頻變,異峰突起,移山而倒海。又久之,方定。如此之造作,有誰事先而意定?正因其隨意,故江山多嬌,千姿百態。張大千悟此,作法潑墨潑彩,豈不‘隨意’?大千潑墨潑彩,自成一格,卻不曾‘潑筆’。于是余定法于‘潑筆’。又可謂之潑筆畫。張大千潑墨潑彩,未曾潑筆,故曰前人至而未到。
“潑筆”之法:用大斗筆,至頹,至岐。于是心運,定筆意,決畫意,索欲成之狀。默契造化,與道同機。握管而潛萬象,揮毫而掃千里,雖閉目,亦無妨,傾刻而就。興來為之,興盡可成數十帖。
繼而于心平氣和之際,靜坐畫室,身若無人之境,心處八荒之中,于是將畫稿張掛于墻,對坐靜觀其態。取細筆追求江山之形勝。此兩法,自由度大,頻率高。開始會肘腕酸痛,筆重顫抖,不聽使喚。堅持十年八年,則無肘無腕,無筆無墨,意到筆到,揮灑自如,隨心所欲。唯有此時,才會真的感受到宗炳所說的作山水畫:“余復何為哉,暢神而已。神之所暢,熟有先焉”。
山水以形媚道,仁者樂山,智者樂水。故后之善事,應全依古人法則。繼而可按王維之《畫決》:坐觀其態,觀氣象,辨清濁。定賓主之朝揖,列群峰之威儀。
有路處則林木,岸絕處則古渡,水斷處則煙樹,水闊處則征帆,林密處居舍。臨巖古木,根斷而纏藤;臨流石岸,欹奇而水痕。東西南北,宛爾目前;春夏秋冬,生于筆下。初鋪水際,忌為浮泛之山;次布路歧,莫作連綿之道。主峰最宜高聳,客山須是奔趨。
村莊著數樹以成林,枝須抱體;山崖合一水而瀑瀉,泉不亂流。渡口只宜寂寂,人行須是疏疏。泛舟楫之橋梁,且宜高聳;著漁人之釣艇,低乃無妨。懸崖險峻之間,好安怪木;峭壁巉巖之處,莫可通途。遠岫與云容交接,遙天共水色交光。
路接危時,棧道可安于此。平地樓臺,偏宜高柳映人家;名山寺觀,雅稱奇杉襯樓閣。手親筆硯之馀,有時游戲三昧。歲月遙永,頗探幽微。如此者,古意幽然。
林幽處,可修別墅,遠山間,時現高樓。渡口處,橋已架通,平湖上,飛行客輪。橋梁下,時見快艇,林泉邊,多是游船。但見深山藏古寺,唯有佳景游人多。畫者,文化也。宜有時代的記錄,與時而俱進。
當此之時,身在其中,心在其中,意在其中,游山玩水在其中,神之所暢在其中。無筆無墨,隨心所欲,隨意而為。是則山川之秀,世界上雖然沒有這個地方,看是卻覺真有這個地方,可視,可游,可居。合天地之造化,全文化之宗旨,故可為一法,自謂之“潑筆畫法”,其形如自然山水,故稱“天地山水”畫。
山水畫有法,無定法。無難易,無多寡。嘉陵山水,李思訓期月而成,吳道子一夕而就,同臻其妙,不以難易別也。李范筆墨稠密,王米筆墨疏落,各極其趣,不以多寡論也。畫法之妙,人各意會而造其境,故無定法也。
有畫法而無畫理非也,有畫理而無畫趣亦非也。畫無定法,物有常理。物理有常,而其動靜變化,機趣有方。出之于筆,乃臻神妙。潑筆畫法合天地造化隨意自然之理,有可為萬水千山之趣,是可“成法”。
凡畫之作,功夫到處,處處是法。功成以后,但覺一片化機,是為極致。然不從煊爛,而得此平淡天成者,未之有也。畫之要,在其妙。妙無則,乃人類共性美的感覺是也。中國畫,博大精深,一法一格。三十六皴,一十八描,任習其一,亦或自創,均不失為一格;各臻其妙,均不失為上品。畫可無定法,不可無法。無法則無格。無格則難臻其妙。
中國畫古有六要:一曰氣。氣者,隨形運筆,取象無惑。二曰韻。韻者,隱露立形,備儀不俗。三曰思。思者,頓挫取要,凝想物宜。四曰景。景者,制度時用,搜妙創奇。五曰筆。筆者,雖依法則,運用變通,不質不華,如飛如動。六曰墨。墨者,高低暈淡,品別淺深,文彩自然,似非用筆。”有此六法者,神之又神也。而六法得施,須歸“一法”。即自己所能之法。沒有自己的畫法,縱曉六法,而不知所云也。
畫事之道,貴乎“意在筆先”。“意”者,筆之意也。筆之意,乃品格取韻而已。意欲奇幻,筆率形顛;意欲蒼老,筆重而勁;意欲淋漓,筆爽流利;意欲雄厚,筆園氣足;意欲清逸,筆簡而輕。筆意欲何為,先須概定。潑筆布稿,須先有個“布局”大意。這“大意”是很容易事先想好的。有了大意,則有了意在筆先。以后造景構物,有成稿的“導引”,更是輕松愉快。就像“導游小姐”帶你游山玩水,縱有千筆萬筆,也只當千崖萬壑,償心而悅目,任意而暢懷,是神游山水于紙上也。作畫,暢神而已。正是:人到老年萬事休,情與山水自相融。造化本生于自然,回歸自然樂無窮。
藝術的發展是多元的,不是一元的。不像科學技術,先進的淘汰落后的。藝術的發展是疊加式的,多元的。中國畫的發展也是如此。國畫的畫法并不是“經歷過簡單-復雜-單純發展變化的歷史過程。”而是有簡單、復雜、單純多樣性的發展過程。也并不是“完成了致廣大、盡精微的各種畫法系統的探索,最后又回到畫法自身單純講究與純凈化的追求。”而是完成了致廣大、盡精微的各種畫法系統的探索,又產生了對畫法自身的單純講究與純凈化的追求。不是“從工匠畫發展到畫家畫又發展到文人畫,”而是有了工匠畫,又發展了畫家畫,又發展了文人畫。各種風格的畫,相互沒有可比性,也不可能相互復蓋。由于作畫是畫家個性的自我述求,故前人達到的高度,后人很難超越,是故名畫流傳千古。
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[Landscape of heaven and earth]
Author: Wang Tianshou (original)
I retired at the age of 60 and wrote the novel ordinary life for leisure. In computer school Wang Ma five strokes, two years typing society, the novel also wrote nearly a million words, so in the starting point of the online trial. Upload to the thirteenth time, can not be transmitted, the display "illegal characters.". However, it does not indicate that those characters are illegal characters, so it is difficult to modify them. If you can't get rid of it, you should abandon it. Turn to landscape painting for leisure. Therefore, he searched the ancient and modern landscape painting theory and read it.
For example, Zong Bing's preface to landscape painting, Jing Hao's brushwork, Wang Wei's Shan Shui Jue and Shan Shui Lun, Han Zhe's Shan Shui Chun Quan Ji, Fang Xun's Jing Shan Ju Hua Lun, Zheng Ji's Wang Ji's dream residence painting, Dong Qichang's painting Zen chamber essays, Shi Tao's painting quotations and so on, can be said to have made great efforts. The argument is impartial, the details of the painting can be touched, quite easy to learn.. But we still can't draw after reading. What's the art. It takes time either to learn from others or to learn from others. Self study needs its own method. When we were old enough to come to painting, we had already read thousands of books and traveled thousands of miles. We were talented. But the image thinking is poor, that is, "there is no painting in the heart". We don't have the time and interest to learn how to think in images. For example, Shi Tao's "one stroke technique" is fixed in the Tao's "life two, two to three, three to all things", but we do not know how to draw two strokes!
So we want to find a way to make up for the lack of image thinking. Guo Shu washed the silk and left traces, and Zhang Daqian splashed ink and color, which were all methods to help image thinking. In addition, the method of landscape painting is based on nature. He found a method which was named "splash brush painting method" where his predecessors could not find it. His method is the natural creation, so it is called "heaven and earth landscape".
The landscape of heaven and earth is the creation of heaven and earth. It imitates the shape of mountains and rivers, and creates mountains and rivers on paper. It's not sketching from life, nor is it a draft of mountains. We have no time and opportunity to write. It is a method of imitating nature to create mountains and rivers. It is a method of imitating nature to create mountains and rivers.
So let's first look at how nature creates landscapes: nature "creates landscapes" not intentionally, but at will and "brownstone.". Think of the chaos in the beginning, a drop of molten slurry rolled with water vapor, rolling and surging, smoky, rotating along the road. There are a few different drops in the solution, which are mixed and held together. For a long time, the gas slurry gradually separated, the surface of the slurry solidified, seven holes and eight orifices, floating and sinking with the red wave. After a long time, we can pide heaven and earth. Water and gas condensation and dust mixing, settling in the gully, is "dust". For a long time, the water is clear and the mud is formed. The earth's orifices are like palaces. The sun's essence and the moon's brilliance are pregnant with all things. For a long time, the sky is clear and the earth is turbid. Everything is born. And meteorites are frequent, pided and reorganized. Therefore, the sky tilts to the northwest, the earth is not satisfied with the southeast, and the mountains and rivers are initially determined. And frequent earthquakes, landslides and ground fissures, slurry spray and coagulation. The earth orifices change frequently, with different peaks protruding, shifting mountains and falling into the sea. After a long time, it will be decided. Who decided in advance for such an artifact? Because of its randomness, the rivers and mountains are more delicate and varied. When Zhang Daqian realized this, he did not splash ink and paint at will. Daqian splashed ink and color in his own style, but he did not "splash pen". Therefore, Yu's method is to "splash pen". It can also be described as a splash of strokes. Zhang Daqian splashed ink and color, but did not splash pen, so it is said that predecessors arrived but did not arrive. The method of "splashing pen" is to use big pen, to be dispirited and dispirited. So the heart movement, determine the brushwork, determine the painting, the shape of the desire. The tacit understanding of nature is the same as Tao. Grasp the tube and pe into all things, wave a hair and sweep thousands of miles, although closed eyes, but also no harm, tilt the moment. If you want to do it, you can make dozens of posts. Then, when he was calm and calm, he sat in the studio and felt as if he was in a state of desolation. So he hung the painting on the wall and sat in front of him. Take a fine pen to pursue the shape of the mountains and rivers. These two methods have large degree of freedom and high frequency. At first, my elbow and wrist ache, my pen trembled heavily, and I didn't listen. Adhere to ten years and eight years, no elbow, no wrist, no pen, no ink, to the pen, free and easy, arbitrary. Only at this time, can we really feel what Zong Bing said about landscape painting: "what is Yu Fu? It's just a free spirit. God's smooth, familiar how first. Mountains and rivers are beautiful in shape. The benevolent enjoy the mountain and the wise enjoy the water. Therefore, the good deeds of later generations should follow the ancient laws. Then according to Wang Weizhi's painting decision: sit and watch its state, observe the weather, and distinguish the turbid. The court of the host and guest is fixed, and the majesty of the mountains is listed.
Where there is a road, there are trees; where there is no bank, there is an ancient ferry; where there is a water break, there are smoke trees; where the water is wide, sail; and where the forest is dense, there are dwellings. The ancient trees near the rock have broken roots and twined vines; on the Bank of flowing stones, there are strange and water marks. In the East, West, North and south, Wan Er is at present; in spring, summer, autumn and winter, he was born in his writing. When the water is first paved, it should be avoided to be a floating mountain; when the road is uneven, do not make a continuous road. The main peak should be towering, and the guest mountain should be running. The village has several trees to form a forest, and the branches should hold the body; the cliffs merge into one water and the waterfall falls, and the spring does not flow disorderly. The ferry should be quiet and the pedestrian should be sparse. The bridge for boating should be high, while the fishing boat for fishermen should be low. Among the precipitous cliffs, there is a strange wood; where the cliffs are craggy, there is no way out. Yuanxiu and Yunrong hand in hand, distant days total water color cross light. When the road is in danger, the plank road can be safe here. It is suitable for high willows to reflect people's homes on flat ground; it is also known as Qishan lined Pavilion in famous mountain temples. When I write inkstone by myself, I sometimes play tricks. The years are long and long. In this way, the ancient meaning is quiet. Forest secluded place, can repair villa, distant mountain, when now tall buildings. Ferry, bridge has been erected, Pinghu, flying passenger ships. Under the bridge, from time to time, you can see the speedboat, beside the forest and spring, most of which are pleasure boats. But see deep mountain Tibetan temple, only beautiful scenery, visitors. The painter, the culture also. There should be a record of the times and keep pace with the times. When this is the time, the body is in it, the heart is in it, the intention is to visit the mountains and rivers, and the God is in it. No pen, no ink, do as you like. It is a show of mountains and rivers. Although there is no such place in the world, it can be seen, traveled and inhabited. Combining the nature of heaven and earth and the purpose of the whole culture, it can be regarded as one method, which is called "splashing brush painting method". Its shape is like natural landscape, so it is called "landscape painting of heaven and earth". There is a law in landscape painting, but there is no fixed method. No difficulty, no amount. Jialing mountains and waters are formed by Li sixun's period of the moon, and Wu Daozi's one night and one night, both of them are wonderful. It is not difficult to separate them from each other. Li Fan's brush and ink are dense, while Wang Mi's brush and ink are sparse. Each of them is extremely interesting, not to say how much. The art of painting is so wonderful that people can create their own environment according to their own ideas, so there is no fixed method. It's not true that there is painting method without painting theory, and it is also not true that there is painting theory without painting interest. There is no fixed method in painting, but things have common sense. Physics is constant, and its dynamic and static changes are interesting. Out of the pen, it's wonderful. The method of splashing strokes is in line with the natural principle of nature, which can be used for thousands of rivers and mountains.
Every painting works, Kung Fu everywhere, everywhere is law. After success, but feel a piece of chemical machine, is the ultimate. But not from Xuan rotten, and get this insipid natural, there is no it also. The essence of painting lies in its beauty. Wonderful is the feeling of human common beauty. Chinese painting, broad and profound, one method, one style. Thirty six chaps, eighteen deions, either learning one of them or creating them by ourselves, can be regarded as one style; each of them is excellent. There is no fixed method for painting. If you can't, you can't. It is difficult to achieve perfection without qualification. In ancient times, Chinese painting has six Essentials: first, Qi. Qi, with the shape of the pen, take the image without doubt. Second, rhyme. Rhyme, hidden dew standing form, ready instrument is not vulgar. Third, thinking. If you think about it, you should take it in frustration, but you should concentrate on it. Fourth, scenery. Scenery, the system of time to use, search wonderful and create novelty. The fifth is pen. The author, although in accordance with the law, the use of flexibility, not quality is not Hua, such as flying. Six is ink. Ink, high and low halo light, grade shallow deep, the color of the text is natural, it seems not to use pen Those who have these six dharmas are also gods. If the six methods can be applied, they should belong to "one method". It's what you can do. Without his own painting method, he knows the six methods, but he doesn't know what to say.
The way of painting matters is that "the intention is prior to writing". "Meaning" is the meaning of pen. The meaning of the pen is just the rhyme of character. The author thinks that the writing style is fantastic, and the pen is heavy and strong; the intention is incisive and fluent; the intention is strong, and the pen garden is full; the intention is pure and elegant, and the pen is simple and light. What is the meaning of a brush must be determined first. To put pen to paper, we must first have a general idea of "layout". It's easy to think about the general idea in advance. If you have a general idea, then you have an idea in advance. In the future, there is a draft of the "guide", which is more relaxed and pleasant. Just like "Miss tour guide" taking you on a tour of mountains and rivers, even if there are thousands of strokes, you can only treat them as thousands of cliffs and gullies. You can enjoy your heart and eyes, and you can enjoy yourself freely. You can enjoy the scenery on paper. Painting is just a matter of mind. It is: when people get old, everything stops, and feelings and mountains and rivers blend together. Nature is born in nature and returns to nature with infinite happiness.
The development of art is pluralistic, not unitary. Unlike science and technology, the advanced ones eliminate the backward ones. The development of art is superimposed and persified. The same is true of the development of Chinese painting. The painting method of traditional Chinese painting is not "experienced a simple, complex, simple historical process of development and change." It has a simple, complex, simple and perse development process. It is not "to complete the exploration of various painting systems to the vast and subtle, and finally return to the pursuit of simple attention and pure purification of painting itself." Instead, it has completed the exploration of various painting systems to the vast and subtle, and produced the pursuit of simple attention and pure purification of painting itself. It is not "from craftsman's painting to painter's painting and then to literati's painting", but with craftsman's painting, painter's painting and literati's painting are developed. There is no comparability between different styles of paintings, and it is impossible to cover each other. Because painting is the artist's personality self-expression, it is difficult for later generations to surpass the height reached by the predecessors, which is why the famous painting has been handed down for thousands of years.
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