中国画岂能被取代（上）
Chinese painting can not be replaced （1）
——由“诗情画意”引发的东西方绘画审美观念之争·顾绍骅著
-- from "poetic Chinese painting" triggered by the eastern and Western Painting Aesthetic Ideas Competition·Gu Shaohua wrote
引：笔者文章《中国画岂能缺文化》发表以来，承蒙专家、书画工作者及广大爱好者的积极的支持与关注，在此本人深表谢意。但是，针对“中国画已死，中国画再热闹再缤纷充其量是昙花一现……”等等观念、说法很是反感；故尔拟题商榷，以求达成共识。（央视论坛：http：//bbs。cntv。cn/thread-14834625-1-1。html
Editor's note： the" Chinese painting can not be the replaced" since the publication， experts， and the majority of painting workers like persons with active support and attention， in this I would like to express my gratitude。 However， the" Chinese painting Chinese painting is dead， more lively and colorful flower briefly as the broad-leaved epiphyllum is at best 。。。 。。。" And so on idea， argument revolted； so to write the paper， in order to reach a consensus。 ( CCTV forum： http：//bbs。cntv。cn/thread-14834625-1-1。html
中国美术家韩美林说，文化极其重要！在全球化下，美国大片、日本动漫把孩子们整得都不认识中国漫画是什么了，都不知道中国的文化底蕴在哪里了。中国的布老虎、中国人自己的动画片、中国人自己的电影，都到哪里去了？中国的大片，怎么出洋相，怎么给外国人看，在外面还得大奖，回来还成了英雄。文化都到这个程度了，难道我们还不反思吗？
Chinese artists Han Meilin said， culture is very important! In the age of globalization， large areas of the United States， Japan catoon and caricature the children all do not know what is Chinese cartoon， do not know where the Chinese culture。 China 's cloth tiger， Chinese own cartoon， Chinese own movies， where are they? China 's large， how to make a show of myself， how to give foreigners see outside， get back， also became a hero。 Culture to this extent， do we not reflection?
韩美林认为，文化是一种升华的东西，绝对不是那些表面文章。以美术界为例，以前真正的海归派，都是文化精英，包括徐悲鸿、刘海粟、林风眠、傅抱石……都致力于中国画的创作。现在的有些海归派，不一样了，一回来就大呼小叫地要让外国的东西进来，否定中华民族的文化，甚至不让学生用毛笔。这是艺术吗？这是吓唬我们老百姓。上了美术学院一年级，就留着长头发，留着小胡子，那个丑就甭提了！难怪有人说我们搞美术的，“远看像个逃难的，近看像个要饭的，再看是个捡破烂的，有的像土匪杀猪的，仔细一看是美术学院的。”
Han Meilin thought， culture is a kind of sublimation thing， absolutely not the specious writing。 In the art world as an example， before the real returnees， is the cultural elite， including Xu Beihong， Liu Haisu， Lin Fengmian， Fu Baoshi 。。。 。。。 Is committed to the Chinese painting creation。 Now some of the returnees， not the same， a back shout and wrangle to make foreign things in denial， the culture of the Chinese nation， even not allow students to use a brush。 Is it art? This is scaring people。 In the first grade of Academy of Fine Arts， keep long hair， beard， the ugly jiubeng mention! No wonder people say we make art，" far look like a refugee， close look like a beggar， to see is a garbage， some like the butcher， a careful look at the Academy of Fine Arts。"
韩美林指出，这些表面的东西并不是艺术。真正的艺术魅力，艺术素养的魅力是相当大的。博士不一定有文化，文盲也不一定没有文化。在弘扬民族文化这个事上，我们都应该做铮铮铁骨的好汉，不能卑躬屈膝。我们作为一个人生存在这个世界上，得有思想，应该对我们世界有点责任，没有文化是不行的。
Han Meilin points out， these things on the surface is not art。 The real charm of art， artistic charm is considerable。 Doctor do not have culture， illiteracy is not necessarily no culture。 In carrying forward the national culture of the matter， we should be firm and unyielding character hero， not bow and scrape。 We as a people to survive in this world， have thought， should be responsible for our world a little responsibility， no culture is not。
我们试想一下：如果没有民族文化底蕴“诠释”的绘画作品，即使技法再高超也不会比数码照片写实；那么，人们还是认为艺术家的绘画作品的价值高，而不是数码照片。为何？这就因为是人文的积淀多；“在喧哗的世界中追求内心感受，在理性的社会中不忘呼唤激情。”人文的积淀造就经典。我们的时代需要经典。呼唤经典，传承经典，艺术才更精彩。中国画可谓是博大精深，道家的自然空灵，儒家的中庸和谐，释家的亲善修为等，都无一例外地体现在其中，需要艺术家在蒙养的过程中去体验与领悟。
We imagine： if there is no national cultural heritage" interpretation" of painting techniques， even if again superb also won't compare digital photo realistic； so， it is believed that the artist's paintings of high value， rather than a digital photo。 Why? This is because the humanities is the accumulation of many；" in the world in pursuit of feelings， in the rational society did not forget to call passion。" Humanities accumulation makes classic。 Our time needs classics。 Calling for classic， classic tradition， art is more wonderful。 Chinese painting is broad and profound， the nature of the Taoism ethereal， Confucian doctrine of harmony， goodwill and so must repair， without exception， the embodiment in which the artist in the Mongolian， need a process to experience and comprehend。
【摘要】世界上任何一种艺术，无不是文化的产物。首先是文化（文学），然后才是艺术（技艺）。文化艺术应该是多元的，只有多元的相互促进、相互吸取，才能够得道和谐发展。塞尚认为：“画画并不意味着盲目地去复制现实，它意味着寻求各种关系的和谐。”毕加索自己曾经写道的：“坏艺术家复制。好艺术家巧取”。齐白石说过“学我者生，似我者死”这些都是大艺术家的经典语句。是告诫我们千万不要抄袭或者复制前人的作品，否则只有死路一条。各个画种都有自己的特点，而代表中国民族文化的中国画是具有“诗、书、画”等中国民族文化特征，这是中国画的根本；其最高境界就是诗情画意。
【Abstract】The art of any kind， all without exception is the product of culture。 The first is the culture ( Literature )， then the art ( technology )。 Art and culture should be diverse， only a plurality of mutual promotion， mutual absorb， can be very good development。 Cezanne said：" painting is not to blindly copy of reality， it means seeking harmony。" Picasso once wrote：" stupid artists copy。 A good artist steal"。 Qi Baishi said" I learn to health， I like to die" these are the artist's classic statement。 Is telling us not plagiarized or copied the previous works， or only a blind alley。 Each painting has its own characteristics， and on behalf of the Chinese national culture and the Chinese painting is with" poem， book， painting" Chinese national culture characteristic， this is
艺术（人文学科——浪漫）不同于自然科学（严谨）。自然科学的法则：1＋1＝2；而艺术往往是1＋1≠2。例如：男人＋女人＝家庭，这个“家庭”的数字往往具有很多大不确定性；可能是3、5、6…
Arts ( Humanities) differs from that of natural science。 Natural law： one plus one equals two； while the art is often one plus one is not equal to two。 For example： the man and woman in the family， the" family" digital often has many large uncertainty； may be 3， 5， 6 。。。
任何一种门类的艺术，不可能、也不可以是绝对的“纯种”，它总会要受到或这或那的影响；她们之间总是“自觉或不自觉”的相互渗透着，相互弥补着，直至现在。
Any kind of categories of art， can not and may be absolute， "pure"， it will always be subject to impact or this or that； between them is always "consciously or unconsciously，" the mutual penetration of each other make up the， until now。
有高超的技术如果没有很好的思想与品位以及文化的底蕴或者一些艺术上的创新精神，是永远不能成为出色的艺术家的，还有是有很多想法也有创新，但没有一些技术上的东西，不能很好的把它表现出来，那就所谓的涂鸦之作，或者是一堆烂泥巴，如果是这样那也是不可取的。——威廉·德库宁
With superb technology without a good thought and taste and culture or some art on the spirit of innovation, can never be good artists, there is a lot of ideas and innovation, but without some technical things, not to show it is good, then the so-called graffiti make, or a pile of mud, if so it is not desirable. -- William de Kooning
自从1839年8月19 日法国画家达盖尔公布了他发明的“达盖尔银版摄影术”，于是世界上诞生了第一台可携式木箱照相机。西方艺术家们开始思考“能否将写实风格进行到底”了。于是，在“巴比松画派”后，西方的“印象主义、野兽派、抽象艺术、超现实主义……”成为了西方绘画的“主流”或发展方向；艺术家莫奈、梵高、毕加索的作品并非“写实主义”他的作品却倍受人们喜爱：莫奈、马奈作品的“笔触未经修饰而显见，构图宽广无边，尤其着重于光影的改变、对时间的印象……”
Since August 19， 1839 French painter Daguerre announced his invention of the "Silver Edition Daguerre photography"， then the birth of the world's first portable wooden box camera。 Western artists began to think， "Can realist style in the end" of the。 Thus， in the "Barbizon School"， the West's "Impressionism， Fauvism， abstract art， surrealism 。。。" Paintings of the West has become a "mainstream" or development； artists Monet， Van Gogh， complete Gasol's work is not "realism" of his work was much people like： Monet， Manet works "without modification and obvious brush strokes， composition broad boundless， with particular emphasis on changes in light and shade， the impression of time 。。。 。。。 "
而在中国，从徐悲鸿的“将西方造型艺术融于中国画（放弃‘白描’改为素描，追求‘光影效果’……）”；使中国画的表现方法更丰富了。现在，一些“国画家”们挖空心思追求逼真——“照相机效果”，大有将中国画“油画化”的趋势。笔者认为：这是舍本而逐末也。技术手法（绘画技法）是一定的，而人文思想（诗情画意）和中国传统文化艺术底蕴的追求是没有止境的。
In China， from Xu Beihong's "art of the West and into the Chinese painting style (give up the 'line drawing' to sketch， the pursuit of 'shadow effect' 。。。)"； the performance of Chinese painting is more enriched。 Now， some "country artist" who rack their brains to pursue realistic - "camera effect"， much of Chinese Painting "oil painting" trend。 I think： This is to give up the essence of things， just look for the smallest one。 Technical approach ( painting ) is certain， while the humanities thought ( poetic Chinese painting ) and the Chinese traditional culture and art heritage is the pursuit of endless。
从世界艺术市场看：人们欣赏、推崇的并不是“写实主义”那么地“刻板”（写实主义的终极是照相机的照片效果），而是“印象主义、野兽派、抽象艺术、超现实主义……”如：迄今为止世界上最昂贵的前五幅名画中，没有“写实主义”。（艺术作品是反应艺术家的“心画”，是情感与世界观的真实反映；因此，不必“惺惺作态”，更不可“千人一面”。）
From the world of art market ： people appreciate， respected and not" realism" and" stereotype" (realism is the camera photo effect )， but" Impressionism， cubism， abstract art， surrealism 。。。 。。。" Such as： by far the world 's most expensive paintings in five， no" realism"。 ( a work of art is the artist's" voice" reaction， emotional and world views reflect the true； therefore， without hypocrisy。"。 Deliberately made a gesture"， nor" the works of one thousand artists is a face 。 " )
但是，笔者认为：按照“中和”思想去看，任何事物都要遵循自身的发展规律来，不可有失偏颇；在中国画的发展上，吸收其他艺术长处无可厚非，但要有度，不只能局限在以“术”求“术”的思维之中，而重点是要有中国传统文化的底蕴；假如没有了中国传统文化底蕴、没有民族特色，那么中国画且不谈“发展”，就连“生存”都是问题；因此“诗情画意”是中国画的发展方向。也许，“诗情画意”今后会领引世界绘画的发展。
However， I think： according to "neutral" ideas go， everything must follow the laws of its own development， not biased； in the development of Chinese painting， the absorption strengths of the other arts is nothing wrong， but have a degree， not only for a limited in a "technique" seeking "technique" of thinking among the key is to have a heritage of traditional Chinese culture； if there is no traditional Chinese culture， there is no national characteristics， then the Chinese painting Leaving aside the "development"， even "survival "are the problem； so" poetic Chinese painting "is the development direction of Chinese painting。 Perhaps， "poetic Chinese painting" in the future will lead the development of lead painting the world。
传统西方绘画：西方传统美术认为艺术在于客体再现，而西方现代美术认为艺术在于主体表现。追求形质上的表现，其最高峰是“通过‘条件色彩’还原事物原本的面貌；（“借助理性和科学的知识，力图在美术创作上开拓出新局面，使生动的形象和场景反映在美术作品中，让它成为一种再现性的美术。在绘画领域中，他们进行探索，尽力让二维平面具有三维空间感，并使人物活动立体化，从而实现古希腊人追求过的那种错觉性效果，让人们把美术品当成真实生活的写照，当成可感、可融、可知的事物。”——意大利文艺复兴始）终极目标——照片效果”（数码技术可完成），这些是清晰到一览无余。（西方现代美术思潮的产生，一方面是因为照相机的发明，画家不得不重新考虑绘画的使命和价值，但更重要的是西方人哲学思维的转变。）
Traditional Western painting： the Western tradition of art that art is the object of reproduction， and modern Western art that art is the main performance。 Form of quality performance on the pursuit of its highest peak is "through" conditions of color 'to restore the original appearance of things； ("use a rational and scientific knowledge， in a bid to open up a new situation on the creative arts， vivid images and scenes that are reflected in art works， it becomes a representation of art in the field of painting， they explore， try to make sense of two-dimensional plane with a three-dimensional space， and make three-dimensional character activities， in order to achieve the pursuit of the ancient Greeks had the kind of illusion of the effect， so that people of the artwork as a reflection of real life， as can a sense， can melt， we can see things。 "- the beginning of the Italian Renaissance) the ultimate goal - photo effects" (to be completed by digital technology)， these are clear to glance。 (Thought to have Western modern art， partly because the invention of the camera， the artist had to reconsider the mission of painting and value， but more importantly， Western philosophical thinking。)
中国美术以中国画为代表，注重意境，注重人的情感，神似形不似。中国画则是把主观表现与客观再现统一起来，是天人合一的艺术（世界因为有人才有了世界！人字是头顶天脚立地的形象结构来比喻人！先天地而有人！天地人！天人合－！天地自然归宿人体宇宙自然而归自然！）。
Art in
天人合一还与马克思(1844年经济----哲学手稿)中的一段话恰可互证，马克思说“自然界就是人的无机的肉体”，“人的肉体和精神两方面的生命是和自然界紧密联系在一起的，也就是说自然界是和它本身紧密联系在一起的，因为人本来就是自然界的一个组成部分”。人是自然界的一部分，自然界与人构成和谐的整体。
"Cosmos of the art of emotional integration" with Marx (1844 ---- Economic and Philosophical Manuscripts) in a passage appropriate for each card， Marx said， "is one of the inorganic nature of the flesh，" "people's physical and mental two aspects of life and nature are closely linked， and that nature is itself closely linked， because people always been an integral part of nature。 "People are part of nature， nature and people form a harmonious whole。
中国画以自然为对象，这个自然在人的审美感受中，已成为天人合一的，人化了的自然，成为作者感情中的世界。张璪的"外师造化，中得心源"的创作方法论，也正是对这一哲学思想的诠释。以画家的意志为转移，追求情怀上的表现，其最高峰是“诗情画意”；是通过“笔墨线条”来表现艺术家对人生经历的反映、总结或对美好世界、未来生活的憧憬；这是精神上的追求，存在千差万别（个人风格）；这些是充满遐思无限、意味无穷的朦胧。
Chinese painting nature as an object， the nature of aesthetic experience in the human has become the "Cosmos of the art of emotional integration"， the people of the nature， to become an author feeling in the world。 ZhangZao "learning nature， draw their own ideas，" the creation of methodology， it is also the interpretation of this philosophy。 The artist's will， the pursuit of performance on the feelings， the highest peak is "poetic Chinese painting"； is "ink lines" to show the artist's reflection on life experiences， summary， or for a better world， a vision of the future life； this is spiritual pursuit， there are vastly different (personal style)； these are full of infinite reveries， which means endless hazy。
诗情画意是时空的融合，因此，“没有最好，只有更好”令欣赏者没有统一“标准”，并且，在创作与欣赏中需要有一定的中国传统文化素养。虽然，少了西画那样的“清晰、一览无余”却存有东方审美特有的含蓄、朦胧，甚至有些模糊、迷离……；这也有了“神秘感”，增强了“想象空间”，犹如：“隔纱观美景、月下看美人——越看越喜欢”，在理解“诗情”后，更能了解“其中味”。
poetic Chinese painting is the integration of space and time， therefore， "there is no best， only better" so that the viewer is no uniform "standard" and， in the creation and appreciation of the need to have some of the traditional Chinese cultural awareness。 Although less Western painting as "a clear and sweeping，" but there is a unique subtle oriental aesthetic， hazy， or even some vague， blurred 。。。 。。。； which also have a "mystery" to enhance the "imagination"， like： "yarn across the concept of beauty， see beauty next month - made him look like" in the understanding of "poetry"， the better to understand "the meaning of them。"
为什么中西方传统绘画大不相同呢？其原因是中西方文化的不同发展导致了艺术本质特点的不同。比较二者审美取向的形成与其背后的哲学背景。艺术是文化的载体，文化的不同发展导致了艺术特色的分野。世界上各民族艺术的差异，体现着各民族心理意识的差别，而任何民族的意识特征根源于其一定环境条件下的人类群体的历史、生活、文化系统，并集中体现着其哲学思维。
Why is it different from the Western tradition of painting？ The reason is that Western culture has led to different development characteristics of the different nature of art。 More aesthetic orientation of both the philosophy behind the formation of their background。 Art is the carrier of culture and cultural characteristics of different development led to the distinction of art。 The national art world， the difference reflects the difference between the national psychology of consciousness， and consciousness of any nation is rooted in its characteristics under certain environmental conditions， the history of human groups， living， cultural system， and a concentrated expression of the philosophical thinking。
中西美术之所以长期以来分道扬镳，主要因其哲学思维模式的不同。西方是主客二分的观念，东方美术则坚持主客体合一。西方的“摹仿说”和“表现说”影响了西方绘画；西方在哲学上先是认为美是对“理念”的摹仿，后又认为是对“自我”的表现，在美术界先是理性主义的“镜子”反映说（达芬奇），后是非理性主义的“自我表现”。 而中国的“天人合一”哲学观造就了绘画的本质特点。
Western art has long been parted ways， mainly because of their different philosophical mode of thinking。 West is the concept of subject-object dichotomy， Oriental art insisted on one subject and object。 West's "imitation" and "performance that" influence of Western painting； Western philosophy that beauty is on the first of the "idea" of imitation， then that is the "self" performance， first in the art world of rationalism。 "mirror "to reflect that (da Vinci)， after the non-rational theory of" self-expression。 "And
中国画则主张艺术本质在于客观自然再现与作者主体精神表现二者的高度合一，这体现了中国人天人合一的哲学思维。中国画只有扎根于本民族自己的艺术精神土壤中才不会失其本质。这民族艺术精神也正是需要我们继承和发扬的，中国绘画有它自己独特的艺术感染力和艺术魅力。所以我们每个人都要学会欣赏，懂得审美，感知中国艺术的魅力与内涵，是中国特色文化传承和发扬。
Chinese painting is the nature of that art is the main objective of natural reproduction of the spirit of the author show a high degree of unity between the two， which reflects the Chinese people "Cosmos of the art of emotional integration" of philosophical thinking。 Chinese painting is only rooted in the spirit of his art in this nation will not lose its nature of the soil。 This is precisely the spirit of national art we need to inherit and carry forward the Chinese painting has its own unique artistic appeal and artistic charm。 So each of us must learn to appreciate， understand aesthetics， perception and meaning of the charm of Chinese art， is the cultural heritage and development with Chinese characteristics。
1、审美取向：中国画讲究“气韵生动”：中国画与书法有很深的渊源，即“书画同源”、“书画同法”；中国绘画描写的是心灵的故乡，中国画里诗书画印为一体——“诗情画意”，是画面的重要组成部分，也是“文学与艺术”完美结合的典范。而西画则不然，西方绘画主要讲究形的要求：重形似、重再现、重理性、重光色效果。西方绘画描写的是生命的家园。西方美术以注重实际，光影效果要求严格为主，形似神不似创意抽象留出想想空间为辅。
1， aesthetic orientation： Chinese painting pay attention to "Vivid"： Chinese painting and calligraphy has very deep roots， that is， "Chinese calligraphy and Chinese painting is the same source，" "Chinese calligraphy and Chinese painting is to use the same method"； Chinese painting depicted a soul hometown， Chinese painting poetry， painting， printed as one - "poetic Chinese painting"， is an important part of the screen is "Literature and Art，" a perfect combination of a model。 The Western painting is not， pay attention to the shape of Western painting major requirements： heavy shape， weight reproduce， re-rational， re-light color effect。 Description of the life of Western painting home。 Western art to realistic， demanding lighting effects-based， God does not like the shape of abstract ideas， supplemented by leaves Think about space。
2、作画方法：中国画讲究“默写”即获取素材之后回房作画，西方讲究写生。
3、观察方法：中国画讲究在游玩中无意中获取素材，而西方讲究刻意的取景。
4、构图：中国画重视空白的运用，有“虚实相生”的效果；而西方绘画出现留白则视为画面不完整。中国画还经常使用印章，是点缀，也增加韵味和美感。
5、透视：中国画重视艺术与自然的关系，强调“以形写神”，讲究意境、神韵；有“三远”画法等的散点透视。西画则凌驾于自然之上，采用的是焦点透视，重写形。
2， the painting method： draw attention to
3， observation methods： draw attention to the play in
4， composition： draw attention to
5， perspective： draw attention to
中国画是在“写”、表现精神、偏抽象；西方绘画是在“仿”、描摹、仿造事物，偏具象。后期毕加索（西班牙画家，立体派创始人）、凡高（荷兰画家，后印象派的代表）等人对中国画的意境都是十分崇拜！不能说谁比谁高，艺术是全人类共同的东西，是无等级的，只是世界观不同，文化差异之必然！
Chinese painting is in the "write"， showing the spirit of partial abstract； Western painting in the "imitation"， describe， copy things， partial concrete。 Late Picasso (Spanish painter， founder of cubism)， Van Gogh (Dutch painter， representative of post-impressionist) and others on the mood of Chinese painting is very worship! Higher than anyone else who can not say， art is something mankind is non-hierarchical， just a different world view， cultural differences must!
毕加索说：“中
Picasso said： "China， Mr。 Qi Baishi painting fish， do not draw water fish in the water felt。" In fact， Chinese painting with Western painting is a fundamental difference between the。 Western painting emphasizes the performance of light， a painter of light elements such subjective and objective scientific analysis and objective representation in front of the real world， with particular emphasis on light and shade with color and light to create the object。 Chinese painting emphasizes mood， and mood， it has been a pure sense of the things the artist。 Emphasis on the use of Chinese painting blank， the "vacuousness" effect。 Stressed that "to write to God"， pay attention to mood， charm； scatter perspective。 Even landscapes， flowers， birds and other pure natural objective images， in observing， understanding and performance， but also consciously and the social consciousness and aesthetics linked by King lyrical， care of statement， reflecting the Chinese people "Cosmos of the art of emotional integration "concept。
中西方美术的最主要差异就在于透视，这是最根本的，中国绘画在创作上重视构思，讲求意在笔先和形象思维，注重艺术形象的主客观统一。造型上不拘于表面的肖似，而讲求“妙在似与不似之间”和“不似之似”，在透视上将焦点（一点）透视与散点（多点）透视结合；而西方绘画着重于焦点透视，比较客观科学地体现了物体的外观，真实客观是其特点。
The main difference between Chinese and Western art is that perspective， this is the most fundamental， the Chinese emphasis on the idea of painting in the creation， emphasis is intended to pen the first and thinking in images， focusing on the artistic image of the objective and subjective unity。 Informal in style on the surface of the resemblance， but the habit of "wonderful in between like and unlike" and "do not like the like"， will focus on the perspective (point) perspective and scattered points (multi-point) perspective combined； and the West paintings focus on the focus lens， reflect a more objective science and the appearance of the object， the real objective of its characteristics。
中国绘画讲究的是意境，画面的构图可以北地之山，南河之水，成竹在胸，山林水楼，人物花鸟，增减不在话下，而西方绘画造型严谨，焦点透视决定了其在构图上有所限制，但也更体现了西方绘画方寸之间的精工细，用现今意义上来说就是中国画在于细细品味，西方画细部则更加耐看。
Pay attention to the mood of Chinese painting， screen composition can be north of the mountain， Nanhe water， intimate knowledge of the forest floor， water， bird characters， let alone change， while Western painting style strict focus lens determines its composition has limited， but also reflects the confusion between the Seiko Western painting fine with the current sense is that Chinese painting is thin to enjoy the cultural flavor of Western painting is more beautiful detail。
绘画工具的不同也造就了中西方绘画的差异。毛笔，纸张，绘画颜料可谓独树一帜，更体现了中国古代人民的智慧，当然整个当时西方社会的工艺水平也是很高的。
The different drawing tools also created a difference in Western painting。 Brush， paper， paints can be described as unique， but also reflects the ancient Chinese people's wisdom， of course， the whole process at the level of Western society is very high。
西方绘画色彩的精神内涵在中世纪的宗教生活中得到了极大的丰富，拜占庭基督教堂宣传宗教观念的镶嵌画，形象清晰，色彩鲜艳，构图富于装饰性。探索人性、把真实感注入笔下的人物及周围环境是文艺复兴时期绘画艺术的追求目标。佛罗伦萨和威尼斯画家则把理性科学的透视法、解剖学与感性的光色感结合起来创造画面的色彩和谐，这样就形成了西方古典绘画色彩语言的基础体系。从十五世纪到十八世纪的三百年间，尽管许多天才的艺术家创造了不同的表现手法，丰富了绘画形象和色彩技巧风格，但都没有脱离这个再现性传统。直到十九世纪印象主义的诞生，把色光的科学理论引入绘画，革命性的“以光现形”，才突破了这个体系，解放了固有的色彩观，把阳光和空气带给了世人，从而成为十九世纪美术进入二十世纪美术的一个标志，并由此推动了其后现代派艺术的发展。
West， the spiritual content of painting color in medieval religious life has been greatly enriched， the concept of Byzantine Christian church mosaics of religious propaganda， image clarity， color， composition rich decorative。 Human nature， described by the realistic characters and into the surrounding environment is a Renaissance painting to pursue goals。
中国传统绘画的核心主线是：主客观和谐统一，将个体、自然、社会、宇宙融为一体的艺术观。在中国哲人看来，自然世界“和”的原理，不仅适用于“大宇宙”，也适用于艺术的“小宇宙”。同理中国传统文化中认为色彩本身就是宇宙中的一个重要成员，没必要“委屈”着作为模仿、象征他物的中介。所以画家使用色彩就不是为了去模仿或再现他物，而是整合画面诸要素，力求形成与“大宇宙”之“和”相同构的画面审美特征。因此画面上的色彩功能就不能被视为物理意义上的光“色”，而是融于画面整体的功能意义上的“韵”。天地哲理似乎潜藏在这山水之间。阴阳五行说把自然万物概括为五种基本元素，所以古代的中国人坚信外界自然与自己的身体一样结构相似、灵性相通，于是就可以用意识和理解来画出那些活的有灵性的造化之物。简单的中国画里面就蕴含了极深的人文体验，是画家的精神内核与自然灵性的结合，所以“水墨”并非仅仅是“水墨”。
The core theme of traditional Chinese painting are： objective and subjective harmony and unity， the individual， natural， social， and cosmic blend of art。 It seems the Chinese philosopher， the natural world "and" principle， not only for the "big universe"， also applies to the art of "small universe。" Similarly， traditional Chinese culture that the color itself is an important member of the universe， no need to "grievances" with as imitation， a symbol of otherness as an intermediary。 So the artist is not to use color to imitate or reproduce otherness， but the integration of various elements of the screen， and strive to form the "universe" in "and" the aesthetic characteristics of the same configuration screen。 Therefore， the color on the screen can not be regarded as functions of light on the physical meaning of "color"， but the overall picture and into the functional significance of the "rhyme。" This philosophy seems hidden in the world landscape。 Yin and yang that the natural world summarized as five basic elements， so the ancient Chinese people believe that the outside world of nature and their own bodies as structurally similar， spirituality interlinked， so you can use to draw awareness and understanding of those who live a spiritual good fortune of things。 Simple Chinese painting on the inside contains a deep human experience， is the artist's spiritual core and the combination of natural spirituality， and the "ink" is not merely "ink。"
中国文化中的“五色”就不能理解为五种具体的符号了，它是宇宙“无限”的色彩载体，并且，“中和”（中庸）——中国传统哲学思想，即“正道”——“不偏不倚、不左不右”不极端，平和等思想也统领着我们的审美；追求淡雅、超然等，不拘限在“具体事物”上。从这一角度我们就可以理解为什么中国绘画自盛唐时期画面的“金壁辉煌”逐步转向以“墨分五色”为“上品”了。因此，历代画论在谈论绘画色彩时，很少兼及条理清晰的色彩观察、表现讲解，多是论述敷色技巧。这也正是中国绘画传承的一大难点：语言形态的模糊界定造成对语言本身理性探究的含糊，必须要有相当的传统文化素养才能体悟，必须要有相当的笔墨功力才能驾驭。
Chinese culture in the "colored" can not be understood as symbols of the five specific， it is the universe "unlimited" color carrier， and "walking in the middle， and harmony" - the traditional Chinese philosophy， the "right way" - "impartial， turn left" not extreme， peaceful and so guide our thinking but also aesthetic； the pursuit of elegant， aloof and other， informal limited to "specific things" on。 From this perspective we can understand why the Chinese screen paintings from the Tang Dynasty， "brilliant" and gradually shift to "sub-colored ink" to "grade" the。 Therefore， the ancient paintings on when talking about painting， color， and very little color and clarity of observation， the performance of talks， mostly discusses the use of color techniques。 This tradition of Chinese painting is one of the major difficulties： linguistic form of fuzzy definition of the language itself， result in a rational exploration of the ambiguity， there must be a considerable tradition of cultural awareness can be realized， must have considerable skill to control the ink。
中国水墨色彩的产生，以“六法”中“随类赋色”的绘画原则来看，水墨画家只是把纯然的五色——“青、赤、黄、白、黑”作为视觉立足点，在此基础上宏观观察，透过色象之表，揉和色相之质，从而做到从“眼中之色”到“心中之色”再到“画面之色”的转变。水墨画家面对自然景物生成的“胸中之竹”就是其个体对客观事物宏观观察，透表捉质后产生“灵感”，再与其文化背景揉和前人经典作品图式并结合其绘画功力而形成的综合意象。理解力是一种很神奇的力量，它完全可以左右我们对外物的视觉感受。“色是光之母”。
Chinese ink color production to the "Six" in the "endowed with class-color" (Chinese painting painting techniques) the principles of perspective drawing， ink painter just pure natural colored - "blue， red， yellow， white， black" as a visual standpoint， on the basis of macro-observation， through color as the table， rubbing， and hue of the quality， so do from the "eye color" to "mind the color" to "screen color" changes。 Natural features of the face generated ink painter of the "chest of the bamboo" is the individual macro-observation of objective things， through the table to catch quality resulting from "inspiration"， and then rub their cultural background and previous classical works in conjunction with its schematic drawing skill and to form a comprehensive image。 Understanding is a very magical power， it can shape our visual experience of external objects。 "Color is the light of the mother。"
谈到色我们就会联系到光，西方人关注物象的“外光”特性，而中国古人关注的却是物象整体的内性，一个根深蒂固的概念使中国人排斥了对光线的敏感：认为光线照在物体上所投下的阴影明暗只是转瞬即逝的偶然，是毫无疑义的事物。他们认为只有事物核心才埋藏着“心灵性情”，而这“灵性”借助来自主观感受的“心目”之光来显现。绘画有时远比我们的视觉神经更接近我们内心深处的理解。
Turning to the light color we will contact， Westerners concerned about images of "outside light" feature， and the ancient Chinese concern is within the overall physical image of a deep-seated rejection of the concept of the Chinese people sensitive to light： that light according to the shadow cast by an object on the fleeting light and shade just by chance， there is no doubt things。 They believe that only things buried in the core was "spiritual nature"， and this "spiritual" with the subjective feelings from the "minds" of light to appear。 Painting of the optic nerve than we sometimes closer to understanding the depths of our hearts。
当色的功能超越基础视觉而上升到对宇宙生命意蓄的内在把握时，就把人类与自然紧密联系起来了。谢赫六法中“随类赋色”的“类”，就不是西方绘画中的同类事物的固有色，与单一事物的表面色彩无关，而是中国文化特有的对事物本质的把握归类和整合画面意境的色彩和谐。中国绘画的“墨分五色”正是这一点的有力体现。
When the basis of color vision rather than the function of the universe up to build the inner meaning of life to grasp when put in close contact with nature up。 Sheikh Six in the "endowed with the class colors" and "class"， it is not the same thing in Western painting， the inherent color， the surface of things with a single color has nothing to do， but the unique Chinese culture to grasp the nature of things and integration of classification picture the mood of color harmony。 Chinese painting of the "sub-colored ink" is a powerful expression of this。
与西方直接摹仿再现自然色彩，把精神和人的主体性最终归结在一件非常像样的“作品”上不同的是，中国水墨色彩突出了文化上的功能特征，它秉承的是大宇宙整体意义上的动态和谐原则，注重主体的独特感受：想象、灵感、感觉、幻想……，“肇自然之性，成造化之功”（王维：《山水诀》）。以个人心灵体验与外在宇宙感悟交相互融而生成审美意境，这远比完成一张完整的画要重要的多。
And the western direct imitation of a reproduction of the natural color， the spirit and human subjectivity eventually came down in a very decent" works" different is， Chinese ink color highlighting the cultural features， which uphold the universe of the overall meaning of the dynamic principle of harmony， pay attention to the body 's unique feeling： Imagination， inspiration， feelings， fantasies 。。。 。。。 ，" Zhao nature of sex， into nature。" ( Chinese Tang Dynasty poet painter WangWei：" landscape tactic" )。 In a personal spiritual experience and perception of external universe make mutual financial and generation of aesthetic conception， this is far better than to finish a complete painting is more important。
通过若即若离、似与不似、定而未定的高度灵活的“诗性”语言，观者借此与画面保持了一种灵活自由的关系，在这种若即若离的审美境界中大脑享有着充分自由的活动范围，能够与那未被清晰描述的画中自然之物产生互动，弥补画面没有言明的开放意境。而其更伟大之处在于，对于同一幅水墨画，不同文化背景的观者会有着不同的互动感受。拥有一颗“诗性”的心灵尤为重要。
Through be neither friendly nor aloof， and do not like， and is a highly flexible" poetic" language，" take this picture and maintain a flexible relationship， be neither friendly nor aloof in the aesthetic realm of brain enjoys full freedom of activities， and it is not a clear description of the natural objects interact picture， make up the implicit open conception。 Its more greatness is that， for the same painting， different cultural backgrounds of the audience will have different interactive experience。 Having a " poetic" spirit is particularly important。
自然是一个大的生命系统，是一切生命的心源，它以永不停息的运动为生命形式。宇宙间一切生命形式的共同特征就是有节律的、新陈代谢的、不可重复不可逆转的运动。“逝者如斯”，日月常新，中国画是人的生命与自然地生命融合的产物，也是一个生命系统，谢赫德“气韵生动”说的伟大意义，就在于它揭示了中国画艺术生命的奥秘。所谓“生动”即是生命的有节律的运动，“韵”是生命节律的和谐所产生的美感。黄庭坚说：“凡书画当观韵”。“韵”就是艺术美，就是艺术的生命。一种朴素的美学观认为生命是美的，而一切艺术之美皆来自于生命，来自主体、客体和本体的生命。画中的韵律，不仅与自然、与作者的生命节律呈同步谐调的状态，还与观赏者的生命节律同步共振，这就是中国画之所以能够移性怡情、美意延年的契机。
Nature is a large system of life， all life the source， it to the unceasing movement as a form of life。 The universe of all life forms in the common characteristic is the rhythm of the， the， the new supersedes the old。 Not repeatable irreversible movement。 " Time is just like the running water， does not stop passing"， and often new， Chinese painting is the human life and natural life fusion product， is a life system， Xie Hird "vivid" that's great significance， because it reveals the secret life of Chinese painting art。 The so-called" vivid" is the life rhythm of the movement，" Yun" is the life rhythm of the beauty of harmony。 Huang Tingjian said：" painting and calligraphy， should watch the beautiful posture"。 " Yun" is the beauty of art， is the art of life。 A kind of simple aesthetics think life is beautiful， and all the beauty of art comes from life， from main body， object and the ontology of life。 The rhythm， not only with the nature， and the rhythm of life show synchronous harmonious state， but also with the viewer's life rhythm synchronization resonance， which is the Chinese painting can make people feel comfortable， the chance of a carefree life insures longevity。
如今，中国画如何走向更加成熟和完善，如何首先在中国立足生根，赢得广大的观众（它不应像西方的前卫艺术那样只有极少的观众），关键是创造现代的绘画语言。这种绘画语言不但要求富于独创性、内涵传统文化底蕴（诗情画意），而且要求能为多数观众欣赏和接受。这样的绘画语言既不能从传统绘画中直接承袭，又必须从传统绘画吸取养料，特别是传统绘画中的笔墨因素，这是连接传统的坚强纽带，这也是传统绘画中审美积淀最为丰富、最富生命活力的因素之一。
Nowadays， Chinese painting how to become more mature and perfect， how the first foothold in China， won the majority of the audience ( it should not resemble Western avant-garde art that only a few people )， the key is to create a modern painting language。 This kind of drawing language requires not only rich in originality， connotation of traditional culture ( poetic Chinese painting )， and the requirement for the majority of the audience to appreciate and accept。 This painting can not directly inherited from traditional painting， must from traditional painting nourishment， especially in traditional painting ink factors， which are connected to the traditional strong bond， this is also the traditional painting aesthetic heritage is rich， the rich vitality is one of the factors。
同时，现代的绘画语言还要不断地从现代生活中吸取养料以及运用现代的表现手段等等。当代中国画多元结构的形成既反映了传统文化与现代文化的碰撞、交融的作用力在中国画领域所引起的深层变化，也反映着当代观众的多种审美需求，因此，这个多元结构不但会长期并存，而且从某种意义上说，有着多元互补的性质。从当代中国画坛的现实情况中不难看到，这个多元结构是在互相比较，互相影响，互相渗透，互相吸取的相互作用中此消彼长地向前发展着。如今，中国画是从现代中国土地上产生的一种新的审美对象，应该具有既是现代的、又是民族的、又是个性鲜明的特色。
At the same time， modern painting language continually from modern life nourishment and the use of modern means of expression and so on。 Contemporary Chinese painting is multivariate structure formation reflects both the traditional culture and modern culture collision， blend in Chinese painting field force caused by the deep change， also reflects the contemporary audiences a variety of aesthetic needs， therefore， this structure will coexist for a long time， and in a sense， has a plurality of complementary properties。 From the contemporary Chinese painting in the realistic situation is not difficult to see， this structure is compared with each other， mutual influence， mutual penetration， mutually absorb interactions and reciprocal development。 Nowadays， Chinese painting is from the modern Chinese land to generate a new aesthetic object， should have is modern， and national， is a distinctive personality characteristics。
美的本质在生命里或本能地、或自觉地走向自由的过程中，是由审美对象引起审美主体的感觉内的快感；是生命向着自由方向发展中的感情愉快的现象。中国作家钱钟书在《围城》中的一句话“城里的人向外突围，城外的人向里冲”；文化不同会引起审美的不同。审美的单一性和多样性，是互补的。
The essence of beauty in the life， or consciously or instinctively toward freedom in the process， is determined by the aesthetic object aesthetic feeling caused by the pleasure； is life toward freedom direction in the development of the feelings of pleasure phenomenon。 Chinese writer Qian Zhongshu in"
虽然文化艺术从总体上是丰富多彩为好，但人类的文化生活，在特定的领域，特定的内容、特定的项目上，从习惯、信念、生理和心理等上，都要求审美的固定、稳定、单一、纯洁。例如：升国旗的仪式，是不能天天创新的；每天练那套一百零八式的太极拳，选的地点、方向、每个动作、意念，都要求相对非常稳定的。所以，创新与保守，都要恰当，才有美感，两者都有其妙用，不可偏废。任何一种门类的艺术，不可能、也不可以是绝对的“纯种”，它总会要受到或这或那的影响；她们之间总是“自觉或不自觉”的相互渗透着，相互弥补着……，直至现在；而从其长远的发展来看，这又是必要的。特别是处于当今开放，多元、蓬勃发展的时代，立足于本民族的优秀文化传统，吸取世界其他民族的的优秀文化成果，实现本民族的文化复兴与壮大，这是对数千年的悠久文化传统传承和发展的重大责任。
Although the culture and the Arts in general are rich and colorful as well， but the human cultural life， in specific areas， specific content， the specific project， from habit， belief， physiological and psychological， aesthetic， stable fixation is required， a single， pure。 For example： the flag raising ceremony， is not every innovation； practice every day that set of one hundred and eight Style Taijiquan， selected location， direction， each action， ideation， require relatively very stable。 Therefore， innovation and conservative， are appropriate， have beauty， both of which have their refinement， attention。 Any kind of art， can not， can not be absolute" purebred"， it will be this or that； they are" self-conscious or not self-consciously" mutual infiltration， mutual make with 。。。 。。。 ， until now； but from the long-term point of view， this is necessary。 Especially in today's open， multiple， the vigorous development of the era， based on the national excellent traditional culture， absorb the other nations in the world excellent cultural achievements， realizing the national cultural revival and growth， which is thousands of years long cultural tradition inheritance and development of major responsibility。
两种绘画事实上反映了不同文化、审美、人文背景、价值取向的不同；两种绘画各自有其特性，都是人类精神文化宝藏，我们必须尊重和继承。这些，如同“铁路钢轨”并列而行，虽然，在技法上可以互相借鉴，但是二者不可取代（替代）。经济昌盛必定文化繁荣，“百花齐放”欣欣向荣，艺术类别“枝繁叶茂”无论是中国绘画，还是西方绘画，它作为艺术的一种形式，有其共同的特点，这主要表现在他们都是可以直接看到的、有形有色的具体的艺术形象来反映社会生活和抒发画家对客观现实的感受的。它比小说、诗歌显得具体形象更易为广大群众所接受。在取材上更为广泛。所以，绘画是整个美术以至整个艺术门类中特别丰富多彩的艺术形式之一。对世界影响极其深远。
Two kinds of painting in fact reflect different cultural， aesthetic， cultural background， different values； two kinds of painting has its own characteristics， is the human spirit and cultural treasures， we must respect and inheritance。 These， like the" Rail" abreast， though， the techniques can learn from each other， but the two can not replace ( replace )。 Economic prosperity must be cultural prosperity，" all flowers bloom together。"" thriving， art classes with luxuriant foliage" either Chinese or western painting， painting， as a form of art， has its common characteristics， which is mainly manifested in all of them can be seen directly， the visible colored specific artistic image to reflect the social life and express the painter of the objective reality of the feelings。 It is novel， poetry is the specific image is easier to be accepted by the broad masses。 Based on the more widely。 Therefore， painting is the art and the art categories particularly rich and colorful forms of art。 Extremely far-reaching influence on the world。
中国画艺术是东方文化宝库中的一颗璀灿明珠，古往今来，它一直在向前发展，犹如一条长河，虽有时狂暴湍急，有时滞流平缓，但从没发生断流，它一直在发展中向前、向前，终于汇成今天这样一条浩浩荡荡的艺术大河，中国画的发展中凝聚了多少代画人探索奋斗的结晶，这需要每一位有志于中国画传承、发展者，从中求索之学者所需要珍视的。
Chinese painting art is the eastern culture in a museum of pearl， from ancient to modern times， it has been moving forward， like a river， although sometimes violent turbulent flow gently， sometimes， but never stop， it has been in development forward， forward， finally merged into this one go forward with great strength and vigour Art River， Chinese painting in the development of the combination of the number of generations of painting people struggle crystallization， which requires everyone interested in Chinese painting inheritance， development， from the scholars seeking to cherish。
我们搞艺术的须有一颗“海纳百川”与“众生平等”的气度及包容心，尊重和善对每个艺术门类。这些是中、西文化发展的结果，因此，各自都有特点不能一概而论，她们都是不可替代的；否则，是伪科学。
We make art must have a" all rivers run into sea" and" equality" tolerance and tolerance， respect for each artistic class。 These are in the west culture， development results， therefore， have their own characteristics can lump together， they are irreplaceable； otherwise， false science。
长期以来，我们思想受到科举制度或应试教育模式等等的束缚，以至于思想僵化、不敢创造——常常拘泥于古人的“程式”里面或者机械模仿，或崇“写实”风格而贬写意风格排斥现代主义风格；殊不知：“艺由心生、情为主导，诗情画意、跃然纸上”。年青的世界钢琴大师郎朗，在2012年2月13日作客CCTV《艺术人生》时说：艺术（音乐）不是机器，因此，需要情感的交流、激情的迸发，人文思想的交融……；
Long-term since， our ideas by the imperial examination system and educational mode and so on bound， so that rigidity of thought， not create -- often adhere to the" program" or mechanical imitation， or worship of" realism" style of freehand style as rejection of modernism style； however：" art from the heart， love is dominant， a quality suggestive of poetry or painting， stand vividly revealed on the paper"。 Young world piano master Lang Lang， in February 13， 2012when CCTV" art of life" said： Art ( Music ) the machine is not， therefore， need emotional exchanges， the burst of passion， humanistic thought mingling 。。。 。。。；
元代画家倪云林自论画云：“仆之所谓画者，不过逸笔草草，不求形似，聊以自娱。”（“我认为绘画者，不过是创作激情（兴趣）来了，很潇洒、很轻松地任意用毛笔，不要求形似，借绘画来抒情、发泄、自乐。”）中国近现代中国画家陈师曾说过：“殊不知画之为物，是性灵者也，思想者也，活动者也；非器械者也，非单纯者也。否则直如照相器，千篇一律，人云亦云，何贵乎人邪？何重乎艺术邪？所贵乎艺术者，即在陶写性灵，发表个性与其感想。艺术之胜境，岂仅以表相而定之哉？”（“殊不知画之为物，是负有灵性的生命体，是思想的生命体，活动的生命体；不是器械、物品啊，也不是单纯的物品。否则就像照相机一样，千篇一律，别人说什么，他也跟着说什么，怎么能以别人的意见为自己的意见呢？这样怎么能以艺术为重点研究对象呢？一个好的艺术工作者，就是在陶冶、抒发、挥写自己的性灵，发表个性的东西和感想。艺术之胜境，又怎么能因为作品的表相（外貌）而定出好坏呢？”）
Yuan painter Ni Yunlin speaks：" I called painting painting， but to create passion ( interest ) come， very smart， very easy to use any brush， do not ask in person， by painting lyrical， vent， myself。" Chinese Modern Chinese painter Chen Shiceng said：" don't draw for the property， are responsible for the spiritual life， is thinking of the life， activity life； not the equipment， items ah， is also not the pure things。 Or like a camera， follow the same pattern， what others said， he followed what to say， how to the opinions of others for your own opinion? How can this art as the research object? A good artist， is in cultivate， express， write their own soul， published individuality of things and feelings。 The art of beauty， how could because his appearance ( appearance) and set good or bad?"
所有的画家都把注意力放在再现客观对象上，而画家本人却做了模仿自然的奴隶；这是没有必要的，除非是刚入门的学生。画家要有自己的艺术追求和独特的艺术风格。塞尚则放弃了传统的艺术观念和法则，完全依靠自己独立的观察进行创作，有意识的地将注意力转向表现自己的主观世界，通过概括和取舍，从结构的观点来描绘对象。正是由于塞尚这种绘画的主观性改变了整个西方艺术的进程，对他以后的艺术家产生了观念上的震撼，这种震撼导致了艺术思想的全面解放。可以说，现代艺术起始于塞尚。塞尚认为：“画画并不意味着盲目地去复制现实，它意味着寻求各种关系的和谐。”从塞尚开始，西方画家从追求真实地描画自然，开始转向表现自我，并开始出现形形色色的形式主义流派，形成现代绘画的潮流。
all artists are focusing on representing the object， and the artist himself has made to imitate the natural slaves； this is not necessary， unless it is an entry-level students。 The artist to have his own artistic pursuit and unique artistic style。 Cezanne gave up the traditional artistic conception and principle， to rely completely on their own independent observation of creation， conscious to turn its attention to the performance of their own subjective world， by summarizing and trade-offs， from a structural perspective to depict objects。 It is because of Cezanne this painting subjectivity has changed the entire Western art process， to his later artists have on the concept of the shock， the shock led to the art thought emancipation。 Can say， modern art began in Cezanne。 Cezanne said： "the painting does not mean blindly copy of reality， it means seeking harmony。" Starting from Cezanne， a Western painter from the pursuit of true depicting nature， began to show themselves， and the beginning of the formalism of every hue， the formation of modern painting。
塞尚这种追求形式美感的艺术方法，为后来出现的现代油画流派提供了引导，所以，其晚年为许多热衷于现代艺术的画家们所推崇，并尊称他为“现代艺术之父”。毕生追求表现形式，对运用色彩、造型有新的创造，被称为“现代绘画之父”。
Cezanne the pursuit of aesthetic form of art method， for the later emerging modern oil painting genre provides guidance， so， their later years as many keen on modern art painters are respected， and called him " the father of modern art"。 Lifelong pursuit of form， on the use of color， shape a new creation， known as" the father of modern painting"。
综上所述：我们更加理解：“西画近建筑（理性、直观的），中国画近文学（感性、朦胧的）”——蔡元培语录。即：西方的绘画近似建筑一般的理性——写实性强，偏具象；而中国画是近乎文学作品一般的个性强烈，艺术化的客观事物——来源于生活，而高于生活；是生活的提炼，是情感的宣泄，偏抽象。因此，两种绘画在意识形态、文化传统、表现形式上等等，有诸多不同，甚至是大相径庭。
To sum up： we better understand：" painting near buildings ( rational， intuitive )， Chinese painting in recent literature ( perceptual， dim )" -- Cai Yuanpei quotations。 Namely： the western painting approximate construction general Rationality -- practical strong， partial concrete； while the Chinese painting is almost literary works of general personality strongly， the art of objective things -- comes from life， but higher than the life； life is refined， emotional catharsis， partial abstraction。 Therefore， two kinds of painting in the ideological， cultural tradition， form of expression and so on， there are many different， or even be quite different。
中央美院教授赵力：中国艺术品得到国际认可必须一方面具有国际性，一方面具有本土性。所以这是非常有难度的。目前，国际艺术市场也在寻找真正代表中国艺术精神的作品和艺术家。艺术家要加油！
The
职业艺术家，批评家王南溟说：“好的东西都在向其他好的经验学习的基础上发展的，这个很重要，我们需要这样的模仿阶段，只是说，我们同时需要有新的思考，但波洛克讲过一句话很重要，当时是针对美国乡土现实主义而说的，他说美国的艺术要在与欧洲的艺术同一条起跑线上才能有美国的艺术，对中国的艺术也是如此，要有全球的学术视野。”
Occupation artist， critic Wang Nanming said：" good things to other good experience learning on the basis of development， this is very important， we need this imitation stage， simply said， " we also need to have new thinking， but Pollock told a sentence is very important for the United States， was a local realism and said， he said the United States and European art in the art of the same starting line before the United States of Chinese art， the art is the same， a global academic vision。"
读了当代艺术批评家朱其的《中国当代艺术看了想吐》、《徐悲鸿该为写实主义一统天下负责？》两篇文章后，更是觉得我们搞艺术的人“肩负重担”要对民族、对历史、对自己负起时代的责任，创作富有个性的艺术作品；不要为了盲目追求“写实性”而复制，一己私利而使得大家“看了想吐”，更不能排斥抽象艺术、印象派、超现实主义、立体主义等现代艺术；因为现代艺术是西方数百年来的思想文化核心，也是我们这里比较缺乏的东西，西方人凭借这些在技术和社会管理方面取得飞速进步……。
Reading contemporary art critic Zhu Qi" Chinese contemporary art read vomiting"，" Xu Beihong the realism as rule all the land is in charge of? " After two articles， is that we engage in art" shoulder" to ethnic， historical， on their own to take the duty times， creative and individual works of art； in order not to blindly pursue the" realistic" and copy， self-interest and make all the" sick"， more cannot exclusion of abstract art， Impressionism， surrealism， cubism and other modern art； modern art is because Western hundreds of years of thought and culture is the core， we compare here the lack of things， with the West in the technical and social management has made rapid progress 。。。 。。。。
毕加索自己曾经写道的：“坏艺术家复制。好艺术家巧取”。“学我者生，似我者死”是齐白石老人的一句话；这些都是大艺术家的经典语句。是告诫我们千万不要抄袭或者复制前人的作品，否则只有死路一条。由于篇幅有限，加之本人才疏学浅因此只能管中窥豹；不足之处还望大家批评指正！
Picasso once wrote：" stupid artists copy。 Good artists can achieve mastery through a comprehensive study， carry forward"。 " My art， art is life； like my works， is art。" is the Chinese artist Qi Baishi's words； these are the artist's classic statement。 Is telling us not plagiarized or copied the previous works， or only a blind alley。 Due to limited space， together with little talent and less learning therefore only to see only one spot； deficiencies also hope everyone criticism!
Attached to： such as by far the world's ten most expensive paintings in the： Attached to： such as by far the world's ten most expensive paintings in the：
1。 2006年11月3日，美国著名的行动绘画艺术家杰克逊•波洛克的一幅作品《1948年第5号》拍卖出全球绘画作品最高价，达1。4亿美元（约合1。096亿欧元），被墨西哥金融家大卫•马丁内斯收购。
1。 In November 3， 2006， the United States of America famous action painting artist Jackson Pollock's painting" 1948 fifth" auction global paintings high， up to 1。 $400000000 (US $ 1。 9600000000 euros )， by Mexico financier David Martinez acquisition。
2。 威廉•德库宁(美国抽象派)的《Woman III》在2006年11月透过私下交易创下1亿3750万美元的高价。
2。 William de Kooning ( American Abstract ) the" Woman III" in 2006 November through private transactions 100000000 record high of $37500000。
3、2006年这幅奥地利著名画家古斯塔夫•克利姆特的作品《阿黛尔•布洛赫鲍尔I》以1。35亿美元成交价被化妆品巨头罗纳德•S•劳德收购。
In 2006 3， a well-known Austria painter Gustaf Klimt 's works" Adele Bloch Bauer" in 1 I。 The $3500000000 price was cosmetics giant Ronald S Lauder acquisition。
4、2004年5月5日，在世界著名的索思比拍卖行毕加索的名画《拿烟斗的男孩》拍出了1。04亿美元的天价。
4， May 5， 2004， Sotheby's auction house in the world famous Picasso painting with the pipe。" The boy" produced by 1。 The $400000000 price。
5、毕加索在1941年为情人多拉•马尔创作了《多拉•马尔与猫》。这幅画于2006年5月拍卖出9520万美元的价格。
In 5， Picasso in 1941 for lover Dora， Marr wrote" Dora， Marr and the cat"。 This painting in 2006 May auction the price of 95200000 dollars。
6、这幅《加歇医生的肖像》作者：凡•高（荷兰）于1990年被日本第二大造纸商大昭和制纸以8250万美元购得，打破了当时艺术品拍卖的最高纪录。
In 6， this piece of" doctor Gachet's portrait" Author： Van Gogh ( Holland) in 1990 by the Japanese second big papermaking business affair and paper to $82500000， breaking the record for the highest at the art auction。
7、《殴打婴儿》，售价7350万欧元，作者：鲁本斯（荷兰）。
7，" beatsbaby"， for 73500000 euros， author： Lubensi ( Holland)。
8、《红磨坊的舞会》，7810万美元，作者：雷诺阿（法国）。
8，" Moulin Rouge" the ball， $78100000， author： Renoir ( France)。
9。 凡•高（荷兰）的这幅《没胡子的自画像》于1998年拍出了7150万美元的高价。
9。 Van Gogh ( Holland) the picture without the beard" self portrait" in 1998 fetched $71500000 price。
10。 《帘子、罐子、盘子》，售价6050万美元，作者：塞尚（法国）。
10。 " Curtain"， jars， dishes， priced at $60500000， author： Cezanne ( France)。
从以上艺术品的价格，我们可以看出：绘画作品是艺术家的内心世界（主观世界）的激情迸发与物质世界（客观世界）所规范（“形与质”的视觉效果）而形成统一体；欣赏一幅画，不能单纯看它画得像与不像。我们可以从内容与形式上去看，作者是否表现出一种美好的作品，能给我们带来一种视觉上的。愉悦感。带来情绪上的美好联想。“艺术来源于生活而高于生活，是生活的提炼”，而这个“提炼”的程度是反映艺术家与欣赏者的“默契度”与艺术家的知名度。这些说明：艺术品并不是“再现”客观世界（写实的效果）的程度越高，艺术品就越好；而是创新精神（与时俱进）和艺术思维前瞻、以及艺术家的综合能力与知名度决定着艺术品的品质。
From the above art prices， we can see： the painting is the artist's inner world ( subjective ) passion and the material world ( World ) the specification (" form and content" visual effects ) and the formation of unity； enjoy a picture， can not simply look at it like with like。 We can see from the content and form to see， whether the authors demonstrate a better works， can bring us a vision on。 Pleasure。 Emotional good association。 " Art comes from life than life， is life refinement"， and the" refined" level is a reflection of artists and enjoy the" tacit understanding" and of the artist。 These instructions： works of art is not the "reproduction" objective world ( realistic effect of the higher level )， art is better； but the spirit of innovation ( Times ) and art thinking forward， and artist's comprehensive ability and visibility determines the quality of works of art。
顾绍骅作于 2012年3月19日星期一