生命清供——国画背后的世界 (Elegant Supplies of Life–The World Behind Chinese Painting)

一片山水就是一片心灵的境界，一朵水仙也映照出画家的魂灵。中国画发展到中唐以后，越来越强调，形式本身只是一个引子，一个导入到它内在丰富意味世界的引子。宋元以来文人画家论山水画，多不是把它当作外在的观赏风景，正像清初画家恽南田所说的，倪云林萧疏小笔，一木一石有千岩万壑之妙，而"以一木一石求云林，几失云林矣"。而花鸟画家也多强调与花卉、家禽、野鸟之类的外在风物无关，如果研究八大山人，仅停留在他画的是鹌鹑还是鹧鸪这样的分辨上，永远不可能了解八大山人。在一定程度上真可以说，宋元以来的中国绘画的意象世界是花非花，鸟非鸟，山非山，水非水。其追求在形式之外，如九方皋相马，在"骊黄牝牡之外"。(A landscape is a spiritual realm. Even a narcissus can also reflect the artist's soul.After the Chinese painting evolved in the Mid-Tang Dynasty, it paid increasing emphasis on the fact that the form itself was only an introduction that was imported into the world of its inherent, profound meaning.Since the Song and Yuan dynasties, the literati painters had seldom considered the landscape painting as an external ornamental landscape. Just as the early Qing painter Yun Nantian said, in Ni Yunlin's free and easy painting works, the trees and rocks could ingeniously show the power and grandeur of thousands of peaks and valleys.And for flower and bird painters, they also emphasized there was nothing had with external scenery such as flowers, poultry, wild birds and alike. If we study Zhu Da, a famous painter of the Ming Dynasty, and only focus on identifying what he painted is a quail or a partridge, it is never possible for us to understand him.To some extent, it can be said that since the Song and Yuan Dynasties, the image world of Chinese painting has been in a state that flowers, mountains, birds, water and other things appear what they really are not.What it pursues is beyond the form.)