六、      中國畫的“品位”

繪畫是有層次和品位的。中國古代畫論把畫品分為許多層次，一般而言，妙品比能品為高，而神品又比妙品為高，高水平的畫家當(dāng)然應(yīng)該追求最高層次——神品。而神品又必須以能品和妙品為基礎(chǔ)，連能品都達(dá)不到，怎么能成為妙品呢同理，連妙品都達(dá)不到，又怎么能成為神品呢可見。神品離不開能品和妙品，能品和妙品是神品的必要準(zhǔn)備和必要條件，而神品是能品和妙品的最高歸宿：凡是藝術(shù)作品，都由三個(gè)層次組成。第一個(gè)層次是藝術(shù)語言。它是藝術(shù)作品的形式層面，主要包括藝術(shù)語言和形式結(jié)構(gòu)。也就是各門藝術(shù)獨(dú)特的表現(xiàn)方式和手段。在繪畫中主要指線條、筆墨、色彩、構(gòu)圖。（如圖所示：張仃 《蒼山牧歌》）

Six, Chinese painting "grading"

Painting is a level and grade. China ancient paintings on the painting materials divided into many levels, in general, exquisite works than to reach the highest level and high works, myth, and the works than the exquisite works of high, high level of artists should pursue the highest levels of the highest level - myth, works. The highest level of myth, and the works must be able to reach the works and exquisite works as the foundation, even to work are not, how can it become exquisite works similarly, even subtle works are not, how can it become the highest level of myth, the work of the. The highest level of myth, the work cannot do without to work and exquisite works, can achieve the works and exquisite works is the prerequisite and necessary preparation for the highest level of myth, works, and the highest level of myth, work is the highest end to work and exquisite works:

All works of art are made up of three levels. The first level is the artistic language. It is the form of art works, including the artistic language and the formal structure. It is also the unique way and means of art. In painting, mainly refers to lines, ink, color, composition. (as shown in the picture: Zhang Ding "Cangshan grazing song")

這些藝術(shù)語言，不但是創(chuàng)造藝術(shù)形象的表現(xiàn)方式和手段，而且本身就具有獨(dú)立的審美價(jià)值；藝術(shù)語言的運(yùn)用高低，對創(chuàng)造藝術(shù)形象起著直接的作用，藝術(shù)家正是通過藝術(shù)語言，塑造出各種各樣的藝術(shù)形象、并表達(dá)出藝術(shù)家對生活和自然的獨(dú)特體驗(yàn)和感受。（如圖所示：啟功《仿古山水》）

The art of language, style and artistic image creation means on the one hand, second is the aesthetic value itself is independent of the language of art; the use of high and low, a direct role in the creation of artistic image, the artist is through the language of art, to create a variety of artistic images, and artists to express their life and nature the unique experience and feelings. (pictured: Qi Gong "antique landscape")

由于藝術(shù)語言在藝術(shù)作品中有著極其重要的作用，所以各門藝術(shù)都十分重視對藝術(shù)語言的研完和運(yùn)用，也都十分重視藝術(shù)語言的創(chuàng)新和探索。藝術(shù)作品的第二個(gè)層次是藝術(shù)形象，它是藝術(shù)作品的內(nèi)容美。美術(shù)作品主要塑造視覺形象、它直接付諸欣賞者的視覺感官、因而特別富有直觀性、生動(dòng)性、具體性。（如圖所示：宋文治《寫意山水》）

Because of the extremely important role of artistic language in the works of art, the art of each one pays much attention to the study and application of the artistic language. The second level is the artistic image, which is the content of the works of art. The main work of art is to shape the visual image, which is directly put into the visual sense of the viewer, so it is more intuitive, vivid and concrete. (as shown in the "Freehand landscape": Song Wenzhi)

在藝術(shù)作品中，藝術(shù)形象是藝術(shù)作品的核心和關(guān)鍵。在繪畫中。不能為筆墨而筆墨，也不能為藝術(shù)語言而藝術(shù)語言，藝術(shù)語言最終是為了塑造藝術(shù)形象，而藝術(shù)意蘊(yùn)也是蘊(yùn)藏在藝術(shù)形象之中的，從這個(gè)意義上講，沒有藝術(shù)形象就沒有藝術(shù)作品。藝術(shù)形象越鮮明、越典型，藝術(shù)作品就越有生命力；藝術(shù)家的使命之一，就是要塑造典型、鮮明、生動(dòng)、優(yōu)美的藝術(shù)形象。藝術(shù)形象不僅具有具體可感的形象性，而且要具有典型性和概括性，它把無比豐富的生活用典型化的手法概括到形象之中。（如圖所示：吳作人 《金魚圖》）

In the works of art, artistic image is the core and key. In painting. Not only for the pen and ink (techniques) and traditional culture, no pen and ink culture, is not the language of art and artistic language, artistic language is to create the ultimate artistic image, and the meaning of art also contains the image of thearts, in this sense: there will be no image of art works of art meaning. The more vivid and typical the artistic image is, the more vitality of the works of art. One of the mission of the artist is to create a typical, distinct, vivid and beautiful artistic image. The image of art not only has a specific and sensitive image, but also has a typical and general, it is extremely rich life with the typical approach to the image. (as shown in the picture: Wu Zuoren "goldfish figure")

藝術(shù)形象又具有情感性和思想性。在藝術(shù)形象中，必須融進(jìn)藝術(shù)家的喜怒愛憎，滲透進(jìn)藝術(shù)家對生活的思考和評價(jià)。藝術(shù)形象還具有審美意丈，它凝聚著藝術(shù)家審美理想和審美情趣，閃耀著藝術(shù)創(chuàng)造的光輝，能給欣賞者以美的享受。作為美術(shù)家不但要追求以藝術(shù)語言為主的形式美，還要進(jìn)一步追求以藝術(shù)形象為主的內(nèi)容美，從藝術(shù)層次來講，內(nèi)容美比形式美更高更難。當(dāng)然，內(nèi)容美又脫離不開形式美，世上沒有無形式的內(nèi)容，一定的內(nèi)容總是要通過一定的形式才能表現(xiàn)出來，形式美是內(nèi)容美的必要條件和必要準(zhǔn)備，而內(nèi)容美又是形式美的目的和歸宿。（如圖所示：陸儼少《寫意山水》）

The image of art is emotional and ideological. In the image of art, we must melt into the artist's joy, anger, love, hatred, infiltration into the artist's thinking and evaluation of life. The image of art also has the aesthetic meaning, which embodies the aesthetic ideal and aesthetic taste of the artist, shines the brilliance of artistic creation, and gives the enjoyment of beauty to the appreciation. As artists not only to the pursuit of formal beauty in art language, but also to further pursue the beauty of content to art image, from the artistic level, the content of beauty beauty of form more difficult. Of course, the beauty of content and inseparable from the beauty of form, there is no such form without content, some content is always shown by some form of order, the beauty of form is a necessary condition for the content of the United States and the necessary preparations, and the content and form of beauty beauty is the purpose and destination. (as shown in the "Freehand landscape": Ｌu yan shao)

藝術(shù)作品的第三個(gè)層次是藝術(shù)意蘊(yùn)，這是藝術(shù)作品的最高層次，也是一個(gè)藝術(shù)家終生為之奮斗的目標(biāo)：藝術(shù)意蘊(yùn)是指藝術(shù)作品中蘊(yùn)含著的深層的人生哲理、詩情畫意或精神內(nèi)涵。它是藝術(shù)家對藝術(shù)形象、藝術(shù)典型或意境的深刻領(lǐng)悟和創(chuàng)造的結(jié)果。（如圖所示：王個(gè)簃《花鳥》）

The third level is the meaning of art works of art, this is the highest level of works of art, the artist is also a lifelong goal: the art of implication is in the works of art contains deep philosophy of life, poetic Chinese painting or spiritual connotation. It is the artist's deep understanding and creation of artistic image, artistic style or artistic conception. (as shown in Figure: Wang Ge Yi "Flower and bird painting")

黑格爾在《美學(xué)》中認(rèn)為：“意蘊(yùn)總是比直接顯現(xiàn)的形象更為深遠(yuǎn)的一種東西。藝術(shù)作品應(yīng)該具有意蘊(yùn)”(見《美學(xué)》第一卷25頁)。藝術(shù)意蘊(yùn)也就是唐代詩論家司空圖提出的“象外之象、”“景外之景”、“韻外之致”、“味外之旨”，也就是比藝術(shù)形象本身更加深廣雋永的精神內(nèi)涵，這種內(nèi)涵蘊(yùn)藏在藝術(shù)形象之內(nèi)，只有憑借欣賞者的細(xì)心體察、玩味、感悟、領(lǐng)會(huì)，才能真正認(rèn)識(shí)知押解例如：徐悲鴻在抗日戰(zhàn)爭期間畫的《風(fēng)雨雞鳴》除了嫻熟的筆墨和生動(dòng)、準(zhǔn)確、優(yōu)美的藝術(shù)形象外，還有著深刻的藝術(shù)意蘊(yùn)，  當(dāng)時(shí)正值日寇鐵蹄踐踏神州大地、中華民族處在水深火熱之中，徐悲鴻畫了一個(gè)挺胸昂首，站在石頭上引吭高鳴的大公雞。來激發(fā)人們奮起抗日、還我江山的勇氣和決心，表現(xiàn)了徐悲鴻強(qiáng)烈的愛國主丈情懷和民族的自信心。 

 藝術(shù)意蘊(yùn)要求藝術(shù)家在有限中體現(xiàn)出無限，在偶然中蘊(yùn)藏必然，在個(gè)別中包含普遍，藝術(shù)意蘊(yùn)可以看作是內(nèi)容與形式的統(tǒng)一、感性與理性的統(tǒng)一、客觀與主觀的統(tǒng)一、再現(xiàn)與表現(xiàn)的統(tǒng)一、具象與抽象的統(tǒng)一、形象與哲理的統(tǒng)一。

Hagel in the "Aesthetics" that: "the meaning of the image is always more direct than the appearance of a more profound thing. Works of art should have meaning "(see" Aesthetics "Volume 25). Artistic implication is the Tang Dynasty poetics proposed by Kongtu Si Image outside image, "" Scenery beyond scenery "," poems other, "taste than charm" other than Purpose ", which is more profound than artistic image and meaningful spiritual connotation, the connotation contained in the artistic image, only with the appreciation of the observe carefully, ponder, perception, understanding, in order to truly understand knowledge such as: Xu Beihong escorted during the Anti Japanese War painting" Fowls crow in the wind and rain say what others dare not to say. "in addition to the skillful painting and vivid, accurate and beautiful image of the art, and art with profound implications. At that time the Japanese cruel oppression of the Chinese nation, China in dire straits, Xu Beihong drew a straightens out, stood on a stone Turn to the public high Ming ming. Make a vigorous start to stimulate the people of up against Japan (Japanese War of aggression against China), I Jiangshan courage and determination, the performance of the Xu Beihong main Zhang strong patriotic sentiments and national self-confidence. Artistic implication artists in the limited requirements embodied in the unlimited, natural reserves in the accident, generally included in the individual, the meaning of art can be regarded as the content and form of unity, the unity of emotional and rational, objective and subjective unity, unity, and reappear performance of the concrete and abstract unity, the unity of image and philosophy.

藝術(shù)意蘊(yùn)具有多義性和模糊性的特點(diǎn)，既是具體的確定的，又是不確定的。藝術(shù)意蘊(yùn)可以看作不完全是由藝術(shù)形象體現(xiàn)出來的主題思想，它比主題思想更寬泛更深刻，它是一種更加形而上的東西，它是一種哲理和詩情，常常是只可意會(huì)，難以言傳，只可接近它，無法窮盡它，即“此中有真意，欲辯已忘言”。藝術(shù)意蘊(yùn)需要欣賞者用自己的全部心靈和才智去探究和領(lǐng)悟，是藝術(shù)作個(gè)層次的完美結(jié)合，才形成了傳世名作。品具有不朽的藝術(shù)魅力的根本原因。具有遠(yuǎn)見卓識(shí)的藝術(shù)家，不能滿足于藝術(shù)語言和藝術(shù)形象的探求和創(chuàng)造，還應(yīng)更上一層樓，追求和創(chuàng)造具有深刻藝術(shù)意蘊(yùn)的作品。

Artistic implication Has the characteristics of polysemy and ambiguity, both the identification of specific, is not sure. Artistic implication can be viewed as incomplete is reflected by the artistic image of the theme, it is broader than the theme more deeply, it is a more physical things, it is a kind of philosophical and poetic, is often It can be felt, It is difficult to explain in words, can only be close to it, explain It can not be exhaustive. these are True, "Among meaning, Want to argue Have forgotten to say". Artistic implication need to appreciate you with all Heart soul and intelligence to explore and understand, is art for the perfect combination of level, it formed a masterpiece. The root cause of the immortal artistic charm. The visionary artist, search can not be satisfied with the artistic language and artistic image and creation, also should strive for further improvement, and the pursuit of artistic creation has a profound implication of the works.

著名的美術(shù)史家鄭午昌說過：“綜觀中西繪畫，而尋其演進(jìn)之次序，可分為四程，第一程漫涂，第二程形似，第三程工巧，第四程神化?！庇幸稽c(diǎn)需要指出：在藝術(shù)作品的層次構(gòu)成中，任何一個(gè)作品都必須具有前兩個(gè)層次，但又不能停留在前二個(gè)層次上(即藝術(shù)語言和藝術(shù)形象)，而應(yīng)該盡可能地追求第三個(gè)層次，即藝術(shù)意蘊(yùn)。 

 作為最高層次的藝術(shù)意蘊(yùn)，并不是每一件藝術(shù)作品都必須具有的，某些偏重于娛樂性、功利性或紀(jì)念性的作品，常常不存在這一層次，或者說，難以達(dá)到第三個(gè)層次，但是，從總體而言，正是這些藝術(shù)作品中的這三個(gè)層次具有相對獨(dú)立的意義，其中，每一層次都有自身的審美價(jià)值，有的藝術(shù)作品或許只有其中某一層次比較突出，或者有獨(dú)創(chuàng)的藝術(shù)語言，或者有感人的藝術(shù)形象，或者有而十人尋味的藝術(shù)意蘊(yùn)。但是，真正優(yōu)秀的藝術(shù)作品，總是在這三個(gè)方面都卓有成就，并且將這三個(gè)層次完美融合為一個(gè)整體，只有這樣的作品，才能成為傳世不朽的藝術(shù)精品。（凡高的畫為什么開創(chuàng)了世界獨(dú)幅繪畫的最高售價(jià)凡高為什么成為后期印象派的三大巨匠之一 后期印象派摒棄了自然的形，擺脫了“正?！?、“有邏輯”的羈縛，發(fā)展成張揚(yáng)個(gè)性的現(xiàn)代藝術(shù)。凡高藝術(shù)作品的最大特色是對熾熱情感的表現(xiàn)，他作品中的情感像“火山的爆發(fā)”一樣，無比熱烈奔放、震撼心靈，在這一點(diǎn)上，以前的畫家，沒有一個(gè)畫家可以和他相比，正因?yàn)槿绱?，他才永載史冊，成為一代風(fēng)范，也正因?yàn)槿绱?，他的作品才開創(chuàng)了世界之最高售價(jià)。從許多成功畫家的成功奧秘中不難得出一個(gè)結(jié)論：畫畫，不能只畫真實(shí)，也不能停留在再現(xiàn)上，一定要畫出自己的情感，這是畫家成功的秘訣之一。）

The famous art historian Zheng Wuchang said: "in Chinese and Western painting, and the evolution of the search order, can be divided into four processes, the first process of diffuse coating, second shape, third fine, fourth apotheosis." It should be pointed out that: the level of works of art form, any works must have the first two levels, but can not remain at two levels (i.e., artistic language and artistic image), but should try to seek the third levels, namely the meaning of art. As the highest level of the meaning of art, and not every piece of art must have, some emphasis on entertainment and utilitarian or monumental works, often do not exist at this level, or that is difficult to reach the third level, but, generally speaking, is a relatively independent significance, this three levels of these works of art in which each level has its own esthetic value, some works of art, perhaps only one level is more prominent, or a unique artistic language, or moving image arts or artistic implication and ten ruminate. But the truly outstanding works of art, always in the three aspects are accomplished, and the three level perfect integration as a whole, only such works can become enduring art. (Van Gogh why created the world alone paintings become the highest price why postimpressionist Vincent Van Gogh three great masters of post Impressionist abandon the natural shape, get rid of the "normal" and "logical" trammels, developed into the individuality of modern art. The biggest feature is the hot Van Gogh works of art expression of emotion, emotion in his works like "the volcano", very enthusiastic and shocking, at this point, before the painter, not a painter can be compared with him, because of this, he was forever in the annals of history, become a generation of style, but also because of this, his work will create the highest price of the world. It is not difficult to draw a conclusion from the success of many successful painters: painting, not only painting the real, can not stay in the reproduction, it is necessary to draw their own emotions, which is one of the secrets of the artist's success.

 待續(xù)

To be continued