Article | like song
Wang wei painted a picture of plantains in the snow. Wang wei was the first to paint banana in the snow, just like the first to eat crab, which caused great controversy.
Zhu xi thought that wang wei had mistakenly painted banana. He said, "snow in banana, he can draw snow, but there is no banana in the snow.
Huang bosi believed that, "once upon a time, people were so deep in their paintings that they forgot their images. If snow banana with the scene, peach plum and hibiscus and show.
Wang shizhen thought: generally the ancients poetry and painting only to the xinghui god.
"Cold zhai night talk" from the snow in the banana from the drawing to introduce poetry: "poetry, wonderful view of the yixiang house also, should be limited to a rope ink zai? Such as wang wei painting in the snow banana, the poem to see, know the look of insects in things, popular theory that I do not know the cold and heat.
Whether banana can be painted in snow, in fact, this problem is the problem of form and god. Painting is not a path, can not be in terms of form, can only god will. Shen kuo said in "mengxi bitan" : the beauty of painting and calligraphy, when god will, can be difficult to shape the device for. The world of painting, can criticize the image, position, color flaws. As for the maker of olim, he is rare. Easy come, easy go. So create the spirit, wan heaven, this difficult and laity also.
This problem is also the first and second nature of western aesthetics, as well as the imitation and transcendence of nature. Whether imitating or transcending nature, what art expresses is the objective in the subjective, and expresses the inner universal truth through the external form. Western aesthetics advocates simplicity and sublimity, and regards divinity as the highest aim. Chinese aesthetics advocates innocence and simplicity, with element as gorgeous, and tao as the highest intention.
The truth of art is not required to be equal to or imitate the truth of life. The preciousness of art lies in the difference between likeness and unlikeness, like antelope hanging horn, no trace can be found.
The most infinite and free only the heart, so the highest beauty is the performance of the soul. Imitation of nature will never produce the highest beauty. Art is to transcend the limitations of nature to express the freedom of mind, and only the great freedom of mind can produce the highest beauty. Basho cannot survive in the snow, which is limited by life, common sense and nature. However, in wang wei's paintings, basho flourishes in the ice and snow, breaking the cage and limit of time and space. This is the infinite of art and the infinite of heart.
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Text | Song
Wang Wei used to be the "Yuan An Snow Figure" and painted the plantain in the snow. Wang Wei was the first person to paint bananas in the snow, just like the first person to eat crabs, which caused a lot of controversy.
Zhu Xi believes that Wang Wei mispainted the plantain. He said, "Snow in the plantain, he will draw snow, but there is no plantain in the snow. He never painted the plantain. But he said he would paint the plantain. I don't know if he misunderstood it. banana".
Huang Bosi believes that "the old people are deeper than the painter, and they are eager to forget the image. The position of the model is not a regularist... such as Xuejiao, Jingli and Furong."
Wang Shizhen believes that the ancient poetry and paintings of the ancients only took the opportunity to come.
"Leng Zhai Night Words" draws the snow bananas from the paintings and says poems: "The poet, the wonderful view of the dreams, can also be limited to the rope ink? For example, Wang Wei painted the plantain in the snow, the poem sees it, knows His expression is in the object, but the common saying is that he does not know the cold and heat."
Can bananas be painted in the snow, in fact, this problem is the problem of shape and God. Painting is not a small path, it cannot be in the form of a metaphysical, only a god. Shen Kuo said in "Meng Xi Bi Tan": the beauty of calligraphy and painting, when it is a god, it is difficult to find a device. The painter of the world can blame the image, position, and color of the painting. As for the Ori philosophers, they are rare. Be handy, and you will be successful. Therefore, it is a matter of making a god and a god.
This issue is also the first natural and second natural problem of Western aesthetics, as well as the problem of imitating nature and transcending nature. Whether it is imitating nature or transcending nature, the expression of art is ultimately subjective and objective, through external forms to express the inner universal truth. Western aesthetics advocates simplicity and sublimity, with divinity as the highest purpose; Chinese aesthetics advocates innocence and simplicity, and is based on the prime minister.
The truth of art does not require equating or imitating the truth of life. The preciousness of art lies between the likeness and the incompatibility, just like the antelope hanging corners, no trace can be found.
The most infinite and free of charge is only the heart, so the highest beauty is the expression of the soul. Imitation of nature will never produce the highest beauty. Art is inherently a detachment of nature to express the freedom of the mind, and the great freedom of the mind will produce the highest beauty. Plantains can't live in the snow. This is the limited life, the limited common sense, and the limited nature. The bananas in Wang Wei's paintings flourish in the snow and ice, breaking the cages and restrictions of time and space. This is the infinite art of the heart. Unlimited.
王维所作《袁安卧雪图》，引发了雪中芭蕉的争论……
文| 如歌
王维曾作《袁安卧雪图》，画了雪中芭蕉。王维是第一个把芭蕉画在雪中的人，就像第一个吃螃蟹的人，引起了很大的争论。
朱熹认为王维是误画了芭蕉，他说“雪里芭蕉，他是会画雪，只是雪中无芭蕉，他自不合画了芭蕉，人却道他会画芭蕉，不知他是误画了芭蕉”。
黄伯思认为，“昔人深于画者，得意忘象，其形模位置有不可以常法论者……如雪蕉同景，桃李与芙蓉并秀”。
王士祯认为：大抵古人诗画只取兴会神到。
《冷斋夜话》又把雪中芭蕉从画引出来讲诗：“诗者，妙观逸想之所寓也，岂可限以绳墨哉？如王维画雪中芭蕉，诗眼见之，知其神情蛰寓于物，俗论则以为不知寒暑”。
芭蕉能否画在雪中，其实这个问题就是形与神的问题。画非小道，不能以形而论之，只能神会。沈括在《梦溪笔谈》里说：书画之妙，当以神会，难可以形器求也。世之画者，多能指摘其间形象、位置、彩色瑕疵而已。至于奥理冥造者，罕见其人。得心应手，意到便成。故造理入神，迥得天意，此难可与俗人论也。
这个问题也是西方美学的第一自然和第二自然的问题，也是模仿自然和超越自然的问题。无论是模仿自然还是超越自然，艺术所表现的终归是主观里的客观，通过外在的形式去表现内在普遍的真理。西方美学崇尚单纯、崇高，以神性为最高旨向；中国美学崇尚天真、素朴，以素为绚兮，以道为最高旨向。
艺术的真实，并不要求等同于或者模仿于生活的真实。艺术的珍贵就在于似与不似之间，犹如羚羊挂角，无迹可寻。
最无限最自由的只有心，所以最高的美都是心灵的表现。模仿自然绝不会产生最高的美，艺术本来就是超脱自然的限制去表现心灵的自由，心灵的大自由才会产生最高的美。芭蕉不能存活于雪地里，这是生活的有限，常识的有限，自然性的有限，而王维画中的芭蕉茂盛在冰天雪地里，打破了时空的樊笼和限制，这是艺术的无限，心的无限。
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