華夏五千年，字畫是不間斷發(fā)展的藝術(shù)，字畫百花齊放，比傳統(tǒng)的字畫更具有藝術(shù)性，已達(dá)到一個頂峰。字畫是世界繪畫藝術(shù)之林的瑰寶，字畫和西畫相比更具有藝術(shù)性。為什么這樣說？我們怎樣看待自己的國粹呢？

　　For five thousand years in China, Chinese calligraphy and painting have been an art form that has continuously developed. Chinese calligraphy and painting are diverse and more artistic than traditional ones, reaching a peak. Chinese calligraphy and painting are treasures in the world of painting art, and compared to Western painting, Chinese calligraphy and painting are more artistic. Why do you say that? How do we view our own national essence?

　　字畫歷史淵源、博大精深，就是用千言萬語也無法說清楚什么是字畫。字畫是讓西方人崇拜的藝術(shù)。就說傳統(tǒng)字畫的特點就比西畫更精深神奇。傳統(tǒng)的字畫不講焦點透視，不強調(diào)自然界對于物體的光色變化，不拘泥于物體外表的相似。而是多強調(diào)抒發(fā)作者的主觀感情。字畫講究“ 以形寫神” ，追求的是“ 妙在似與不似之間” 的感覺，“ 絕似又絕非像物者的真通” （徐悲鴻的名言）。而西畫，講究“ 以形寫形” ，當(dāng)然，創(chuàng)作過程中，也講究“ 神” 的表現(xiàn)，但西畫非常講究畫面的整體、概括。有人說，西畫是“ 再現(xiàn)” 的藝術(shù)，而字畫是“ 表現(xiàn)” 的藝術(shù)。

　　The historical origins and profoundness of Chinese calligraphy and painting are so profound that even a thousand words cannot explain what Chinese calligraphy and painting are. Chinese calligraphy and painting are arts that Westerners admire. The characteristics of traditional Chinese calligraphy and painting are more profound and magical than Western painting. Traditional Chinese calligraphy and painting do not emphasize focal perspective, do not emphasize the natural changes in light and color of objects, and are not confined to the similarity of object appearances. Instead, it emphasizes more on expressing the author's subjective emotions. Chinese calligraphy and painting emphasize "using form to express spirit", pursuing a feeling of "beauty between similarity and dissimilarity", and "absolute similarity is not the true understanding of objects" (Xu Beihong's famous saying). Western painting, on the other hand, emphasizes "writing form with form". Of course, in the creative process, it also emphasizes the expression of "spirit", but Western painting places great emphasis on the overall and summary of the picture. Some people say that Western painting is an art of "reproduction", while Chinese calligraphy and painting are an art of "expression".

　　字畫與西畫相比還有自己獨特的特征，表現(xiàn)在其藝術(shù)手法、藝術(shù)分類、構(gòu)圖、用筆、用墨、上色等多個方面。按照藝術(shù)的手法來分，字畫分為工筆、寫意和兼工帶寫三種形式。用筆就是畫筆工整細(xì)膩，敷色層層渲染，細(xì)節(jié)明澈如微，用極其細(xì)膩的筆觸描繪物象，故“ 工筆” ?！?寫意” 相對工筆來說，用豪放簡練的筆墨描繪物象的形神，抒發(fā)作者的感情。它要有高度的概括能力，要有以少勝多含蓄意境，落筆要準(zhǔn)確，運筆熟練，要能夠得心應(yīng)手，意到筆到。兼工帶寫的形式則是把工筆和寫意進(jìn)行了綜合地運用。

　　Compared with Western painting, Chinese calligraphy and painting have their own unique characteristics, manifested in various aspects such as artistic techniques, art classification, composition, brushwork, ink use, coloring, etc. According to artistic techniques, Chinese calligraphy and painting can be divided into three forms: gongbi, freehand brushwork, and mixed use writing. Using a brush is like using a neat and delicate brush, applying colors layer by layer for rendering, with clear and subtle details, and using extremely delicate strokes to depict objects, hence the term 'gongbi'. Compared to gongbi, "freehand brushwork" uses bold and concise strokes to depict the form and spirit of objects, expressing the author's emotions. It needs to have a high degree of summarization ability, a subtle artistic conception of using less to win more, accurate brushstrokes, proficient brushstrokes, and the ability to handle it skillfully and accurately. The form of part-time writing combines gongbi and freehand brushwork.

　　從藝術(shù)的分類來字畫分為山水、花鳥、人物畫，它主要是以描繪的對象不同來劃分的。

　　From the classification of art, Chinese calligraphy and painting can be divided into landscape painting, flower and bird painting, and figure painting, mainly based on the different objects depicted.

　　字畫在構(gòu)圖、用筆、用墨、上色等方面，也都有自己的特點。字畫的構(gòu)圖一般不遵循西畫的黃金分割點，而是或作長卷、或作立軸，長寬比例是沒有固定格式的。但它能夠很好表現(xiàn)特殊的意境和作者主觀情趣。同時，在透視的方法上，字畫與西畫也是不一樣的。透視是繪畫的術(shù)語，就是在作畫的時候，把一切物體正確的在平面上表現(xiàn)出來，使之有遠(yuǎn)近高低的空間感和立體感，這種方法叫透視。因透視的現(xiàn)象是近大遠(yuǎn)小，所以常常也稱“ 遠(yuǎn)近法” 。西畫一般是焦點透視，就和照相機拍照一樣，字畫就不一定固定在一個立腳點上作畫，也不受固定視域的局限，它可以根據(jù)作者的感受和需要，移動立腳點作畫，把見得到和見不到的景物都表現(xiàn)在作品上，也不受時令的界限，這種散點和多點透視方法是西畫所沒有的。

　　Chinese calligraphy and painting also have their own characteristics in composition, brushwork, ink use, coloring, and other aspects. The composition of Chinese calligraphy and painting generally does not follow the golden ratio of Western painting, but instead consists of either long scrolls or vertical axes, with no fixed format for the aspect ratio. But it can well express special artistic conception and the author's subjective taste. Meanwhile, in terms of perspective, Chinese calligraphy and painting are also different from Western painting. Perspective is a term in painting, which refers to the correct representation of all objects on a plane during painting, creating a sense of distance, height, and three dimensionality. This method is called perspective. Due to the phenomenon of perspective being larger in the near and smaller in the far, it is often referred to as the "far and near method". Western painting generally uses focal perspective, just like taking photos with a camera. Chinese calligraphy and painting are not necessarily fixed on a single point of view, nor are they limited by a fixed field of view. They can move the point of view according to the author's feelings and needs to depict both visible and invisible scenery in the work, without being limited by seasons. This scattered and multi-point perspective method is not available in Western painting.

　　在用筆和用墨方面，是字畫造型的重要部分。用筆講究粗細(xì)、疾緩、頓挫、轉(zhuǎn)折、方圓等變化，以表現(xiàn)物體的質(zhì)感，古人總結(jié)出了十八描的線條運用法。用墨講究勾、皴、點、染互用，干、濕、濃、淡、黑合理調(diào)配。字畫的用墨之妙，在于濃淡相生，濃處精彩而不滯，淡處靈秀而不晦，濃中有淡，淡中有濃，濃又有濃和次濃，淡又有稍淡和更淡，有靈活用筆的特色。如當(dāng)代畫家李苦禪畫的墨荷,水墨淋漓,灑脫奔放。朱宣咸的紅梅極其熱烈、奔放、老辣、包容與大氣磅礴的藝術(shù)風(fēng)貌。字畫與書法在工具及運筆方面有許多共同之處，二者結(jié)下了不解之緣，古人早有“ 書畫同源” 之說。但二者也存在著差異，書法運筆變化多端，尤其是草書，要勝過繪畫，而繪畫的用墨豐富多彩，又超過書法。筆墨二字被當(dāng)作字畫技法的總稱，它不僅僅是塑造形象的手段，本身還具有獨立的審美價值。

　　In terms of brushwork and ink usage, it is an important part of Chinese calligraphy and painting style. The use of pen emphasizes variations such as thickness, speed, rhythm, turning, and squareness to express the texture of objects. The ancients summarized the usage of the eighteen strokes of lines. The use of ink emphasizes the mutual use of hooks, textures, dots, and dyes, and the reasonable mixing of dry, wet, thick, light, and black. The wonderful use of ink in Chinese calligraphy and painting lies in the interplay of intensity and lightness. The intensity is brilliant but not stagnant, the lightness is graceful but not dull, there is intensity within intensity, intensity within intensity, intensity within intensity, intensity with maximum and secondary intensity, and intensity with slight and even lighter intensity. It has the characteristic of flexible brushstrokes. Like the ink lotus painted by contemporary artist Li Kuchan, the ink wash is vivid and free spirited. Zhu Xuanxian's red plum blossoms have an extremely passionate, unrestrained, spicy, inclusive, and majestic artistic style. Chinese calligraphy and painting share many similarities with calligraphy in terms of tools and brushstrokes, and the two have formed an inseparable bond. The ancients had long said that "calligraphy and painting share the same origin". But there are also differences between the two. Calligraphy involves a variety of strokes, especially cursive script, which surpasses painting, while painting uses rich and colorful ink, which surpasses calligraphy. The two characters of brush and ink are regarded as the general term for Chinese calligraphy and painting techniques. They are not only means of shaping images, but also have independent aesthetic value.

　　字畫在上色方面也有自己的講究，所有顏料多為天然礦物質(zhì)或動物外殼的粉末，耐風(fēng)吹日曬，經(jīng)久不變。上色方法多為平涂，追求物體固有色的效果，很少光影的變化。

　　Chinese calligraphy and painting also have their own requirements for coloring. Most of the pigments are natural mineral or animal shell powders, which are resistant to wind and sun, and remain unchanged for a long time. The coloring method is mostly flat coating, pursuing the effect of fixing the color of the object, with little variation in light and shadow.

　　隨著人們生活水平和文化素質(zhì)的不斷提高，歷來為文人雅士所喜愛的古玩、字畫等藏品，越來越多地走進(jìn)尋常百姓家，我國各地古玩文物也日趨紅火。古玩又稱古董，其內(nèi)容包羅萬象，五花八門，陶瓷、奇石、玉器、銅器、書畫、票據(jù)、老舊家具、今古錢幣、竹木根雕、古舊書籍、日用物品……總而言之，凡今天以前的東西，只要你覺得有意思收而藏之的，似乎都叫古玩，沒有一個特別的定義。茶余飯后，閑暇時節(jié)，或獨自一人，或邀上三兩知己好友，細(xì)細(xì)把玩品評，便可使人恍然間仿佛穿越了時空，遨游于歲月長河中。

　　With the continuous improvement of people's living standards and cultural quality, antiques, calligraphy and paintings, and other collections that have always been loved by literati and scholars, are increasingly entering ordinary people's homes, and the trade of antiques and cultural relics in various parts of China is becoming increasingly prosperous. Antique, also known as antique, has a wide range of contents, including ceramics, rare stones, jade, bronze, calligraphy and painting, bills, old furniture, modern and ancient coins, bamboo and wood root carvings, ancient books, daily necessities... In short, anything from before today that you intentionally collect and hide seems to be called antique, without a specific definition. After tea and dinner, during leisure time, either alone or inviting a few close friends to play and evaluate, one can suddenly feel as if they have traveled through time and space, wandering in the river of time.

　　如追溯歷史，自有文字記載的商周以來，玩古物一直是帝王、宦官、文人士大夫的文化傳統(tǒng)。這種傳統(tǒng)一直在延續(xù)了三千多年。直到清末民國，幾乎在任何一個有學(xué)問、有身份、有地位的文人官員府第，墻上多多少少會掛上幾幅名人字畫，廳堂上多多少少會擺上一圈紅木桌椅，案幾上多多少少會供上一些陶瓷、玉雕、奇石作為擺設(shè)。

　　Looking back at history, since the Shang and Zhou dynasties, when there were written records, playing with antiques has always been a cultural tradition for emperors, eunuchs, literati, and officials. This tradition has lasted for over three thousand years in China. Until the end of the Qing Dynasty and the Republic of China, almost every learned, distinguished, and influential literati official residence would have a few famous calligraphy and paintings hanging on the walls, a circle of mahogany tables and chairs in the hall, and ceramic, jade carvings, and rare stones as decorations on the desk.

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