顾恺之“迁想妙得”之我见

原标题：顾恺之“迁想妙得”之我见

　　读完顾恺之《论画》，我觉得最关键的部分是第一段话。“凡画：人最难，次山水，次狗马，台榭一定器耳，难成而易好，不待迁想妙得也。此以巧历不能差其品也。”我同意其中由难到易的顺序，对于“台榭一定器耳，难成而易好”却并不完全赞同。更不认可俞剑华先生的注释：“因为建筑物没有思想感情，所以用不得迁想妙得。”

　　对建筑物，我的想法是，每一幅画所有的要素都有其存在的理由，没有随便画的道理。就像世上万物各有其理，画题也是一样，画中布置建筑物，或以建筑物为人物画的背景，或以建筑物为画面的主体，画中的每一个元素都有其存在的合理性。

　　建筑物不是以自力建成，而是人为的设计和建造而成，建筑物的材料也根据不同的需要而特意选择。建筑物在建造的过程中融入了设计者与建造者的思想，甚至在人们的居住使用中也产生不同的气场，因此我们可以说，建筑物可能会是融入了数百人的思想感情。

　　宋代张择端《清明上河图》画出了那个时代的风景，这件作品具有强烈的历史记录性。画中的人物、建筑物都可以找到符合他们的时代特征，也可以了解各自的代表性和个性。画中建筑物可以看出画家的表现方式对情感的克制与造型的精准。在画人物时也与建筑大体相同，但根据人物不同的身份、职业和行为，也表现出不同的细节特点。《清明上河图》为长卷构图，安排了众多人物与建筑，但并无突兀与不和谐之处，整幅画看起来非常顺畅。一个时代的日常场景会是风俗画的特征，画家表现出人物和建筑物的动与静，而营造出画面整体的情境。因此，描绘建筑物虽需克制情感并以精准的线条刻画，但展开画卷，时代特点、生活方式以及其时瞬间的一切都是融洽而和谐的，让今人一下子体验到那个时代的气息，这也是实现了“迁想妙得”。

　　因为情感在以建筑物为主体的画面上很难表现，所以界画往往以克制情感而且精准的面貌呈现出来，即用界笔直尺画出建筑物构造和外部形态，若是在建筑上过于突显画家的思想感情的话，也许会变成不可居住之物。

　　倪瓒和金正喜（朝鲜）的两幅画具有非常明显的共同之处。倪瓒的《容膝斋图》中画面近处坡岸上有一个小草屋，可以想到陶渊明的《归去来兮辞》中：“倚南窗以寄傲，审容膝之易安。”这正如倪云林的一生，极简，极净，又清高避世的人生状态。金正喜的《岁寒图》，因其被诬犯罪而流放济州岛，朋友的离心与亲友的去世使其感受到世态的炎凉。只有弟子李尚迪，每次为使臣去中国，都会把当时最新的书籍寄给金正喜。在画这幅画的时候，他想起了孔子《论语·子罕》的“岁寒，然后知松柏之后凋也”，又想到苏东坡的《偃松图》。金正喜遭遇厄运才明白什么是真正的朋友。他认为李尚迪才是像松柏一样的人，对待友谊坚贞不二，所以将《岁寒图》送给他。画面上，松柏之间以任意的线条画出了建筑物，把松柏比喻成李尚迪，而人物并没有在画面出现，金正喜将自己的现状与情感隐藏在画面中，简陋的房屋正是他的自况。

　　在这两幅画中，建筑物具有象征性，与界画完全不同，能与山水树石一样，抒发画家的情感。因此，从这个角度来看，“台榭”一类的题材是可以融入画家的思想感情的，也就是说，它也完全可以实现“迁想妙得”。

来源：人民网

My view of Gu Kai's "move to the best"

Original title: Gu's move would result in "I see
After reading Gu Kai's "on the painting", I think the most critical part is the first paragraph. "Every painting: the most difficult person, the second landscape, the dog horse, the pavilion has a certain ear, difficult and easy to be good, do not wait to move to think wonderful too. This is a skillful calendar that can't be bad for its products. " I agree that the order of difficult to easy is not fully agreed with "the ears of the pavilion, which is difficult and easy to be good". Yu Jianhua's annotation is not recognized: "because the building has no thoughts and feelings, so it is wonderful to use it."
To the building, my idea is that every element of the painting has its reasons for its existence, and there is no reason to draw. Like all things in the world have their own science, art is the same, the layout of buildings, or to the building as a portrait of the background, or to the building as the main body of the picture, every element of the painting has its rationality of existence.
The building is not built by itself, but by human design and construction, and the materials of the building are also chosen according to different needs. In the process of building construction, designers and builders are integrated into the idea of building, and even generate different gas fields in people's residence. Therefore, we can say that buildings may be embedded in hundreds of people's thoughts and feelings.
The Song Dynasty Zhang Zeduan "painting" the painting of the age of scenery, this piece has a history of strong. The characters and buildings in the painting can find the characteristics of their times, and they can also understand their respective representativeness and personality. The paintings in the painting can see the precision of the painter's expression of the emotional restraint and modeling. When drawing characters, it is similar to architecture, but it also shows different details according to the identity, occupation and behavior of the characters. "Qingming Festival" for scroll composition, arranged a number of figures and buildings, but there is no abrupt and discordant, the picture looks very smooth. The daily scene of an era is the characteristic of the custom painting, the painter shows the movement and the static of the characters and buildings, and the scene of the whole picture. Therefore, although the need to control emotion and depicting buildings with precise lines depict, but open the scroll, the characteristics of the times, way of life and all time moments are in harmony and harmony, let people experience a flavor of that era, this is the realization of "moving thoughts".
Because the emotion in to the building as the main body of the picture is very difficult, so draw circles tend to control emotion and precision aspect, namely using a pen ruler to draw the building structure and external form, if in the building too highlight the painter's thoughts and feelings you may become uninhabitable.
Ni Zan and Jin Zhengxi (North Korea) of the two common picture is very obvious. There is a cottage Nizan "Rongxi studio" in the bank near the screen, you can think of Tao Yuanming's "Chosun": "on the south window to the knee and then I had to be sure." Just as Ni Yunlin's life, minimalist, very clean and pure, retiring life state. Jin Zhengxi's "suihan map", because it has been accused of crime and died in exile in Jeju Island, and the friends of the friends of centrifugal to make it feel unconcerned. Only disciple Li Shangdi, every time he went to China for the envoy, he would send the latest books to Jin Zhengxi. In this picture, he thought of Confucius "the Analects of Confucius" suihan Zi Han ", and then pines and cypresses", and Su Dongpo's thought of "map" of Pinus pumila. Jin Zhengxi had a bad luck to understand what a real friend was. He believes that Li Shangdi is like a pine tree like people, faithful towards friendship, so we will "map" to him. On the screen, and in any lines painted in the building, the pine and cypress compared to Li Shangdi, but the character did not appear in the picture, Jin Zhengxi will present his feelings and hidden in the picture, inadequate housing is his state.
In these two paintings, the building is symbolic, completely different from the boundary painting, and can express the painter's feelings like the landscape tree. Therefore, from this perspective, the theme of "Tai Xie" can be integrated into the painter's thoughts and feelings, that is to say, it can also achieve "moving and wonderful".