范景中：嚴善錞畫集序 - 顾城之城论坛

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昔人寫西湖之美，東坡詩固膾炙人口，堪稱絕唱。袁中郎寫六橋春色，述及斷橋至蘇堤一帶，綠煙紅霧，彌漫二十餘里，歌吹為風，粉落為雨，羅紈之盛，多於堤畔之草。求之於畫，或繪山容水意，窈窕通明；或繪楊柳一絡，逶迤臨風；或繪堤上豔卉，花片沾衣，染映湖水，作胭脂小浪。蓋湖光點翠之工，山嵐設色之妙，盡奪畫家之目睛也。然侔色揣稱，寫境之靜，因物緣情，畫心之淨者，鮮見之也。古今為畫，於尋常景物，率爾下筆，便有佳作；而神幻若西湖者，愈苦心經營，反愈失之。西湖之寂寞無侶，可知矣。善錞先生酷嗜陶令詩，貴其靜而適也。故所繪西湖之景，隱約之間，遠意若生，亦靜者居其多。其一往所詣，靜有獨至，雖秋水暮煙，不足為其色也。余每過深圳，則求觀善錞之畫，雖但知其靜中高華，不知其寄意深旨，已翕然傾倒，以為神奇，不待他人豔稱也。課餘之暇，閒步湖上，水光靜好，山色綽約，因念及善錞畫意，寫此寄之。時乙酉五月，半頃荷香已飄渺湖山間矣。范景中識。

2007-7-21 11:31:29 举报 | |

序

昔人写西湖之美，东坡诗固脍炙人口，堪称绝唱。袁中郎写六桥春色，述及断桥至苏堤一带，绿烟红雾，弥漫二十余里，歌吹为风，粉落为雨，罗纨之盛，多于堤畔之草。艳冶极矣。至若张宗子写七月半曦明之景，于月色苍凉之际，纵舟酣睡于十里荷花之中，香气拘人，清梦甚惬。亦足发人遐想。

求之于画，或绘山容水意，窈窕通明；或绘杨柳一络，逶移临风；或绘堤上艳卉，花片沾衣，染映湖水，作胭脂小浪。盖湖光点翠之工，山岚设色之妙，尽夺画家之目睛也。然侔色揣称，写境之静，因物缘情，画心之净者，鲜见之也。古今为画，于寻常景物，率尔下笔，便有佳作；而神幻若西湖者，愈苦心经营，反愈失之。西湖之寂寞无侣，可知矣。

善錞先生酷嗜陶令诗，貴其静而适也。故所绘西湖之景，隐约之间，远意若生，亦静者居其多。其一往所诣，静之至时，虽秋水暮烟，不足为其色也；然姿媚亦从简净中跃出，有苍雪弥丽，秋光初碧之趣，庶几通乎定庵琴曲：“美人沉沉，山川满心。吁嗟幽离，无人可思。” 其有物无物，变幻起来，胥归于静寂之界，真乃不暇求静即此静者也。

余每过深圳，则求观善錞之画，虽但知其静中高华，不知其寄意深旨，已翕然倾倒，以为神奇，不待他人艳称也。
课余之暇，闲步湖上，水光静好，山色绰约，因念及善錞画意，写此寄之。时乙酉五月，半顷荷香已飘渺湖山间矣。范景中。

2007-7-21 11:33:07 举报 | |

FOREWORD

Of ancient writings of eulogizing the beauties of the West Lake in Hangzhou, Su Dongpo(1037-1101)’s poems enjoy great popularity, and rank as masterpieces through the ages. While describing spring in the six bridges, Yuan Hongdao(1568-1610) presents the scenery from the Broken Bridge to the Su Embankment as: Green smoke and red fog spread all over for about twenty Li; fluting songs are like wind and falling pollens are like rain; fine silk fabrics are more popular than the grasses covering the dyke. What a beautiful description it is. Till the Qing Dynasty, a famous writer Zhang Dai(1597-1679) portrays himself of sleeping and sweetly dreaming in a floating boat over the lotus of ten Li, savoring the dawn and the pale Moon of July, while tasting the fragrance of the lotus. His verse inspires readers to fall in reverie.

As for paintings depicting the scenery of the West Lake, most of them prefer its colorful appearances, or glance of widow in wind, or blooming flowers all over the causeway which reflect in the waves of the lake. All those elements have captured the artists’ attention sensuously; so that could few artists have time to meditate on the graceful scenery, to harmonize their souls with the inner essence of surroundings. That could explain why many paintings that depict at will the ordinary scenes could be regarded as great works, but those painstaking works have fallen into the category of superficial resemblance to the West Lake. In this sense, the West Lake needs a truly understanding admirer.

Mr. Yan Shanchun ardently loves Tao Yuanming(ca.365-427)’s poems and cherishes the peacefulness exerted in Tao’s poetry. In Yan’s Paintings, the views of the West Lake are indistinct, distant and abstract, so that the quietness of the scenery has been achieved. He restricts himself in the usage of ink-wash, in order to remind the spectators of the impression of autumn lake and evening mist, or sky blue snow, or the first light of autumn Sun over the surface of the lake. The grand simplicity of Yan’s art parallels the artistic ideal of Gong Zizhen(1792-1841), who believes: The real beauty of a maid or a mountain could not be truly appreciated because of its mysterious serenity. It is not easy to classify Yan’s art as figurative or non-figurative, but I could not help thinking of his art having reached at ease the state of supreme serenity.

Each time on my visiting Shenzhen, I would seek to appreciate his paintings. Being fascinated by his art, I have often sensed his masterly painting skills and the grandeur of the calmness in his art. Others do not easily have the opportunity to share my enjoyment.

Above words welled up in my mind while I was taking a stroll along the West Lake; and the parallels between the beautiful scenery and Shanchun’s paintings inspired me to write it down. It is the blooming time for the water lotus in the lake, and I do have smelled its aroma.
Fan Jingzhong

2007-7-21 11:35:16 举报 | |

“古今為畫，於尋常景物，率爾下筆，便有佳作；而神幻若西湖者，愈苦心經營，反愈失之。西湖之寂寞無侶，可知矣。”

记得范老师谈废墟，大意是：西人所论，多指荒城古堡、残垣断壁，至18世纪多此奇趣，文则浪漫，画则“如画”（picturesque）.吾人之言废墟，于洛阳伽蓝、窠石读碑之外还有一层意思，登高视下，里中凄沧不能自禁，即烟柳繁华之地，亦未始不为废墟也。此论似可为“西湖之寂寞無侶”作注。

——及门柳

2007-7-21 11:36:57 举报 | |

惘月等级：版主文章：6663 积分：40119 注册：2003年5月5日	小大楼主个人展示 \| QQ \| 邮箱 \| 主页 \| 发短信 \| 加为好友
	昔人寫西湖之美，東坡詩固膾炙人口，堪稱絕唱。袁中郎寫六橋春色，述及斷橋至蘇堤一帶，綠煙紅霧，彌漫二十餘里，歌吹為風，粉落為雨，羅紈之盛，多於堤畔之草。求之於畫，或繪山容水意，窈窕通明；或繪楊柳一絡，逶迤臨風；或繪堤上豔卉，花片沾衣，染映湖水，作胭脂小浪。蓋湖光點翠之工，山嵐設色之妙，盡奪畫家之目睛也。然侔色揣稱，寫境之靜，因物緣情，畫心之淨者，鮮見之也。古今為畫，於尋常景物，率爾下筆，便有佳作；而神幻若西湖者，愈苦心經營，反愈失之。西湖之寂寞無侶，可知矣。善錞先生酷嗜陶令詩，貴其靜而適也。故所繪西湖之景，隱約之間，遠意若生，亦靜者居其多。其一往所詣，靜有獨至，雖秋水暮煙，不足為其色也。余每過深圳，則求觀善錞之畫，雖但知其靜中高華，不知其寄意深旨，已翕然傾倒，以為神奇，不待他人豔稱也。課餘之暇，閒步湖上，水光靜好，山色綽約，因念及善錞畫意，寫此寄之。時乙酉五月，半頃荷香已飄渺湖山間矣。范景中識。
	佛缘本是前生定一笑相逢对故人
	2007-7-21 11:31:29 举报 \| \|

惘月等级：版主文章：6663 积分：40119 注册：2003年5月5日	小大第 2 楼个人展示 \| QQ \| 邮箱 \| 主页 \| 发短信 \| 加为好友
	序昔人写西湖之美，东坡诗固脍炙人口，堪称绝唱。袁中郎写六桥春色，述及断桥至苏堤一带，绿烟红雾，弥漫二十余里，歌吹为风，粉落为雨，罗纨之盛，多于堤畔之草。艳冶极矣。至若张宗子写七月半曦明之景，于月色苍凉之际，纵舟酣睡于十里荷花之中，香气拘人，清梦甚惬。亦足发人遐想。求之于画，或绘山容水意，窈窕通明；或绘杨柳一络，逶移临风；或绘堤上艳卉，花片沾衣，染映湖水，作胭脂小浪。盖湖光点翠之工，山岚设色之妙，尽夺画家之目睛也。然侔色揣称，写境之静，因物缘情，画心之净者，鲜见之也。古今为画，于寻常景物，率尔下笔，便有佳作；而神幻若西湖者，愈苦心经营，反愈失之。西湖之寂寞无侣，可知矣。善錞先生酷嗜陶令诗，貴其静而适也。故所绘西湖之景，隐约之间，远意若生，亦静者居其多。其一往所诣，静之至时，虽秋水暮烟，不足为其色也；然姿媚亦从简净中跃出，有苍雪弥丽，秋光初碧之趣，庶几通乎定庵琴曲：“美人沉沉，山川满心。吁嗟幽离，无人可思。” 其有物无物，变幻起来，胥归于静寂之界，真乃不暇求静即此静者也。余每过深圳，则求观善錞之画，虽但知其静中高华，不知其寄意深旨，已翕然倾倒，以为神奇，不待他人艳称也。课余之暇，闲步湖上，水光静好，山色绰约，因念及善錞画意，写此寄之。时乙酉五月，半顷荷香已飘渺湖山间矣。范景中。
	佛缘本是前生定一笑相逢对故人
	2007-7-21 11:33:07 举报 \| \|

惘月等级：版主文章：6663 积分：40119 注册：2003年5月5日	小大第 3 楼个人展示 \| QQ \| 邮箱 \| 主页 \| 发短信 \| 加为好友
	FOREWORD Of ancient writings of eulogizing the beauties of the West Lake in Hangzhou, Su Dongpo(1037-1101)’s poems enjoy great popularity, and rank as masterpieces through the ages. While describing spring in the six bridges, Yuan Hongdao(1568-1610) presents the scenery from the Broken Bridge to the Su Embankment as: Green smoke and red fog spread all over for about twenty Li; fluting songs are like wind and falling pollens are like rain; fine silk fabrics are more popular than the grasses covering the dyke. What a beautiful description it is. Till the Qing Dynasty, a famous writer Zhang Dai(1597-1679) portrays himself of sleeping and sweetly dreaming in a floating boat over the lotus of ten Li, savoring the dawn and the pale Moon of July, while tasting the fragrance of the lotus. His verse inspires readers to fall in reverie. As for paintings depicting the scenery of the West Lake, most of them prefer its colorful appearances, or glance of widow in wind, or blooming flowers all over the causeway which reflect in the waves of the lake. All those elements have captured the artists’ attention sensuously; so that could few artists have time to meditate on the graceful scenery, to harmonize their souls with the inner essence of surroundings. That could explain why many paintings that depict at will the ordinary scenes could be regarded as great works, but those painstaking works have fallen into the category of superficial resemblance to the West Lake. In this sense, the West Lake needs a truly understanding admirer. Mr. Yan Shanchun ardently loves Tao Yuanming(ca.365-427)’s poems and cherishes the peacefulness exerted in Tao’s poetry. In Yan’s Paintings, the views of the West Lake are indistinct, distant and abstract, so that the quietness of the scenery has been achieved. He restricts himself in the usage of ink-wash, in order to remind the spectators of the impression of autumn lake and evening mist, or sky blue snow, or the first light of autumn Sun over the surface of the lake. The grand simplicity of Yan’s art parallels the artistic ideal of Gong Zizhen(1792-1841), who believes: The real beauty of a maid or a mountain could not be truly appreciated because of its mysterious serenity. It is not easy to classify Yan’s art as figurative or non-figurative, but I could not help thinking of his art having reached at ease the state of supreme serenity. Each time on my visiting Shenzhen, I would seek to appreciate his paintings. Being fascinated by his art, I have often sensed his masterly painting skills and the grandeur of the calmness in his art. Others do not easily have the opportunity to share my enjoyment. Above words welled up in my mind while I was taking a stroll along the West Lake; and the parallels between the beautiful scenery and Shanchun’s paintings inspired me to write it down. It is the blooming time for the water lotus in the lake, and I do have smelled its aroma. Fan Jingzhong
	佛缘本是前生定一笑相逢对故人
	2007-7-21 11:35:16 举报 \| \|

惘月等级：版主文章：6663 积分：40119 注册：2003年5月5日	小大第 4 楼个人展示 \| QQ \| 邮箱 \| 主页 \| 发短信 \| 加为好友
	“古今為畫，於尋常景物，率爾下筆，便有佳作；而神幻若西湖者，愈苦心經營，反愈失之。西湖之寂寞無侶，可知矣。” 记得范老师谈废墟，大意是：西人所论，多指荒城古堡、残垣断壁，至18世纪多此奇趣，文则浪漫，画则“如画”（picturesque）.吾人之言废墟，于洛阳伽蓝、窠石读碑之外还有一层意思，登高视下，里中凄沧不能自禁，即烟柳繁华之地，亦未始不为废墟也。此论似可为“西湖之寂寞無侶”作注。 ——及门柳
	佛缘本是前生定一笑相逢对故人
	2007-7-21 11:36:57 举报 \| \|