How to judge the good and bad of the famous painting and calligraphy works

根据作品的气韵、意境、格调来选优

Choose the best according to the charm, artistic conception, and style of the works

“气韵”一词，为谢赫在1000多年前首倡，并在其绘画“六法”中首推了“气韵生动”，后来也一直成为了鉴赏中国画的最高标准，虽然其内涵和注释在历代都有所变化，但“气韵”的实质应为大千世界中生生不息的万物内在的、有生命的本质和律韵。如简言之即是指“传神” 的“神”，如俗言之也可为“活力 ”的“活”。

The word "Qi rhyme" was advocated by Sheikh for more than 1000 years. In his painting "six methods", "Qi rhyme" was first pushed. Later, it has also been the highest standard of appreciation of Chinese painting. Although its connotation and annotations have changed in the past dynasties, the essence of "Qi" should be inherent in all the living things in the world. It has the essence of life and the rhyme of law. In short, it means the "spirit" of "lifelike", such as vulgar words, it can also be "alive" for "vitality".

那么，画家怎样才能将画作表现得“气韵生动”，即传达出自然的神、生命的活力呢﹖我们可以换一个角度来看，“气” 者，也可为画家的内在气质和气度，即体现他的胆魄、学识和修养；“韵”者，乃由“气”而发至画中的笔墨韵味和韵律，这可以通过绘画技法上的章法、笔法和墨法来体现。因此，“气韵”的内涵也是包括了反映画家绘画艺术的总体效果和水准的最高境界。

Then, how can the painter express the painting "vividly", that is, to convey the vitality of the natural God and life? We can see that the "Qi" can also be the inner temperament and spirit of the painter, that is, his courage, knowledge and accomplishment; the "Rhyme" is sent to the painting by "Qi". The charm and rhyme of calligraphy and painting can be embodied in the techniques, techniques and techniques of painting. Therefore, the connotation of "Qiyun" also includes the highest level reflecting the overall effect and standard of painters' art of painting.

尽管笔与墨是互相依赖、相辅相成的，但是一般而言，气与用笔的关系较为密切，即笔主要用以取气，枯笔易生气，观用笔可评其“气”；而韵则与用墨的关系较为密切，即墨主要用以示韵，湿墨易生韵，品用墨可赏其“韵”。因此，也可以通过品察画中的运笔和用墨，来评价此画的“气韵”是否生动和艺术水准的雅俗高低了。

Although pen and ink are interdependent and complementary to each other, generally speaking, the relationship between Qi and pen is more closely. That is, the pen is mainly used to take gas, the pen is easy to get angry, and the pen can be used to evaluate its "Qi". The rhyme is closely related to the use of ink. Jimo is mainly used to show the rhyme, the wet ink is easy to make the rhyme, and the product can appreciate its "Rhyme" with the ink. . Therefore, it is also possible to evaluate the vividness of the painting and the elegance and vulgarity of the artistic standard through the use of ink and ink in the painting.

中国画为“意象”艺术，它旨在表现画家的主观“意”念，故有“写意”和“意在笔先”之说，古人云：“境生于象外”，像是指事物的外在表现形式，而“境”就应为象外之象了，因此“意境”的完成，最终必须应当由欣赏者通过积极地联想得以实现，也同样可以将“意境”通俗地理解为是由画家绘就的“景”，与欣赏者所发自内心的“情”，“情景交融”的完成的结果。

Chinese painting is a "image" art, which aims to express the painter's subjective "meaning", so there is a "freehand" and "meaning in the first". The ancients cloud: "the situation is born out of the elephant", like the external manifestation of things, and the "boundary" should be the image of the outside. Therefore, the completion of "artistic conception" must be appreciated. Through the positive association, it is also possible to understand the "artistic conception" as a "Scene" painted by the painter, and the result of the "feeling" from the heart and the completion of the harmony of scenery and scenery.

“气韵”虽然在形式技法上表现于笔墨特性，但若要深究下去，其实际上则体现出了画作的意境和格调，而后者是与人的主体精神密切有关的，即与画家和欣赏者的人格涵养是相关的，即画家的人格涵养愈高，其所绘就出来的作品的格调往往也就愈高；而欣赏者的人格涵养愈高，他就能够去欣赏和接受格调较高的作品。而若相反也应如是，即画家的人格涵养不高，其所绘就出来的作品的格调也就不可能高。同样，欣赏者的人格涵养不高，他也往往就只能去接受格调不高的作品，而不大可能去欣赏格调较高的作品。

Although "Rhyme" is shown in the style of art and ink, if we want to go deep into it, it actually embodies the artistic conception and style of the painting, and the latter is closely related to the spirit of the main body, that is, the personality conservation of the painter and the appreciator is related, that is, the higher the painter's personality is, the more it is drawn, the painting will come out. The style of the work is often higher; and the higher the personality of the appreciant, he can appreciate and accept the higher style works. And if the opposite is true, that is, the artist's personality is not high enough, and the style of his paintings can not be high. Similarly, the personality of the appreciant is not high, and he often only accepts the works with low style, but is unlikely to appreciate the high style works.

由此可见，对格调的体悟往往要比对意境的欣赏更为不易，因此只有能够深入到绘画最精髓处的真正的懂画者，才能够深悟画中格调的三味。

Thus it can be seen that the understanding of the style is often more difficult than the appreciation of the artistic conception. Therefore, only the true painter who can penetrate the essence of the painting can understand the three flavors of the style in the painting.

因此，书画爱好者应当通过努力去熟悉笔墨的特性，进而了解画作创作者功力的深浅；并通过努力，去提高自己的人格涵养，以期能够对优秀的画作进行积极地联想，正确的品评作品的格调，最终选择那些“气韵生动”、“意境深邃 ”和“格调高雅 ” 的书画作品进行投资和收藏。

Therefore, calligraphy and painting enthusiasts should try to familiarize themselves with the characteristics of the ink and ink, and then understand the merits of the painting creators, and improve their personality through hard work so as to have a positive association with the excellent paintings, correct the style of evaluation of the works, and finally choose the "vivid" and "meaning". "Deep environment" and "elegant style" calligraphy and painting works for investment and collection.

根据作品的造型、构图、设色来选优

Select the best according to the shape, composition, and color of the works

1、造型和变型

1, modeling and variant

由于中国画的本质是一种借物象而寄情舒怀的艺术，即通常所说的“写意”画，因此其造型、尤其是变型是否合理显得格外的重要，南齐谢赫在其《古画品录》里提出的“六法论”中的“应物象形”一项，即是指中国画在表达主观意念时，强调并不应当走到完全摒弃客观的极端自我中去，即使于文人画最不讲究形似的时候，也是“寄情于物”，而不是一概的脱离具体对象去抽象的描写。

Because the essence of Chinese painting is a kind of art that is in love with things, that is, "freehand" painting, which is usually described as "freehand" painting, so it is particularly important for its shape, especially whether the variant is reasonable. In the "Six Laws" in his "ancient paintings", "the" "" "the" "" "the" "image form" in the "Six Laws" in his "ancient paintings", that is, is the expression of Chinese painting in expression. When the subjective idea is, the emphasis should not be taken to the extremes of the objective self. Even when the literati painting is most unfastidious, it is the "love of things", not an abstract description of the specific object.

此外，国画大师齐白石又一再地强调：“作画妙在似与不似之间，太似为媚俗，不似为欺世”。因此，一位在艺术上有造诣的画家，往往一方面在写出自身主观意趣的同时，另一方面在具体描绘物象时，并不会去面面俱到地刻画出其所有的细节，而是会有意识地去仅写其最能反映出自己想表达意念的主要部分，即取其大意，甚至进行合理的变型，“源于生活，高于生活”，以期在艺术上更好地达到中国画造型“不求形似，但求神似”的至高追求。

In addition, Qi Baishi, a master of Chinese painting, emphasized again and again: "painting is wonderful and similar, but it seems too much to be vulgar, but not to deceive the world." As a result, a painter who has an attainments in art often writes his own subjective interest on the one hand, while on the other hand, he does not depict all the details, but will consciously write the main part of his own intention to express his ideas. Meaning, even a reasonable variant, "from life, higher than life", in order to better achieve the art of Chinese painting, "do not seek shape, but look like" the supreme pursuit.

2、章法构图

2 and chapter composition

此即为谢赫在其《古画品录》里提出的著名“六法论”中的“经营位置”一项，即要求章法构图必须严谨，不能草率从事。国画大师潘天寿先生对此曾经精辟地论述道：“画事之布置，须注意画面内之安排，有主客，有配合，有虚实，有疏密，有高低上下，有纵横曲折，然尤须注意于画面之四边四角，使与画外之画材相关联，气势相承接，自能得趣于画外矣。”

This is the "management position" of the famous "six law theory", which was put forward by Sheikh in his book of ancient paintings, that is, the composition of the composition must be strict and can not be carried out. Mr. Pan Tianshou, the master of the Chinese painting, once thoroughly discussed this: "the arrangement of the painting must be paid attention to the arrangement within the picture, with the guests, the cooperation, the virtual reality, the density, the high and low, and the twists and turns, but in particular the four corners of the picture, which are related to the drawing material outside the painting, and the momentum is able to undertake. It's interesting to be outside the painting.