实处俱灵 断处俱续——浅析中国书画艺术中的虚实关系和美学特征

Relationship Between Nothingness and Essence and Aesthetical Features of Chinese Painting and Calligraphy Arts

虚实关系是中国绘画美学的重要课题 ,虚实对比显示中国画的意境美。中国画特别强调“布白” ,“计白当黑”,其实就是绘画中以虚映实的处理手法。书法中也特别强调虚实关系 ,就是研究点画之间的空白处理。在中国古代哲学、美学、书画中 ,“无”比“有”重要 ,即“虚”比“实”更重要。中国书画中运用空白和虚境创造了一个观众可“坐忘”、可“悟”、可“静观”

The relationship between nothingness and essence is an important subject in Chinese aesthetics of painting. Only by contrasting nothingness and essence can we show the beauty of the artistic conception of Chinese painting. Where and how the blank should be arranged is particularyly emphasized in Chinese painting. Using white as black is in fact a technique in which the essence is reflected by the nothingness. It is also stressed in calligraphy that the relationship of nothingness and essence is used to study how to deal with the blanks between points and paintings. In ancient Chinese philosophy, aesthetics, painting and calligraphy, nothing is more important than something. That is to say nothingness is more important than essence. In Chinese painting and calligraphy, a quiet and faraway artistic state in which people can forget everything just sitting there, can realize the beauty and watch it quietly is created by using blank and visionary world.