#每日一善[超话]#[并不简单]#每日一善# 1#阳光信用#
呜呼!妆生于浙而葬于斯,离吾乡七百里矣,当时虽觭梦幻想,宁知此为归骨所耶? 妆以一念之贞,遇人仳离,致孤危托落。虽命之所存,天实为之;然而累妆至此者,未尝非予之过也。
予幻从先生授经,汝差肩而坐,爱听古人节义事;一旦长成,遽躬蹈之。呜呼!使汝不识诗书,或未必艰贞若是。 余捉蟋蟀,妆奋臂出其间;岁寒虫僵,同临其穴。今予殓汝葬汝,而当日之情形憬然赴目。
——《祭妹文》袁枚
呜呼!妆生于浙而葬于斯,离吾乡七百里矣,当时虽觭梦幻想,宁知此为归骨所耶? 妆以一念之贞,遇人仳离,致孤危托落。虽命之所存,天实为之;然而累妆至此者,未尝非予之过也。
予幻从先生授经,汝差肩而坐,爱听古人节义事;一旦长成,遽躬蹈之。呜呼!使汝不识诗书,或未必艰贞若是。 余捉蟋蟀,妆奋臂出其间;岁寒虫僵,同临其穴。今予殓汝葬汝,而当日之情形憬然赴目。
——《祭妹文》袁枚
太和所谓道,中涵浮沈、升降、动静、相感之性,是生、相汤、胜负、屈伸之始。其来也几微易简,其究也广大坚固。起知于易者乾乎!效法于简者坤乎!散殊而可象为气,清通而不可象为神。不如野马、,不足谓之太和。语道者知此,谓之知道;学易者见此,谓之见易。不如是,虽周公才美,其智不足称也已。
太虚无形,气之本体,其聚其散,变化之客形尔;至静无感,性之渊源,有识有知,物交之客感尔。客感客形与无感无形,惟尽性者一之。
天地之气,虽聚散、攻取百涂,然其为理也顺而不妄。气之为物,散入无形,适得吾体;聚为有象,不失吾常。太虚不能无气,气不能不聚而为万物,万物不能不散而为太虚。循是出入,是皆不得已而然也。然则圣人尽道其间,兼体而不累者,存神其至矣。彼语寂灭者往而不反,徇生执有者物而不化,二者虽有间矣,以言乎失道则均焉。
聚亦吾体,散亦吾体,知死之不亡者,可与言性矣。
知虚空即气,则有无、隐显、神化、性命通一无二,顾聚散、出入、形不形,能推本所从来,则深于易者也。若谓虚能生气,则虚无穷,气有限,体用殊绝,入老氏“有生于无”自然之论,不识所谓有无混一之常;若谓万象为太虚中所见之物,则物与虚不相资,形自形,性自性,形性、天人不相待而有,陷于浮屠以山河大地为见病之说。此道不明,正由懵者略知体虚空为性,不知本天道为用,反以人见之小因缘天地。明有不尽,则诬世界乾坤为幻化。幽明不能举其要,遂躐等妄意而然。不悟一阴一阳范围天地、通乎昼夜、三极大中之矩,遂使儒、佛、老、庄混然一涂。语天道性命者,不罔于恍惚梦幻,则定以“有生于无”,为穷高极微之论。入德之途,不知择术而求,多见其蔽于讠皮而陷于淫矣。
气央然太虚,升降飞扬,未尝止息,易所谓“”,庄生所谓“生物以息相吹”、“野马”者与!此虚实、动静之机,阴阳、刚柔之始。浮而上者阳之清,降而下者阴之浊,其感通聚结,为风雨,为雪霜,万品之流形,山川之融结,糟粕煨烬,无非教也。
气聚则离明得施而有形,气不聚则离明不得施而无形。方其聚也,安得不谓之客?方其散也,安得遽谓之无?故圣人仰观俯察,但云“知幽明之故”,不云“知有无之故”。盈天地之间者,法象而已;文理之察,非离不相观也。方其形也,有以知幽之因;方其不形也,有以知明之故。
气之聚散于太虚,犹冰凝释于水,知太虚即气,则无无。故圣人语性与天道之极,尽于参伍之神变易而已。诸子浅妄,有有无之分,非穷理之学也。
太虚为清,清则无碍,无碍故神;反清为浊,浊则碍,碍则形。
凡气清则通,昏则壅,清极则神。故聚而有间则风行,风行则声闻具达,清之验与!不行而至,通之极与!
由太虚,有天之名;由气化,有道之名;合虚与气,有性之名;合性与知觉,有心之名。
鬼神者,二气之良能也。圣者,至诚得天之谓;神者,太虚妙应之目。凡天地法象,皆神化之糟粕尔。
天道不穷,寒暑也;众动不穷,屈伸也;鬼神之实,不越二端而已矣。
两不立则一不可见,一不可见则两之用息。两体者,虚实也,动静也,聚散也,清浊也,其究一而已。
感而后有通,不有两则无一。故圣人以刚柔立本,乾坤毁则无以见易。
游气纷扰,合而成质者,生人物之万殊;其阴阳两端循环不已者,立天地之大义。
“日月相推而明生,寒暑相推而岁成。”神易无方体,“一阴一阳”,“阴阳不测”,皆所谓“通乎画夜之道”也。
画夜者,天之一息乎!寒暑者,天之画夜乎!天道春秋分而气易,犹人一寤寐而魂交。魂交成梦,百感纷纭,对寤而言,一身之昼夜也;气交为春,万物糅错,对秋而言,天之画夜也。
气本之虚则湛无形,感而生则聚而有象。有象斯有对,对必反其为;有反斯有仇,仇必和而解。故爱恶之情同出于太虚,而卒归于物欲,倏而生,忽而成,不容有毫发之间,其神矣夫!
造化所成,无一物相肖者,以是知万物虽多,其实一物;无无阴阳者,以是知天地变化,二端而已。
万物形色,神之糟粕,性与天道云者,易而已矣。心所以万殊者,感外物为不一也,天大无外,其为感者二端而已焉。物之所以相感者,利用出入,莫知其乡,一万物之妙者与!
气与志,天与人,有交胜之理。圣人在上而下民咨,气壹之动志也;凤凰仪,志壹之动气也。 https://t.cn/RI4mtdm
太虚无形,气之本体,其聚其散,变化之客形尔;至静无感,性之渊源,有识有知,物交之客感尔。客感客形与无感无形,惟尽性者一之。
天地之气,虽聚散、攻取百涂,然其为理也顺而不妄。气之为物,散入无形,适得吾体;聚为有象,不失吾常。太虚不能无气,气不能不聚而为万物,万物不能不散而为太虚。循是出入,是皆不得已而然也。然则圣人尽道其间,兼体而不累者,存神其至矣。彼语寂灭者往而不反,徇生执有者物而不化,二者虽有间矣,以言乎失道则均焉。
聚亦吾体,散亦吾体,知死之不亡者,可与言性矣。
知虚空即气,则有无、隐显、神化、性命通一无二,顾聚散、出入、形不形,能推本所从来,则深于易者也。若谓虚能生气,则虚无穷,气有限,体用殊绝,入老氏“有生于无”自然之论,不识所谓有无混一之常;若谓万象为太虚中所见之物,则物与虚不相资,形自形,性自性,形性、天人不相待而有,陷于浮屠以山河大地为见病之说。此道不明,正由懵者略知体虚空为性,不知本天道为用,反以人见之小因缘天地。明有不尽,则诬世界乾坤为幻化。幽明不能举其要,遂躐等妄意而然。不悟一阴一阳范围天地、通乎昼夜、三极大中之矩,遂使儒、佛、老、庄混然一涂。语天道性命者,不罔于恍惚梦幻,则定以“有生于无”,为穷高极微之论。入德之途,不知择术而求,多见其蔽于讠皮而陷于淫矣。
气央然太虚,升降飞扬,未尝止息,易所谓“”,庄生所谓“生物以息相吹”、“野马”者与!此虚实、动静之机,阴阳、刚柔之始。浮而上者阳之清,降而下者阴之浊,其感通聚结,为风雨,为雪霜,万品之流形,山川之融结,糟粕煨烬,无非教也。
气聚则离明得施而有形,气不聚则离明不得施而无形。方其聚也,安得不谓之客?方其散也,安得遽谓之无?故圣人仰观俯察,但云“知幽明之故”,不云“知有无之故”。盈天地之间者,法象而已;文理之察,非离不相观也。方其形也,有以知幽之因;方其不形也,有以知明之故。
气之聚散于太虚,犹冰凝释于水,知太虚即气,则无无。故圣人语性与天道之极,尽于参伍之神变易而已。诸子浅妄,有有无之分,非穷理之学也。
太虚为清,清则无碍,无碍故神;反清为浊,浊则碍,碍则形。
凡气清则通,昏则壅,清极则神。故聚而有间则风行,风行则声闻具达,清之验与!不行而至,通之极与!
由太虚,有天之名;由气化,有道之名;合虚与气,有性之名;合性与知觉,有心之名。
鬼神者,二气之良能也。圣者,至诚得天之谓;神者,太虚妙应之目。凡天地法象,皆神化之糟粕尔。
天道不穷,寒暑也;众动不穷,屈伸也;鬼神之实,不越二端而已矣。
两不立则一不可见,一不可见则两之用息。两体者,虚实也,动静也,聚散也,清浊也,其究一而已。
感而后有通,不有两则无一。故圣人以刚柔立本,乾坤毁则无以见易。
游气纷扰,合而成质者,生人物之万殊;其阴阳两端循环不已者,立天地之大义。
“日月相推而明生,寒暑相推而岁成。”神易无方体,“一阴一阳”,“阴阳不测”,皆所谓“通乎画夜之道”也。
画夜者,天之一息乎!寒暑者,天之画夜乎!天道春秋分而气易,犹人一寤寐而魂交。魂交成梦,百感纷纭,对寤而言,一身之昼夜也;气交为春,万物糅错,对秋而言,天之画夜也。
气本之虚则湛无形,感而生则聚而有象。有象斯有对,对必反其为;有反斯有仇,仇必和而解。故爱恶之情同出于太虚,而卒归于物欲,倏而生,忽而成,不容有毫发之间,其神矣夫!
造化所成,无一物相肖者,以是知万物虽多,其实一物;无无阴阳者,以是知天地变化,二端而已。
万物形色,神之糟粕,性与天道云者,易而已矣。心所以万殊者,感外物为不一也,天大无外,其为感者二端而已焉。物之所以相感者,利用出入,莫知其乡,一万物之妙者与!
气与志,天与人,有交胜之理。圣人在上而下民咨,气壹之动志也;凤凰仪,志壹之动气也。 https://t.cn/RI4mtdm
#画家[超话]#
国画欣赏丨齐白石的笔下小虫,让你一次看个够!过瘾!!!
菲尔国画艺术联盟
齐白石(1864年1月1日─1957年9月16日),祖籍安徽宿州砀山,生于湖南长沙府湘潭(今湖南湘潭)。
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原名纯芝,字渭青,号兰亭。后改名璜,字濒生,号白石、白石山翁、老萍、饿叟、借山吟馆主者、寄萍堂上老人、三百石印富翁。是近现代中国绘画大师,世界文化名人。早年曾为木工,后以卖画为生,五十七岁后定居北京。擅画花鸟、虫鱼、山水、人物,笔墨雄浑滋润,色彩浓艳明快,造型简练生动,意境淳厚朴实。所作鱼虾虫蟹,天趣横生。
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齐白石书工篆隶,取法于秦汉碑版,行书饶古拙之趣,篆刻自成一家,善写诗文。曾任中央美术学院名誉教授、中国美术家协会主席等职。代表作有《蛙声十里出山泉》《墨虾》等。著有《白石诗草》《白石老人自述》等。
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齐白石在北京定居后,内心却是“故里山花此时开也”的思想轨迹。齐白石不可能将家乡草木赶过黄河带到北京,但家乡草木却作为一种自然信息随齐白石来到北京,并化作艺术信息传达出来,以实现齐白石心理的平衡。
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齐白石刻了许多寄托着怀乡之情的闲文印,如“吾家衡岳山下”、“客中月光亦照家山”,是齐白石自抒胸臆的第一主题。齐白石写了许多的怀乡诗,如:“登高时近倍思乡,饮酒簪花更断肠,寄语南飞天上雁,心随君侣到星塘。”又如“饱谱尘世味,夜夜梦星塘”、“此时正是梅开际,老屋檐前花有无”,这些诗句是齐白石“夜不安眠”、“枕上愁余”时所些的肺腑之语。变法和着变意,变意和着变法,乡心伴着童心,童心也总念乡心。
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齐白石的作品《我最知鱼》,画着小鱼围逐钓饵,是齐白石少时作惯之事,故能“知鱼”;齐白石77岁时画《墨猪出栏》,是因为齐白石有一颗“牧汝追思七十年”的心;齐白石画那些黑蜻蜓、红甲虫,是因为齐白石还记得乡里人叫黑蜻蜓作“黑婆子”,叫小甲虫作“红娘子”,这正是农民眼中的草虫,是农民的审美情趣;齐白石画鲇鱼题“年年有余”,画石榴象征多子,画桃子象征多寿,这也是民间艺术喻意象征的特色。
国画欣赏丨齐白石的笔下小虫,让你一次看个够!过瘾!!!
菲尔国画艺术联盟
齐白石(1864年1月1日─1957年9月16日),祖籍安徽宿州砀山,生于湖南长沙府湘潭(今湖南湘潭)。
图片
原名纯芝,字渭青,号兰亭。后改名璜,字濒生,号白石、白石山翁、老萍、饿叟、借山吟馆主者、寄萍堂上老人、三百石印富翁。是近现代中国绘画大师,世界文化名人。早年曾为木工,后以卖画为生,五十七岁后定居北京。擅画花鸟、虫鱼、山水、人物,笔墨雄浑滋润,色彩浓艳明快,造型简练生动,意境淳厚朴实。所作鱼虾虫蟹,天趣横生。
图片
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齐白石书工篆隶,取法于秦汉碑版,行书饶古拙之趣,篆刻自成一家,善写诗文。曾任中央美术学院名誉教授、中国美术家协会主席等职。代表作有《蛙声十里出山泉》《墨虾》等。著有《白石诗草》《白石老人自述》等。
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齐白石在北京定居后,内心却是“故里山花此时开也”的思想轨迹。齐白石不可能将家乡草木赶过黄河带到北京,但家乡草木却作为一种自然信息随齐白石来到北京,并化作艺术信息传达出来,以实现齐白石心理的平衡。
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齐白石刻了许多寄托着怀乡之情的闲文印,如“吾家衡岳山下”、“客中月光亦照家山”,是齐白石自抒胸臆的第一主题。齐白石写了许多的怀乡诗,如:“登高时近倍思乡,饮酒簪花更断肠,寄语南飞天上雁,心随君侣到星塘。”又如“饱谱尘世味,夜夜梦星塘”、“此时正是梅开际,老屋檐前花有无”,这些诗句是齐白石“夜不安眠”、“枕上愁余”时所些的肺腑之语。变法和着变意,变意和着变法,乡心伴着童心,童心也总念乡心。
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齐白石的作品《我最知鱼》,画着小鱼围逐钓饵,是齐白石少时作惯之事,故能“知鱼”;齐白石77岁时画《墨猪出栏》,是因为齐白石有一颗“牧汝追思七十年”的心;齐白石画那些黑蜻蜓、红甲虫,是因为齐白石还记得乡里人叫黑蜻蜓作“黑婆子”,叫小甲虫作“红娘子”,这正是农民眼中的草虫,是农民的审美情趣;齐白石画鲇鱼题“年年有余”,画石榴象征多子,画桃子象征多寿,这也是民间艺术喻意象征的特色。
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