【#今晚没有娱乐#】#mu5735# 说实话,这是我第一次不想做任何文娱稿件,我只是觉得世界太苦了。一边是新冠,一边是战争,又突然来了民航坠机。作为曾经外派采访马航相关事件的记者,我不能不想到马航;作为曾经坐飞机去昆明遭遇强气流而留下阴影的我,不可能不想到自己曾经的采访——但更多时候,我只是想到了苦难,生而为人的苦难。娱乐,任何一条娱乐新闻都显得那么不合时宜。所以作为一名新闻工作者,一名国家媒体的新闻工作者,也作为本博的运营者,在今天晚上,我将停更纯娱乐内容,一直到明天的太阳再度升起,驱走黑暗与寒冷。
希望他与你,你与我,我们所有的人为飞机上的人祈祷。(文/北青报 满羿)
希望他与你,你与我,我们所有的人为飞机上的人祈祷。(文/北青报 满羿)
#双语阅读#【古文里的高级审美词汇,怎样翻译成英文?】品佳作,赞盛景,本想脱口而出,奈何词穷无言。中华文化广而博,这里整理了一些古文中高级审美词汇表达,学起来吧!
1.洗炼 Terseness / Make Writing Succinct
精简词句,提炼要义。洗炼是一种文字干净、主旨鲜明的文学风格。
This term means that wording should be refined to highlight the essential message. Terseness is a mark of neat and thematically explicit writing.
▌引例
不洗不净,不炼不纯。惟陈言之务去,独戛戛乎生新。(孙联奎《诗品臆说》)
Nothing will be clean until it is cleansed. Nothing will be pure until it is refined. Only by ridding ourselves of any banality, can we become truly original.
2.雄浑 Powerfulness
指雄健有力、浑厚自然的艺术风格与审美气象。
This term, which literally means power and splendor, refers to a natural and powerful artistic style and aesthetic taste.
▌引例
大力无敌为雄,元气未分为浑。(杨廷芝《 <二十四诗品> 浅解》)
Powerfulness means invincible power and indivisible mass of vital energy.
3.纯素 Pure and Unadorned
纯粹而素朴。指纯然素朴、不加人工雕饰的本色之美。
This term refers to natural, unadorned beauty.
▌引例
纯素之道,惟神是守。守而勿失,与神为一。 (《庄子·刻意》)
Within spiritual being lies the value of pure simplicity. If you retain your spirit without fail, you became one with it.
4.隐秀 Latent Sentiment and Evident Beauty
诗歌与文章既隐含丰富的思想感情,又有秀美的名言佳句。
This term means that prose and poetry may contain latent sentiments and thoughts, as well as expressions and sentences that present an apparent sense of beauty.
▌引例
情在词外曰隐,状溢目前曰秀。 (张戒《岁寒堂诗话》卷上引刘勰语)
Latency happens when feelings and thoughts are hidden between the lines of a literary work. Evident beauty occurs when messages of sentiment and feelings are vividly portrayed by the images the author creates.
5.飘逸 Natural Grace
指诗歌作品中所表现出的逍遥自适、超凡脱俗、无拘无束的审美情趣和艺术风格。
Natural Grace refers to free and unconstrained aesthetic style and artistic appeal in poetic works.
▌引例
子美不能为太白之飘逸,太白不能为子美之沉郁。 (严羽《沧浪诗话·诗评》)
Du Fu could not write as freely and unconstrained as Li Bai, while the latter did not possess the style of melancholy and profoundness typical of Du Fu’s poems.
6.空灵 Ethereal Effect
空灵用笔洗练,重在传达神韵,具有空灵特点的作品澄澈透明、飘逸灵动,能使人体悟到自由超脱的审美愉悦。
The notion of ethereal effect values simple layout and economical use of details, seeking to convey character and imagination. Works that make use of ethereal effect convey a wonderful lucidity, and possess openness, freedom, and natural grace. Such works enable viewers to appreciate the aesthetic joy of free imagination.
▌引例
古人用笔极塞实处愈见空灵,今人布置一角已见繁缛。(恽格《南田画跋·题画》)
When painting, classical artists made use of ethereal effect all the more where a dense collection of objects normally was required. However today’s artists no sooner begin to paint than they fill the space with elaborate details.
7.枯淡 Dry Plainness
指诗文作品所呈现的质朴干枯、平和清淡的艺术风格。
This refers to a literary style that appears plain and dry, mild and moderate.
枯淡不是枯涩寡味、平庸浅薄,而是指外表看似干枯平淡、内里丰腴醇厚的一种表现手法,旨在用质朴平淡的语言和描写来表现丰富深刻的思想内容,创造出含蓄深邃、醇厚高远的意境。
▌引例
所贵乎枯淡者,谓其外枯而中膏,似淡而实美,渊明、子厚之流是也。(苏轼《评韩柳诗》)
I value the style of dry plainness because it looks withered and dry outside but is rich inside; it appears plain but is in fact beautiful. Poetry by such writers as Tao Yuanming and Liu Zongyuan is like this.
8.畅神 Free Flow of One's Mind
指精神与自然合一时所达到的自由舒畅的一种审美状态。
The term describes a state of mind one achieves when appreciating an artwork, in which process one's inner feelings interact freely and joyfully with nature.
▌引例
圣贤映于绝代,万趣融其神思,余复何为哉?畅神而已。(宗炳《画山水序》)
As sages of remote past already discovered the philosophical wisdom inherent in nature through imagination and contemplation, what more do I need to do now? All I have to do is relishing the joy when my mind interacts freely with the depicted landscape.
9.高古 Unadorned Antiquity
高远古朴,高雅简古。用于文艺批评,主要指文艺作品中所体现出的意蕴高远古朴、情志高雅,凝重而又深具历史感的艺术风格。
This term describes the quality of loftiness or primitive simplicity, and is used primarily in literary criticism to refer to an ancient nobility, an aspiration or sentiment, or an artistic style of historical gravity.
它有时也指高人雅士独具的一种人格境界。
This term is also used to refer to an elevated state of being attained by noble-minded persons.
▌引例
汉人诗文,存于今者,无不高古浑朴。(章学诚《文史通义·内篇五·妇学篇书后》)
Prose and poetry by Han Dynasty authors, so long as they have survived to this day, all show a lofty adherence to an unadorned antiquity and a charming rusticity.
10.气象 Prevailing Features
原是自然界中景色物候的总称,也指某个时期社会的总体精神风貌。
Qixiang (气象), originally a term about the general state of scenery and physical objects in nature, also refers to the prevailing features of a society in a given period of time.
具体到艺术领域,指艺术作品所呈现出的风格与气概,内涵偏重于宏伟壮大,多用“雄浑”(heroic)“浑厚”(immense)“峥嵘”(sublime)等来修饰。
▌引例
盛唐诸公之诗,如颜鲁公书,既笔力雄壮,又气象浑厚。(严羽《答出继叔临安吴景仙书》)
Works of many poets during the prime of the Tang Dynasty struck readers with their powerful expression, just like the calligraphy of Yan Zhenqing.(内容来源于中国日报网英语点津)
1.洗炼 Terseness / Make Writing Succinct
精简词句,提炼要义。洗炼是一种文字干净、主旨鲜明的文学风格。
This term means that wording should be refined to highlight the essential message. Terseness is a mark of neat and thematically explicit writing.
▌引例
不洗不净,不炼不纯。惟陈言之务去,独戛戛乎生新。(孙联奎《诗品臆说》)
Nothing will be clean until it is cleansed. Nothing will be pure until it is refined. Only by ridding ourselves of any banality, can we become truly original.
2.雄浑 Powerfulness
指雄健有力、浑厚自然的艺术风格与审美气象。
This term, which literally means power and splendor, refers to a natural and powerful artistic style and aesthetic taste.
▌引例
大力无敌为雄,元气未分为浑。(杨廷芝《 <二十四诗品> 浅解》)
Powerfulness means invincible power and indivisible mass of vital energy.
3.纯素 Pure and Unadorned
纯粹而素朴。指纯然素朴、不加人工雕饰的本色之美。
This term refers to natural, unadorned beauty.
▌引例
纯素之道,惟神是守。守而勿失,与神为一。 (《庄子·刻意》)
Within spiritual being lies the value of pure simplicity. If you retain your spirit without fail, you became one with it.
4.隐秀 Latent Sentiment and Evident Beauty
诗歌与文章既隐含丰富的思想感情,又有秀美的名言佳句。
This term means that prose and poetry may contain latent sentiments and thoughts, as well as expressions and sentences that present an apparent sense of beauty.
▌引例
情在词外曰隐,状溢目前曰秀。 (张戒《岁寒堂诗话》卷上引刘勰语)
Latency happens when feelings and thoughts are hidden between the lines of a literary work. Evident beauty occurs when messages of sentiment and feelings are vividly portrayed by the images the author creates.
5.飘逸 Natural Grace
指诗歌作品中所表现出的逍遥自适、超凡脱俗、无拘无束的审美情趣和艺术风格。
Natural Grace refers to free and unconstrained aesthetic style and artistic appeal in poetic works.
▌引例
子美不能为太白之飘逸,太白不能为子美之沉郁。 (严羽《沧浪诗话·诗评》)
Du Fu could not write as freely and unconstrained as Li Bai, while the latter did not possess the style of melancholy and profoundness typical of Du Fu’s poems.
6.空灵 Ethereal Effect
空灵用笔洗练,重在传达神韵,具有空灵特点的作品澄澈透明、飘逸灵动,能使人体悟到自由超脱的审美愉悦。
The notion of ethereal effect values simple layout and economical use of details, seeking to convey character and imagination. Works that make use of ethereal effect convey a wonderful lucidity, and possess openness, freedom, and natural grace. Such works enable viewers to appreciate the aesthetic joy of free imagination.
▌引例
古人用笔极塞实处愈见空灵,今人布置一角已见繁缛。(恽格《南田画跋·题画》)
When painting, classical artists made use of ethereal effect all the more where a dense collection of objects normally was required. However today’s artists no sooner begin to paint than they fill the space with elaborate details.
7.枯淡 Dry Plainness
指诗文作品所呈现的质朴干枯、平和清淡的艺术风格。
This refers to a literary style that appears plain and dry, mild and moderate.
枯淡不是枯涩寡味、平庸浅薄,而是指外表看似干枯平淡、内里丰腴醇厚的一种表现手法,旨在用质朴平淡的语言和描写来表现丰富深刻的思想内容,创造出含蓄深邃、醇厚高远的意境。
▌引例
所贵乎枯淡者,谓其外枯而中膏,似淡而实美,渊明、子厚之流是也。(苏轼《评韩柳诗》)
I value the style of dry plainness because it looks withered and dry outside but is rich inside; it appears plain but is in fact beautiful. Poetry by such writers as Tao Yuanming and Liu Zongyuan is like this.
8.畅神 Free Flow of One's Mind
指精神与自然合一时所达到的自由舒畅的一种审美状态。
The term describes a state of mind one achieves when appreciating an artwork, in which process one's inner feelings interact freely and joyfully with nature.
▌引例
圣贤映于绝代,万趣融其神思,余复何为哉?畅神而已。(宗炳《画山水序》)
As sages of remote past already discovered the philosophical wisdom inherent in nature through imagination and contemplation, what more do I need to do now? All I have to do is relishing the joy when my mind interacts freely with the depicted landscape.
9.高古 Unadorned Antiquity
高远古朴,高雅简古。用于文艺批评,主要指文艺作品中所体现出的意蕴高远古朴、情志高雅,凝重而又深具历史感的艺术风格。
This term describes the quality of loftiness or primitive simplicity, and is used primarily in literary criticism to refer to an ancient nobility, an aspiration or sentiment, or an artistic style of historical gravity.
它有时也指高人雅士独具的一种人格境界。
This term is also used to refer to an elevated state of being attained by noble-minded persons.
▌引例
汉人诗文,存于今者,无不高古浑朴。(章学诚《文史通义·内篇五·妇学篇书后》)
Prose and poetry by Han Dynasty authors, so long as they have survived to this day, all show a lofty adherence to an unadorned antiquity and a charming rusticity.
10.气象 Prevailing Features
原是自然界中景色物候的总称,也指某个时期社会的总体精神风貌。
Qixiang (气象), originally a term about the general state of scenery and physical objects in nature, also refers to the prevailing features of a society in a given period of time.
具体到艺术领域,指艺术作品所呈现出的风格与气概,内涵偏重于宏伟壮大,多用“雄浑”(heroic)“浑厚”(immense)“峥嵘”(sublime)等来修饰。
▌引例
盛唐诸公之诗,如颜鲁公书,既笔力雄壮,又气象浑厚。(严羽《答出继叔临安吴景仙书》)
Works of many poets during the prime of the Tang Dynasty struck readers with their powerful expression, just like the calligraphy of Yan Zhenqing.(内容来源于中国日报网英语点津)
#国画欣赏#(国画欣赏•第0025篇)
中文名:雪夜访戴图
作者:张渥
年代:元代
幅式:立轴
材质:纸本
画作类型:墨笔画
规格:纵91.8厘米,横39.6厘米
《雪夜访戴图》是元代画家张渥创作的纸本墨笔画,现藏于上海博物馆。
此图描写东晋王徽之雪夜乘舟访问挚友戴逵的故事。作者以简练的线条,刻画了人物的精神面貌,画中王徽之坐在船舱,缩颈袖手看书,神态生动。河岸古树枝干虬劲,或浓墨渲染,或淡墨勾勒。
【画作内容】
画幅下端为山石河岸,岩石横列,坡岸有一棵树拔地而起,枝干粗壮,曲直向上,树上长满疤结,树枝冲天向上,树叶已凋落,呈现出一派严冬的气氛。画幅近中间部位,画有扁舟,船舟上搭有宽敞船棚,孤舟一叶行进在溪流中。船窗内端坐一位高士:王徽之,双手拢袖,在船舱内读书,双目凝神,专心致志。船尾的船夫以袖裹篙正在使劲撑着船篙。
图上有清高宗弘历题诗:“雪夜觉来乘兴行,剡溪沿潮一舟轻,传神恰是斯时好,较胜门前著语情”。
图上署款“叔厚”,下钤“叔厚”白文方印、“游心艺圃”朱文方印。
【创作背景】
王徽之(338-386),字子猷,东晋书圣王羲之第五子。他在山阴(今浙江绍兴)居住时,有一次雪夜不眠,忽然想起了远在剡溪的朋友戴逵,就连夜乘小船去拜访张渥(此图作者)。
奇怪的是,王徽之连夜辛苦赶路快到友人门口了却扭头就回,行为颇是怪异。南朝刘义庆所撰《世说新语·任诞》,有详细记载:
王子猷居山阴,夜大雪,眠觉,开室命酌酒,四望皎然。因起彷徨,咏左思《招隐诗》。忽忆戴安道。时戴在剡,即便夜乘小舟就之。经宿方至,造门不前而返。人问其故,王曰:“吾本乘兴而行,兴尽而返,何必见戴?”当然,王徽之所访的这位朋友也不简单。戴逵(326-396),字安道,谯郡铚县(今安徽濉溪)人。早年师从名儒范宣,博学多才有巧思,能文善鼓琴工书画,也善雕刻铸佛像,《晋书》谓其:“少博学,好谈论,善属文,能鼓琴,工书画,其余巧艺靡不毕综。”戴逵也堪称洒脱,与名士郗超、刘炎、谢安等交游,累次征辟不就,更不愿摧眉折腰事权贵。官居太宰的武陵王司马晞,听说其鼓瑟有清韵之声,遂派人召他到太宰府献技,戴逵竟然当着使者的面将瑟砸碎,自谓“不为王门伶人”。戴逵名载谢赫《古画品录》、刘义庆《世说新语》、张彦远《历代名画记》,著《戴逵集》九卷,已散佚。时人称他“词美书精,器度巧绝”、“善图圣贤,百工所范”。
后来,戴逵得知老友“乘兴而行、兴尽而返”,并不计较,谓其“不囿于礼,独钟于情”。有意思的是,《晋书》虽将戴逵列入隐逸传,但他颇守传统礼法,谓其:“性高洁,常以礼度自处,深以放达为非道。”意即,他看上去不当官不事权贵还有点任性,其实也挺守规矩并“深以放达为非道。”不过,对朋友这次的“非道”,也情有可原能网开一面。
因为“雪夜访戴”这个故事有“乘兴而来,兴尽而返”的高妙寓意。很多画家都喜欢以此为题材。对于这个非主流而成主流的题材,后世自有不少画家描绘,如明代的戴进、夏葵、文徵明、周文靖等均有同名画作,似乎都是在向那个任性自在的“魏晋风度”时代致敬。不过,其他版本多以山水为主体,虽也画乘船赶路场景,船只及人物在雪夜环境中比例偏小,不如这幅的人物生动有趣。当然,也与某些山水画家不擅长人物的短板有关。
【技法】
该图人物造型准确,虽仅寥寥数笔,将人物刻画得维妙维肖,神态自然,神形俱在,形象逼真生动。画中王徽之坐在船舱,缩颈袖手看书,神态生动。 构图作者采用近景构图,着重突出正行驶的舟楫,画面有意侧重写出主人翁双手拢袖,一株脱尽树叶的寒木,船夫畏寒瑟缩等,以衬托出雪夜寒意的情景。在技法方面,作者与凶其他人物像一样,均采用白描技法,如人物王徽之、寒树、扁舟等,线条简洁流畅,笔法娴熟、劲秀和飘流畅逸。坡石和寒树的勾皴,笔势屈曲灵活,淡墨渲染,背景无多,意境幽远。
此图风格是传统的白描画法,它纯以线条来描绘物象的形态。这种技法优美而又有骨力,极富有概括性和表现力。人物造型纯用细劲的“铁线描”,线条简练明快;面部须眉细致生动,目光炯炯有神。树石采用白描与水墨相结合的画法,线条有长短、粗细、屈折、浓淡、疏密的变化,很有节奏感,使整个画面在雪后凝静的气氛中,显示了大自然的生命活力。人物的衣带、船帏、树干、坡石略加淡墨渲染,加强不同物象的质感、层次,从而收到了状物传神的效果。
【构图】
全幅构图简洁,主题突出,笔墨静美,情感内涵。
从整体的气氛到苍劲的古树,再到形单影只的小舟,再到形态迥异的撑篙人和读书者,整个画面呈现出一种和谐的氛围,毫无违和之感。画中既有事物的对比,也有人物表情的对比,无论是棱角分明的古树,还是绵延缓缓的河流;无论是撑篙人的翘首期盼,还是读书者的淡定自若;无论是沉闷压抑的天空,还是皎洁斑白的月色,这些都恰到好处地呈列在卷轴中。在这些景物由远及近、由上而下的排列下,可以感受到画面的层次感,各景物错落有致在相互作用下,既有个性鲜明的各物体特征,也有整体画面的统一。
【名家点评】
中国美术学院艺术人文学院教授毛建波:《雪夜访戴图》是一幅山水、人物相结合的佳构,作品对雪溪(剡溪)具体环境的描写着力较少,而侧重于写徽之坐于船中的神情,表现隐逸之士的高洁品德与情怀。
【历史传承】
此图曾经清人潘延龄、宫子行、何瑗玉和乾隆内府以及近人庞元济收藏。现藏于上海博物馆。
【作者简介】
张渥(?—约1356),元代画家。字叔厚,号贞期生、江海客,祖籍淮南,后为杭州(今浙江杭州)人。博学多艺,累考科举不中,遂致力于诗画。善绘人物,学李公麟白描,也有人说他学南宋梁楷。笔法细劲,形象生动。传世作品有《九歌图》卷(共十一段)、《雪夜访戴图》轴、《瑶池仙庆图》轴。
中文名:雪夜访戴图
作者:张渥
年代:元代
幅式:立轴
材质:纸本
画作类型:墨笔画
规格:纵91.8厘米,横39.6厘米
《雪夜访戴图》是元代画家张渥创作的纸本墨笔画,现藏于上海博物馆。
此图描写东晋王徽之雪夜乘舟访问挚友戴逵的故事。作者以简练的线条,刻画了人物的精神面貌,画中王徽之坐在船舱,缩颈袖手看书,神态生动。河岸古树枝干虬劲,或浓墨渲染,或淡墨勾勒。
【画作内容】
画幅下端为山石河岸,岩石横列,坡岸有一棵树拔地而起,枝干粗壮,曲直向上,树上长满疤结,树枝冲天向上,树叶已凋落,呈现出一派严冬的气氛。画幅近中间部位,画有扁舟,船舟上搭有宽敞船棚,孤舟一叶行进在溪流中。船窗内端坐一位高士:王徽之,双手拢袖,在船舱内读书,双目凝神,专心致志。船尾的船夫以袖裹篙正在使劲撑着船篙。
图上有清高宗弘历题诗:“雪夜觉来乘兴行,剡溪沿潮一舟轻,传神恰是斯时好,较胜门前著语情”。
图上署款“叔厚”,下钤“叔厚”白文方印、“游心艺圃”朱文方印。
【创作背景】
王徽之(338-386),字子猷,东晋书圣王羲之第五子。他在山阴(今浙江绍兴)居住时,有一次雪夜不眠,忽然想起了远在剡溪的朋友戴逵,就连夜乘小船去拜访张渥(此图作者)。
奇怪的是,王徽之连夜辛苦赶路快到友人门口了却扭头就回,行为颇是怪异。南朝刘义庆所撰《世说新语·任诞》,有详细记载:
王子猷居山阴,夜大雪,眠觉,开室命酌酒,四望皎然。因起彷徨,咏左思《招隐诗》。忽忆戴安道。时戴在剡,即便夜乘小舟就之。经宿方至,造门不前而返。人问其故,王曰:“吾本乘兴而行,兴尽而返,何必见戴?”当然,王徽之所访的这位朋友也不简单。戴逵(326-396),字安道,谯郡铚县(今安徽濉溪)人。早年师从名儒范宣,博学多才有巧思,能文善鼓琴工书画,也善雕刻铸佛像,《晋书》谓其:“少博学,好谈论,善属文,能鼓琴,工书画,其余巧艺靡不毕综。”戴逵也堪称洒脱,与名士郗超、刘炎、谢安等交游,累次征辟不就,更不愿摧眉折腰事权贵。官居太宰的武陵王司马晞,听说其鼓瑟有清韵之声,遂派人召他到太宰府献技,戴逵竟然当着使者的面将瑟砸碎,自谓“不为王门伶人”。戴逵名载谢赫《古画品录》、刘义庆《世说新语》、张彦远《历代名画记》,著《戴逵集》九卷,已散佚。时人称他“词美书精,器度巧绝”、“善图圣贤,百工所范”。
后来,戴逵得知老友“乘兴而行、兴尽而返”,并不计较,谓其“不囿于礼,独钟于情”。有意思的是,《晋书》虽将戴逵列入隐逸传,但他颇守传统礼法,谓其:“性高洁,常以礼度自处,深以放达为非道。”意即,他看上去不当官不事权贵还有点任性,其实也挺守规矩并“深以放达为非道。”不过,对朋友这次的“非道”,也情有可原能网开一面。
因为“雪夜访戴”这个故事有“乘兴而来,兴尽而返”的高妙寓意。很多画家都喜欢以此为题材。对于这个非主流而成主流的题材,后世自有不少画家描绘,如明代的戴进、夏葵、文徵明、周文靖等均有同名画作,似乎都是在向那个任性自在的“魏晋风度”时代致敬。不过,其他版本多以山水为主体,虽也画乘船赶路场景,船只及人物在雪夜环境中比例偏小,不如这幅的人物生动有趣。当然,也与某些山水画家不擅长人物的短板有关。
【技法】
该图人物造型准确,虽仅寥寥数笔,将人物刻画得维妙维肖,神态自然,神形俱在,形象逼真生动。画中王徽之坐在船舱,缩颈袖手看书,神态生动。 构图作者采用近景构图,着重突出正行驶的舟楫,画面有意侧重写出主人翁双手拢袖,一株脱尽树叶的寒木,船夫畏寒瑟缩等,以衬托出雪夜寒意的情景。在技法方面,作者与凶其他人物像一样,均采用白描技法,如人物王徽之、寒树、扁舟等,线条简洁流畅,笔法娴熟、劲秀和飘流畅逸。坡石和寒树的勾皴,笔势屈曲灵活,淡墨渲染,背景无多,意境幽远。
此图风格是传统的白描画法,它纯以线条来描绘物象的形态。这种技法优美而又有骨力,极富有概括性和表现力。人物造型纯用细劲的“铁线描”,线条简练明快;面部须眉细致生动,目光炯炯有神。树石采用白描与水墨相结合的画法,线条有长短、粗细、屈折、浓淡、疏密的变化,很有节奏感,使整个画面在雪后凝静的气氛中,显示了大自然的生命活力。人物的衣带、船帏、树干、坡石略加淡墨渲染,加强不同物象的质感、层次,从而收到了状物传神的效果。
【构图】
全幅构图简洁,主题突出,笔墨静美,情感内涵。
从整体的气氛到苍劲的古树,再到形单影只的小舟,再到形态迥异的撑篙人和读书者,整个画面呈现出一种和谐的氛围,毫无违和之感。画中既有事物的对比,也有人物表情的对比,无论是棱角分明的古树,还是绵延缓缓的河流;无论是撑篙人的翘首期盼,还是读书者的淡定自若;无论是沉闷压抑的天空,还是皎洁斑白的月色,这些都恰到好处地呈列在卷轴中。在这些景物由远及近、由上而下的排列下,可以感受到画面的层次感,各景物错落有致在相互作用下,既有个性鲜明的各物体特征,也有整体画面的统一。
【名家点评】
中国美术学院艺术人文学院教授毛建波:《雪夜访戴图》是一幅山水、人物相结合的佳构,作品对雪溪(剡溪)具体环境的描写着力较少,而侧重于写徽之坐于船中的神情,表现隐逸之士的高洁品德与情怀。
【历史传承】
此图曾经清人潘延龄、宫子行、何瑗玉和乾隆内府以及近人庞元济收藏。现藏于上海博物馆。
【作者简介】
张渥(?—约1356),元代画家。字叔厚,号贞期生、江海客,祖籍淮南,后为杭州(今浙江杭州)人。博学多艺,累考科举不中,遂致力于诗画。善绘人物,学李公麟白描,也有人说他学南宋梁楷。笔法细劲,形象生动。传世作品有《九歌图》卷(共十一段)、《雪夜访戴图》轴、《瑶池仙庆图》轴。
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