北宋国画-----溪山行旅图

Běisòng guóhuà-----xī shānxíng lǚ tú

Northern Song Dynasty Traditional Chinese Painting-----Xishan Travel

40 多年前，一位普通美国观众，在看完中国古代山水画后，提出这样的疑向：“看你们的画，尽
是些山峰，石头，树林，流水，难道说中国人都是住在山 里面吗？”。 中国古画是独一无二的，
深含着诗意与灵感，使人们感受到自然宁静的吸引力。

40 Duōnián qián, yī wèi pǔtōng měiguó guānzhòng, zài kàn wán zhōngguó gǔdài shānshuǐhuà hòu, tíchū
zhèyàng de yí xiàng:“Kàn nǐmen de huà, jìn shì xiē shānfēng, shítou, shùlín, liúshuǐ, nándào shuō
zhōngguó rén dōu shì zhù zài shān li miàn ma?”. Zhōngguó gǔ huà shì dúyīwú'èr de, shēn hánzhe shīyì yǔ
línggǎn, shǐ rénmen gǎnshòu dào zìrán níngjìng de xīyǐn lì.

More than 40 years ago, an ordinary American audience, after watching ancient Chinese landscape
paintings, raised this question: "Looking at your paintings, there are mountains, rocks, woods, and
running water. Could it be that Chinese people live in mountains? Is it inside?". Ancient Chinese
paintings are unique, they are deeply poetic and inspired, making people feel the attractiveness of
nature and tranquility.

一千年前，北宋画家范宽的《溪山行旅图》，被称为宋代画的第一。 在画中，立在画幅正中央的，
是一座高大的山，细线一样的瀑布从高山飞下，消失在云烟里，一队人物，走在高山林中。

Yīqiān nián qián, běisòng huàjiā fàn kuān de “xī shānxíng lǚ tú”, bèi chēng wèi sòngdài huà de dì yī. Zài
huà zhōng, lì zài huàfú zhèng zhòng yāng de, shì yīzuò gāodà de shān, xì xiàn yīyàng de pùbù cóng
gāoshān fēi xià, xiāoshī zài yúnyān lǐ, yī duì rénwù, zǒu zài gāoshān lín zhōng.

A thousand years ago, the Northern Song Dynasty painter Fan Kuan's "Traveling in the Mountains and
Streams" was known as the number one painting in the Song Dynasty. In the painting, standing in the
center of the painting is a tall mountain. A thin-line waterfall flies down from the mountain and
disappears in the clouds. A group of characters walks in the mountain forest.

这幅画的内容并不复杂，但画法特别，画家用雨点一样密的手法，将山的高大逼真地表现出来。
对于范宽，北宋时期的书中写得很少。 我们只知道，这位先生喜欢喝酒，成天坐在石头上，向四
面张望。

Zhè fú huà de nèiróng bìng bù fùzá, dàn huà fǎ tèbié, huàjiā yòng yǔdiǎn yīyàng mì de shǒufǎ, jiāng shān
de gāodà bīzhēn dì biǎoxiàn chūlái. Duìyú fàn kuān, běisòng shíqí de shū zhōng xiě dé hěn shǎo. Wǒmen
zhǐ zhīdào, zhè wèi xiānshēng xǐhuān hējiǔ, chéngtiān zuò zài shítou shàng, xiàng sìmiàn zhāngwàng.

The content of this painting is not complicated, but the painting method is special. The painter uses a
technique as dense as raindrops to vividly express the height of the mountain. For Fan Kuan, there is
very little written in the books of the Northern Song Dynasty. All we know is that this gentleman likes to
drink and sits on a rock all day, looking around.
台湾艺术批评家蒋勋这样解释：画家觉得，人是一个过客。 人的一生就是：走进山水里面，还没
有爬山之前，拾头看到山，对这山有很多的向往，很多的渴望，很多的期待，然后，慢慢走进 山
里面去了。 在山里，会碰到各种各样的事情，快乐的，不快乐的。 等到爬完山以后，从山中返
回，看到自己刚才走的那一条路，知道人世间的喜怒哀乐都过去了，一切都过去了。

Táiwān yìshù pīpíng jiā jiǎngxūn zhèyàng jiěshì: Huàjiā juédé, rén shì yīgè guòkè. Rén de yīshēng jiùshì:
Zǒu jìn shānshuǐ lǐmiàn, hái méiyǒu páshān zhīqián, shí tóu kàn dào shān, duì zhè shān yǒu hěnduō de
xiàngwǎng, hěnduō de kěwàng, hěnduō de qídài, ránhòu, màn man zǒu jìn shānli miàn qùle. Zài shān li,
huì pèng dào gè zhǒng gè yàng de shìqíng, kuàilè de, bù kuàilè de. Děngdào pá wán shān yǐhòu, cóng
shānzhōng fǎnhuí, kàn dào zìjǐ gāngcái zǒu dì nà yītiáo lù, zhīdào ren shìjiān de xǐ nù āi lè dū guòqùle,
yīqiè dōu guòqùle.

Taiwanese art critic Jiang Xun explained this way: The painter thinks that people are just a passer-by.
The whole life of a person is: walking into the mountains and rivers, before climbing the mountain,
picking up the head and seeing the mountains, there are a lot of yearning for the mountain, a lot of
desire, a lot of expectations, and then, slowly walk into the mountain. In the mountains, you will
encounter all kinds of things, happy and unhappy. After climbing the mountain, I returned from the
mountain and saw the road I just walked, knowing that the joys, angers, sorrows (ai) of the world have
passed, and everything has passed.

也许，每个中国人心中，都有一个关于自然的童话。 在台北故宫旁，有一座中式园林，名叫至善
园。 里面有很多景观，其中，有块叫“坐看云起”的石头，它的名字来源于唐朝诗人王维的一首
诗：行到水穷处，坐看云起时。 偶然值林叟，该笑无还期。 千百年来，这一直是中国文人的人
生最高理想。 表现这样生活的山水画，自然就成为中国画家们最喜爱的主题之一。

Yěxǔ, měi gè zhōngguó rén xīnzhōng, dōu yǒu yīgè guānyú zìrán de tónghuà. Zài táiběi gùgōng páng, yǒu
yīzuò zhōngshì yuánlín, míng jiào zhì shàn yuán. Lǐmiàn yǒu hěnduō jǐngguān, qízhōng, yǒu kuài jiào “zuò
kàn yún qǐ” de shítou, tā de míngzì láiyuán yú táng cháo shīrén wáng wéi de yī shǒu shī: Xíng dào shuǐ
qióng chù, zuò kàn yún qǐ shí. Ǒurán zhí lín sǒu, gāi xiào wú huán qí. Qiān bǎi nián lái, zhè yīzhí shì
zhōngguó wénrén de rénshēng zuìgāo lǐxiǎng. Biǎoxiàn zhèyàng shēnghuó de shānshuǐhuà, zìrán jiù
chéngwéi zhōngguó huàjiāmen zuì xǐ'ài de zhǔtí zhī yī.

Perhaps, every Chinese has a fairy tale about nature in his heart. Next to the National Palace Museum in
Taipei, there is a Chinese-style garden called Zhishan Garden. There are many landscapes in it. Among
them, there is a stone called "Sit and Watch the Clouds". Its name comes from a poem by Wang Wei, a
poet of the Tang Dynasty: Walking to the Water Poor, Sitting and Watching the Clouds. Occasionally, Lin
old man, should laugh and have no repayment period. For thousands of years, this has been the highest
ideal of Chinese literati in life. Landscape paintings that express such a life have naturally become one
of the favorite themes of Chinese painters.