夢溪筆談, Volume 17-21 By: Kuo Shen (1031-1095) |
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Kuo Shen's work in Volume 17-21 of 夢溪筆談 provides a fascinating glimpse into the world of ancient Chinese culture and philosophy. The author's insights into various topics ranging from ethics and morality to art and literature are thought-provoking and eye-opening. Shen's writing style is engaging and accessible, making it easy for readers to delve into the rich content of the text.
One of the highlights of the book is the depth of historical and cultural knowledge that Shen brings to each discussion. The reader gains a deeper understanding of the complexities of ancient Chinese society and the ways in which these ideas have shaped modern thought.
Overall, 夢溪筆談, Volume 17-21 is a valuable resource for anyone interested in Chinese history, philosophy, and culture. Shen's meticulous research and keen insight make this collection a must-read for scholars and casual readers alike. 藏書畫者，多取空名。偶傳為鐘、王、顧、陸之筆，見者爭售，此所謂「 耳鑒」。又有觀畫而以手摸之，相傳以謂色不隱指者為佳畫，此又在耳鑒 之下，謂之「揣骨聽聲」。歐陽公嘗得一古畫牡丹叢，其下有一貓，未知 其精粗。丞相正肅吳公與歐公姻家，一見曰：「此正午牡丹也。何以明之 ？其花披哆而色燥，此日中時花也；貓眼黑睛如線，此正午貓眼也。有帶 露花，則房斂而色澤。貓眼早暮則睛圓，日漸中狹長，正午則如一線耳。 」此亦善求古人心意也。 相國寺舊畫壁，乃高益之筆。有畫眾工奏樂一 堵，最有意。人多病擁琵琶者誤撥下弦，眾管皆發「四」字。琵琶「四」 字在上弦，此撥乃掩下弦，誤也。余以謂非誤也。蓋管以發指為聲，琵琶 以撥過為聲，此撥掩下弦，則聲在上弦也。益之佈置尚能如此，其心匠可 知。 書畫之妙，當以神會，難可以形器求也。世之觀畫者，多能指摘其 間形象、位置、彩色瑕疵而已，至於奧理冥造者，罕見其人。如彥遠《畫 評》言：王維畫物，多不問四時，如畫花往往以桃、杏、芙蓉、蓮花同畫 一景。余家所藏摩詰畫《袁安臥雪圖》，有雪中芭蕉，此乃得心應手，意 到便成，故其理入神，迥得天意，此難可與俗人論也。謝赫云：「衛協之 畫，雖不該備形妙，而有氣韻，凌跨群雄，曠代絕筆。」又歐文忠《盤車 圖》詩云：「古畫畫意不畫形，梅詩詠物無隱情。忘形得意知者寡，不若 見詩如見畫。」此真為識畫也。... Continue reading book >>
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