国画 禅意山水画 禅宗艺术 器世界国画青年艺术家孙进手绘原稿

国画 禅意山水画 禅宗艺术 器世界国画青年艺术家孙进手绘原稿
器世界国画青年艺术家作者简介：孙进 1977年6月出生于黑龙江齐齐哈尔。2001年毕业于清华大学美术学院。2012年8月8日至今为器世界合作艺术家！孙进致力于传统与创新的探索，用笔墨传达内心的感受。其作品在业内界受极高赞誉不可否认，中国文化是慢热型的。当一个人有机缘接触到某种形式的中国文化，并深深地为其吸引时，就会感叹——原来对中国文化不感兴趣是因为没遇上感动人的好东西。接下来要用几年的时间才能逐渐体会到她真正的内涵！
Definitely,Chinese culture tends to be slow to warm. As a man has a chance to approach kindof Chinese culture and is deeply intrigued in it, he will have a deep sigh withemotion that the reason he missed the Chinese culture since he had never comeacross something that is moving.

传统文化留给我们的是一种人文关怀，她更强调物质基础上的精神享受。在这个“技法的进步；精神的消亡”的时代中，“悦己”被渐渐遗忘，“愉人”成了首要甚至是唯一追求。如何正本清源的继承和发展传统文化的精神内核呢？我们只能从先辈们留下的文化精髓中去体会寻找……
Traditionalculture leaves us with kind of humanistic care which values material-basedspiritual enjoyment. In this age of “progress in techniques but withering inspirits”, “delighting oneself” is buried in oblivion while “pleasing others”becomes a primary or even sole pursuit. How to inherit and develop thespiritual root of traditional culture? What we can do is to search in thecultural pith passed down by our ancestors……

这几年喝茶，从开始体验不同品类茶的香韵，到知道了一点基本的冲泡方法，两三年下来的收获就是——“心与物的完美统一”。同样一泡茶，在不同心情的时候泡出的味道是不同的。当你把美好的心情灌注进茶汤中时，茶就是甜的；当你把苦痛的情绪带到泡茶过程中时，茶就是苦的。心与物的感应，便在这种体验中被证实。这时想起前人常讲的“禅茶一味”来，在品茶过程中得到的不只是解渴，而是精神上的洗礼与享受——茶是有生命的，有反馈的。
Drinkingtea for a while, from starting to experience the aroma and flavor of differentkinds of tea through having some knowledge of basic tea-brewing skills, bringsto me “perfect unity of mind and matter. The taste of tea follows yoursentiment. Tea tastes sweet when you infuse nice feelings into the tea soup；teatastes bitter when you throw painful feelings into the tea brewing process.Interaction of mind to matter becomes true in this experience. This reminds meof “tea resembling Zen” which was often repeated by our predecessors. Tastingtea is not only thirst quenching but spiritual baptism and enjoyment - Tea isliving and responsive.

琴，中国的文房乐器，他的音色是苍古而浑厚的。琴与其它乐器最大的区别就是——琴是弹给自己听的，是个人心声的表达。而不像其他乐器是演奏给别人听的。所以古琴谱并不规定节奏的快慢，而只记录动作和位置。这样古琴就人性化地在不同人手中弹出了不同的味道，这也是古琴诸多派别产生的原因。在吟猱绰注，抹挑勾剔中体会心中的感悟——琴是有生命的，有气息的。

Qin, aChinese musical instrument of study, sounds deep and vigorous. Qindistinguishes itself in that it plays to itself and it is an expression ofpersonal voices while other instruments are played to please others. That isthe reason that the ancient Qin tablatures impose no rule on the rhythm butrecord movements and positions only. Thus, Guqin is humanely played bydifferent people to taste differently. This is also the reason why there are somany Guqin schools created. Feeling the gnosis from the bottom of heart in theplaying – Qin is living and breathing.

纸是文化的载体，从汉代大量造纸开始，文化得以广泛的传播。中国文化随之进入一个绚烂多姿的时期，书法绘画艺术在纸上有了更广阔的舞台。明清以来生宣的发明，并广泛应用到书画创作中，对书画创作又产生了一次革命性的影响。中国生宣的性能强调的是渗透性，墨不是在纸上的，而是在纸内的。这样用笔的快慢、软硬、轻重就有了明确生动的表达。每一笔的晕染都会在纸上留有痕迹，使整个绘画过程明确的呈现。画家的每一妙笔或败笔毫无遮拦的展现出来，对作画过程一气呵成的要求更高了。这纸的性能还会在不断老化的过程中提升，随着时间的推移，纸的细微管路会越来越通畅，这样晕散的效果会更丰厚，层次表达会更清晰——纸是有生命的，是有灵性的。
Paperis carrier of culture. The paper making started in Han dynasty and culturespread extensively. Chinese culture has come into a colorful period ever sinceand arts of calligraphy and painting finds a larger stage on paper. From Mingand Qing periods, the invention of untreated Xuan paper and its wide use in thecalligraphy and painting has created revolutionary influence. The UntreatedChinese Xuan paper attaches its importance on its permeability. Ink is not onbut inside the paper. In this way, the stroking will have a vivid expression ofquickness and slowness, softness and hardness, and lightness and heaviness, andevery stroke leaves traces on the paper to show the whole process of painting.As every nice or bad stroke can be exhibited clearly, this raises a higherrequest for a successful painting at one go. The performance of the paper canbe boosted in the gradually aging process. With the time passing by, thepaper’s slight channel is becoming more and more smooth, which makes thescattered effect thicker and expression level more clearer – Paper is livingand sagacious.
墨作为书写和绘画的主要原料，与砚石结合在几千年的文明史中扮演着重要的角色。我们的祖先选用了最细腻的“烟”作为墨块的基础材料，又找到了适合把墨块切削开的砚石。这种方式又一次地提供了人性化的多种可能。同样的墨在不同质地的砚台上研出的效果是不同的；同样的墨和砚台，用不同的力度和速度研出的效果也是不同的。这样不同人的墨，就有了不同的个性。墨是有生命的，墨是活的。

Ink, beingmain material for writing and drawing, coupled with ink stone, plays asignificant role in the thousands of years long history of civilization. Ourprecursors selected the finest “fume” as basic material for ink stick, and alsofound proper ink stone to cut ink stick. This way offers multiple humanepossibilities. The same ink stick can be ground on the ink stones of differenttypes to take on distinct effects; the identical ink stick and ink stone canalso be ground by different grinding power and speed to take on distincteffects. Thus, the ink held by different people to have differentpersonalities- Ink is living and vital.

茶是活的，琴是活的，纸是活的，墨是活的，作为主体的人——更是活的！人在不同年龄，不同环境和心境中形成的相貌是不同的。或和蔼或威严，或慈祥或恶毒，或欢喜或悲伤，正是人们常说的“相由心生”。眉眼间的些许变化都表现着内心的丝丝牵动。内心随着时间环境而改变，同时改变着我们的行为和气质相貌。然而人的终极追求是内心的幸福与平静，平静是一种“心无挂碍”“能拿能放”的“智慧”，不以物喜，不以己悲。这种“智慧相”便是我们常常在一些得道高人和高僧大德脸上看到的“从容与端庄”。还有更耐人寻味的，更高一层的“智慧相”——便是未来佛“弥勒佛”的超然与让人忍俊不禁的笑，看到他人们便忘了一切烦恼。

Tea is living, Qin is living, paper isliving, ink is living, and man being subject, is living. Man has differentlooks at the different age, in the different environments and with thedifferent sentiments. They may be mild or awe-inspiring, happy or sad, and thisis what people always say “Look reflects heart”. Little change in the facedemonstrates waves in the heart. Inner heart is affected by time and environmentand simultaneously, affects our behavior, temperament and look. The ultimatepursuit for man is happiness and peace in the inner heart. Calmness is kind ofpreoccupation-free wisdom, which suggests “not pleased byexternal gains, not saddened by personal losses”. This “look of wisdom”embodies composedness and stateliness that we can usually find from the face ofeminent Taoists and monks. What is more intriguing is the higher level of “lookof wisdom” that is detachedness and charming smile of “Maitreya Buddha”. Worriesare gone when seeing him.

我们享用着祖先留下的文化思想精华，从物质的到精神的无所不包，全面而系统。造物以养心，养心以造物。心与物的互相滋养，在一个个的不同朝代中孕育出了统一关联的中华文化。体会这些文化给我们带来的无尽的精神享受与丰厚的传统学养，把这些学养内化到自己的骨血里，用“武装了的”内心创作些东西，记录自己的生命轨迹，同时体验着创作的快乐——这是一种生活。

Weenjoy the cultural essence created by our forefathers, from matter to mind, allinclusively and systematically. Creating things to cultivate mind and viceversa. That Mind and matter nourish each other gives birth to a unified andrelated Chinese culture in different dynasties. Feeling the endless spiritualenjoyment and fertile traditional knowledge brought to us by the culture andturning them into our own blood, utilizing “armed ” mind to create things,recording our own track of life, and experiencing the delight of creation –this is a kind of life.