我们先来看画面,画的是唐代一位文士蹲坐案前,将要书写经文的情景。他正襟危坐,在宽大的书案上布列着必要的文房四宝,铺就了一张方正洁白的纸或绢,准备写经。书案上,一尊佛像只现出侧面形象(这是最绝妙的一笔,古代画什物一般不画背面侧面,尤其是带透视关系的什物),仅此一笔,就把写经的内容暗示出来了。前景一 Let us first look at the picture, painting is a scholar in the Tang Dynasty squatting before the case, will write the scriptures scene. He was sitting tight, in the case of a large book with the necessary four treasures, paved a Founder white paper or silk, ready to write. In the case of a book, a statue of Buddha shows only a side image (this is the most wonderful one, and the ancient painting does not usually paint the backside, especially the one with a perspective relationship). It’s One prospect