读名画《风雨归舟图》,但见堤柳数条,远沙一抹,孤舟蓑笠,宛在中流。或问:“雨在何处?”答曰:“雨在画处,又在无画处。”我国画论历来讲究“实者虚之,虚者实之”,“虚实相生,无画处皆成妙境”。其实,任何艺术都贵于此道。古戏上的虚拟动作,现代剧的静场、潜台词,音乐上的“歇拍”、弦外之音,诗文中的象征、虚写,等等,都是极好的例证。“可怜无定河边骨,犹是春闺梦里人”(《陇西行》)两句诗, Read the famous painting “wind and rain boat chart”, but see the number of dike, a touch of distant sand, lonely boat 蓑 Li, Wan in the stream. Or asked: “where is the rain?” Said: “rain in the painting office, but also no painting office.” Chinese painting theory has always been concerned about “reality who virtual, virtual reality”, “ All into a wonderland. ” In fact, any art is more expensive than this. The fictional movements in the ancient operas, the static fields in modern dramas, the subtext, the “pat-offs” in music, the sounds outside the strings, the symbols in poems, the fictions and so on are all excellent examples. “Poor indefinite river bones, is still the spring boudoir dreams” (“Longxi”) two poems,