冉茂芹，《田疇晚雲》：台灣．桃園．龍潭
31×41 cm，2010年

清末民初大學者王國維說：「有造境，有寫境，此理想與寫實二派之所由分。然二者頗難分別，因大詩人所造之境必合乎自然，所寫之境必鄰於理想故也。」

畫家心中有詩，眼中有詩，下筆畫面必有詩意而少匠氣也。早些年赴美講學，見女婿Uffe(丹麥人，中國古文化教授)的書架上有這本《 人間詞語解讀》，翻閱後直索之，帶回台北。常翻閱，常有悟。

YIM Mau-Kun, Evening Clouds over the Fields, Taoyuan, Taiwan
Wang Guowei, a great scholar of the late Qing and early Republican period, once said:

“There is the creation of a realm, and there is the depiction of a realm. This is how the idealist and realist schools are distinguished. Yet the two are rather difficult to separate, for the realm created by a great poet must accord with nature, while the realm depicted must inevitably verge upon the ideal.”

When a painter carries poetry in the heart and poetry in the eye, the painted image will naturally be imbued with poetic resonance and free of mere craftsmanship. Years ago, while lecturing in the United States, I noticed a copy of Renjian Ciyu Jiedu on the bookshelf of my son-in-law Uffe (a Dane and a professor of classical Chinese culture). After browsing through it, I immediately asked for it and brought it back to Taipei. I return to it often, and each time I do, I gain new insights.