在难得的瞬间对自然美的反应， 中国传统的画家、诗人用不同的形式来表现其类似的带有民族特色的感受。王维(699-759)这位中国唐代南宗绘画的创始人，被认为画中有诗和诗中有画，但从中世纪直到宋代(960-1279)末年，古人大多还是分别保持诗、画这两种不同的艺术形式。到宋以后的画家们，开始不顾这种界限，把这两方面内在的美融合在一张画里。

　　这两重性的传统，从近代到现代，中国传统派画家仍喜爱用题诗来丰富他们的作品。徐悲鸿(1895-1953)这位共和国早期的艺术大师，在本世纪的前25年，努力将东方的传统与西方的印象派结合，在其作品中增加了现代的魅力，这种由徐先生于半个世纪前开创的伟大传统，正由他最著名的弟子张安治把它继承发扬向一个新高度，明显地表现在这次展览会里。

　　(1983年)唐德刚，纽约大学市立学院亚洲研究系主任、教授。

　　Reacting to the rare moment of beauty manifested by Nature, traditional Chinese painters and poets expressed their ethnologically similar feelings in different forms. Wang Wei(699-759),the originator of the Southern School of painting in Tang China(618-709),has been credited with being able to brush his poetic sentiment into painting and to compose his artistic intuition into poetry.However the ancients had preferred keeping the two forms separate throughout the middle ages until the end of the Song period (960-1279) . It was the post-Song artists who began to regret such a division and started to melt the intrinsic enchantments of both into one piece of art.

　　This dualism became a tradition from early modern China through the contemporary period; traditional painters are fond of enriching their production with illustrative lyrics.Ju Peon(1895-1953),the great master in early Republican China, who endeavored to bring traditional Orientalism and Western impressionism together in the first quarter of this century,has added modern charm to it.The masterful trandition that Mr. Ju started some half a century ago is now continued by his most noted disciple,Zhang Anzhi,who is developing it toward new heights as is evident in the present exhibition.

　　Te-kong Tong,

　　Professor and Chairman,Department of Asianstudies,The City College of the City University of New York.

作者：唐德刚